Summer, 1986 - CPANDA: Cultural Policy and the Arts National

Transcription

CENTRAL OPERA SERVICE BULLETIN
VOLUME 27, Number 2
INDEX
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CENTRAL OPERA SERVICE
Summer 1986
Volume 27, Number 2
I N D E X
NEW OPERAS AND PREMIERES
EDITIONS and ADAPTATIONS
NEWS FROM OPERA COMPANIES
PUBLISHERS & MANAGERS
GOVERNMENT and NATIONAL ARTS ORGANIZATIONS
EDUCATION AND ACADEMIA
HEALTH CARE FOR ARTISTS
FORECAST
THEATERS AND ARTS CENTERS
ATTENTION, COMPOSERS/LIBRETTISTS
COS INSIDE INFORMATION <5c COS SALUTES
LIBRARIES and ARCHIVES
ATTENTION, CONDUCTORS
EXHIBITIONS
APPOINTMENTS AND RESIGNATIONS
NEW ENGLISH TRANSLATIONS
NEW ENGLISH CAPTIONS FOR PROJECTION
WINNERS
LATE ANNOUNCEMENTS
LATEST CAREER GUIDE SUPPLEMENT
PERFORMANCE LISTING, 1985-86 cont.
FIRST PERFORMANCE LISTING, 1986-87 SEASON
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CENTRAL OPERA SERVICE COMMITTEE
Founder
MRS. AUGUST BELMONT
(1879-1979)
Honorary National Chairman
ROBERT L.B. TOBIN
National Chairman
MRS. MARGO H. BINDHARDT
National Vice Chairman
MRS. MARY H. DARRELL
The next issue will include
THE 1985-86 COS OPERA SURVEY
Latest Addenda - Directory of Available Sets and Costumes
Book Reviews
in addition to all the latest operatic news
Central Opera Service Bulletin >
Editor:
Assistant Editor:
Editorial Assistants:
Vol.27, No.2 • Summer 1986
MARIA F. RICH
CHERYL KEMPLER
LISA VOLPE-REISSIG
FRITZI BICKHARDT
NORMA LITTON
The COS Bulletin is published quarterly for its members by Central Opera Service.
membership information see back cover.
For
Permission to quote is not necessary but kindly note source.
Please send any news items suitable for mention in the COS Bulletin as well as performance
information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center,
New York, NY 10023.
Copies this issue: $4.00
ISSN 0008-9508
NEW OPERAS AND PREMERES
THE GUILT OF LILLIAN SLOAN is the new opera written by William
Neil, composer in residence with the Lyric Opera of Chicago. There had
been some problem with his original choice of book, and the completed
opera is now based on a famous British murder trial of the 1920's, where
the woman and her lover were executed although the prosecution lacked
any tangible evidence. The new opera, in two acts and eleven scenes, has
a libretto by Frank Galati; it was premiered on June 20 in a joint
production by Northwestern University's Theatre and Interpretation Center,
the Lyric Opera of Chicago and the Lyric's American Artists Center.
The Metropolitan Opera commission given John Corigliano for a new opera
some time ago is said to be bearing fruit after all. The composer is
currently at work, having chosen the third play of Beaumarchais's Figaro
trilogy. That story has been used by Darius Milhaud and Peter Schickele,
but neither opera is likely to become a repertory staple as did the Rossini
and Mozart favorites. Mr. Corigliano's new work - his first attempt at
writing an opera - is expected to be completed in 1989. William M.
Hoffman is the librettist.
The Kennedy Center has commissioned John Adams to compose NIXON IN
CHINA. Planned as a shared production of the Kennedy Center, the
Houston Grand Opera and the Brooklyn Academy of Music, it is to open
in Texas in late 1987 with Peter Sellars as stage director and Ransom
Wilson as conductor.
Meanwhile, a work-in-progress reading at the
Guggenheim Museum, originally scheduled for April, has been postponed
until the fall.
Yet another Chekhov-based THREE SISTERS has been created as an opera,
this latest by composer Andrew Rudin in collaboration with librettist
William Ashbrook. Scenes and arias were performed on February 11 for
the first time by Wendy Hill with musicians from PRISM at New York's
Symphony Space. Thomas Pasatieri's opera on the same theme had its
successful premiere in Columbus, Ohio, on March 13.
WANING POWER is the title of a new opera by Gary William Friedman
for which Gerald Walker wrote the libretto. Excerpts were performed
at the Vineyard Theater on January 11 in a concert devoted entirely to
Mr. Friedman's music. The opera-in-progress featured soprano Joanna
Simon in the leading role, portraying a "waning" opera star; it also included
a quartet, "doubling" as chorus.
PLUMP JACK is the title of a new opera by Gordon Getty, excerpts of
which are to be sampled at the Aspen Music Festival this summer. Knight
Falstaff is the Jack in question.
THE BUS TO STOCKPORT
AND OTHER STORIES
was workshopped
February 20 to 22 by Opera Uptown in New York. It represents the
collaboration between composers Eric Valinsky and John Cage and librettist
Peter Schubert.
Based on a folkloric setting of the feast of St. James in Loiza Aldea,
Puerto Rico, EL MENSAJERO DE PLATA is currently being workshopped
and prepared for a premiere next season. The work, with music by Roberto Sierra and text by Myrna Casas, will receive its try-outs and the first
-1-
NEW AMERICAN
OPERAS
performance, projected for next winter, by Opera de Camara, PR, with
Luis Pereira as Artistic Director. The National Endowment for the Arts
as well as some other foundations have given funds to insure a successful
production.
Arthur Roberts, who has translated a number of Offenbach operettas into
English, has completed two one-act operas of his own. A LUNAR REQUIEM
is based on Robert Heinlein's short story "Requiem"; MUCKLE-MOUTHED
MEG is based on a Scottish folktale about the 17th century border wars.
Each plays about one hour.
An American myth of the 19th century forms the background to THE
BELL WITCH OF TENNESSEE. Joan Crowell wrote both music and libretto
of this new version, the second opera based on that subject. Conceived
in one act and four scenes, it had its premiere November 5, 1985, at the
Stony Brook School in Long Island, NY. A cast of six soloists, all
professional artists, a chorus and a chamber orchestra, performed under
the auspices of the Suffolk Music Guild.
Testing the compatibility of an opera company and the composer to be
commissioned to write a new work may be a novel approach towards the
creation of a new opera. Orlando Opera received a grant from Opera
America to pay for a visit by composer Elizabeth Swados to familiarize
herself with the company, and to work out a possible schedule for a first
reading of scenes, a complete workshop performance and a final full production of a work to be specially created by her for the Orlando Opera.
ELECTRONIC
OPERA
Tod Machover, who has been in charge of musical research at the Paris
IRCAM Laboratory for six years, has created his first piece at MIT's
new Media Laboratory. FAMINE is written for four voices and computer
generated tape and was premiered by the Electric Phoenix Ensemble with
four voices. The premiere took place at St. Peter's Church in New York,
and it was repeated at Mobius in Boston.
NEA GRANTS
FOR
NEW WORKS
The latest round of NEA grants under the New American Works program
includes awards for new music theater pieces not as yet mentioned here.
The Bilingual Foundation of the Arts received a grant to develop LORCA,
CHILD OF THE MOON with music by Ian Krouse and a libretto by Margarita
Galban, based on Lorca plays and poems. — A workshop presentation by
the Los Angeles Music Center Theatre will help to develop SANSEI, a
new music theater piece concerned with the identity struggle of third
generation Japanese-Americans. Two composers, Dan Kuramoto and John
Mori, are collaborating with two librettists, Janice Mirikitani and Lane
Nishikawa, to complete the work. — The Free Street Theater of Chicago
will develop CABRINI-GREEN PROJECT, a musical documentary about
the city's housing project that carries this name. Douglas Lofstrom and
Patrick Henry are the creative artists. — The New York Art Theatre
Institute is the supporting body for the development of THE GREEN STEP,
a multi-arts performance work created by composer Henry Threadgill,
librettist Donald Sanders, visual artist and designer Vanessa James, and
Kenneth Koch, whose poetry is the inspiration and basis for the piece.
— The San Francisco Mime Troupe has presented a full-length, two-act
new work entitled STEELTOWN, and is developing a new work for
performances in San Francisco and on tour, the latter based on the Spanish
-2-
NEW
OPERAS AND PREMIERES
Civil War. — Performing Artservices in New York is to produce the first
performance of Jon Hassell's THE SHADOW PLAY, inspired by the original
Indonesian shadow plays, with Peter Sellers directing the premiere. — The
Seattle Repertory Theatre has extended a commission to composer Stanley
Silverman and librettist Michael Weller to create a new music theater
piece which has the famed itinerant drygoods salesman, Levi Strauss, as
central character. Scenes tried out in workshop by the Seattle company
will precede the premiere production.
NEA Producers Grants for FY'85 went for the development or completion
of twelve new works: XS by composer Rhys Chatham and librettist/visual
artist Joseph Nechvatal; FRIAR WILLIAM by Gregory Gargarian; THE
IMMIGRANT ROAD, an electronic opera for stage and television by Peter
Gordon; SPEER - another collaborative venture by a composer and a
visual artist - Joseph Hannan and Robert Longo, respectively; THE DEATH
OF DON JUAN with music by Elodie Lauten and words by Gregor Capodieci;
THE BEGGAR'S CHRISTMAS commissioned from composer Richard Proulx
and based on an original book by John Aurelio;
PREACHER MAN!
PREACHER MAN! With music by Roger Dickerson and libretto by John
O'Neal; BIG JIM AND THE SMALL
TIME INVESTORS
with music by Eric
Salzman and libretto Ned Jackson; DISKO RANCH - a joint commission
to composer Joe Budenholzer, librettist Megan Terry and designer Sora
Kim; THE CENSORSHIP PROJECT - a musical theater/opera piece with
music by Shyh Ji Chew and words by Carolyne Forche; DESTINY by
composer Stephen Flaherty and librettists George Wolfe and Lynn Ahrens;
and for the completion of the previously reported NEZHA by Edward
Barnes.
Composer Charles Strouse, who occasionally crosses over from musicals
(Annie, Applause, Bye Bye Birdie, etc.) to opera {The Nightingale), is
collaborating with award-winning author Joseph Stein (book for Fiddler
on the Roof, Zorba, etc.), and librettist Stephen Schwartz (Pippin, Godspell,
etc.) to create a new musical, RAGS. It is scheduled to open on Broadway
in August, with try-outs in Boston in June and July. It will feature
Theresa Stratas in the leading role, marking her Broadway debut. Set in
the 1910's on New York's Lower Eastside - designs by Beni Montresor,
it tells the story of immigrants, sweat shops, dreams and American liberty.
The team of Bob Telson (music) and Lee Breuer (text), that created the
award-winning The Gospel at Colonus, has completed THE WARRIOR ANT,
a music theater piece that blends epic poetry with Afro/Caribbean inspired
music. A concert performance as "work-in-progress" was essayed by the
Composers' Showcase in June at Tully Hall. Featured in the performance
were, among others, the talents of a Nigerian Juju musician, a Japanese
puppeteer, and a Puerto Rican ensemble that played African type Bomba
music. An $11,000 grant from the National Institute for Music Theater
has aided in the preparation and performance.
THE TALE OF MADAME ZORA is based on the moving life story of the
black author Zora Neale Hurston. The Ensemble Studio Theater in New
York gave the premiere production in February. Book and lyrics are by
Aisha Rahman, the music by Olu Dara; it was directed by Glenda Dickerson.
Within the various biographical scenes, it also touches on the author's
collaboration with Langston Hughes on a never produced opera, Mule Bone.
-3-
NEW MUSIC
THEATER
WORKS
NEW
OPERAS AND PREMIERES
Another musical based on the life of black artists, this one the vaudevillian
entertainer Bert Williams and his sidekick George Walker, was premiered
by New York's American Place Theater and the Henry Street Settlement's
New Federal Theater in early March. WILLIAMS &. WALKER by Vincent
D. Smith featured some of the music performed by the original team,
interpolated with some new musical numbers. The psychological problems
created by Williams' light skin, how he faced up to it, and his ultimate
decision to perform in blackface, all this is explored in the new musical.
The York Theater Company premiered a new musical, MOBY DICK, by
Doug Katsaros (music) and Mark St. Germain (libretto), based on Herman
Melville's novel of the same title. The first performance took place on
February 16 at New York's Murphy Center on East 90 Street. Thomas
Gardner directed, and James Morgan and Sheila Kehoe designed sets and
costumes.
The Lehman Engel Music Theatre Workshop in Los Angeles developed a
new musical revue with an Alaskan setting, based on Yukon poems by
Robert Service. THE LADY THAT'S KNOWN AS LOU, with book and
lyrics by Gordon Duffey and music by Alan Chapman, was given its
premiere by the Perseverance Theatre Company in Douglas, Alaska, on
November 12, where it played for four weeks. The musical calls for a
cast of "six women, eight men, and three boys as sled dogs" with band
accompaniment.
The company's artistic director, Molly Smith,
commissioned the composer and librettist to add a reduced version, which
her company will take on tour and also perform for summer tourists.
Although withdrawn from the International Theater Festival in Baltimore
(see "News from Festivals"), the National Theater of Great Britain's
production of Peter Hall's ANIMAL FARM opened in that city as originally
scheduled on June 17. It is a dramatization of George Orwell's novel of
the same title with music by Robert Peaslee. The libretto is by Adrian
Mitchell.
The same composer, Richard Peaslee, working this time with Charles Mee
Jr., created a new piece, which was premiered by the Music Theatre
Group/Lenox Arts Center in New York April 8. Under its new title,
VIENNA: LUSTHAUS, it was so successful that, after its initial performances, it moved to the Public Theatre for an extended run. It was
conceived and directed by Martha Clarke, with designs by Robert Israel,
inspired by Vienna's Secession artists such as Egon Schiele and Gustav
Klimt and their decadent era.
This summer, the New York Shakespeare Festival, Joseph Papp, producer,
will stage Shakespeare's TWELFTH NIGHT in musical disguise at its
Delacorte Theater in Central Park. Songs and incidental music are by
Rupert Holmes whose Mystery of Edwin Drood was premiered in last
summer's festival in the park and subsequently moved to a Broadway
theater. Wilford Leach, director of last year's success, also directs this
summer's show.
Meredith Monk, who received the National Institute for Music Theater
award this year for Games, had two of her new music theatre works
performed at La Mama E.T.C. in April. ACTS FROM UNDER AND ABOVE
-4-
NEW
OPERAS
AND PREMIERES
could be heard April 3-20, and her TURTLE DREAMS: CABARET followed
April 22-27.
In June, the American Repertory Theatre in Cambridge presented the
opening production of OLYMPIAN GAMES, a music theatre piece after
Ovid with music by B. Damashek (Quilters) and lyrics by Kenneth Cavander.
An Italian/American musical was premiered in New York at the Little
Theatre of the West Side YMCA on April 17. WINE IN MY BLOOD was
written by M.A.Comparato (book and lyrics), and Bennie Martini, whose
music is best known from some popular songs. The production played
until May 3.
GOBLIN MARKET by Polly Pen and Peggy Harmon is a musical based on
a poem by Christina Rossetti. It was premiered last fall by New York's
Vineyard Theater, and returned to Off Broadway in that same production
to the Circle in the Square Downtown last April.
A three-week run beginning May 30 at the Soho Rep Theatre presented
the premiere of Henry Fielding's ballad opera, THE GRUB STREET OPERA.
Written in 1731, but withdrawn by Fielding before it ever reached a
stage, it made its entrance now with music by Anthony Bowles.
In February, the Fullerton Civic Light Opera in California premiered a
new musical version of ROBIN HOOD. Composed by Richard Kinsey with
a libretto by Kenneth Johnson, the two-act show featured 27 original
songs. The eleven performances were accompanied by a 27-member
orchestra.
Thirty-three Cole Porter songs form the basis of A COCKTAIL AT
PORTER'S, a musical revue with a book and some new lyrics by Bill
Bracken. It will have its first performances in August by the North Star
Opera, formerly Opera St. Paul, opening on August 14 at Theater 19 in
Minneapolis.
See "Late Announcements" for O'Neill Theater Center on page 58.
A total of eleven new music theater works were selected for readings
and workshop presentations during the week of April 11-19 by the
Minnesota Opera's OPERA TOMORROW showcase (see Vol. 26, No. 3).
Chosen by a special committee under the guidance of Opera America's
"Opera for the 80's and Beyond" project and its artistic coordinator Ben
Krywosz, the new works span the widest possible concept of musical
theater form, from opera to music-video and video operas, to inperformance or solo concert performance pieces and multi-media visual
("multivision") opera. Most of them are conceived as new forms and
several are truly experimental. The performances ranged from samples,
excerpts and work-in-progress presentations to complete productions.
— FOUR ON THE FLOOR is a classical (whimsical) music video by
filmmaker Sandy Smolan and composer Libby Larsen using live music.
— GREAT DEPARTURES is described as a music-theater movement piece
with "structured improvisation with local performers", or what is known
as an in-performance piece. It was conceived and directed by Lovice
Weller, with a score composed and recorded by David John-Olsen. — SEVEN
SEVENS is a music theater piece by writer Judy McGuire and composer
Jan Vandervelde, of which the first of its seven parts, Cycle One: The
-5-
OPERA
TOMORROW
PROGRAM
NEW O P E R A S A N D P R E M I E R E S
Politicians was given a concert reading. — Composer Paul Dresner and
writer/performer Rinde Eckert have collaborated on SLOW FIRE, commissioned by New Music America Festival in Los Angeles, November 85. The
staged music theater piece combines text with "electronically altered
music, visual effects and intense performance dynamic". It was also
presented at one of the "Horizon '86" concerts in May at Lincoln Center,
and is included in the forthcoming American Music Theater Festival's fall
season. — The same composer, Paul Dresher, was also represented on
the Minnesota Opera's program by an instrumental piece, Dark Blue
Circumstance, written for electric guitar and live tape processing. — A
new opera by Kim Sherman, music, and Laura Farabough, libretto, presents
the lives of Mata Hari and Greta Garbo; it is entitled FEMME FATALE
(in singular). — Two additional video operas were THE DAYTIME MOON
by the aforementioned team of Sandy Smolan and Libby Larsen also
involving photography and dance, and SISTER SUZIE CINEMA, a "doowop" opera by theater artist Lee Breuer and composer Bob Telson of
Gospel at Colonus fame. — THE TROJAN WOMEN was first workshopped
by the Minnesota Opera Institute last season and now brought to a full
production. It is a one-act opera by composer Paul Goldstaub with the
librettist listed as George Sand. — Described as a multi-media visual
opera, SOCIAL AMNESIA was created collaboratively by The Impossible
Theater and John Schneider of Milwaukee's Theatre X. The experimental
theater group employs the latest visual technology (Multivision
computerized slide system) with electronic sound and live and taped
performances. — And finally, there is a new musical version of WOYZECK
by Glenn Branca, representing the composer's first operatic effort,
although the Minnesota performance featured only orchestral sections of
the yet incomplete work.
CHELSEA
THEATER
AMERICAN
MUSIC
THEATER
FESTIVAL
After three years of functioning as a rental theater only, the Chelsea
Theater Center in New York's Broadway/Theater district, has resumed its
own activities, again devoted to the discovery and development of new
works. The first announcement describes the way the program has been
structured. Two musicals and two plays will be taken through a "First
Reading" one evening, and through a "Revised Reading" some five weeks
later, allowing for rewrites, corrections and adjustments. The first two
musicals that were offered such developmental opportunities are SPRING
AWAKENING after Wedekind, with a book by David Petrarca, lyrics by
Joel Beard and music by Richard Isen (April 21 and June 9), and THE
HAUNTED PALACE, "a musical mind-trip" about Edgar Allen Poe with
book and lyrics by John Jakes and music by Mel Marvin (May 19, June 30).
The third annual American Music Theater Festival again promises a number
of new and most interesting premieres. THE TRANSPOSED HEADS, after
Thomas Mann, who in turn based his book on an Indian legend, will open
• 86 the Philadelphia Festival on September 11 (previews start September 5).
Elliot Goldenthal is the composer, and Julie Taymor and Sidney Goldfarb
collaborated on the text. Next, the Festival has scheduled the first
performances of Duke Ellington's QUEENIE PIE, a musical he started
writing in 1971 but left incomplete at the time of his death. Ellington
collaborated with George Weiss on the book and lyrics. His son, Mercer
Ellington, will serve as Production Coordinator for the premiere, with
previews September 7 to 17 and an opening at the Zellerbach Theatre at
the Annenberg Center on the eighteenth. Dresher's SLOW FIRE (see also
-6-
"Readings") will be staged at Annenberg Center's Prince Theater, opening
September 25, and Philip Glass's THE JUNIPER TREE will be given six
performances at the Walnut Street Theater, September 9 through 12.
Five different Cabaret evenings and two "First Stage" readings round out
the Festival's third adventurous and ambitious program.
The Canadian Music Centre designated the year 1986 as the INTERNATIONAL YEAR OF CANADIAN MUSIC and 27 organizations have joined
to assist in the project. With Canadian composers in the spotlight, the
year also celebrates the 35th anniversary of the Canadian League of
Composers and the 50th anniversary of the Canadian Broadcasting
Corporation.
IYCM is under the honorary chairmanship of Maureen
Forrester.
1986-YEAR
OF
CANADIAN
MUSIC
Participating in this celebration, the Kitchener-Waterloo Symphony, in
association with the Canadian Broadcasting Corporation, will give the
first performance of Istvan Anhalt's WINTHROP. Opening date is
September 6 with a national broadcast scheduled for September 14. The
central character is John Winthrop who established what he hoped would
be a Puritan Utopia in Boston in 1630. This New England pioneer also
represents an English/Canadian legacy for the composer. Three different
singers - a tenor, a baritone and a bass - will portray Winthrop at
progressive ages. The Waterloo Symphony will offer the work in a concert
performance under the direction of Raffi Armenian.
NEW
CANADIAN
OPERAS
Musicanada, the publication of the Canadian Music Council, lists the
following new operas as having been premiered recently: Claude Frenette's
LES ETRIVIERES, based on a poem by Nicole Desrosier, for soprano and
baritone, premiered in Montreal 3/26/85 under the musical direction of
Lorraine Vaillantcourt; Gregory Levin's THE GHOST DANCE, libretto by
Mavor Moore, in two acts, premiered by Comus Music Theatre, Toronto
5/10/85; Violet Archer's THE MEAL, premiered by Violet Archer Festival
Concert, Edmonton 10/18/85; and R. Murray Schafer's THE PRINCESS
AND THE STARS, premiered at Banff Centre 8/8/85; and the same
composer's children's opera THE STAR PRINCESS AND THE WATERLILY,
Toronto Children's Chorus and Maureen Forrester, 12/23/84.
The Music Theatre Studio Ensemble in Banff developed and premiered
THE GOVERNMENT INSPECTOR last fall. Based on the Gogol story, The
Inspector General, it has a libretto by Campbell Smith and music by
Stephen McNeff. After try-outs and previews in Banff, it was taken on
a tour of the Province of Alberta during the winter. Mr. McNeff is
currently writing music to THE SECRET GARDEN, an opera slated for a
premiere at Toronto's COMUS Theatre. Joan McLeod is responsible for
the libretto. — The four-day Mini Fest in March '86 brought to the stage
five newly developed opera/music theatre pieces. GARDEN VARIATIONS,
with music by David Parsons and a libretto by Timothy Anderson, is
described as a reinterpretation of the 'Rashomon' story; it was performed
March 26 and 28 together with FIELD OF VISION, text by the British
poet Charles Causley, music by the Banff Ensemble, and a Bluebeardinspired mono-drama, DREAMER, with music by Julian Grant, libretto by
Lee Devin. This program alternated with a double-bill of RITE OF
PASSAGE, music Steve Kohn, libretto Kerry White, with a soldier's ironic
comments on war, and KING'S CHILDREN, a collaborative effort by above
-7-
BANFF
CENTRE
MTSE
NEW
OPERAS
AND PREMIERES
mentioned composer Julian Grant and poet Charles Causley, all of whom
c r e a t e d t h e s e works especially for t h e Banff F e s t i v a l ' s Music T h e a t r e
Studio Ensemble. — Last December, t h e Studio Ensemble p r e s e n t e d a
Canadian Music T h e a t r e Day where it introduced t h r e e new works in e x c e r p t s : HENRY ALLINE, t e x t and music by Michael Miller, INOOK AND
THE SUN, music by Wolfgang B o t t e n b e r g and t e x t by Henry Beissel, and
THE CRAZY HORSE SUITE with music by Stephen Chatman and t e x t by
Morgan Nyberg. — In a different vein, t h e Festival performed La Voix
humaine, both t h e play by C o c t e a u and Poulenc's opera based on t h e
play, on a double-bill with t h e same a r t i s t in t h e role of The Woman.
Plans for t h e coming year at Banff include t h e premiere of ST. CARMEN
OF THE MAIN in March ' 8 7 . Michael Tremblay is writing t h e music and
Lee Devin t h e l i b r e t t o .
IN
ACADEMIA
Sheldon Harnick's l a t e s t musical e s c a p a d e , w r i t t e n in collaboration with
Raposo, borrowed t h e story from a Frank C a p r a film classic. Under
t h e s h o r t e n e d t i t l e , A WONDERFUL LIFE, it was essayed by t h e Musical
T h e a t e r Program of t h e School of Music of t h e University of Michigan
in Ann Arbor in April. His Dragons was tried out by a n o t h e r university
workshop, t h a t of Northwestern University in Evanston, t w o years a g o .
(See also " A t t e n t i o n Composers" column.)
Joe
On April 1 1 , Brooklyn College gave t h e first performances of t w o chamber
o p e r a s , both winning e n t r i e s in t h e College's annual competition. One is
William Bergsma's THE MURDER OF COMRADE
SHARIK,
originally
commissioned by t h e S e a t t l e Opera in 1980 (see Vol. 22, No. 1), but not
previously performed. Mira Ginsberg w r o t e t h e l i b r e t t o based on Heart of
a Dog, a novel by Mikhail Bulgakov. The opera f e a t u r e d a cast of t e n ,
conducted by William Boswell, d i r e c t o r of t h e Brooklyn College Opera
Theater.
The composer, who is d i r e c t o r of t h e School of Music at t h e
University of Washington in S e a t t l e , was also Visiting Professor a t Brooklyn
College. As a c u r t a i n r a i s e r , t h e College performed t h e other a w a r d winner, an eight-minute opera, YELLOW WALLPAPER,
a f t e r a short s t o r y
by C h a r l o t t e Perkins Gilman. It was w r i t t e n by Miriam G e r b e r g (music),
and Judith McGuire (libretto), and employed t h r e e singers.
Southwest Texas S t a t e University in San Marcos gave t h e first performance
of a o n e - a c t opera, SISTERS OF FAITH by Mary Carol Warwick, on April
27. The same opera d e p a r t m e n t premiered her Lealista last season. The
performances had financial support from t h e Meet t h e Composer program.
The Visual and Performing Arts Departments of Huntingdon College in
Montgomery, AL, premiered BALLS!, a musical in t w o a c t s by J e a n n e
Shaffer and Robert B a r m e t t l e r , in November ' 8 5 . The same team has
w r i t t e n a o n e - a c t o p e r a , THE END OF THE LINE, which will be premiered
in t h e fall on a double-bill with The Old Maid and the Thief. Both p r o ductions had t h e financial a s s i s t a n c e of t h e Montgomery Arts Council.
Roger Nelson, who won a 1984 O'Neill T h e a t e r Award for his musical
drama Lisa and David (see Vol. 25, No. 3), had his l a t e s t work, TRIO
CON BRIO performed at Northwestern University on November 12, 1985.
The work, originally conceived as a full-length, three-act opera, has an
optional one-act version, which was chosen for premiere by the university
-8-
NEW
OPERAS
AND PREMIERES
in Evanston. It appeared on a triple-bill with Face on the Barroom Floor
and Humel's Proposal.
Louisiana State University's Contemporary Music Festival included the
premieres of two one-act operas staged by the school's opera theater.
They were THE CISTERN by Vernon Taranto Jr. after a story by Ray
Bradbury, scored for soprano, mezzo-soprano and two dancers, and STUDY
IN GREY with music by David Penri-Evans, libretto by Michael Coy, and
scored for a cast of three male singers. The latter opera tells the story
of General Lee's surrender at Appomattox Court House. The two new
works were presented February 20 on one program in Baton Rouge.
Martin Mangold is the composer of a one-act comic opera called BLEAH!,
which was premiered on May 14 by the Opera Theatre and Symphony of
the University of Maryland at College Park. The story was adapted from
the 15th century French farce Maitre Pierre Pathelin. This is the
composer's second opera, his first was Huckleberry Finn.
Boston University was the site of the world premiere of Marjorie
Merryman's ANTIGONE on May 2. The one-act opera was staged on a
program together with Walton's The Bear.
The University of Toledo Opera Theater announced a new work for
premiere in November. It is Burnam's NIGHT CAP, a one-act opera to
be produced by Thomas East.
Persephone is at the center of Joel Feigin's MYSTERIES OF ELEUSIS, a
new opera premiered at Cornell University in Ithaca in April. The three
performances were conducted by Fred Cohen and staged by David
Feldschuh.
Paul Lenzi and Geraldine Ann Snyder have founded The Blue Apple Players
in Louisville, KY, where they are producing their own operas written for
school audiences. They attack the major problems of today's youth head
on, without skirting delicate issues. Their first opera, NO MORE SECRETS:
The Musical, deals with child molestation and sexual exploitation. The
second one, which opened in February, entitled PASSING IN THE NIGHT,
approaches the sensitive subject of suicide among the young. Both works
are intended for children from elementary school level through high school.
The former work has been published by Samuel French, Inc.
It was STAGE ONE: The Louisville Children's Theatre, that commissioned
and premiered EVERYONE IS GOOD FOR SOMETHING. The book and
libretto are by Beatrice Schenk de Regniers, author of numerous children's
books, who adapted a Slavic folktale about a boy who thought he was a
good-for-nothing until his adventures with a friendly cat taught him
otherwise. Ms. de Regniers persuaded composer/conductor Victoria Bond
to write the music, and the piece was most successfully premiered in
Louisville - the 18th new children's play presented by the company. It
opened on March 8 at the Kentucky Center with performances throughout
that month, followed by a state tour. A cast of eight called for a tenor,
a narrator, three actor/dancers and three in the chorus. As a result of
its success, Miss Bond has been commissioned to write another children's
opera for STAGE ONE for a premiere in 1988.
-9-
YOUNG
PEOPLE'S
OPERAS
CHILDREN'S
OPERAS
NEW
O P E R A S AND
PREMIERES
Peter Maxwell Davies's THE RAINBOW, commissioned and premiered by
the Orkney Island Schools in 1981, has had its first American performance
when it was staged by the Prep Division of the Manhattan School of
Music on April 20. On the other half of the double-bill was Menotti's
Chip and His Dog.
A new Christmas opera, performed by children or children and adults, is
MARY, COME RUNNING by Jean Merrill and Gwyneth Walker. It was
premiered by a community group in Randolph, VT, at Christmas time 1985;
the last performance was in December in Connecticut, staged by the
children of the New Canaan Country Day School.
THE HOUSE THAT JACK BUILT was created by Kurt Carpenter. Written
for soprano and orchestra, it was premiered by the Detroit Symphony
Civic Orchestra on April 27 with Glenda Kirkland as soloist.
Connecticut Opera commissioned composer Judith Zaimont and librettist
Doris Kosloff to write a suitable work for Opera Express tours. It resulted
in a new musical version of GOLDILOCKS AND THE THREE BEARS, which
toured libraries and grade schools this spring, after opening at the
Chappaqua Library on January 5. It was previewed last October at the
NOA Convention, and further productions in Oregon, Pennsylvania,
Maryland and New York are also planned.
Lewis Carroll's The Hunting of the Snark has not served nearly as many
composers as inspiration as has the same author's Alice in Wonderland.
It is, however, the basis for Martin Wesley-Smith's BOOJUM, libretto by
Peter Wesley-Smith, premiered on March 10 in the composer's native
Australia by the State Opera of South Australia.
After having gone through the workshop process by the Midwest Opera
Theater last season, James McKeel's one-act children's opera,
JARGONAUTS, AHOY! will have its premiere in March '87. Minnesota
Opera's educational touring company will take the opera on the road,
performing it for area schools.
THE SONG OF THE GOLDEN FISH is the latest children's opera written
and premiered in May by David Ahlstrom and his Voices/SF in California.
. He has also announced his first Opera Workshop for Children for six
weeks from Mid-June to late July in San Francisco. Youngsters between
six and fifteen years old may register.
Of the six operas performed by the Southern California Conservatory of
Music, its opera workshop and children's musical theater at Sun Valley
this season, two were new pieces. Both have libretti by Lurrine Burgess;
the music to MOTHER GOOSE is by H. Johnson (premiere 3/24/86), that
to ROBIN HOOD by Sally Wolf (6/23/86).
The Canadian Children's Opera Chorus commissioned Harry Somers to
write a new work for them to be produced in 1987. Last December, the
Chorus premiered Schaeffer's THE STAR PRINCESS AND THE WATERL1LY
(see Canadian Operas).
-10-
Two new children's operas in German premiered this season were Savary's
VOM DICKEN SCHWEIN DAS DUENN WERDEN WOLLTE (The Story of the
Fat Swine that Wanted to Be Thin) in Hagen and in Hildesheim, and
Hiller's DIE BALLADE VON NORBERT NACKENDICK, Oder DAS NACKTE
NASHORN (The Ballad of Norbert Thickneck or The Naked Rhinoceros),
premiered in Darmstadt on April 27 with children as performers.
Among American operas performed at European opera houses this season
was THE VOYAGE OF EDGAR ALLAN POE by Dominick Argento, which
received its first European production at Goteborg's Stora Teatern last
winter. THE BALLAD OF BABY DOE was produced in Bielefeld in May,
Tom Johnson's FOUR TONE OPERA in German at Bad Kissingen in July,
and HELP, HELP, THE GLOBOLINKS will visit Innsbruck next season.
AMERICAN
OPERAS
ABROAD
An unpublished Handel cantata dating from 1736 - the year it was first
performed at Covent Garden together with Alexander's Feast - has been
given its first performance in the U.S. on May 18 by Musica da Camera
at Fort Lee, NJ. Although written while the composer was living in
England, CECILIA, VOLGI UN SGUARDO is composed to an Italian text
for soprano and tenor, accompanied by a string ensemble and a continue
AMERICAN
PREMIERES
Even predating the above is Agostino Steffani's LE RIVALI CONCORDI,
first heard in 1693, and now scheduled for its American premiere by
Clarion Music Society at Tully Hall on May 7, 1987. Music director
Newell Jenkins, who will conduct, also wrote the new English text.
With Puccini's Turandot enjoying particular popularity within the last few
years, it may come as a surprise that the other musical version of that
story has never been staged in the U.S. Now, the Connecticut Grand
Opera in collaboration with the Stamford State Opera has announced the
first American staged production of Busoni's TURANDOT. Performances
are scheduled for November 15 and 22 in Stamford and Bridgeport with
Patricia Craig as the Chinese Princess. The first concert performance
in the United States was given by the Little Orchestra Society at Carnegie
Hall in 1967. A concert performance was also offered by the Berkeley
Promenade Orchestra with the San Francisco Concert Opera.
Another stage premiere of a work presented in the Unted States in concert
only will take place in California, where the Long Beach Opera will offer
two performances of Szymanowski's KROL ROGER (King Roger) on
February 10 and 14.
PepsiCo Summerfare in Purchase, New York, will present the Companies
Divas of Mexico City in its first visit to the United States, July 25
through 27. The group will perform its specialty in its American premiere,
ATRACCIONES FENIX (The Phoenix Travelling Circus) "a feminine fantasy
inspired by music of Mozart's operas". The ensemble is coming directly
from a guest engagement in Vienna, Austria.
The Australian musical theater piece, BONY ANDERSON by Barry
Conyngham, received its first American performance on March 11 within
a musical evening "Terra Australis Incognita" at New York's Symphony
Space. Librettist Murray Copland based his text on a true dramatic story
-11-
of an Australian convict. The title role of the 30-minute work, first
heard in Australia in 1979, is written for a baritone. It was sung by
David O'Keeffe; Geoffrey Simon conducted.
The Amato Opera in New York is planning the first performance in the
United States of SALVATOR ROSA by Brazilian composer Carlos Antonio
Gomes. In anticipation of the added cost, the Amato Opera Circle is
holding a benefit gala luncheon, "Mario Lanza Remembered", with noncommercial, rare recordings, film strips, etc. The Gomes opera had its
world premiere in Genoa, Italy, in 1874.
It was no misprint in the announcement of the performance of ESTER at
New York's Merkin Hall on March 23, which listed Offenbach as composer
and the performance as a premiere. A closer investigation, however,
revealed that it was Isaac Offenbach - Jacques's father - who is credited
with this unknown work. It was at Hebrew Union College that composer/
musicologist Douglas Townsend found some forty pages of manuscript,
which included two arias and a closing chorus. They were dated January
1833, and carried the title Ester/Kdnigin von Persien. Townsend edited
and orchestrated the sketches and it was in this version that the work
was performed in New York for the first time - most likely the very first
time that this music was ever publicly performed.
Isaac Offenbach,
composer, author, poet and rabbi, also wrote many "Synagogue Songs" for
chorus, one of which was featured on the same program with ESTER,
performed by the Zamir and Hebrew Chorales under the baton of Matthew
Lazar.
Darius Lapinskas' DUX MAGNUS, first heard in Toronto in 1984, had its
American premiere on May 31, produced by the New Opera of Chicago
with the composer conducting and staging the work.
Huntingdon College's contribution to the Alabama Shakespeare Festival
was the first U.S. performance of John Frederick Lampe's PYRAMUS AND
THISBE. Based on a 1716 Comick Masque by Richard Leveridge, the
mock chamber opera in one act was first heard at Covent Garden in 1745;
a printed copy of the libretto exists in the Oxford Library, a copy of
the overture and airs dated 1745 is in the British Museum. The April
'86 performance at the college in Montgomery was of a version edited
for Opera da Camera by Roger Fiske and Richard Platt of Galaxy Press.
PREMIERES
POSTPONED
The
American premiere of Robert Wilson's complete THE CIVIL WARS
music theater piece planned for the Texas Sesquicentennial for this summer
has been cancelled. The Houston Grand Opera may still undertake performances of the one section containing the Philip Glass score, probably in
collaboration with the Brooklyn Academy of Music. This is the second
aborted plan in the U.S. of staging the ten-hour work, which incorporates
music by different composers; the first was intended as part of the 1984
Olympics in Los Angeles.
The first American performance of Berio's LA VERA STORIA, scheduled
for next Fall by the Lyric Opera of Chicago, had to be postponed, and
is now rescheduled for October 1987.
-12-
OTHER VOICES by Richard Hawkins was chosen as winner of the British
opera competition held by the Modern Music Theatre Troupe. The oneact opera was premiered by t h e Troupe during London's Camden Festival
on March 18 at the Bloomsbury Theatre. Paul Barker's PHANTASTES,
also in its world premiere, shared the double-bill. The same ensemble
also held a two-day music theatre workshop for youngsters between 11
and 14 years where new works were created and performed.
The Danish Royal Theater in Copenhagen has three new operas by Danish
composers on this season's program. On September 6, it gave the first
performance of Ingve Jan Trede's MIRANDOLINA, based on Goldoni's
comedy - same as the Martinu opera - and, also in the fall, the company
produced Bent Lorentzen's latest work, TOTO, THE CLOWN. Later in
the seaon came the first performance of Ib Norholm's SANDHEDENS HAEVN
and, on May 5, the world premiere of the same composer's THE REVENGE
OF TRUTH, staged in collaboration with the Jutland Opera. — Stockholm's
Royal Opera has also provided for new operatic premieres of works written
by its native composers. Here, too, we find three new operas during the
current season. They are AMEDEE by Lars-Erik Rosell on February 22,
followed two days later by POMPERIPOSSA'S SISTER by Bjorn Hallman,
and on June 4, CHRISTINA by Hans Gefors.
In December '86, audiences in Brussels will be offered the premiere of
THE CASTLE by its native composer Andr6 Laporte. Jos6 van Dam will
sing the leading role at the Theatre de la Monnaie. — In a joint project,
the Opera Royal de Wallonie in Liege and the Theatre Municipal d'Avignon,
staged the world premiere of Georges Liferman's SCARAMOUCHE, opening
in Avignon on March 9.
The opera house in Freiburg offered a world premiere on January 30.
Entitled HUNGER UND DURST, the new opera is by Violeta Dinescu and
featured the American soprano Christina Ascher in a major role. — Volker
David Kirchner was commissioned by the Wuppertal Opera House to write
a new work for premiere during the 1988-89 season, to be followed by
performances in Gelsenkirchen. The libretto is based on Lisa Kristwald's
book CHRISTUS KAM NICHT BIS ZUM OELBERG. An alternate title is
GOTT IN WUPPERTAL. The same composer's BELSHAZAR was premiered
in Munich by the Bayerische Staatsoper on January 25 with subsequent
performances there and in Wiesbaden. — On April 19, the Siidostbayerische
Stadtetheater in Passau gave the first performance of Obermayer's LOLA.
Last September, the Komische Oper in East Berlin gave the premiere of
JUDITH, the latest opera by Siegfried Matthus. Based on Hebbel, the
concept of the work was developed jointly by the composer and the
director Harry Kupfer, who staged the premiere; Rolf Reuter conducted,
Reinhart Zimmermann and Eleonore Kleiber designed sets and costumes.
Also in the company's repertoire this season is Fiddler on the Roof, in
a staging by Walter Felsenstein.
This summer's premiere during the Carinthian Festival in Ossiach-Villach
in Austria will be KAIN, the latest opera created by the team Karl Heinz
FUssel (music) and Herbert Lederer (libretto).
-13-
NEW
OPERAS
ABROAD
NEW
OPERAS
AND
PREMIERES
Italian composer Lorenzo Ferrero, who also wrote the opera Marilyn, has
enjoyed premieres of three new operas this season. In September, his
two-act opera buffa MARE NOSTRO had its first performance in
Alessandria with subsequent productions in Turin and Benevento. The
libretto is by Marco Ravasini. This was followed by NIGHT, a composition
commissioned by the Bayerische Staatsoper and premiered there in
November. It features six singers and a cast of actors and dancers and
has been described by the composer as an "Opera-Show". Finally, on
January 25, the Rome Teatro dell'Opera premiered Ferrero's SALVATORE
GIULIANO. Writer Giuseppe di Leva based his main character on the
hero of Puzo's The Sicilian, and created a one-act, two-scene work set
in post-World War II Sicily. In its first six performances in Rome, it
shared the stage with Cavalleria rusticana.
On July 27, the San Carlos Opera in Lisbon, Portugal, will give the world
premiere of a one-act opera by Maria de Lourdes Martins, entitled AS
TRES MASCARAS.
It will share the evening with Salieri's Prima la
musica, poi le parole.
Experimental or studio stages of some of the major European opera houses
have offered readings, excerpted scenes, and sometimes even complete
productions of new music theatre works. Last November, Hamburg's Opera
Stabile presented excerpts in workshop performances of two new operas:
Arghyris Kounadis' DER SANDMANN, a 10-scene and epilogue work after
E.T.A. Hoffmann, and TILL, the Till Eulenspiegel story, written by Thomas
Hertel, a young composer originally from the DDR, now residing in the
West. — Another experimental studio stage, this one in Graz, Austria,
mounted Anton Prestele's WIRTSHAUSOPER - HEIMATLOS within the
framework of the city's Steierische Herbst Festival. — In October,
Strassbourg offered a "Musica 85" Festival, which among others brought
Robert Ashley's Atalanta to Europe and the world premiere of LA
TRAVERSEE DE L'AFRIQUE by Armand Angster and Francois-Bernard
Mache.
In February, the Wiener Kammeroper gave the first performance of
BOHEME '86, A Rock Opera After Puccini, with music by Wolfgang
Gattinger and Willi Gesiedrich, and text by Victor Couzyn.
In a different kind of experiment, Blewbury Church in England has given
the first performance of THE ADJUCATOR, music by Jonathan Lloyd and
libretto by Michael John White, on April 15, with cast and orchestra
musicians drawn from the village and the surrounding area.
The premiere of Nigel Osborne's THE ELECTRIFICATION OF THE SOVIET
UNION, after Boris Pasternak's novel The Last Summer, has been postponed
until 1987, when the Glyndebourne Touring Opera will give it the first
production.
Corrections
Garza's
of the
Duykers
Antonio
Nuestra Senora de Guadalupe was first performed by the Theater
Performing Arts in Tucson in 1981 with American tenor John
creating the role of Juan Diego. The 1985 performance in San
was the first in Texas.
-14-
Two works, Snoopy Visits Northland and Under One Roof, listed under
Karin DiChiera in the COS DIRECTORY OF OPERAS/MUSICALS FOR
YOUNG AUDIENCES, should have been omitted. As Ms. DiChiera informs
us, they are revues combining music and texts from different sources.
Medek's DIE VERLORENE EHRE DER KATHARINA BLUM is based on
Heinrich Boll's novel, and not related to Joyce's Ulysses. Meanwhile,
opening night in Gelsenkirchen was postponed from July '86 to the 198788 season, since the opera is not as yet ready.
The Municipal Theatre in Montpellier, France, performed Rzewski's Les
Perses last season; it was not produced in the United States.
[]
EDITIONS AND ADAPTATIONS
On December 15, the London Symphony Orchestra conducted by Raffaello Monterosso gave,
what was billed as the first performance of
the "Maria Malibran version" of I Puritani at
a concert at Barbican Center. The conductor
found the score containing changes in Bellini's
hand in the Catania archives. The changes
pertain to the soprano part's vocal range which
was lowered, Riccardo's part which was
changed to a tenor role, and the addition of
two arias and a trio. Although never before
performed, musicologists were aware of the
existence of this score, altered by Bellini to
accommodate soprano Maria Malibran who was
to sing the opera in Naples. However, the
manuscript was delayed in transport and arrived
only after the performance.
The Teatro La Fenice in Venice ran an interesting schedule December into January - one,
however, only possible where the company is
not dependent on box office receipts. It
alternated performances of Verdi's STIFFELIO
with the opera's later revised version AROLDO.
There were a total of nine performances of
each work with Aroldo always on the following
day after the opera's first version.
Frank Corsaro created a new English text and
also a performance concept for Stravinsky's
L'Histoire du soldat for part of a "Homage to
Stravinsky" evening at Tully Hall in March.
Tony Randall read the role of the devil in this
performance, which shared a triple-bill with
the composer's Renard and Les Noces. The
concert was part of the Composers' Showcase
Baerenreiter Verlag has a new critical edition series.
of Mozart's DIE ENTFUHRUNG AUS DEM SE-
RAIL by Gerhard Croll, available in the U.S.,
through Magna-Music Baton. This season's
performances by the Opera Theatre of Saint
Louis and at Williams College used that edition.
Following the world premiere of Le Nozze <3i
Figaro, Mozart composed a brief soprano aria
for Marcellina, in lieu of the Susanna-Marcellina duet in the first act, as special favor
for Signora Mandini, the soprano who created
the role of Figaro's mother. The manuscript
copy of the opera at the Donaueschingen
Library includes this aria, which is not usually
performed. It will be presented in a program
of operatic excerpts on July 29 by New York's
Mini-Opera at the Berkshire Garden Center in
Massachusetts.
THE METROPOLITAN MIKADO is not named
after the Lincoln Center company, but is a
political persiflage on the British government
with numerous references to current political
events and an impersonation of PrinSe Minister
Margaret Thatcher. It is subtitled "A Reconstruction of Gilbert and Sullivan" with Ned
Sherring responsible for the new text. It was
staged in London at the Royal Festival Hall.
When the Opera Theatre of St. Louis gave the
second production of William Meyer's A DEATH
IN THE FAMILY in June, the work was heard
in a somewhat altered and tightened form from
its original version, premiered in St. Paul in
1984. The composer made several changes, including the elimination of the narrator's music,
whose comments are now incorporated into the
JEANIE DEANS, premiered in Edinburgh in 1894, action and sung by the respective characters.
was Hamish MacCunn's most successful work.
After years of neglect, it has now been put Kurt Weill's LOST IN THE STARS (1949) was
into a new performing edition and was produced adapted by Maurice Levine, who also functioned
in February by Opera West in Ayr, Scotland. as conductor, at concert performances in June
at New York's Kaufmann Auditorium at the
When the English National Opera performed 92nd Street Y. In April and May, it enjoyed
Gounod's FAUST this winter, it presented it in a run in its original form at the Long Wharf
its early, original version.
Theater in New Haven.
[]
-15-
NEW
COMPANIES
The capital of Texas will feature a new opera company, adding another
professional opera organization to those already existing within its state.
The AUSTIN LYRIC OPERA and its Artistic and Music Director, Walter
Ducloux, who recently retired as head of opera and orchestra at the
University of Texas, plan their first full production - The Magic Flute
- for next winter. The new and much acclaimed Performing Arts Center
at the University will serve as the company's theater. Meanwhile, on
April 13, the fledgling organization introduced itself to local audiences
with an Opera Gala featuring "rising stars of American opera".
In response to an awakened interest in operettas other than Gilbert and
Sullivan, William Edgerton founded the NEW ENGLAND OPERETTA
COMPANY in Darien, Connecticut. For its inaugural work, the company
selected Kalmdn's Griifin Mariza, which was produced as Countess Maritza
in English at Stamford's Palace Theatre on March 22.
The CONNECTICUT GRAND OPERA, which has staged four productions,
each in two performances - one in Stamford, the other in Bridgeport
- has merged with the STAMFORD STATE OPERA, a company that
performed three operas, one performance of each. The two organizations
will henceforth operate under one board of directors and prepare one
joint season. The program for 1986-87 will continue the same as the
previous schedule of the Connecticut Grand Opera, and will include two
rarely heard works, with Busoni's Turandot receiving its first U.S. staged
production.
DIRECTOR'S
WORKSHOP
A
new
NEW
FESTIVALS
The new OK MOZART FESTIVAL was inaugurated last summer - without
much national fanfare - in Bartlesville, Oklahoma.
A whole set of
circumstances led to the establishment of the Festival: the completion of
an unusually attractive performing arts pavilion, named prosaically the
Bartelsville Community Center, the enthusiasm for a local festival from
flutist-turned-conductor Ransom Wilson, who happened to be performing
in Bartlesville on "just another stop" on his Midwestern tour, and the
generous and eager advice and assistance by officials of the Salzburg
Festival. After this, everything else seemed to fall into place, such as
Wilson's chamber orchestra, Solisti New York, becoming the resident
ensemble, or the Festival receiving the support from the State Arts
Council and from local business and private patrons. For its second
season, the June '86 festival will last ten days and will also bring renowned
performers and dignitaries from Salzburg to honor Mozart in Oklahoma.
organization, STARET...THE DIRECTORS COMPANY, has been
founded by a group of stage directors to function as a workshop for
young directors. Following a first performance last summer, the March
25 and 26 presentations were held at New York's Space 603 on West 43
Street under the title of "The Directors' Demo Presentation, An Evening
of Classical Comedy". Interested parties may get in touch with directors
Michael Parva or Victoria Lanman at (212) 246-5877.
A new festival was established in California with a performance of La
Traviata at the Wadsworth Theatre in MARINA DEL RAY, while the
Buck's County Playhouse in New Hope, Pennsylvania, hosted the opening
production of The Turn of the Screw by the INNISFREE FESTIVAL OPERA.
-16-
NEWS F R O M
OPERA
COMPANIES
The l a t t e r presents singers from New York's Opera at the Academy under
Eric Fraad's direction.
April '86 marked the first PALM BEACH FESTIVAL, which was celebrated
with guest appearances by t h e Vienna Chamber Opera in collaboration
with the Vienna Akademie der Musik und Dramatischen Kunst. A total
of five performances of Mozart and Offenbach operas made up the imported
program.
The INTERNATIONAL ARTS FESTIVAL planned by Martin Segal for New
York City will have a budget of $10 t o $12 million; the first Festival is
expected to open in 1988.
THE THEATER OF NATIONS celebrated its 20th anniversary in Baltimore
in J u n e . It marked the first time t h a t the United States hosted this
international, biennial festival since it was established in 1956. Presented
under the auspicies of the International Theater Institute, the two-week
festival brought performers and performing ensembles from eleven countries
from all corners of the globe. In addition t o t h e official performances,
t h e r e were also lectures and seminars. Among the novelties originally
planned for inclusion was a musical by Peter Hall, Animal Farm, based
on George Orwell's novel, with music by Richard Peaslee and lyrics by
Adrian Mitchell.
As a result of protest from the Russian t h e a t e r
participants, it was removed from the festival, although the place and
dates of the British production remained as originally scheduled.
The
charter of TON s t a t e s t h a t no performances should be offered within the
festival t h a t may be offensive to any of t h e member countries.
While for the current season the WASHINGTON OPERA had reduced the
number of productions and performances, ticket sales were so spectacular
that the next season will bring a decided increase in activities. There
will be eight different opera productions, including the world premiere
of Menotti's new opera Goya; four will be shown at the Opera House and
four at the smaller Terrace Theater. The number of performances will
total 76, compared to five productions in 48 performances this season.
Several of next year's new productions will be shared with other American
companies, and one, Cimarosa's II Matrimonio segreto, is a total import
from the Cologne Opera. For the last three years, the Washington Opera
has coproduced, with L'Orchestre de Paris, one Mozart work each year.
Another result of this year's heavy demand for tickets is the increase in
the company's fund-raising goal for its Stabilization Fund - from $2 million
to $4.5 million.
Although for technical purposes, the NEW YORK CITY OPERA season's
performances prior to September 1 are listed under 1985-86, and under
1986-87 after September 1, the company's schedule must be counted as
one season, and it is the longest the City Opera has enjoyed in some
years. The length of its summer/fall season and the winter musical
program, all at its home theater at Lincoln Center, totals 25 weeks, with
19 productions (including 3 light opera/musicals) in 176 performances. In
addition, the company will give guest engagements at four major arts
centers: two weeks at the Orange County Performing Arts Center in
California in January, and one week each at Florida's Tampa Bay (April),
-17-
COMPANIES
EXPAND
Virginia's Wolf Trap Farm Park, and New York's Saratoga Springs (June)
performing arts centers. — See also "Late Announcements" on page 58.
The now proverbial success of the LYRIC OPERA OF CHICAGO during
the last few years has resulted in increased numbers of productions: this
year the company went from seven to eight, and will offer nine next
winter, when the season will be extended to the end of January for the
first time.
ATLANTA OPERA has resumed productions. The company has scheduled
two operas in six performances for July and August, plus a spring recital
and a tour by its educational department.
For its sixteenth year, the MICHIGAN OPERA THEATRE is planning a
longer season than ever before. This year's three fall productions at the
Fisher Theatre and the one opera at the larger auditorium of the Masonic
Temple in the spring will be augmented by two additional spring productions
at the Masonic Temple. The final offering of the season will be seven
performances of Porgy and Bess, a joint production by ten American opera
companies. Detroit's performances next season will total fifty, ten more
than this year. The other two operas in May '87 will be Tosca and The
Barber of Seville. — Corresponding to this expansion, the company will
also offer its Apprentice Program both in the fall (as it had done) and in
the spring (a new addition). The spring season's contract for apprentices
will be 6-8 weeks, the fall season will continue for 8-10 weeks as before.
L'OPERA DE MONTREAL has added one more production, a repeat from
the previous season's II Barbiere de Siviglia. This gives the company a
total of five operas for the 1985-86 season, rather than four as in other
years. For the Rossini opera, presented in three performances, L'Orchestre
des Jeunes du Que'bec was engaged, marking the first time the opera
company has performed with this group. The announcement for 1986-87
continues the five-production plan with each work in seven performances
and the over-all season spread out and extended from September 9 to
June 22.
For the current season, the PITTSBURGH OPERA has increased the number
of performances of each opera from two to three performances. But
while the schedule of three subscription series will be maintained for
1986-87, the number of productions will be reduced from six to five.
Then, with its move to the newly refurbished Benedum Center for the
Performing Arts in 1987-88, the company will add a fourth subscription
series for Sunday afternoons, which should prove especially attractive to
residents of the surrounding Tri-State area.
One of the oldest American summer theaters, the MUNICIPAL THEATRE
ASS'N OF ST. LOUIS or MUNY, will be adding two more productions to
its busy summer schedule. Performing at Forest Park as always in the
summer, the company will mount nine different shows.
COMPANIES
ADD
EDUCATIONAL
PROGRAMS
This Spring, t h e DALLAS O P E R A h a s a d d e d a n e w O P E R A
PROGRAM for high school and college students intending to
professional opera career in performance or management. School
selected thirty participants, who were led through a structured
-18-
STUDIES
follow a
teachers
program
NEWS F R O M
OPERA
COMPANIES
of lectures, participation, and attendance at performances.
Marsha
Henderson, mezzo-soprano with the Dallas Opera, was the resident artist
for the '86 Studies Program. Lecturers and other instructors were drawn
from various departments of the opera company (artistic, administrative
and production) as well as from faculties of nearby universities. This
first time program has been made possible by a grant from the Dallasbased McMurray Foundation.
With the financial sponsorship by several corporations in Omaha,
OPERA/OMAHA has initiated an "Adopt-a-School Partnership" program,
which offers public school students the benefit of an opera information
and performance program, specially designed by the company to initiate,
involve, inspire, enrich and entertain the students.
The San Diego Opera is the latest company to create its own outreach
group for tours to schools and to community centers. The 1986-87 season
will see the first performances of the newly created SAN DIEGO OPERA
ENSEMBLE, scheduled for a ten-week tour between February and April.
The young performers will offer a variety of programs such as "Operatic
Highlights", "Popular Songs", and an abridged version of Don Pasquale.
The OPERA COMPANY OF PHILADELPHIA will be sending its production
of La Boheme on tour to Italy and China. The star who will be the
central focus of these performances is Luciano Pavarotti; the cities are
his home town of Modena and also Reggio Emilia, where he made his
debut in the same opera just 25 years ago - on April 29, 1961. The
Italian part of the tour will close in Genoa, to open in Beijing, China,
June 26 for a total of six performances. The other cast members will be
some of the winners of the Pavarotti/Opera Company of Philadelphia
International Voice Competition. Meanwhile, the City of Philadelphia
showed its gratitude to the tenor for being considered one of his favorite
pied a terre, by declaring April 1986 "Pavarotti in Philadelphia Month."
Next September will find him sharing the spotlight at a Gala Concert
with Joan Sutherland, conducted by Richard Bonynge. A four-concert
tour will open in California and close at Madison Square Garden in New
York.
TOURING
L'ATELIER LYRIQUE, the young artists' training ensemble of the Montreal
Opera Company, has undertaken its first foreign tour with concert
performances in several cities in France, Spain and Portugal. In addition
to operatic arias and excerpts, the group also brought Canadian folk
music to European audiences.
The CLEVELAND OPERA, which has moved into its permanent home, the
3,000-seat State Theater this season, is another fortunate company with
a second smaller hall for suitable productions at its disposal. The company
gave three performances of The Mother of Us All in the 1,000-seat Ohio
Theater, the smallest of three halls in the Playhouse Square Center, which
itself represents a major and unique theatre redevelopment project.
TWO-THEATER
COMPANY
Next season, the TRI-CITIES OPERA in Binghamton, New York, will give
each of its three productions in three performances rather than in the
usual four, which had become customary for the up-state New York
ensemble. The program will offer two French operas and one by Handel.
COMPANIES
REDUCE
SEASON
-19-
NEWS F R O M
OPERA
COMPANIES
Although the GREATER MIAMI OPERA will be adding one production to
its winter/spring schedule - the company is a partner in the shared and
travelling Porgy and Bess - it will discontinue its fall festival of musicals,
which it tried with three productions for the last two seasons.
PROMOTION
ANP
FUNDRAISING
The CINCINNATI OPERA found a new way of making its a p p r e c i a t i o n of
support known to "all the world". Almost as good as shouting it out,
the announcement reads on every letter, every brochure, every piece that
is being mailed: "The Cincinnati Opera Thanks The Central Trust Company
for Sponsoring the Student Matinees". This message is emblazoned on
every envelope, alongside the automatic postage stamp cancellation, where
one often reads some publicity announcement.
In a recent issue, we discussed the promotional and fund-raising values
of including a concert with a world renowned star in companies'
subscription series. But stars are not always willing to come to middleAmerica to non-international companies. If, however, you catch flies
with honey, it seems that you catch tenors with thoroughbred horses!
Upon his recent benefit concert appearance in Louisville, Luciano Pavarotti
was presented with a fine Kentucky breeding stallion for his Italian farm
- courtesy of a very dedicated and very generous board member of the
KENTUCKY OPERA.
More promotional food ideas - and an involuntary publicity item from the
DAYTON OPERA. For a production of Turandot, the Dayton Association
of Chinese Americans went all out in decorating the hall, wearing Chinese
dresses and/or costumes, arranging for a traditional Chinese New Year's
lion's dance, and inviting TV Chef and host of a special television series
on cooking, Martin Yan, to prepare a dinner buffet with "Delicacies from
China". The demonstration of a cooking lesson is also included. - However,
the same company got into the news involuntarily for an event that
happened without fanfare or preparation and which came as a complete
surprise to the audience members and performers alike. At this season's
earlier production of Die Fledermaus in Dayton, there was a sudden flurry
of excitement when a real live bat (fondly known by the natives as the
Memorial Hall bat) flew first through the auditorium, crossed the stage
and finally disappeared behind the set. Whereupon an unflappable Dr.
Eisenstein reproached Adele for leaving the windows open. We, however,
marvel at the bat as opera connoisseur!
In announcing the broadcast of a special fund-raising concert, the
Settlement Music School in Philadelphia suggested a STAY AT HOME TEA
PARTY, and, to show its serious intentions, it enclosed a tea bag "for
Two".
Suggestions for contributions were $5 per cup of tea, $10 with
sugar, $15 with lemon added, $20 with milk and sugar, and $25 for the
whole pot! Attending the live concert and being served tea - or wine
- and refreshments commanded a minimum $50 contribution per person.
The Opera/Omaha Guild held a COTILLION GRADUATION PARTY for 230
six, seventh and eighth graders! The students had completed six weeks
of instruction in social graces, ballroom dancing and table manners, and
received a graduating diploma at the Cotillion dinner dance.
-20-
NEWS F R O M
OPERA
COMPANIES
Tenor G. Silva-Marin founded the TORONTO OPERETTA THEATRE; the
company's first production last winter was Leh6r's rarely heard The Count
of Luxembourg. — Ottawa now has its own resident opera company,
OTTAWA OPERA LYRA, which gave its inaugural performance of Cosi
fan tutte, set in New York in the 1930's, at Carleton University last
November.
NEW
CANADIAN
COMPANIES
A new festival will be opening in Germany this summer, the SCHLESWIGHOLSTEIN FESTSPIELE.
Recitals, orchestra concerts and choral
performances will be offered during July and August, with some
professional performers also doubling as instructors of master classes.
Opera may be included in future years. Pianist Justus Franz is the
Festival's founder/director.
FESTIVALS
ABROAD
The Australian part of what was going to be the Third World section of
the Spoleto Festival planned for last summer was postponed to Fall '86.
Mr. Menotti did proceed with the staging of a new production of The
Consul in Melbourne, and full festival events will be realized later this
year.
The board and management's threat of the cancellation of a part of the
AUSTRALIAN OPERA'S season (see Vol. 26, No. 3) brought the protest
from company members and finally an independent inquiry, suggested by
the Australia Council. Its findings concluded that the company must
continue its full-time operation, and it set up a plan of action which
includes outlines on the one hand for cutback of expenses and on the
other hand for raising of additional funds. The report is being studied
by the company's administration and board as well as by the Australian
Council. There is general agreement to put the plan into action.
With a new opera company being established in Belfast, hope for peace
and tranquility in the area must be rising. OPERA NORTHERN IRELAND
will be headed by conductor Kenneth Montgomery as Artistic Director.
He announced the first two productions, Ariadne auf Naxos and Falstaff,
opening the inaugural season in September '86. A limited tour of he
Nozze di Figaro with a chamber orchestra in early '87 is also on the agenda.
In celebration of the Scottish Opera's 25th anniversary, the AMERICAN
FRIENDS OF THE SCOTTISH OPERA, INC. will organize a celebration
under the honorary chairmanship of Helen Hayes. The silver anniversary
performance in Scotland is scheduled for June 5, 1987, the opera Madama
Butterfly, which opened the house 25 years earlier in Glasgow. Other
festivities including an opera ball are scheduled with special guests such
as Dame Janet Baker and Dame Kiri Te Kanawa. A tartan ball with
Scottish nobility and honorary guests will be one of the many celebrations
organized in the U.S. by the American Friends.
Calgary Opera, 351 Scenic Glen Place, N.W., Calgary, Alta.,T2R 1J2 (403)
262-7286.
Opera Theatre of Northern Virginia, 2700 S. Lang Street, Arlington VA
22206.
Vancouver Opera, 1132 Hamilton Street, Vancouver, BC, V6B2S2 (604)
682-2871.
-21-
ADDRESS
CHANGES
NEWS F R O M
WHAT'S IN
A NAME?
OPERA
COMPANIES
Changes of company names usually reflect a different or new outlook and
i ' s t r u e a l s o i n t n e c a s e °f t n e Charlotte Opera which has adopted
the name OPERA CAROLINA, reflecting a wider area involvement, and
covering the activities of both the main company and its touring subsidiary,
the former North Carolina Opera.
tn s
THE LYRIC OPERA OF DALLAS is the new name for the two-year old
Public Opera of Dallas, the company performing in English during the
summer months. The 1986 schedule will bring The Magic Flute, Madama
Butterfly and HMS Pinafore to the stage of the Plaza Theatre. The
company's new address is 12005 Forestgate Drive, Dallas, TX 75234.
The former Opera St. Paul has been reorganized and the new company,
NORTH STAR OPERA, is operating again under Linda Eugster as General
Manager. The company's first season consisted of four performances of
Le Nozze di Figaro and eight of a new revue with Cole Porter music,
entitled A Cocktail at Porter's.
The New Opera Group on Cooper Street in New York has adopted its
street name and is now known as COOPER OPERA WORKS.
[]
PUBUSHERS AND MANAGERS
CATALOGUE will be available in the United
Publishers
G. SCHIRMER INC., which had been purchased States from FOREIGN MUSIC DISTRIBUTORS,
by Macmillan Inc. in 1969, has now been 305 Bloomfield Avenue, Nutley, NJ 07110, (201)
acquired by the British MUSIC SALES CORPO- 667-0956. The former U.S. agent for the GerRATION. With headquarters in London, the man publisher was MagnaMusic Baton.
music publisher has, until recently, specialized
in educational material. With the purchase of The DUKE ELLINGTON compositions, which are
the 125-year-old American music publisher, also available through G. Schirmer (see Vol. 26, No.
went the American rights to such major Europe- 3), are those previously owned by Mercer
an music catalogues as G. Ricordi, and Salabert. Ellington Music. All other Duke Ellington works
owned by Belwin Mills Publishing Co. are
Alice in Wonderland, Robert Chauls often available from Belwin Mills, while the titles in
performed children's work, is now available the Robbins Music Catalogue are represented
from G. SCHIRMER. — Other operatic composi- by CBS Songs. Performance rights must be
tions recently published by G. Ricordi and now negotiated with the respective publishers.
available in the U.S. from G. Schirmer - as are
all items in the Ricordi catalogue - include JOSEF WEINBERGER/GLOCKEN VERLAG has
Bussotti's La Musa, Ferrero's Wight and Salvato- turned over the U.S. representation for its
re Giuliano, Liberovici's II Grande Chiasso, Franz Leh6r catalogue to European American
Testi's Riccardo III, and the orchestral suite Music Distributors in Valley Forge, PA. Previto Sinopoli's Lou Salom4.
ously, it was with Alexander Broude Inc. in
New York.
As a result of the change in ownership of G.
Schirmer, Leonard Bernstein has withdrawn See also "Late Announcements" on page 58.
most of his compositions from GS and placed
them with BOOSEY & HAWKES. Trouble in Managers
Tahiti, Candide, Mass, and A Quiet Place are ICM Artists announced the formation of a new
now all available from B&H. W-est Side Story department to take charge of the careers of
excerpts remain with Schirmer; the complete singers exclusively. Tony Russo, a former vicework is with Music Theater International.
president at Columbia Artists Management with
a strong following of important vocalists joined
As of July 1, all music in the BAERENREITER ICM to head the new department.
[]
-22-
GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS
The final amount distributed in NEA grants within its OPERA-MUSICAL
THEATER PROGRAM for FY'85 totalled almost $6 million. Grants were
awarded to 172 different programs, varying from a minimum of $1,625 to
a top of $850,000; seventy were under $10,000, fifteen over $100,000.
Applications fell under six different categories: 1) Opera-Musical Theater
Professional Companies Grants FY'85 (over $4 million to 83 companies),
2) Regional Touring ($407,000 in 22 grants), 3) Special Projects ($155,000
to nine different projects), 4) New American Works ($519,000 in 33 grants),
5) Producers Grants ($100,000 in twelve grants), and finally 6) Services
to the Arts ($544,000). Organizations may apply under more than one
category for different projects. — Although the current year's
appropriations have not been set, they are estimated to come in below
the '85 figure, probably close to $5.2 million for the Opera-Musical
Theater Program.
NEA
In announcing the 1985 grants, Frank Hodsoll, Chairman of the National
Endowment for the Arts, made this encouraging statement: "The strength
and vitality of the field of music theater in America, from opera to the
most experimental forms of musical theater, is amply demonstrated by
the diversity and distinctive high quality of the programs and projects
funded by these grants." To this, Program Director Patrick Smith added:
"It is encouraging to note the number of opera and musical theater
institutions that are working together to produce excellent, new and
experimental productions. Cooperative efforts of this type encourage
continued creativity, by making possible productions that otherwise would
prove too expensive."
Under its Inter-Arts Program, NEA made 107 awards to presenting
organizations for partial support of booking costs for quality touring
ensembles. The total amount of $1.8 million was distributed for FY '86
programs. The largest single grant went to the Brooklyn Academy of
Music ($130,000). New York's The Kitchen and Spoleto Festival U.S.A.
were runners-up with about $75,000; Lincoln Center received $38,500 for
its Out-of-Doors Festival.
See also EDUCATION for other important NEA news.
Opera-Musical Theater Program 1986 application deadlines:
1) For Professional Companies; 2) Regional Touring Programs; and 3)
Services to the Arts - May 23. For 4) New American Works Category;
5) Producers Grants; 6) Special Projects - September 12.
The Parliamentary appropriations to the CANADA COUNCIL for 1986-87
have been approved at Can.$74,011,000. In addition, a special one-time
grant in the amount of $2.2 million has been announced by Marcel Masse,
Minister of Communications, and a last-minute allocation of additional
$10 million to the Canada Council was facilitated by Michael Wilson,
Minister of Finance. While the latter amount will be integrated into the
overall budget of the Council and become part of the various program
allocations, the money from the Department of Communications will go
for the support of special creative projects in the arts. Peter Roberts
is the Council's Director; Hugh Davidson was Acting Head of the Music
Section at that time, with Carrol Anne Curry Music Officer. Contrary
to the NEA programs, CC's Music Section includes such categories as
-23-
CANADA
COUNCIL
GOVERNMENT
AND NATIONAL
ARTS
ORGANIZATIONS
"Grants to Opera Companies and for Opera Training", "Grants for
Workshops", and "Commissioning of Canadian Compositions".
BRITISH
The last COS BULLETIN reported on a cut in subsidies to the British
ARTS COUNCIL Arts Council. Some of the proposed reductions have been restored for
1986-87 and the final government grant will amount to £135.6 million
rather than £122 million. The Council's request had been for a total of
£161 million.
STATE ARTS
PROGRAMS
The MINNESOTA STATE ARTS BOARD offers workshops for artists interested in residencies in schools, and for school teachers or administrators
interested in inviting artists as residents. The agency also assists with
fees for sponsoring artists in residence through its Artist in Education
program. — In another move, the State Arts Board with contributions
from several corporations, has established "Sudden Opportunity Grants".
The importance of this type of help to artists is truly immeasurable.
Artists and people working with them will know how often sudden,
unforseen and unique opportunities arise, but often must be passed up for
lack of funds. In most cases, applications for grants must be made at
least one year in advance, which precludes any quick response.
CHANGES OF
NAMES &
ADDRESSES
New York's Cultural Assistance Center - now: ALLIANCE FOR THE ARTS.
NMC/
The NATIONAL MUSIC COUNCIL has taken on the cause of composers
and publishers who are threatened to lose their rights to an annual
collective income of $80 million from the use of their compositions by
television stations. Until now, the law has provided that stations purchasing productions with musical contents pay a flat fee to the music licensing
organizations, i.e. ASCAP or BMI, and these organizations distribute the
money received among composers and publishers in a ratio commensurate
with the number of performances of their music on television. This law
has been upheld in several court cases, where producers or television
stations challenged it or had not complied. A new bill before Congress
attempts to discontinue the practice of stations paying for the rights of
performance of music included in packaged television productions and thus
restricting payments to the original producer. Since that producer will
be negotiating the composer's fee before the show is produced and will
not know the potential for the program's ultimate success and financial
return, he will be under pressure of keeping costs at a minimum. The
composer, in turn, will have to settle for a lower fee and will have no
recourse for additional income, should the program be successful.
BROADCAST
RIGHTS
NIMT's NEW
INITIATES
American Federation of Musicians, Paramount Bldg., 1501 Broadway, Suite
600, New York, NY 10036.
The NATIONAL INSTITUTE FOR MUSIC THEATER'S New Initiates program,
now in its third year, is again supported by the General Electric
Foundation. This year's grant of $14,000 is divided among three projects.
The Actors Theater of St. Paul received support towards residencies of
composer Randall Davidson and playwright Amlin Gray for collaboration
on a new music theater piece for the Minnesota company, the New
Dramatists in New York for extending its Composer-Librettist's Studio
from two to three weeks (see Attention Composers), and the workshop
preparation of Breuer and Telson's latest piece, The Warrior Ant, presented
-24-
GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS
as part of New York's Composers' Showcase (see New Music Theater
Pieces). — NIMT has also announced the second group of opera companies
receiving this year's Singer Contract Support Grants. They are eight
regional organizations that will share a total of about $26,500; earlier
this season, 25 companies had been selected as recipients. The new list
is comprised of Central City Opera, Chautauqua Opera, Chicago Opera
Theater, Lake George Opera Festival, Opera Colorado, Pennsylvania Opera
Theater, Spoleto Festival USA, and Wolf Trap Opera Co. These grants
underwrite part of the salaries of young American artists engaged by
these companies. (See also "Libraries/Archives).
The PROFESSIONAL WOMEN SINGERS ASSOCIATION with headquarters
in Flushing, NY, assists its members in promoting and expanding their
careers, in functioning as a clearing house and a counselling body. In
part this is accomplished through its contacts in both the secular and
the sacred field of music; lectures on career management, and recital
concerts are some of the other activities.
For further information
contact PWSA, 140-39 34th Avenue, Flushing, NY 11354.
3/16-19/86
National Society of Fund Raising Executives, 1986
International Conference: "Here Comes the Future", Chicago
3/19-22/86 U.S. Institute of Theater Technology (USITT): "High Tech
Meets Theater Tech", Oakland Hyatt Regency Hotel, CA
3/20-23/86 4th International Congress - Women in Music, Georgia State
University, Atlanta
4/25,26/86
Center for American Culture Studies, Columbia Univ., NYC
5/12,13/86 American Council for the Arts, Annual Meeting,
Washington, DC
6/4-7/86
Ass'n of Professional Vocal Ensembles, Houston, TX
6/6-8/86
National Institute for Music Theater (NIMT), Symposium at
Spoleto Festival, SC
6/25-28/86
American Symphony Orchestra League (ASOL) National Conference, Detroit
7/6-12/86
International Society for Music Education Conference <5c
MENC, Innsbruck, Austria
7/16-18/86 Sixth Interdisciplinary Conference on the Use and Care of
the Human Voice, "Freedom in Performance", Dept. of
Professional Dvlpt, University of Minnesota, Minneapolis
7/17-21/86 Annual Conference, National Association of Teachers of
Singing (NATS), Chicago
7/22-25/86
World Conference on Arts, Politics & Business - Support for
the Arts: Philanthropy or Investment? University of British
Columbia, Vancouver
7/31-8/3/86 4th Annual Symposium on Medical Problems of Musicians and
Dancers, co-sponsored by the Cleveland Clinic Foundation
and the Aspen Music Festival, Aspen, CO
10/7-9/86
Opera Guilds International (OGI), Chicago (not 10/6-8/86)
10/8-12/86 National Association of State Arts Agencies (NASAA), Annual
Meeting, St. Paul
10/9-12/86 College Music Society, 29th Annual Conference, Hyatt
Regency Miami
11/3-9/86
American Music Week, national event
11/12-15/86 National Opera Ass'n Annual Convention, Hyatt Regency
Hotel, Los Angeles
[]
-25-
NEW
ORGANIZATION
CONFERENCES
THE ARTS
IN SCHOOL
CURRICULUM
In launching its new program, ARTS IN EDUCATION, the National
Endowment for the Arts is addressing the great need for regular instruction
*n * n e a r * s ' n public schools. It is hoped that this move, which is to
affect school curriculum from kindergarten through 12th grade, will indeed
embrace children of all economic and social s t r a t a , offering them a basic
education in the visual and performing a r t s . This program does not intend
to address the needs of future artists - although it will also enhance
their chances of early ground breaking in their field - but it addresses
rather the general cultural climate in which children are to grow up.
The NEA Artists in Schools program which might be replaced - at the
discretion of the s t a t e arts agencies - by this new project, had positioned
professional a r t i s t s into school residencies; the new project addresses the
complete question of the arts in the school curriculum. Initially, the
program will be financed out of a $5 million NEA educational budget,
with funds channelled through s t a t e a r t s agencies, who in turn will work
with their local school boards. Beginning in 1987, up to $20,000 will be
available to s t a t e commissions for adding or expanding basic arts curriculum
in its schools. In making the announcement, NEA Chairman Frank Hodsoll
stressed the importance of the program's thrust to function as a catalyst
for developing cultural awareness in the nation's youth, and for stimulating
financial support from s t a t e and school funds, and from private sources.
It may be a token of the changing times that Musical America published,
as part of Charles Fowler's latest article on education, a list of "States
with Graduation Requirements in the Arts". While previous reports stressed
the fact that various s t a t e s had discontinued a r t s education in elementary
and/or high schools due to cutbacks in budgets, it is reassuring to note
that 22 s t a t e s ask for some music and art background in graduates.
Actually, in five of the s t a t e s included in this figure, the requirements
will become effective in one or two years.
Another support group of the a r t s as part of the American educational
system is the recently formed FOUNDATION FOR THE ADVANCEMENT
OF EDUCATION IN MUSIC (see Vol. 26, No. 3). A program outline is to
be announced after the next board meeting in the summer. — Also, the
NATIONAL MUSIC COUNCIL is examining ways in which this national
body, representative of 55 music organizations with an aggregate membership of some 2 million, can best use its strength to help realize the goal
of music education for all children in all schools across the country.
TALENT
SEARCH
The National Foundation for Advancement in the Arts (NFAA) and the
Arts Recognition and Talent Search (ARTS), which does t h e preliminary
screening of a p p l i c a n t s , a r e now consolidated in Miami.
ARTS was
originally administered by t h e Educational Testing Service in Princeton,
but, with NFAA firmly established in its fifth year, it has become more
p r a c t i c a l as well as more economical t o combine t h e two functions.
Miami-Dade Community College/Wolf son Campus will provide support
services as needed. Meanwhile, in response to numerous inquiries, t h e
performing a r t s a r e a has been extended and will, for the first time this
year, include applicants in the musical t h e a t e r field. Each year, NFAA
has given about 500 awards to high school s t u d e n t s who a r e exceptionally
talented in the arts.
-26-
EDUCATION AND A C A D E M I A
The IDYLLWILD SCHOOL OF MUSIC AND THE ARTS in California, which
has maintained a summer school program for many years, will add an
independent residential high school for the performing and the visual arts
in the fall. The school's summer program includes a combined Youth and
Adult Musical Theatre Workshop. Further information may be obtained
from ISOMATA, P.O.Box 38, Idyllwild, CA 92349.
Under "Major Approaches to Music Education", the February '86 issue of
the MUSIC EDUCATORS JOURNAL examines the five most popular music
teaching methods currently applied in U.S. schools: Kodaly, Orff, Dalcroze,
Gordon, and Suzuki. Discussing them all side by side will clarify many
teachers' views, concepts and misconceptions of these established methods.
Available to MENC members on subscription, single copies may be ordered
for $4 ($5 for Canada and Mexico) from the Music Educators National
Conference, 1902 Association Drive, Reston, VA 22091.
The Glenmont Elementary School in upstate New York is the latest such
institution to have embarked on a three-month program of developing and
producing its own new 30-minute opera. Students between 6 and 13 years
old have been working with staff members of the nearby Lake George
Opera Festival and with composer Roger Ames as consultant, resulting
in the production of their new work, If the Shoe Fits..., at the Glenmont
Elementary School on May 30, with a repeat performance during the
Imagination Celebration at the State Museum in Albany on June 1.
NEW OPERAS
DEVELOPED
IN SCHOOLS
The Opera Theater of the University of Minnesota under Vern Sutton has
received an unexpected but most welcome gift. The opera department
was the beneficiary of an endowment of $329,000 left by Hamilton P.
Traub, who was impressed by the workshop's concern for contemporary
American works, and who stipulated that part of the income from the
legacy be used to further the cause of American opera. This added
income will facilitate the hiring of more staff members and the production
of more operas; American contemporary works will be staged within the
newly founded TRAUB INSTITUTE FOR AMERICAN OPERA.
Other programs established lately for the development of new operas and
musicals are discussed under "Attention Composers" and "New Operas in
Academia".
The CLEVELAND INSTITUTE OF MUSIC held its second Art Song Festival
May 26-30. Ten singer/accompanist teams participated in the masterclasses
and in the Finals Concert. The Institute's courses were led by singers
Maureen Forrester and Elisabeth Soderstrom and accompanists Warren
Jones and Thomas Muraco, who also gave concerts during the four-day
festival.
Continuing from the last issue of the COS Bulletin the listing of star
singers holding master classes at conservatories, we can report on the
return of Birgit Nilsson to the MANHATTAN SCHOOL OF MUSIC for a
three-day session with selected students. The dates were April 14-16
with the closing session open to the public. Mme. Nilsson's first association
with the Manhattan School was in 1982 when she received an honorary
Doctor of Music degree; in 1983 she returned to teach her first master
classes anywhere.
-27-
MASTERCLASSES
VICTORIA DE LOS ANGELES will hold an International Master Course
for Singers a t the Athenaeum/International Cultural C e n t e r in Athens.
The dates are September 8-24, 1986.
In conjunction with his appearances a t the Pittsburgh Opera in
Rigoletto,
SHERRILL MILNES held a master class for young artists at Duquesne
University in that city in May. One of the four days was open to the public.
In the Spring, MARTIN RICH held master classes for singers and for
coaches at the Manhattan School of Music and at the American
Conservatory in Chicago, before joining the faculty of the American
Institute of Musical Studies in Graz, his eighth summer with AIMS.
Fredric Popper and Richard Crittenden will offer a two-week Summer
Opera Workshop at the AMERICAN UNIVERSITY in Washington, DC. The
fee for the period from July 7-20 is $300 for singers, $150 for coaches,
stage directors and auditors.
ARTS
Columbia University's Program in Arts Administration together with its
ADMINISTRATIONGraduate School of Business and the Columbia Law School sponsors a new
COURSES
RESEARCH CENTER FOR ARTS AND CULTURE. Its Director is Joan
Jeffri, who also t e a c h e s a r t s management. The Center will underwrite
pertinent studies and among the first a r e one on the a r t s labor market,
another on the functioning of copyright law for artists, and yet another
on a r t s and cultural audience behavior p a t t e r n s . The uniqueness of t h e
C e n t e r lies in its combination of a r t s management, culture and the law,
and a future project is the creation of "The Artist's Guide to WorkRelated Human and Social Services". Further information may be obtained
from Camilla Brooks (212) 280-4331.
The PERFORMING ARTS MANAGEMENT INSTITUTE, one of t h e earliest
such seminars in the United S t a t e s - usually in November in New York
- held its fourth annual program in California.
April 18-20 were the
d a t e s ; t h e place was Sherman Oaks. The seminars a r e sponsored by t h e
accounting firm of Lutz & C a r r , and by Arts Management
newsletter,
whose editor, Alvin Reiss, is the originator and one of the main l e c t u r e r s .
MANAGING THE ARTS ENTERPRISE is the t i t l e of the 1986 courses
offered by New York University's annual Summer Management I n s t i t u t e .
The dates are July 21-25.
Confederation College at Thunder Bay, Ontario, offers a two-year, foursemester program in PERFORMING ARTS MANAGEMENT, with the second
and fourth semesters in "supervised placement", i.e. internships with a
professional a r t s organization with a s t r u c t u r e d learning program. For
further information c o n t a c t Admissions Office at the College, Performing
Arts Management Program, Box 398, Thunder Bay, Ont. P7C 4W1.
The University of Massachusetts at Amherst offers two programs in Arts
Administration through its summer a r t s extension service. Scheduled t o
run parallel from July 16 through 18; one is Introduction to Arts
Management, the other an Arts Management Refresher Course.
[]
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HEALTH CARE FOR ARTETS
In February 1985, the KATHERYN AND GILBERT MILLER HEALTH CARE
INSTITUTE FOR PERFORMING ARTISTS opened at St. Luke's/Roosevelt
Hospital Center in New York City. It offers a wide range of services
in more than forty areas, from routine walk-in medical care to sophisticated
diagnosis and treatment of career-threatening conditions. It has also
instituted a no-charge membership enrollment program for artists. In
addition, the Institute received a $500,000 grant from The Fan Fox and
Leslie Samuels Foundation recently for the construction and equipment of
a new and enlarged facility at South Park Tower, adjoining the current
main hospital building on West 59 Street. This facility opened in May
'86 with the newest and most sophisticated health care equipment chosen
specifically for diagnoses and treatment of ailments inherent to the careers
of professional performing artists. Thus it includes a state-of-the-art
voice laboratory, a performance evaluation unit, a dancers' department
with sprung floor and ballet barres, a variety of musical instruments,
two-way mirrors and video equipment. The new grant also enables the
Institute to offer care from specialists and therapists in each area. The
aim of the new Institute is as much to find and offer cures as it is to
suggest means for prevention of problems. Enrollment is free and entitles
members also to receive a free cancer screening at the Institute's Duke
Ellington Cancer Screening Center. For further information call (212)
554-6314 or visit the Institute at 425 W 59 St., 6th floor; Margo Donaldson
is Managing Director.
The late Dr. Eugene Grabscheid, the Vienna-born, New York-resident
ortho-laryngologist whose help was especially sought by opera singers and
actors, left an endowment to Mount Sinai Hospital for the creation of a
Chair in Ortho-Laryngology, and for the establishment of a RESEARCH
CLINIC FOR VOICE DISORDERS, to be named after him.
Thanks to a $1 million grant from the Samuel and Rebecca Kardon
MUSIC
Foundation, the Settlement Music School in Philadelphia will establish the
SCHOOL
KARDON INSTITUTE OF MUSIC FOR THE HANDICAPPED as a separate
FOR
entity within the school. The school's existing 10-year-old program for HANDICAPPED
teaching handicapped children and adults will be incorporated into the
new project which will be of much wider consequence and on a national
basis. The school is serving the physically handicapped, sensory impaired
and mentally disabled, working with Moss Hospital and other programs in
the Philadelphia area. The medically controlled program functions on
two levels, therapeutic and culturally enriching. Dr. Sol Schoenbach,
former Director of the Settlement School, will be the President of the
new Institute, and violinist Itzhak Perlman, who has been affiliated with
the school in an advisory capacity, will continue to do so with the title
of Honorary Chairman of the Institute. For more information contact
SMS, PO Box 25120, Philadelphia, PA 19147, or call (215) 637-1202.
Recognizing the specific medical needs and problems of performing artists, PUBLICATIONS
an editorial board of twelve medical specialists and an advisory board of
eight performers and educators will be responsible for publishing the new
quarterly, MEDICAL PROBLEMS OF PERFORMING ARTISTS. Individual
subscription in the U.S. is $36; library or institutional subscription $46
annually. The artistic advisors include Phyllis Curtin, Gary Graffman,
Yo-Yo Ma, Walter Trampler, Dorothy DeLay, and Joseph Polisi. For
further details write MPPA, Box 1377, Philadelphia, PA 19105. — The
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HEALTH
CARE
FOR ARTISTS
specific medical needs of the performing artists - musicians and dancers
- will be the topic to be discussed and examined at the fourth annual
symposium on that subject scheduled for July 31 to August 3 in Aspen,
CO (see "Conferences").
A new book on the same subject has been published by The Center for
Occupational Hazards, with financial assistance from the New York State
Council on the Arts. STAGE FRIGHT: HEALTH AND SAFETY IN THE
THEATER by Monona Rossol is a circumspect guide to possible hazards
of working in theaters and the precautions recommended to be taken. It
is available from COH, 5 Beekman Street, New York, NY 10038 for $9.95
in paperback and $16.50 in hard cover. For either edition add $2 for
postage. — The Center also publishes a four-page ART HAZARDS
NEWSLETTER in ten issues annually; a one-year subscription is $13.
The National Endowment for the Arts has published THE ARTS AND 504,
an excellent practical guide book for presenting organizations as well as
for handicapped audiences. It is arranged in three sections: 1) the 504
Regulations, 2) Access to Arts programs, and 3) Audience Development
and Staff Training, and contains many explanatory illustrations. Its
contents are also available as a cassette recording from the Music Section
of the National Library Service for the Blind and Physically Handicapped,
The Library of Congress, Washington, DC 20542. The 98-page book may
be ordered from the Superintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 for $3.75.
The same National Library Service announced the receipt of two braille
copies of a two-volume book in French: Repertoire de la notation musicale
braille. It was a gift of the Russian Association for the Blind.
The Department of Professional Development at the University of Minnesota
in Minneapolis will host the sixth annual Interdisciplinary Conference on
the Use and Care of the Human Voice. The dates are July 16 to 18; the
title of this year's meeting is FREEDOM IN PERFORMANCE.
On May 19, the American Guild of Musical Artists held a health fair,
BETTER HEALTH FOR BETTER PERFORMANCE, at the St. Paul the
Apostle Church in New York. Besides the customary sales booths, the
fair offered tests for blood pressure, glaucoma, etc. Workshops and
discussions centered around such subjects as nutrition and diet, stress
management, movement re-education, and other health subjects of specific
concern to performers.
HANDICAPPED Three hearing impaired performers founded MUSIGN, creating a new
PERFORMERS concept in performance by combining song, dance, sign language choreographed, video images, and the visual arts in the form of stage sets
and/or costumes. The ensemble performs for handicapped as well as for
non-handicapped audiences, and, with its imaginative and versatile program,
it seems a particular favorite entertainment for young people. Rita
Corey, Bob Hiltermann and Ed Chevy founded MUSIGN in Berkeley,
California, in 1981, and the ensemble has toured throughout the United
States and Canada, and also visited Japan. The company may be reached
through Naomi Rhodes, 240 W 98 St., #13A, New York, NY 10025.
[]
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FORECAST
This year's BATH FESTIVAL (5/23-6/8) will be under the patronage of
the French Ambassador to Britain. The program features French music
and will include several French performing ensembles. Major compositions
by Boulez and Messiaen will represent some of the contemporary scene,
while imported productions of Monteverdi's Orfeo and Leclair's Scylla et
Glaucus (Op^ra de Lyon) fill in for the classical period. Amelia Freedman
is the Festival's new Artistic Director.
The 1986 EDINBURGH FESTIVAL will present the Finnish National Opera,
which will bring Rigoletto and Merikanto's Juha to Scotland in August.
— In late October, the WEXFORD FESTIVAL will offer a varied program
consisting of Rossini's Tancredi, Humperdinck's Die Kbnigskinder, and
Thomas' Mignon.
Looking further ahead, the 1987 GLYNDEBOURNE FESTIVAL will mount
a French double-bill of L'Heure espagnole and L'Enfant et les sortileges
in designs by Maurice Sendak. Frank Corsaro will direct and Simon Rattle
will conduct. For the 1986 schedule see Vol. 26, No. 3.
In addition to the previously announced Tannhiiuser in July, the FESTIVAL
D'ORANGE will also mount a production of Macbeth on August 2, and
present star singers in recitals.
The ORCHESTRE DE PARIS under the baton of Daniel Barenboim has
staged a Mozart Festival in May and June in Paris. All three Mozart
operas, presented over the last five years in Paris and Washington, DC,
now played in short succession at the Theatre des Champs-Elys^es. The
Festival opened with he Nozze di Figaro on May 20 (repeated on 22 and
24), continued with Cosi fan tutte on June 10, 12 and 14, and closed
with Don Giovanni on June 24, 26 and 28.
July 19 through August 17 are the dates for the MACERATA FESTIVAL,
which has scheduled Turandot, II Trovatore and Cavalleria rusticana/
Pagliacci, with easts including Dimitrova, Ricciarelli, Obratsova, and
Cossotto.
The FESTA MUSICALE STIANA, produced in collaboration with the Studio
Lirico under the artistic direction of Talmage Fauntleroy, will offer a
double-bill of Donizetti's II Campanello di notte and II Geloso schernito.
Non-staged performances will be devoted to the Verdi Requiem, Puccini's
Messa di Gloria, with the American Festival Chorus and accompanied by
the Ljubljana Symphony Orchestra, and a workshop production of a new
opera on the Bluebeard theme - Barba Blu by Hendrik Hofmeyr. The
Festival dates are July 4 to 19.
The 1986 MAHLER FESTWOCHEN will be held July 19 to 27 in Dobbiaco
(formerly Toblach) where the composer had his summer house. Details
may be obtained from the Gustav Mahler Committee, Via Roma 21, 39034
Dobbiaco, Alto Adige, Italy.
Austria's HOHENEMS SCHUBERTIADE near Bregenz gave concert performances of Fidelio with an international cast at the Town Hall in
Feldkirchen in June, and will offer recitals at the Hohenems Castle
throughout the summer.
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SUMMER '86
EUROPE c o n t .
FORECAST
1987-88
The
AMERICAN MUSIC THEATER FESTIVAL in Philadelphia is planning
another five-production season next September-October which will include
music theater works in world premieres (see 1986-87 Performance Listing).
For fall 1987, the company is organizing an International Music Theater
Festival, which will offer a mixture of new and classical American and
foreign works performed by well-known American and foreign artists.
The summer '87 program of the CINCINNATI OPERA will bring back the
production of Leoncavallo's Zaza in June, and Madama Butterfly and II
Barbiere di Siviglia in July. A new production of Twandot will be unveiled in November 1987.
The opening of the first NEW YORK INTERNATIONAL FESTIVAL OF THE
PERFORMING ARTS has been set for June 13, 1988, as announced by
its Chairman, Martin E. Segal (see Vol. 26, No. 3). Its theme will be
the performing arts in the 20th century and it will incorporate existing
works as well as new commissions in music, opera, theater, dance and
film. The events will be held in a great variety of spaces, from Lincoln
Center, to small theaters and concert halls, auditoria at the Asia Society
and Japan House, in parks and other public places. Major international
performers will share the spotlight with up-and-coming young talent and
newcomers of the avant-garde. Future festivals will also include the visual
arts, involving museums and galleries, however, it is not yet certain
whether it will be an annual or bi-annual affair. The first festival is
budgeted for about $10 to $12 million and ticket returns are estimated
to account for 50 percent of expenses, which would be a good average
compared to many non-profit organizations in the performing arts.
Steven Wadsworth will be the director for Handel's Alcina when it is
produced by the OPERA THEATER OF SAINT LOUIS in summer '87. He
will also be responsible for a new English translation made especially for
these performances.
November '87 will bring a new production of II Trovatore to the Metropolitan Opera.
II Trovatore is also one of two operas announced so far by the LYRIC
OPERA OF CHICAGO as part of its 1987-88 season. The cast will include
Tomowa-Sintow, Verrett, Pavarotti, and Cappuccilli, with Maestro
Bartoletti conducting, Sonja Frisell directing, using Benois' designs. The
other opera will be La Forza del destino featuring Susan Dunn, Giacomini,
Nucci, Kavrakos, under James Conlon's baton, in the San Francisco OperaSamaritani production, directed by Decker.
In November '87, San Francisco will be mounting a new production of Les
Contes d'Hoffmann with Placido Domingo as the poet.
The Los Angeles MUSIC CENTER OPERA with Peter Hemmings as
executive director plans La Boheme for September '87 with projected
captions featuring Zschau, Domingo, and Hampson, conducted by Laurence
Foster, followed by Prokofiev's The Fiery Angel in English also with
Zschau and Roloff, under conductor Foster, and director Serban, in the
designs by Bjornsson from the English National and the Geneva opera
(continued on page 45)
-32-
The opening date of the ORANGE COUNTY PERFORMING ARTS CENTER
has been set for October 1, 1986; the first opera/music theater production
to be shown by its resident company, OPERA PACIFIC, in the main 3,000seat auditorium will be Porgy and Bess on February 11, 1987. The
company will present three works (see Performance Listing) in a total of
28 performances, with the final one, La Boheme, closing on April 4.
These, however, will not be the first opera productions to be seen at
the Center. As previously announced, the New York City Opera will play
a two-week's guest engagement there, opening on January 13, immediately
preceding Opera Pacific. — In addition to the large multi-purpose
auditorium, the Center also houses a 1,000-seat theater and a rehearsal
hall which can double as open performing space or as a black box theater.
The Pittsburgh Opera announced its plans for moving to a new arts center
in 1987. It is the new BENEDUM CENTER FOR THE PERFORMING
ARTS, named after its benefactor, the Benedum Foundation which
participated with $5 million in the $36 million renovation and rehabilitation
of the former Stanley Theatre, a vaudeville house turned movie theatre.
Another $17 million comes from an Urban Development Action grant. The
new Center will have almost exactly the same seating capacity as Heinz
Hall - 2800 versus 2845 - the current home of the opera company. While
the symphony will remain at Heinz Hall, the Pittsburgh Opera will be
joined by the Pittsburgh Ballet, the Dance Council, and the Civic Light
Opera, all of whom will make their permanent home at the Center. The
stage is equipped with modern technical facilities and is about three times
as large as that of Heinz Hall. An adjacent office building will offer
the performing companies additional office and rehearsal space. The
opening is projected for fall '87, when the Pittsburgh Opera plans a gala
benefit concert by Pavarotti on October 6, followed in November by a
new production of Turandot with Ghena Dimitrova in the leading role.
A second move within one year brought the LIGHT OPERA OF
MANHATTAN to the long-established Cherry Lane Theatre on Commerce
Street in New York. LOOM hopes that this will become its permanent
stage and home.
Another of New York's smaller experimental theater companies, THE
THEATER FOR THE NEW CITY, had to look for new quarters (see Vol.
26, Nos.l <5c 3). The move will place the company only one block away
from its present site on Second Avenue and 10th Street. It will, however,
require a major renovation to turn the former City Sanitation building
into a performing space.
This will be accomplished with financial
assistance from several government and private agencies. The company
stages about forty plays and musicals annually.
Chicago's OPERA FACTORY is giving its May performances, a
French/Italian operatic double-bill with orchestra, at its new permanent
home, the Angel-Guardian Theater on West Devon Street.
A recent issue of Theatre Design and Technology, published by the U.S.
Institute for Theatre Technology, features floor plans and photographs of
San Diego's own GLOBE THEATRE. Built in a three-quarter round, an
audience of over 600 surrounds the greater part of the stage. The theater
opened in 1982 and has served the San Diego Opera in the spring as
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IN THE U.S.
setting for its chamber opera productions. The first Globe Theatre in
San Diego was destroyed by fire in 1978. Another theater that fell prey
to a fire and was rebuilt at the original site, the Filene Center at Wolf
Trap Farm Park, is the other performing arts facility examined in the
same winter 1986 issue of TD & T.
IN CANADA
On October 14, the THUNDER BAY COMMUNITY AUDITORIUM opened
with a Gala performance of the Thunder Bay Symphony and a 200 voice
chorus made up of various choral groups from the area. The new hall in
the Ontario city seats up to 1,550; about 200 less for opera, musicals,
and ballet when seats must be removed to accommodate an orchestra pit.
Designed by Trevor Garwood-Jones, who is also responsible for Ontario's
Hamilton Place, the Auditorium presented, in its first season, productions
of Brigadoon and opera performances by Minnesota's touring group, the
Midwest Opera Theater.
IN EUROPE
The City of Birmingham, England, may soon be getting its long-planned
concert hall. With designs approved for a 2,200-seat auditorium as part
of the £106 million convention center, New York's theater consultants,
ARTEC, have been retained to develop the final designs. It is to be the
home of the Birmingham Symphony, whose current music director is Simon
Rattle. The orchestra has been performing for the last sixty years in
the Birmingham Town Hall.
Announcement of the refurbishing of the SADLER'S WELLS THEATER
(Vol. 26, No. 3) was premature. Although there is a need and there are
plans for renovating the house, this will have to await more fortuitous
financial circumstances. With the demise of the Greater London Council,
which had given substantial support to the theater, it now must find a
total of £250,000 to cover the cost of maintenance alone of the theater
throughout the next season. Its resident companies are the New Sadler's
Wells Opera which performs two short seasons annually in its own theater,
plus three ballet/dance companies.
Following extensive renovations and modernizations, DEN JYSKE OPERA,
the Danish national opera in Aarhus, reopened last November with
Francesco Cristofoli in the multi-duty position of general director,
administrator and music director. — Denmark's major opera house, DEN
KONGELIGE TEATER or Royal Theater, in Copenhagen had also undergone
a period of renovation. It closed in 1983 and reopened on November 15
with Die Zauberflbte, to great acclaim for the theater's improvements.
Another reopening occurred in HANNOVER, where the opera house had
been rebuilt after the war, opening in 1950, but at that time revealed
many flaws due to the inadequacy of building materials available at that
time, and the brief period allotted for reconstruction. The house has
now improved and enlarged the orchestra pit and auditorium, refined the
hall's acoustical properties, redecorated and expanded public areas, and
modernized its lighting and technical stage facilities. Opening night was
given over to Schoenberg's Moses und Aron.
AMSTERDAM is looking toward the completion of a new opera house in
fall 1986. Hartmut Haenchen of the Komische Oper in East Berlin will
be the Music Director.
[]
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ATTENTION COMPOSERS/LIBRETTISTS
Columbia College Chicago is establishing a four-month MUSICAL THEATER
WORKSHOP. For this pilot project, the College will engage professional
performers, directors, writers and composers who will be working with a
student group, with the aim of developing two musical t h e a t e r works.
Each show will have its own salaried team of writer-composer-lyricist
drawn from t h e Chicago area professional t h e a t e r community. The program
was created out of a need to "seek ways of developing musical theater
works that restore the musical t o the contemporary audience, allow risk
taking, and encourage creativity while avoiding the economic restraints
of the current Broadway system". (See also "New Operas in Academia".
e.g. Harnick/Raposo's A Wonderful Life.)
It is somewhat comparable to
the Music Theatre Studio Ensemble program of the Banff Centre in
Alberta, except for Columbia College engaging professional performers
for t h e try-outs of new works.
COMPOSER/
LYRICIST
Another new program t o be inaugurated this summer at West Virginia
University in Morgantown is one created by a composer in recognition of
the need for closer collaboration between composers and conductors.
Harold Farberman and Charles Wuorinen, both of whom a r e composers and
conductors, will head the two-week program, which will enroll six young
American composers and six young American conductors. The composers
will receive master classes in conducting and will lead their own and
some classical music under the supervision of Mr. Farberman, while the
conductors will study a composition by one of the composers-in-residence
and will be asked to compose some short piece of music under the tutelage
of Mr. Wuorinen. It promises to be an interesting experiment and should
leave all twelve participants with much respect for t h e expertise of t h e
"other" profession.
COMPOSER/
CONDUCTOR
Composers interested in exploring collaboration techniques with librettists
will want t o join t h e third annual COMPOSER/LIBRETTIST STUDIO,
offered by the New Dramatists in New York. The three-week session
s t a r t s on September 8. It is supported in part by the NEA, the Rodgers
and Hammerstein Foundation, an "Initiatives Grant" from the National
Institute for Musical Theatre, and by an Opera America award under its
Opera in the 80's and Beyond program. The director of t h e last-mentioned
program, Ben Krywosz, will lead the Dramatists workshop, which will have
an enrollment of five composers and five librettists.
COMPOSER/
LIBRETTIST
A fascinating and innovative idea benefitting young Italian composers was
realized by Sig. Italo Gomez, Artistic Director of the Teatro La Fenice
in Venice, who spoke of it a t t h e COS I n t e r n a t i o n a l Symposium (see
T r a n s c r i p t Vol. 2 7 , No. 1). Five established a n d famous composers s e l e c t e d
t w e n t y works by young a n d little-known colleagues.
P a r t s of e a c h of
t h e s e new works w e r e p r e s e n t e d by t h e Venice opera ensemble before an
invited a u d i e n c e with t h e older composers p r e s e n t , who then h a d t o explain
and defend their c h o i c e s . It proved t o b e a most successful e x p e r i m e n t ,
breaking down t h e b a r r i e r s b e t w e e n t h e t w o groups of composers - an
invaluable experience for those of the young generation - and created a
new stimulus for all while also establishing a familiarity between these
creative artists.
COMPOSER/
COMPOSER
The Canadian Music Centre has designated the year 1986 as the
INTERNATIONAL YEAR OF CANADIAN MUSIC, and 27 organizations have
-35-
CANADIAN/
MUSIC YEAR
joined to assist in the project. With Canadian composers in the spotlight,
the year also celebrates the 35th anniversary of the Canadian League of
Composers and the 50th anniversary of the Canadian Broadcasting
Corporation.
IYCM is under the honorary chairmanship of Maureen
Forrester.
OPERA
In celebration of its 250th anniversary, the Teatro San Carlo in Naples,
COMPETITIONS Italy, in collaboration with the music publisher Casa Ricordi, has organized
an INTERNATIONAL COMPETITION FOR THE COMPOSITION OF A NEW
OPERA. The winning work will be published by Ricordi, and produced in
its world premiere by the Teatro San Carlo in spring 1988. There are
no restrictions as to the nationality or age of the living composer.
(Posthumous works may not be submitted). Composers under long-term
contract with another publisher must submit a waiver by that publisher
agreeing to the publication by Ricordi of the particular work should it
be the winning entry. The libretto and autographed full score should be
sent anonymously no l a t e r than January 30, 1987 to: Segreteria Artistica,
T e a t r o San Carlo, Naples, Italy. A sealed envelope should be enclosed
listing the title of the work, and the name and personal data and a
curriculum vitae of the composer. - Duration of this new, unpublished and
unperformed opera should be between 90 and 180 minutes, the orchestration
should be scored for a usual complement of musicians of an opera orchestra,
technical staging demands must not exceed the facilities currently available
at San Carlo. The libretto should be typed in t h e original language - the
publisher reserves the right for translation into Italian.
Scores that
require electronic tapes must be accompanied by the appropriate t a p e .
The winner will be notified by telegram no later than May 31, 1987, and
non-winning entries will be returned by November 30, 1987. The composer
of the winning opera must furnish a piano/vocal score within t h r e e months
after having been notified. The original announcement does not mention
a cash prize.
First offered in 1978 and previously reported here in detail, the RICHARD
RODGERS MUSIC THEATRE COMPETITION has set November 3, 1986, as
the deadline for applications to be considered for the 1987 Richard
Rodgers Production Award.
Application forms and further information
may be obtained from the American Academy and Institute of Arts and
L e t t e r s , 633 West 155 S t r e e t , New York, NY 10032, which administers
the competition.
The eleventh annual NEW MUSIC FOR YOUNG ENSEMBLES competition
will accept applications until November 1, with original composition entries
suitable for performance by junior ensembles. Details may be obtained
from Raul Pleskow, chairman Music Department, C.W. Post College/LIU,
Greenvale, NY 11548. Enclose a self-addressed stamped envelope.
The NATIONAL OPERA ASSOCIATION'S Second New Opera Competition
is accepting scores for consideration until May 15.
There are no
restrictions as t o the composer's age or nationality. The work submitted
must be unpublished; it may have been performed but not by a major
company. It must be in English, playing time not to exceed 60 minutes
and the number of players must not exceed twenty. Works in progress
a r e not a c c e p t e d . Complete piano/vocal scores should be submitted with
a $15 fee for each opera, and may be accompanied by an audio or video
-36-
tape of excerpts. Composers will be notified as to the winning composition
by September 15.
MUSICIANS' ACCORD - A NEW MUSIC PROJECT announced its third
annual competition for an unperformed and unpublished composition of no
more than 12 minutes duration, and scored for no more than five
performers. Applicants must be U.S. citizens; they may be of any age.
Scores are to be submitted anonymously, with name, address and telephone
number in sealed envelope affixed to the outside of the score. A $20
fee must accompany each composition which must be postmarked no later
than May 15, 1986, and addressed to Musicians' Accord Competition,
Richard Kassel, #E, 245 East 24 Street, New York, NY 10010.
ORCHESTRAL
COMPETITIONS
The application deadline for the third GRAWEMEYER AWARD for Music
Composition is January 30, 1987. For conditions and requirements see
Vol. 25, No. 3. There are two honorable mentions, and the first place
winner receives five annual installments of $30,000 each. Begun in 1985,
the previous awardees were Witold Lutoslawski ('85), and Gyorgy Ligeti
C86). For more information contact Grawemeyer Music Award Committee,
School of Music, University of Louisville, Louisville, KY 40292.
ASCAP and Boosey and Hawkes established a young composer's award in
honor of Aaron Copland's 85th birthday. It will be administered by the
ASCAP FOUNDATION and will award a particularly gifted music student,
enrolled in an American high school for the arts. The first year's winner
will be chosen from students at New York's Fiorello La Guardia High
School of Music and the Arts, the school which commissioned Copland in
1938 to write "Outdoor Overture". — The ASCAP Foundation also
received an endowment grant from the MAX AND VICTORIA DREYFUS
FOUNDATION for the establishment of a new grant scholarship for a
deserving and greatly talented college music student. — BENJAMIN
YARMOLINSKY, a music student at New York's City College, was chosen
to receive the $1,500 Gershwin Scholarship, sponsored jointly by ASCAP,
the Louis Dreyfuss Foundation, Chappell Music, and City College of New
York. — Winner of this year's Rudolf Nissim Award, also administered
by the ASCAP Foundation, is the composer STEPHEN MICHAEL GRYC
of Connecticut, who received a cash prize of $5,000.
Another Italian composers' competition open to all nationalities is the
FIRST INTERNATIONAL COMPETITION FOR COMPOSITIONS 'FRANCO
EVANGELISTI'. This contest is for compositions scored for solo instruments
or for a combination forming a chamber ensemble. The contest is organized
by the cultural offices of the City of Rome and the community of Nemi
and by music schools in these two cities (Scuola Popolare di Musica di
Testaccioi, via Galvani 20, 00153-Roma, Italy).
Address inquiries to
Assessorato alia Cultura, Comune di Nemi, 1 Concorso di Composizione
anno 1986, 00040 Nemi (Roma), Italy, or to the Cultural Attache^ The
Italian Embassy, 1601 Fuller Street, NW, Washington, DC 20009.
The American conductor, Robert Maxym, now resident of Essen in Germany,
has founded the INTERNATIONAL ERMANNO WOLF-FERRARI SOCIETY.
For information write to Postfach 2023, D-4006 Erkrath, West Germany.
— The recently created GLAZUNOV SOCIETY, Donald J. Venturini,
President, has its seat at 17320 Park Avenue, Sonoma, CA 95476.
[]
-37-
COMPOSERS'
SOCIETIES
COS INSIDE INFORMATION
COS
CONFERENCES
T h e a n n u a l C O S U P P E R MIDWEST REGIONAL C O N F E R E N C E w a s held
F r i d a y , M a y 3 0 , in M i n n e a p o l i s . As a l w a y s , it c o i n c i d e d w i t h t h e visit
of the Metropolitan Opera, this year, however, the company's last on
tour in Minnesota - it celebrated and featured members of the company.
In addition, delegates were treated to samples of the Minnesota Opera's
"Opera Tomorrow" festival; another session was led by Vern Sutton,
director of the opera department at the University of Minnesota. Mrs.
Kay Lafans, COS Regional Director, was in charge of the program.
Remember the dates and place of the next COS NATIONAL CONFERENCE:
San Francisco, June 11-14, 1987
REGIONAL
DIRECTOR
The Mid-Atlantic Region has a new COS Regional Director, succeeding
Ellis Wisner. She is Mrs. B. B. (Barbara) WOODWARD of Washington,
DC, board member of the Washington Opera; she is as enthusiastic about
opera as she is knowledgeable. Our warm thanks to Ellis Wisner; a hearty
welcome to Barbara Woodward.
COS
INTERNSHIPS
This year COS has had two arts administration interns. CAROLYN MASON
°f San Francisco, a senior at Smith College, spent six weeks in December
through January, getting to know the many, varied activities of a national
service organization, and this summer, ELIZABETH WOLSTEIN of
Washington, DC, a junior at Yale University, is apprenticing with COS for
a ten-week period. In addition to being taken through the different
phases that COS is involved with, she is also working on the annual
survey. Both young women have shown a great affinity for the field
and, judging from their comments, have gained immeasurable practical
experience. It has been a pleasure to have initiated them into opera/
service administration.
ANNUAL
SURVEY
The next issue of the COS Bulletin will contain the results of the
1985-86 Annual COS Opera Survey. Did you return your questionnaire?
EDITOR'S
TRIBUTE
As the editor of the COS BULLETIN, I paid tribute, in the last issue, to
the Central Opera Service staff and volunteers. In this issue I would like
to thank my colleagues, the editors and their associates of the numerous
periodicals devoted to music, art and many related subjects, who send
their publications in exchange for ours, and who are a constant source
of both inspiration and information for me. They are usually the unsung
heroes - the greatest and most effective advocates for the arts: Robert
Jaeobson - Opera News, Harold Rosenthal - Opera, Ruby Mercer - Opera
Canada, Imre Fabian - Opernwelt, Jbrg Graepel - Orpheus, Kensington
Davison - About the House, Shirley Fleming - Musical America, I. & S.
Sloan - Opera Quarterly, William Wells - Opera Digest, M.&N. Weltman
- The Opera Guide, R.P. Allen - Symphony News, William Livingston
- Stereo Review, George Sturm - MadAmina, Music Educators Journal,
Emily Hammood - Opera for Youth News, Charles Mark - Arts Reporting
Service, Arnold Reiss - Arts Management, Daniel Millsaps III - Washington
International Arts Letter, Dodi Kazanjian - Arts Review, Pamela Walker
- Arts International, Jim O'Quinn - American Theatre, Arnold Aronson
- Theatre Design and Technology, editors of the Newsletters of NIMT,
Opera America, OGI, NOA, AMC, CMC, NEA, ACA, NASAA, ACUCAA,
PAA, AGMA, ASCAP, BMI, CMS, PRO/Canada, and the authors of opera
company programs and newsletters, newsletters of arts councils, press
-38-
COS INSIDE I N F O R M A T I O N
representatives, and finally also newspaper reporters and critics. (Apologies
are extended to anyone inadvertently not included in this list.)
Please be sure to send us your change of address as soon as you move.
The COS BULLETIN will not be forwarded, even though your post office
may still honor a forwarding for regular first class mail - unless you have
agreed to pay for postage due on periodicals. Your change of address
will become effective for all COS mailings two weeks after receipt of
your notification.
ATTENTION:
MEMBERS,
SUBSCRIBERS,
LIBRARIES
Claims from libraries for missing issues - sent directly to COS or through
subscription agencies - must be made within six months of publication
mailing date. Claims received after such a date will be handled as regular
back orders and the price of the individual copy plus postage and handling
will be charged.
This year's special issue of the COS BULLETIN is the TRANSCRIPT OF
NEW COS
THE INTERNATIONAL SYMPOSIUM, the November '85 COS National PUBLICATIONS
Conference. Current members in good standing will have received the
165-page publication. Single copies are available for $12 plus $2 for
postage and handling.
The latest AMENDMENT to the Fifth Edition of the CAREER GUIDE FOR
THE YOUNG AMERICAN SINGER has grown into an 11-page booklet,
containing all the latest changes and additions. It is available for $2.50
prepaid, and we urge all singers who have the 1985 publication to get
the Amendment to have their information current. New orders for the
Career Guide are filled at the original price of $9.50 (prepaid) and include
the latest Amendment.
COS SALUTES...
...ROBERT L. B. TOBIN, COS Honorary Chairman, the 1986 recipient of
the Metropolitan Opera National Council Verdi Medal of Achievement, in
recognition of his dedicated and inspirational leadership in all phases of
opera in America and particularly his services to the Metropolitan Opera,
the National Council, and the Central Opera Service.
...CARL MARIA VON WEBER whose birthday in November 1786 is the
occasion of various 200-year celebrations this year.
...GIAN CARLO MENOTTI on the celebration of his 75th birthday; KAREL
HUSA on his 65th birthday; and GUNTHER SCHULLER on his 60th birthday.
...music publishers G. SCHIRMER Inc., on its 125th anniversary (alas, just
recently purchased by a British publishing house), and JOSEF WEINBERGER
Ltd. London, on completing its 100th anniversary year.
... MUSIC EDUCATORS NATIONAL CONFERENCE (MENC) on completing
its first half-century of existence; and the BREVARD MUSIC CENTER in
North Carolina, also celebrating its golden anniversary this summer.
-39-
COS SALUTES
...the BROOKLYN ACADEMY OF MUSIC as the nation's oldest performing
arts center, celebrating its 125th anniversary.
...AMERICAN GUILD OF MUSICAL ARTISTS (AGMA) on the celebration
of its 50th anniversary.
...the winners of the 18th annual Deems Taylor Awards, presented this
year in a very special ceremony commemorating the late composer/music
critic's centennial of his birth. In the classical music field, the 1985
awardees included DAVID EWEN, EDWARD JABLONSKI, HAROLD C.
SCHONBERG, also BARBARA JEPSON, KATHY KEMP, TIM PAGE and
WILLIAM PENN.
... 1986 Pulitzer Prize winners, in Music - composer (also musicologist
and author) GEORGE PERLE; in Criticism - New York Times, chief music
critic DONAL HENAHAN.
...the DALLAS OPERA on its 30th anniversary; (TCG) THEATER
COMMUNICATIONS GROUP, and the LAKE GEORGE OPERA FESTIVAL,
each, on their twenty-fifth anniversaries.
...OPERA/COLUMBUS, a company singled out by the Greater Columbus
Arts Council to receive its 1986 Award for Excellence.
...MICHIGAN OPERA THEATRE chosen as recipient of this year's Michigan
Governor's Arts Award, and the Michigan-resident composer WILLIAM
BOLCOM, honoree of the Michigan Arts Award, given by the Arts
Foundation of Michigan.
...THEA MUSGRAVE upon yet another recognition awarded her, this one
by American Women in Radio and Television and in person by Barbara
Walters, for the live radio broadcast of her most recent opera, Harriet,
the Woman Called Moses.
...the recipients of the 1986 NIMT Awards: RICHARD GADDES, Founding
General Director of the Opera Theater of St. Louis, composer DOMINICK
ARGENTO for his opera, Casanova's Homecoming, and MEREDITH MONK
and PING CHONG for their multi-media piece, The Games.
The
presentations took place at "A Gala Tribute to George London" at New
York's Tully Hall on March 20.
... RICHARD CUMMINGS, composer of The Picnic (November '85 premiere
by K. Reimann Studio of NYU), who received the first Rubin American
Opera Competition Award.
... the two honorees selected by Arts Management for its 1985 awards:
DONALD SCHOENBAUM, Managing Director of Minnesota's Guthrie
Theater, who was named Arts Administrator of the Year, and MIRIAM
B. ROSE, Executive Director of the New York Chapter of Young Audiences,
who received the AM Career Service Award.
...composer MORTON GOULD and Jazz musician DIZZY GILLESPIE as the
1986 recipients of the National Music Council's American Eagle Awards,
presented at the annual NMC luncheon in New York on June 3.
-40-
COS S A L U T E S
...Montreal composer ANDRE PREVOST, who received the 1985 Concert
Music Award from the Performing Rights Organization of Canada (PRO
Canada), and opera director JEAN GASCON, recipient of the Prix DenisePelletier from the Quebec Government.
...Canadian baritone ALLAN MONK, who was awarded Canada's highest
honor, the Order of Canada; and administrator and librettist MAVOR
MOORE and philanthropist FLOYD S. CHALMERS on whom was bestowed
the Dipl6mes d'Honneur of the Canadian Conference of the Arts. Mr.
Moore was also named President of the Jeunesses Musicales de Canada.
...MARYVONNE KENDERGI, musicologist and former President of the
Canadian Music Council, who received two titles of Chevalier last year
- in June the Chevalier de l'Ordre National de Quebec, and four months
later the Chevalier de l'Ordre des Arts et des Lettres de la Republique
Francaise.
...MICHAEL NEWTON, recipient of the first National Arts Leadership
Award from the American Council for the Arts, for his contribution to
the furtherance of the arts in America in general, and his accomplishments
as President of the Performing Arts Council of the Los Angeles Music
Center in particular.
... mezzo-soprano FREDERICA VON STADE, who was given the Gold
Medal of Honor for Music by the National Arts Club in New York, where
her talent was first recognized in 1967 when she received a small
scholarship award. She is the thirtieth recipient of the annual Gold
Medal Award.
... sopranos ROSE BAMPTON and the late ROSA PONSELLE, mezzosoprano MIGNON DUNN, tenor JESS THOMAS, and baritone ROBERT
MERRILL have recently been inducted into the Hall of Fame for Great
American Singers at the Academy of Vocal Arts in Philadelphia. Their
names have been added to the first 21 singers selected for representation
in the AVA Hall of Fame (see Vol. 26, No. 1).
...Russian-born (and 98-year-old) composer IRVING BERLIN, who is one
of twelve distinguished naturalized Americans to be awarded the new
Medal of Liberty on July 4, by President Reagan.
...MARJORIE SAMOFF, founder and producing director of the American
Music Theater Festival, and BARBARA SILVERSTEIN, founder, artistic
director and conductor of The Pennsylvania Opera Theater in Philadelphia,
who were honored by Women's Way at its annual dinner in May for their
"leadership example and their contributions to the arts".
[]
-41-
LIBRARIES AND ARCHIVES
INFORMATION
AND
PRESERVATION
The American
Symphony
Orchestra
League recently
established the
ORCHESTRA LIBRARY INFORMATION SERVICE; subscription is available
*° ASOL members at an additional cost of $550 over the respective
membership fee. This entitles the subscriber to the complete catalogue
card set.
The newly computerized data base offers information on
orchestral repertory and can be retrieved by type or length of work,
instrumentation and number of required musicians. The printout on cards,
which will be sent in response to requests, can include the above
information plus instrumentation, publisher and availability of performance
material and information on performance rights, number and titles of
movements, educational concert data, and information on the composer.
For further details contact Tamima Friedman, OLIS Project Assistant at
ASOL, 633 E St., NW, Washington, DC 20004; (202) 628-0099.
The SOCIETY FOR THE PRESERVATION OF VARIETY ARTS maintains
a museum/library/entertainment complex at 940 South Figueroa Street,
Los Angeles, CA 90015. This truly unique Variety Arts Center houses a
Music Library containing the world's largest collection of silent film
music, a library with early films (silents, shorts, etc.), kinescopes of early
TV programs; also a research and reading library of joke books and of
some 100,000 cross-referenced jokes used by some of the most famous
comedians. Furthermore, there are two period theaters in the Center
where variety shows, but also food service and ballroom events take place.
The regrettable state of performance material and/or manuscripts for
many early or rarely staged American musicals prompted the National
Institute for Musical Theater to initiate a new program: the AMERICAN
MUSICAL THEATER PRESERVATION PROJECT. The first phase consists
of the compilation of a Catalogue of the American Musical, listing the
sources and availability of authentic musical material. No other music
form is prey to so numerous and diverging arrangements, and the
establishing of original versions - regarding orchestration as well as
musical numbers which were added, deleted or rearranged at a later date
- will be a challenge to the editor/archivist, Robert E. Kimball, who was
also the organizer of Yale's Music Theater Collection. American Express
has given an initial grant of $50,000 to get the project under way.
MET
BROADCAST
ARCHIVES
In April, t h e SORIA STUDIO was d e d i c a t e d a t t h e New York Public Library
a t Lincoln C e n t e r .
Named a f t e r t h e l a t e Dario Soria, who had been
d i r e c t o r of t h e M e t r o p o l i t a n Opera Guild for nine years and was t h e
producer of the Metropolitan Opera historical broadcast recordings, the
new Studio will form the archives of the Metropolitan Opera broadcasts.
BRITISH
RECORDINGS
ARCHIVES
London has a new NATIONAL DISCOGRAPHY INFORMATION SERVICE.
I* ' s administered jointly by the Mechanical Copyright Protection Service
and the British Library's National Sound Archives. Information is available
from the former, while the records proper are stored at the l a t t e r .
COMPOSERS1
ARCHIVES
The University of Cincinnati College-Conservatory has established the
ALEXANDER ZEMLINSKY ARCHIVES, consisting of all his published scores
and available recordings, in addition to documents, letters, photographs
and other memorabilia. They will be housed in the University's newly
created Zemlinsky Study Room, and will be open to scholars and performers.
-42-
LIBRARIES AND ARCHIVES
Yale University's Music Library will be the repository for a collection of
memorabilia, including manuscripts and printed scores, correspondence,
essays, set designs, etc., pertaining to the Austrian composer, FRANZ
SCHREKER (1878-1934).
The musical manuscripts of British composer ELISABETH LUTYENS (19061983) have been purchased from her heirs by the British Library to form
the Lutyens Collection. Her operatic compositions include Infidelio (1954),
Time Off? Not a Ghost of a Chance (1968), Isis and Osiris (1976), and a
yet unperformed work, The Numbered.
Upon the death of LOUIS GRUENBERG's widow, the manuscripts of the
full scores of Emperor Jones and Jack and the Beanstalk went to the
Music Division of the New York Public Library at Lincoln Center. This
summer, the Library will be mounting an exhibit of Gruenberg's music,
of photos and designs pertaining to his stage works, and other memorabilia.
ATTENTION CONDUCTORS
Conductors' Training Institutes
West Virginia University in Morgantown has
scheduled the 1986 CONDUCTOR'S GUILD Summer Institute for July 6 to August 1, 1986.
Further information is available from Jennifer
Schuler, Creative Arts Center, WVU, Morgantown, WV. (See "Attention Composers" for a
joint conductor/composer summer seminar, also
held at West Virginia University.)
auditors may observe the master classes, discussions and critique sessions as well as the twenty
workshop periods of rehearsals and performances under Mr. Schuller's guidance. The
subsequent Festival, August 1 through 16, offers
concerts and a chamber music training program
for instrumentalists with members of leading
American orchestras in residence as instructors.
Conductors' Competition
The
1986 NICOLAI MALKO COMPETITION for
Among the oldest and most prestigious programs Young
Conductors - 6/15-20/86 in Copenhagen,
for young conductors is that at Tanglewood/ Denmark
open to conductors born between
Berkshire Music Festival. The dates for this June 21, is
1954 and June 15, 1966.
year's Summer Institute are 6/30 - 8/26.
Winners
After resigning from the Tanglewood Music
Center, Gunther Schuller joined the CONDUCTORS' TRAINING PROGRAM at THE FESTIVAL
AT SANDPOINT, located in the mountainous
Panhandle of Northern Idaho. With the Spokane
Symphony in residence, four conductors between
the ages of 18 and 30 receive extensive training
over a two-week period. Now in its third year,
the dates for the 1986 Conductors' Seminar are
July 20 to August 3. Applications must be
accompanied by a curriculum vitae, three letters of recommendation and an optional video
tape showing the applicant in rehearsal or
performance. Further information may be obtained from the Executive Director, The Festival at Sandpoint, P.O.Box 695, Sandpoint, Idaho
83864; for telephone inquiries call (208) 2654554. In addition to the four conductors,
actively enrolled in the program, up to twenty
-43-
Russian-born YAKOV KRE1ZBERG won first
prize at the Stokowski Conducting Competition
sponsored by the American Symphony Orchestra.
Mr. Kreizberg is the brother of Semyon Bychkov, music director of the Buffalo Philharmonic,
whose name became famous when Karajan
suggested the then 28-year-old conductor as
his possible successor with the Berlin Philharmonic. Since both brothers have chosen the
same career, the use of a different name for
the younger sibling seems only natural. Other
winners at the February contest in New York
were KENNETH KIESLER, NEAL GITTLEMAN
and GARY SHELDON.
The 1985 Vittorio Gui International Conductors
Competition in Italy was won by DERRICK
INOUYE, Music Director of the Regina (Saskatchewan) Symphony.
[]
EXHIBITIONS
Evan Baker, who was responsible for the major Verdi exhibit in Colorno,
Italy, last fall (see Vol. 26, No. 3), was recently the curator for an
exhibition at the Teatro alia Scala, IMMAGINI DELLA CREAZIONE DI
UN'OPERA: Die Frau ohne Schatten (Images of the World Premiere of an
Opera). Prompted by La Scala's first production of the work, the exhibit
was devoted to pictures, memorabilia, and related material, recording the
world premiere at the Vienna State Opera in 1919. Mr. Baker was assisted
by the Strauss Institute in Munich, the composer's daughter-in-law Alice
in Garmisch, Dietrich Roller of Vienna, Willi Schuh of Zurich, Gottfried
Wagner at Cerro Maggiore, the Picture Archives and Theater Collection
of the Austrian National Library in Vienna, the von Hofmannsthal estate
in Freies Deutsches Hochstift near Frankfurt, and by several other sources,
in collecting the unique material for this show, installed from March 6 to
28 in the theater's lobby - not at the Scala Museum.
The Vincent Astor Gallery of the New York Public Library at Lincoln
Center evokes nostalgic as well as joyous thoughts and memories with its
current show, THE HAMMERSTEINS OF NEW YORK: 100 YEARS OF
MUSIC AND THEATER. We follow three generations of this illustrious
family, beginning with the great-grandfather, Oscar (I), who built the first
theaters at Times Square, and who engaged in a lively competitive feud
with the Metropolitan Opera as founder and head of the Hammerstein/
Manhattan Opera Company. His sons, who produced Broadway operettas,
were succeeded by Oscar II, creator of many world-famous lyrics for
songs of what we consider today as the classical American musicals. The
great-grandson of Oscar I, William, was a consultant for this show of
memorabilia, pictures, music, etc., which can be seen at Lincoln Center
until September 20.
THE THREEPENNY OPERA AS SEEN BY ARBIT BLATAS will be on
exhibition at the Theatre Collection of the Museum of the City of New
York between April 22 and October 15, 1986. Inspired by the 1954
production of the Weill opera, which played for six years at New York's
Theatre de Lys and starred Lotte Lenya, the Blatas collection consists
of paintings of a total of twelve scenes and eleven characters; also of
17 lithographs, 11 drawings, and ten bronze sculptures. The sculptures,
representing different characters of the opera, were originally
commissioned from the artist by Tiffany & Co., and sold in sterling silver
for $10,000. This will be the first time that all of Mr. Blatas' creations
on The Threepenny Opera can be seen in one show.
In March, New York's Cooper-Hewitt Museum, known as a special place
for stage and costume designs, opened an exhibit, LA NIJINSKA: A
DANCER'S LEGACY; it will be in place at the former Carnegie mansion
on Fifth Avenue through mid-July. Bronislava Nijinska, sister of the
famous Vaclav Nijinsky, was a dancer with the Ballets Russes and later
head of her own company, and she was a particularly successful
choreographer in her own right. The exhibit offers an excellent record
of her important contribution to dance, music and the fine arts; it
includes sketches by her as well as some actual costumes and designs
made especially for her by such artists as Georges Braque, Juan Gris,
Alexandra Exter, Marie Laurencin, Natalia Gontcharova, Pablo Picasso,
Max Ernst and Joan Mir6. The show, which also includes some private
-44-
EXHIBITIONS
photos, follows her career, suggestive of a living biography of her, her
friends and colleagues, with views of the international companies and
famous artists with whom she worked - in Russia, France, England, and
Italy - also featuring composers such as Stravinsky and Poulenc, whose
major works she choreographed. A film of her ballet to Stravinsky's Les
Noces can be viewed on a videoscreen, as danced by a California ensemble.
ROBERT ISRAEL'S STAGE AND COSTUME DESIGNS are on view at New
York's Max Protech Gallery on West 57 Street until the end of August.
They include sketches for his latest commission by the Seattle Opera,
sets and costumes for the four operas of Der Ring des Nibelungen. A
formal opening of the show benefitted the opera company.
San Francisco Opera's War Memorial House staged a summer exhibition
by drawing on its own large archives: THE RING RESPLENDENTPHOTOGRAPHS BY IRA NOWINSKI. The suite of 26 black and white
photos represents a pictorial history of the San Francisco Opera's 1985
new productions of the Ring Cycle. Included are complete stage shots
as well as pictures of artists in rehearsal, between acts and in performance.
The show was on view at the Opera House Museum May 24 through July 20.
In celebration of the Centenary of the birth of soprano EVA GAUTHIER,
the Music Division of the National Library of Canada and the National
Arts Centre in Ottawa co-sponsored an exhibition on her life and work.
Earlier in the year, soprano Joan Patenaude-Yarnell gave a memorial
concert in Montreal, recreating a Gauthier program with the soprano's
favorite French art songs.
The latest show on display by the New York Public Library at Lincoln
Center is DESIGNS IN JAZZ BY DAVID STONE MARTIN. A joyous and
fun exhibit, it demonstrates the fine graphic art, imagination and
inventiveness of the artist and illustrator, particularly in his designs for
record covers, programs and posters.
New York's Lehman College in the Bronx offered an interesting exhibit
entitled ROBERT WILSON - TRANSMUTATION OF ARCHTYPES: MEDEA
AND PARSIFAL. Shown at the College's Art Gallery, it was on view in
April and May.
[]
Forecast (cont. from page 32)
houses. La Cenerentola, with captions, starring von Stade and Gonzalez
as the young lovers, conducted by Marriner, directed by Corsaro, designed
by Collavecchia, will be followed in December by the last two productions
of that season, both with English captions: Macbeth with Zampieri and
Diaz, conducted by Domingo, in a production shared with the Canadian
Opera Company, and Tristan und Isolde with Altmeyer and R. Lloyd, with
musical matters under the control of Zubin Mehta, stage direction under
Jonathan Miller, and designs by David Hockney. — The same company
plans a new Wozzeck under Simon Rattle for fall 1988.
[]
-45-
APPOINTMENTS 4 RESIGNATIONS
Government Agencies, U.S.& Canada
President Reagan has nominated LYNNE CHENEY for the Chairmanship of the National Endowment for the Humanities. Originally from
Wyoming, she is currently editor of the Washingtonian, and holds a PhD in British literature. A Senate confirmation is expected.
BEVERLY BENDA was named Director of the
Opera-Musical Theater Program of the National
Endowment for the Arts. She has taken over
from Acting Director Janet Brenner.
FLORENCE LOWE, who has been in charge of
Public Relations for the National Endowment
for the Arts since 1970, is retiring from this
position. She will, however, continue to be
active, this time with the PR and consulting
firm, Kamber Group, where she will establish
a new arts and culture section.
JAMES BACKAS exchanged the post of Executive Director of the D.C. Arts Commission for
that of the Maryland State Arts Council. He
had served on the Council in the early '70s,
later joined the National Endowment for the
Arts, the Southern Arts Federation and others
before his last position with the DC Commission.
GLORIA COHEN, who became NASAA's first
Assistant Director five years ago, is leaving
this post, and MARGOT H. KNIGHT, formerly
with the Washington State Commission for the
Humanities, will be her successor.
Chief Deputy Director of the California Arts
Council for the past three years, ROBERT H.
REID, was named the Council's Executive Director. Previously, he owned and managed a sports
promotion business.
The Vermont Council on the Arts has named
PETER SMITH its new President, and JOHN
LeBARON, formerly of the Massachusetts Department of Education, its new Executive Director.
The Canada Council signed LOUISE LAPLANTE
as the new Head of the Music Division of the
Council. Her professional affiliations were with
the Canadian Music Centre, the Canadian
Cultural Ministry, the Canadian Conference of
the Arts, and, most recently, with the Youth
Orchestra of Quebec, where she was General
Director. She fills the position formerly held
by Franz Kraemer, who retired but still serves
as advisor to the Council's director, Peter
Roberts.
SONJA M. KOERNER was elected Chairman of
the Ontario Arts Council.
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The Mid-Atlantic States Arts Consortium has
named MICHAEL BRAUN to the post of Executive Director. He has been affiliated with state
and regional arts agencies for the last seven
years.
National Arts Organizations
In January, the College Music Society has
placed into office the following new board
members: DAVID WILLOUGHBY as Presidentelect, MAUREEN CARR as Secretary, JACQUELYN BOSWELL Board Member/Music Education,
and LOIS SVARD Board Member/Performance.
The International Music Council elected Brazilian composer MARLOS NOBRE President, succeeding the Austrian Gottfried Scholz.
A new President was elected to a two-year
term by the Association of College, University
and Community Arts Administrators (ACUCAA).
He is SIDNEY J. McQUEEN, Executive Director
of Broward Arts Council's Performing Arts
Center Authority in Florida.
With Hal David not running for reelection, the
Board of Directors of ASCAP chose MORTON
GOULD to succeed him as President of the
organization.
The International Association for Opera and
Music Theatre elected JACQUES LANGEVIN,
General Director of L'Op6ra de Montreal, Vice
President to represent Canadian companies on
the international body. David DiChiera was
named representative of the United States when
the organization was founded one year ago.
With the resignation of JAMES BROWNING as
Executive Secretary of the National Association
of Teachers of Singing, the post was assigned
to BOB DOWNING, who will serve in this capacity from the offices in Jacksonville, FL.
BARBARA LORBER, former Public Affairs
Director of the Metropolitan Opera and currently Director of Contributions Strategies and
Communications Group at Hill and Knowlton
(see Vol. 26, No. 3), has been elected to the
Board of the Arts and Business Council. She
will also serve as a member of the Council's
Executive Committee. Some of the Council's
most beneficial and wide-spread activities are
administered by the Business Volunters for the
Arts, which has a current enrollment of some
1,000 volunteers in fifteen cities.
The Association of College, University and
Community Arts Administrators (ACUCAA) has
engaged MARTHA DODSON as Director of
Information Services, a post held by Susan
Dettbarn Bonaiuto, who resigned because of her
relocation from Wisconsin to New Hampshire.
than she has until now. She has a long-standing
affiliation with the company, having made her
debut in a leading role there in 1960. She is,
at this date, scheduled to sing with the San
Francisco Opera through 1990. Other members
Opera Companies - Officers
Elections and reelections of members of the newly selected to join the board of directors
board of directors of the Metropolitan Opera include CHARLOTTE MAILLIARD, Deputy
put the following officers at the head of the Chief of Protocol for the City of San Francisco,
Association's board: JAMES S. MARCUS EVERT B. PERSON, WILLIAM D. ROLLNICK,
- Chairman of the Executive Committee for and THOMAS TILTON. Reid Dennis continues
the last ten years, to Chairman of the Board, as Chairman, and Tully Friedman as President
succeeding WILLIAM ROCKEFELLER who was of the San Francisco Opera's board of directors.
named Honorary Chairman; LAURENCE D. LOVETT to the new position of Vice-Chairman of Recent elections brought a new President to
the Board, MRS. GILBERT W. HUMPHREY the Pittsburgh Opera's Board of Directors.
- President, MICHAEL V. FORRESTAL - Chair- CHARLES W. PARRY, Chairman of Alcoa, will
man of the Executive Committee, J. WILLIAM assume this office in July '86 for a two-year
FISHER and ALTON E. PETERS - Vice Presi- term. He succeeds Dr. JOSEPH A. MARASCO,
dents, RICHARD R. SHINN - Treasurer, and Jr., who will become Executive Vice President.
WILBUR DANIELS - Secretary.
Seven new
members were elected as Managing and Advi- Opera Companies - Head Administrators
sory Directors, and nine new names were added With the new administrative/artistic team firmto the members of the Association, among the ly in place, the Opera Theater of Saint Louis
latter that of COS National Chairman, MRS. will retain RICHARD GADDES as Consultant
KLAUS (MARGO) BINDHARDT.
for the next three years. His counsel will be
available to General Director Charles MacKay,
In addition, the Metropolitan Opera Guild has Artistic Director Colin Graham, and Music
elected new officers: ALTON E. PETERS was Director John Nelson.
named President, succeeding Katharine O'Neil,
who has joined the executive department of An administrative reorganization at the MinneLincoln Center as Director of Special Planning, sota Opera seems to have been in progress for
and THOMAS J. HUBBARD was elected Chair- the last few months. The final alignment of
man of the MOG board, a post relinquished by persons, positions and responsibilities is as
Laurence D. Lovett.
Mr. Peters, a Vice follows: KEVIN SMITH has been promoted to
President of the Metropolitan Opera, has served General Director with responsibilities 'or artison the MOG board since 1965. Mrs. PETER tic as well as fiscal and administrative matters.
F. PACKARD became First Vice President, and Edward Corn, who lately became Executive
RUDOLPH S. RAUCH III, Chairman of the MOG Producer, and who currently is there in an
Executive Committee.
advisory position, will leave the company in
September '86. Meanwhile, Metropolitan Opera
The Lyric Opera of Chicago has elected its coach, assistant conductor and prompter, JOAN
officers for the 1986-87 season as follows: DORNEMAN, has been named Music Director of
HAROLD WASHINGTON - Honorary Chairman the Minnesota Opera. She will remain with
of the Board, J.W. VAN GORKOM - Chairman, the Metropolitan Opera, while assisting and
WILLIAM B. GRAHAM - President and Chief advising the company in St. Paul about programExecutive Officer, FRANK CONSIDINE - Chair- ming, casting and other musical matters, collabman, Executive Committee, JAMES W. BRICE, orating with Mr. Smith, who in turn reports to
LESTER CROWN, and JOHN D. GRAY - Execu- the company president, Paul L. Parker. The
tive Vice Presidents, ANTHONY ANTONIOU, company's co-founder and former artistic
ARCHIE R. BOE, WILLIAM S. NORTH, JOHN director, WESLEY BALK, continues to lead the
SEABURY, MRS. E.B. SMITH, and DANIEL Summer Institute and to stage an occasional
TERRA - Vice Presidents, LEE FREEMAN, Sr. opera.
- Secretary/General Counsel, PAUL C. WILSON
- Treasurer, and ARDIS KRAINIK - General ALFRED KENNEDY, President of the Board of
Manager.
Directors of the Atlanta Opera, will replace
General Manager JONATHAN KROMER beginMARILYN HORNE is one of three new members ning with the summer '86 season.
elected to the Board of Directors of the San
Francisco Opera Association. She has recently BARBARA SILVERSTEIN, founder of the Pennpurchased a home in California and will spend sylvania Opera Theater, has been promoted to
considerably more time on the Pacific Coast
General Manager and Artistic Director of the
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company. Two new positions with the company
are Director of Development and Marketing
- recently filled by DAVID E. PHILLIPS, and
Business Manager - with TAMARA STOCKTON
GUNDERSEN in the post. Diane Spivey Rogers
resigned as Managing Director.
will serve on the staff while also holding
membership on the board. EDWARD C. ROCHETTE will function as Consultant for Management and Development; SUSAN CASTNER
will work as a consultant in Marketing, and
Karol Martin will be on the Executive Committee as Vice President of Marketing.
The Seattle Opera's board of directors has
renewed SPEIGHT JENKIN's contract as the The June Opera Festival of Princeton named
company's General Director for another three- STEVEN BREWSTER JORDAN Manager. His
year term.
previous positions were with a Theater FoundaBARBARA BERRY, a former member of the tion in Hawaii and with the San Francisco
Board of Directors of the Virginia Opera, was Opera. In New Jersey, he is replacing former
named General Manager of the company, a Manager James Dickson.
position formerly occupied by DAVID KLEISER.
Former Metropolitan Opera mezzo-soprano ROEVAN R. LUSKIN has moved from Vice President SALIND ELIAS will be the new Artistic Director
for Finance and Planning at the Michigan Opera of the Lake George Opera Apprentice Program.
Theater to become Managing Director of the She will also be in charge of stage direction
Lyric Opera of Kansas City. Before joining of some of the operas in the company's main
the Detroit company, Mr. Luskin managed the festival season. Brian Lingham is the festival's
General Director.
Chattanooga Opera Association.
The Palm Beach Opera announced the appoint- A restructuring of the administration of the
ment of JOSEPH H. CONLIN to General Manag- Tulsa Opera resulted in the sharing of decisioner, where he succeeds Herbert Benn.
Mr. making by General Director EDWARD PURConlin's previous activities included that of RINGTON and Managing Director CHERYL
artists' representative; he has also served with ZRNIC. While the former will continue with
his artistic responsibilities, the latter will have
several international arts organizations.
added and wider duties regarding the monetary
The Mobile Opera Company has signed PELHAM side of the administration.
G. PEARCE, Jr. as its new General Manager,
and HAL FRANCE as the company's Music The Kitchen, New York's center for new,
Director. — The Calgary Opera Company, under experimental and avant-garde pieces, has apthe management of Brian Hanson, has engaged pointed BARBARA L. TSUMAGARI as Execuconductor DAVID SPEERS as Assistant General tive Director.
Manager, TERESA HERGERT as Marketing
Director. — The Opera Theatre of Alberta in The Houston Grand Opera appointed ELAINE
Edmonton engaged NEJOLLA KORRIS as its ADAMS Education Coordinator. In this position
she will also be involved with the activities of
first Administrative Manager.
the Houston Opera Studio, the Texas Opera
For late announcement from New York City Theater touring program, and the docents'
elementary and high school educational proOpera, see page 58.
gram.
Opera Companies - Department Heads
Changes within some departments at the Metro- STEPHEN SULICH, coach, associate conductor,
politan Opera put the Marketing and Public and chorus master with opera companies in
Relations division together with the Develop- Rochester, Chautauqua, Carmel Valley, and
ment Department under the management of most recently with the Houston Grand Opera,
MARILYN SHAPIRO.
Assisting her in the was named Music Director of the Texas Opera
development area is a new Director, VINCENT Theater of the Houston Grand Opera. His
SPINELLI. The most recent changes brought predecessor was Daniel Lipton.
the resignations of MICHAEL BRONSON, director of the Met's media department and producer ANN BALTZ was named Music Director of the
of the radio and television broadcasts, and of Midwest Opera Theater, the touring and educaMARCIA LAZER, director of marketing and tional ensemble of the Minnesota Opera; her
contract is for the 1986-87 season.
public releations.
The Colorado Opera Festival announced three
new appointments, drawn from the members of
the company's board of directors. All three
The Lyric Opera of Kansas City and the Kansas
City Symphony have engaged TEREANN
GREENWOOD as their first Tour Director. She
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has been Director of Project Development for
Young Audiences, and served on the Executive
Board of Missouri Citizens for the Arts.
The San Diego Opera filled its opening for a
Director of Development to succeed Ann Spira
(more recently Mrs. Ian Campbell) by naming
Mrs. SHARON LeeMASTER to that post. She
has served on various local and state arts
committees and most recently was Executive
Director of the La Jolla Chamber Music Society.
— NORMAN A. GILL has joined the Kentucky
Opera as Director of Audience Development,
where PHYLLIS TORSTRICK has been promoted
to Director of Sales. — The Portland Opera
has signed MARY JO DALY as its new Director
of Marketing and Development; she is taking
over from Margrit Jay.
for our members during a COS Washington
Conference.
British composer OLIVER KNUSSEN (Where the
Wild Things Are, etc.) will be composer-inresidence at the Tanglewood Music Center/
Berkshire Music Festival this summer. He will
be teaching and also supervising performances
of his works within the Festival's Contemporary
Music Week in August.
Music Director CHRISTIAN BADEA has announced his resignation from the two Spoleto
Festivals, in Charleston and in Italy, effective
the end of this summer.
NICHOLAS GOLDSCHMIDT, founder in 1968 and
since then artistic director of the Guelph Spring
Festival in Ontario, announced his retirement
The Michigan Opera Theater has several new from that position, effective June 1987. He
names and faces as heads of departments, such had been head of orchestra or opera departas PATRICE BUTKIEWICZ - Director of Devel- ments at the San Francisco Conservatory,
opment, JANET DREW ARNOLD - Director of Stanford and Columbia Universities, the Royal
the Annual Fund Drive, JANET McCARTY Conservatory of Music in Toronto, and later at
- Production Administrator, CHRISTINE SLO- the University of British Columbia in Vancouver.
WINSKI - Director Audience Development, and He was Managing Director of the Vancouver
CHRISTA GLASSMAN as Information Systems International Festival and served as Chief of
Coordinator. — DANA RAY WEST became the Performing Arts Division of the Centennial
In 1977, he was
Director of Marketing and Public Relations for Commission of Canada.
the Indianapolis Opera. Her former places of awarded the Order of Canada. A successor
employment include the press office of The has not yet been announced.
White House, and Time magazine. — Mrs.
BARBARA FEAD, former Box Office Manager Symphony Orchestras
at the Greater Miami Opera, has been advanced Israeli-born GABRIEL CHMURA, winner of the
to the company's Director of Marketing.
Karajan Conductor's Competition and Music
Director of the Bochum (West Germany) SymThe Lyric Opera Cleveland has engaged the phony, has been named Music Director and
design and production team of RUSTY SMITH Principal Conductor of Canada's National Arts
and MICHAEL BAUMGARTEN for its two sum- Centre Orchestra in Ottawa, effective summer
'87. Until then he has been given the title of
mer Al Fresco productions.
Music Director Designate and as such will
participate immediately in future planning.
Festivals
The Wolf Trap Foundation has elected Dr. JOHN JOANNE MORROW was promoted to NAC's
L. MeLUCAS Chairman of the Board, to succeed Music Producer.
William Bolger, who will remain on the Foundation's Board of Directors. Newly elected to The Handel and Haydn Society of Boston has
the Board were also the following members: signed CHRISTOPHER HOGWOOD as its new
ALAN KAY, JACQUES MOORE and ROBERT Music Director and Conductor.
J. RITENOUR. Reappointed to the position of
Vice Chairman were BEVERLY SILLS, The Hon. ZDENEK MACAL was named Principal Guest
G. WILLIAM MILLER, and EARL C. WILLIAMS. Conductor for '86-87 with the San Antonio
President CAROL V. HARFORD, who has been Symphony, the same year that his position with
with Wolf Trap Farm Park since its inception the Milwaukee Symphony will be upgraded from
fifteen years ago and has occupied the position Associate Conductor to full-time Music Direcof President for the last six years, announced tor. — The Houston Symphony Orchestra's Pops
her retirement effective in fall '86 after the Series has chosen NEWTON WAYLAND as its
conclusion of the current season. She came to Principal Conductor for two years, beginning
Wolf Trap from the Cultural Affairs Office at in summer '86.
The White House, and we at Central Opera
Service remember her gratefully for her assis- After fifteen years as Music Director and
tance in arranging for a White House reception Conductor of the Philharmonic Symphony of
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Westchester, MARTIN RICH is retiring at the
end of this season.
In recognition of his
dedication as musical leader in the area, the
Mayor of Mount Vernon presented him with a
Honorary Proclamation, declaring a Martin Rich
Day in Mount Vernon.
Both orchestra and
symphony board paid homage to him upon his
retirement.
He continues teaching privately
and holding master classes at
different
conservatories and music schools in New York,
Philadelphia, Chicago, and Austria.
The Chicago Symphony has engaged KENNETH
JEAN, formerly with the Cleveland and the
Detroit orchestras and most recently with the
Hong Kong Philharmonic, as Associate Conductor, beginning in fall '86. MICHAEL MORGAN
will be the orchestra's new Exxon/Arts Endowment Assistant Conductor.
ISAIAH JACKSON will assume the post of Music
Director of the Dayton Philharmonic Orchestra
at the beginning of the 1987-88 season.
For the last two years, Russell Patterson,
Artistic Director of the Lyric Opera of Kansas
City, also functioned as principal conductor of
the Kansas City Symphony. He has now turned
over these duties to the Symphony's new Music
Director, WILLIAM McGLAUGHLIN.
DARRELL EDWARDS, formerly of Columbus,
OH, became Manager of the Dallas Symphony,
and GREG ANTHES is the new Executive
Director of the Springfield (OH) Orchestra.
The Toronto Symphony Orchestra will undergo
some changes, beginning with the announced
resignations of Music Director ANDREW DAVIES
effective in summer 1987, and that of Managing
Director WALTER HOMBURGER as of fall '88.
The latter position will go to Mr. Homburger's
current assistant, J. WRAY ARMSTRONG.
— Another resignation becomes effective this
summer when Music Director BORIS BROTT
will leave the Orchestra of Nova Scotia.
Recent appointments to Canadian orchestral
managerial positions include MAX TAPPER to
Executive Director of the Winnipeg Symphony,
ESTHER HANSON with the same title to the
Regina Symphony, and PIERRE CAZALIS as
Director General to the Orchestre Symphonique
de Quebec. — GORDON NEUFELD has resigned
as General Manager of the Edmonton Symphony.
— Following a breakdown of negotiations
between orchestra musicians and management
this past winter, which temporarily jeopardized
the season, the VANCOVER SYMPHONY engaged a new Manager, ED OSCAPELLA, former
head of the London, Ontario, Grand Theatre.
Arts Centers, Theaters, Chorus
Lincoln Center has announced its choice for a
successor of Martin E. Segal, who is relinquishing the post of Chairman this summer (see Vol.
26, No. 3). GEORGE WEISSMAN was elected
to a two-year term. He has been affiliated
with the Center as early as 1960, when it was
still in the planning stages, and, for the last
two years, he has been a Vice Chairman. He
also serves on the Center's Committee for the
Future. In 1984, he retired as Chairman and
Chief Executive Officer of Philip Morris, which
has become a major conglomerate under his
leadership. Mr. Segal will remain on the Lincoln
Center Board as Chairman Emeritus. His first
International Festival will be held in summer'88.
The Brooklyn Academy of Music has engaged
MICHAEL HOWELL, formerly of the Canadian
Opera Company, the San Antonio Festival and
others, to the newly created post of Director
of Publicity and Public Relations.
New York's Merkin Concert Hall, one of the
city's favorite recital halls, has appointed
ANDREW BERGER, former music director of
the classical music station WNYC-FM, director
of the auditorium.
His predecessor, LYDIA
KONTOS, became Executive Director of the
Hebrew Arts School at Abraham Goodman
House, which administers the concert hall.
The Guthrie Theater in Minneapolis has named
GARLAND WRIGHT Artistic Director with newly expanded authorities covering the theater's
entire operation. He is replacing LIVIU CIULEI
( see Vol. 26, No. 3) and, in this new position,
will also assume some of the responsibilities
carried by Donald Schoenbaum, the current
Managing Director who will retire in 1987.
From 1980 to 1983, Mr. Wright was affiliated
with the Guthrie as Associate Director and
most recently held the post of Artistic Associate at the Arena Stage in Washington.
The Folger Shakespeare Theater in Washington
named MICHAEL KAHN, Chairman of Juilliard
School's theater department, to succeed Artistic Producer John Neville-Andrews, who has
resigned.
Previously, Mr. Kahn had been
Artistic Director of the American Shakespeare
Theatre at Stratford, CT.
JOHN CURRIE has been named Music Director
and Conductor of the Los Angeles Master Chorale and Sinfonia; the ensemble's founder, ROGER WAGNER, is now music director laureate.
Foundation, Publisher
RICHARD RODZINSKI, formerly opera administrator with the Metropolitan Opera (four years)
-50-
and San Francisco Opera (six years), has been VINCENT LIOTTA has rejoined the Opera Thenamed Executive Director of the Van Cliburn ater of the University of Washington in Seattle
Foundation. He is the son of the late conductor as Director of Production; Robert Feist is Music
Artur Rodzinski, and has most recently been Director.
an evaluator for the Opera-Musical Theater
Program of the National Endowment for the San Diego Opera's General Director IAN CAMPArts. He will assume his new post immediately; BELL has been appointed Guest Professor of
the next international piano competition is Music by the San Diego State University, where
scheduled for May 1989.
he will be teaching courses in history and style
of opera.
G. Schirmer/Associated Music Pubishers announced the appointment of PAUL ECHOLS to Canadian soprano LOIS McDONALL joined the
Vice-President and Director of Publications. voice faculty and opera department of the
His previous affiliations were with Southern University of Toronto.
Music Publishers, Bel win Mills, the Charles Ives
Society and others. He is also in charge of McMasters University in Hamilton, Ontario,
the Early Music Ensemble of the Mannes signed HAROLD C. SCHONBERG, retired music
College.
critc of The New York Times, as Distinguished
Critic-in-Residence for a three-month term.
Academia
The Curtis Institute has turned to one of its
The following sopranos have joined the voice
most prestigious alumni in choosing its new
faculty of Montclair State College in New
director - the pianist GARY GRAFFMAN. He
Jersey: SANDRA DARLING, TERESA KUBIAK
is the first new appointee since the 1985 uproar
and LOUISE WOHLAFKA.
over the dismissal or resignation of Mr. de
Lancie. Mr. Graffman, following an injury to
his right hand in 1980, was forced to greatly The Washington (DC) Conservatory of Music
curtail his concertizing, and concentrated has signed Maestro FABIO MECHETTI, originalprimarily on teaching. His title at Curtis will ly of Brazil, as Orchestra Conductor-in-Resibe Artistic Director, relieving the post of some dence, and mezzo soprano RENATA BABAK to
of the administrative and fund-raising chores head its new opera workshop.
formerly associated with the directorship.
Conductor MAURICE PERESS and stage director RHODA LEVINE have joined the faculty of
Composer ERIC SALZMAN serves as Visiting the Aaron Copland School of Queens College,
Professor of Composition at Yale University for New York.
the spring '86 semester. He is also the Artistic
Director of the American Music Theater FestiOpera/Symphony Abroad
val in Philadelphia.
American conductor DENNIS RUSSELL DA VIES,
who was just appointed Generalmusikdirektor
Composer JOHN CORIGLIANO has been named
of the City of Bonn, may be the Maestro with
Distinguished Professor of Music at Lehman
the most positions on two continents: Music
College of the City University of New York.
Director of the Stuttgart Opera, Principal
Conductor and Classical Music Director at the
DAVID AMRAM is this year's Composer-in- Saratoga (NY) Music Festival, Guest Conductor
Residence for New York University's Summer with the Philadelphia Orchestra, Advisor to the
Musical Theatre Workshop, where his Twelfth American Composers Orchestra (NYC) and MuNight was staged in June.
sic Director of the Cabrillo (CA) Music Festival.
He will assume this new position in fall '87,
Juilliard's American Opera Center has engaged after his contract with Stuttgart is terminated.
EDWARD ALLEY as Administrator, replacing At this time, he plans to retain his American
Erica Gastelli. He comes to Juilliard from the affiliations. In Bonn, his five-year contract
New York Philharmonic and, before that, was puts him at the head of the orchestra of the
head of the Martha Baird Rockefeller Fund.
Beethoven Halle, of the Bonn New Music Days
and the Beethoven Festival as well as all other
Boston University School of Music has signed music programming for the city. Beginning with
tenor RICHARD CASSILLY as member of its the 1988-89 season, he will also be Music
voice faculty. — The University of the Pacific Director of the Bonn Opera House. WOLFGANG
in Stockton has a new Director of Opera, the G6NNENWEIN is Stuttgart's Generalintendant,
soprano EDNA GARABEDIAN. — After a one- who will have to name a successor to Mo.
year term with the University of Oklahoma,
Da vies.
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Another American conductor, JOHN MAUCERI,
who is Music Director of the American Symphony Orchestra in New York, has also accepted
the post of Music Director of the Scottish
Opera as of next summer. He will succeed Sir
Alexander Gibson who is retiring after 25 years
as founder/director of the company. JOHN
COX became the new Artistic Director,
RICHARD MANTLE Managing Director.
With GARY BERTINI taking over the musical
direction of the Frankfurt Opera in 1987,
succeeding Michael Gielen, PETER DANNENBERG, formerly of the Hamburg Opera, will
join Mo. Bertini in Frankfurt as Chefdramaturg.
changes in directorial posts at Swiss opera
houses move HORST STATKUS from Basel to
Lucerne in summer '87 - for one year he will
hold a dual position until his Basel contract
has run out - while PHILIPPE DE BROS will
go from Lucerne to the opera house in Bern.
With him will come RODERICK BRYDON, his
colleague in Lucerne, keeping this team of
Intendant and Music Director intact also for
the country's capital, Bern, where Peter Maag
will continue to conduct some productions.
Another change becoming effective after the
current season is KURT HORRES' tenure as
General Director of the Deutsche Oper am
Rhein, where he will begin next season, serving
both Dusseldorf and Duisburg. With him will
be two new administrative assistants, Dr. VITA
HUBER, and FRED R. HARTMANN. — At the
beginning of this season, JOSE COLLADO assumed the post of Generaldirektor of the
Badisches Staatstheater in Karlsruhe.
The Hamburgisehe Staatsoper has announced the
successor to Rolf Liebermann, who had rejoined
the company in an emergency, agreeing to
remain until 1987.
Conductor GERD ALBRECHT will become Generalmusikdirektor, beginning in 1988, and PETER RUZICKA, currently in charge of the Berlin Radio Symphony Orchestra, will take over at the same time as
administrator and Intendant. Mo. Albrecht will Last fall, PINCHAS STEINBERG began his
also become Music Director of the Hamburg tenure as Generalmusikdirektor in Bremen.
Philharmonisches Orchester.
— PETER GULKE, formerly of Dresden and
Weimar, will succeed Hanns-Martin Schneidt as
The search for a successor to Massimo Bogian- Generalmusikdirektor for the City of Wuppertal.
ckino as Artistic and General Director of the
Grand Opera in Paris has been terminated with GERARD MORTIER's contract as Artistic Dithe appointment of JEAN-LOUIS MARTINOTY. rector of the Royal Opera of Brussels has been
Sig. Bogianckino, who was elected Mayor of extended through the 1992-93 season.
the City of Florence, had to leave his post in
Paris in mid-season. M. Martinoty has been The Dublin Grand Opera has signed DAVID G.
influential in theater productions in France. COLLOPY as General Opera Administrator. He
LOTHAR ZAGROSEK will join him as Music held the position of Administrator with the
Director of the National Opera in Paris next Wexford Festival.
fall.
The Bournemouth Symphony Orchestra in EnAlso in fall '86, GUSTAV KUHN will become gland has named ANDREW LITTON, Associate
Music Director of the Teatro dell' Opera in Conductor of the National Symphony in WashRome. — MICHELANGELO VELTRI has ington and former NEA/Exxon Conductor, as its
accepted the post of Music and Artistic Principal Guest Conductor, beginning in 1986.
Director of the The'Stre d'Avignon.
The Victoria State Opera in Melbourne has enWith Helmut Drese taking over the Vienna State gaged SUZANNAH CONWAY as Artiste AdminisOpera next fall, his position at the Zurich trator.
Opernhaus had become vacant. It was CHRISTOPH GROSZER, formerly of Wiesbaden (see Chicago Symphony's Associate Conductor,
Vol. 26, No. 3), who was chosen as General HENRY MAZER, became the Music Director of
[]
Director to succeed him. Other forthcoming Taiwan's Kaohsiung Symphony Orchestra.
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LATEST ADDITIONS TO COS ENGLISH TRANSLATIONS DIRECTORY
BEETHOVEN:
CIMAROSA:
Fidelio Stefan Kozinski (OperaDelaware, Wilmington, DE)
Le Astuzie femminili Paul Stephan (Cooper Opera Works, New York)
n Maestro di cappella Andrew Foldi (Cleveland Institute of Music, OH)
HANDEL:
Agrippina Beaumont Glass (Boston Lyric Opera, MA)
Anne Ridler (Kent Opera, England)
Alcina Thomas Holliday (10 Wedgewood Dr., Westbury, NY 11590)
Stephen Wadsworth (Opera Theatre of Saint Louis, MO)
Xerxes Stephen Wadsworth (Skylight Comic Opera, Milwaukee, WI)
Albert Fuller (Juilliard School, New York)
HAYDN:
n Mondo della luna Paul Stephan (Cooper Opera Works, New York
HUMPERDINCK: Hansel and Gretel Carol Palca (Midwest Opera Theater, St. Paul, MN)
JANACEK:
Osud (Fate) Rodney Bloomer (English National Opera, London)
LEHAR:
Die lustige Witwe A. Holsing (Family Opera, North Bergen, NJ)
MOZART:
Don Giovanni Amanda & Anthony Holden (English National Opera, London)
La Finta semplice Clifford Reims (Roosevelt University, Chicago, IL)
Der Schauspieldirektor Michael Evenden (Allegheny Festival, Meadville, PA)
Lukas Foss (Brooklyn Philharmonic, New York)
Lisi Oliver (Atlanta Opera Studio, school tour, GA)
Hugh Wheeler (Eastman School/Music, Rochester, NY)
OFFENBACH:
La Chatte metamorphosee en femme Donald
Pippin (Pocket
Opera, San
Francisco, CA)
La Grande Duchesse de Gerolstein Cleveland Morris & Judy Brown (Delaware
Theatre Co., Wilmington, DE)
Le Mariage aux lanternes Veronica Reed (Florida State Univ., Tallahassee)
Orphe'e aux enfers Snoo Wilson (Houston Grand Opera/English National Opera,
London)
James Billings (Univ. of Colorado, Boulder)
PERGOLESI:
La Serva padrona Rex Hearne (Berkshire Opera Co., Lenox, MA)
PROKOFIEV:
The Love for Three Oranges Tom Stoppard (Cincinnati University, CollegeConservatory, OH)
PUCCINI:
La Boheme (adaptation for Papp's Public Theatre, NYC) David Spencer (Shukat
Co., 340 W 55 St., New York NY 10019)
ROSSINI:
La Cambiale di matrimonio (The IOU Wedding) (adaptation, not only transl.)
Richard
Pearlman
(Eastman
School/ Music, Rochester, NY)
La Cenerentola Peter Westergaard (June Opera Festival, Princeton, NJ)
n Viaggio a Reims Andrew Porter (Opera Theater of Saint Louis)
SALIERI:
Arlecchino Clifford Reims (Roosevelt University, Chicago, IL)
SALLINEN:
The King Goes Forth to France Stephen Oliver (Santa Fe Opera, NM)
SCHOENBERG: Pierrot lunaire Andrew Porter (Da Capo Chamber Players, New York)
SCHUBERT:
Fierrabras John Warrack (Oxford University Opera Club, Oxford, England)
STEFFANI:
Le Rivali coneordi Newell Jenkins (Clarion Music Society, New York)
STRAVINSKY: L'Histoire du soldat Frank Corsaro (Composers' Showcase, New York)
Pulcinella (full length vers.) Jonathon Field, San Francisco
WEBER:
Oberon new English text (not just transl.) Anthony Burgess (Scottish Opera,
Glasgow)
WEILL:
Der Protagonist Lionel Salter, Universal Edition/G. Schirmer
Der Zar lasst sich photographieren Lionel Salter (Universal Ed./G. Schirmer)
ZEMLINSKY:
Eine florentinische Tragodie Edward Downes (Royal Opera/Covent Garden,
London)
The Birthday of the Infanta Edward Downes (Royal Opera/Covent Garden,
London)
Correction: delete Don Pasquale
Arthur Lief
-53-
NEW ENGLISH CAPTIONS FOR PROJECTION ON SLIDES OR VIDEO/COMPUTER DISKS
The titles listed below should be added to the COS listing of available "English Captions in
Projection". All video/computer material for electronic projection, available from Four Corners
Productions in New York, includes 1) an IBM compatible computer disk, 2) title script, and 3)
cued score.
BACH:
St. Matthew Passion Four Corners Prod, replaces PepsiCo (slides) (video/
computer '86) (Friedman)
BELLINI:
La Sonnambula Four Corners Prod, (video/computer '86) (Friedman)
BIZET:
Carmen Four Corners Prod, (video/computer '86) (Friedman)
BOITO:
Mefistofele Four Corners Prod, (video/computer '86) (Friedman)
CIMAROSA:
n Matrimonio segreto Washington Opera, DC (slides 12/86)
DAVIES.P.M.:
Taverner Opera Company of Boston (slides '85)
DELIBES:
Lakmg Four Corners Prod, (video/computer '86) (Friedman)
DONIZETTI:
Don Pasquale Four Corners Prod, (slides) (video/computer '86) (Friedman)
L'Elisir d'amore Opera/Columbus, OH (slides 11/86)
Lucia di Lammermoor Four Corners Prod, (video/computer '86) (Friedman)
San Francisco Opera (slides 7/86) (Moor)
GOUNOD:
Faust Four Corners Prod, (slides) (video/computer '86) (Friedman)
JANACEK:
Jenufa San Francisco Opera (slides 12/86) (Y.S.Graff)
LEONCAVALLO: Pagliacci Four Corners Prod, (video/computer '86) (Friedman)
MASCAGNI:
Cavalleria rusticana Four Corners Prod, (video/computer '86) (Friedman)
MASSENET:
Cendrillon Four Corners Prod, (video/computer '86) (Friedman)
Manon Four Corners Prod, (video/computer '86) (Friedman)
San Francisco Opera (slides 12/86) (Bergen)
MONTEVERDI:
La Favola d'Orfeo Four Corners Prod, (video/computer '86) (Friedman)
L'Incoronazione di Poppea Four Corners Prod.(video/computer '86) (Friedman)
MOZART:
Le Nozze di Figaro San Francisco Opera (slides 12/86) (Cranna)
POULENC:
La Voix humaine San Francisco Opera (slides 7/86) (Bergen)
PUCCINI:
La Boheme Four Corners Prod, (video/computer '86) (Friedman)
San Francisco Opera (slides 12/86) (Cranna)
Madama Butterfly Four Corners Prod, (video/computer '86) (Friedman)
Opera/Columbus, OH (slides 3/87)
Manon Lescaut Four Corners Prod, (video/computer '86) (Friedman)
La Rondine Four Corners Prod, (video/computer '86) (Friedman)
Tosca Four Corners Prod, (video/computer '86) (Friedman)
Opera/Columbus, OH (slides 7/87)
Le Villi Piccolo Teatro dell'Opera/Brooklyn Academy (slides 5/86)
RIMSKY-KORSAKOV:The Tsar's Bride Washington Opera, DC (slides 12/86)
ROSSINI:
n Barbiere di Siviglia Four Corners Prod, (video/computer '86) (Friedman)
n Turco in Italia Dallas Opera (slides 5/87)
STRAUSS, R.:
Elektra Four Corners Prod, (video/computer '86) (Friedman)
TCHAIKOVSKY: Eugene Onegin San Francisco Opera (slides 12/86) (Bergen)
VERDI:
Un Ballo in masehera Four Corners Prod, (video/computer 9/85) (Friedman)
Don Carlos [French versj San Francisco Opera (slides 12/86) (Moor)
La Fanciulla del West Dallas Opera (slides 1/87)
La Forza del destino San Francisco Opera (slides 12/86) (Tallman)
Macbeth Opera/Columbus, OH (slides 10/86)
San Francisco Opera (slides 12/86) (De Rugeriis)
Otello Four Corners Prod, (video/computer '86) (Friedman)
Rigoletto Four Corners Prod, (video/computer '86) (Friedman)
La Traviata Four Corners Prod, (video/eompuer '86) (Friedman)
n Trovatore San Francisco Opera (slides 7/86) (Bergen)
Washington Opera, DC (slides 12/86)
WAGNER:
Gotterdammerung Seattle Opera (slides 7/86) (Friedman)
Die Meistersinger von NUrnberg San Francisco Opera (slides 12/86) (Bergen)
Das Rheingold Seattle Opera (slides 7/86) (Friedman)
-54-
WINNNERS
On April 20, eleven winners of the Metropolitan
Opera National Council Regional Auditions were
presented in a Finals Concert on the stage of
the opera house. They had been chosen two
weeks before when 24 finalists from 17 regions
competed on the Met stage. As has been the
custom throughout the last years, the winners
were accompanied by the Metropolitan Opera
Orchestra. A record audience attended the
concert which offered each winner at least two
and sometimes even more opportunities to be
heard in a variety of role excerpts - arias,
duets and ensembles. There were four sopranos: SUSAN BENDER (25 years old, from Washington, DC./Mid-Atlantic Region), ANDREA
CAWELTI (25, New York/Eastern), BARBARA
KILDUFF (26, San Francisco/Pacific), and MARILYN MIMS (31, Bloomington/Tri-State); two
mezzos: KIM KODES (25, Boston/New England),
and DEIDRA L. PALMOUR (30, San Antonio/
Southwest), three tenors: MARK BAKER (33,
Atlanta/Southeast), STANFORD OLSEN (26,
Louisville/Tri-State), and MICHAEL SYLVESTER (34, New York/Eastern), one baritone:
GORDON HAWKINS (27, Washington/Mid-Atlantic) and one bass: MARK S. DOSS (28, Chicago/
Central). — To have reached the Semi-Finals
in this prestigious contest, in which some 2,000
singers were heard initially, is in itself a special
honor and proof of excellence, bringing a cash
prize of $1,000. Those chosen for the Winners
Concert receive awards of $5,000 cash. We
are also pleased to publish the names of the
other young artists who made it to the last
round before the concert, listing the regions
they represent: sopranos KAREN ANDERSON
(Rocky-Mountain), SHERRI CURTIS (Great
Lakes), LORRAINE HUNT (New England), JOANNA LEIGH JOHNSTON (Upper Midwest), ANITA
M. PROTICH (Western), RACHEL ROSALES
(Eastern), and YING YEH (Mid-South); mezzo:
CAROL MADALIN (Eastern); tenors: STEVE M.
DUPRE (Gulf Coast), and FREDERICK KALT
(Northwest); baritones ROGER LEMKE (Australia), and EUGENE PERRY (Southwest); bassbaritone ZHENG ZHOU (Mid-West), and bass
JOSE GARCIA (Eastern).
The Lyric Opera Center for American Artists
in Chicago has chosen nine young singers for
its 1986 Lyric Ensemble. Some 500 singers
were heard in auditions across the country, and
32 were in the final competition. One-year
contracts for residency with the Center at full
scholarship and a living stipend were awarded
to sopranos LISA BONENFANT of New York
and JOAN GIBBONS of Chicago, mezzo BONITA
HYMAN of New York, tenors RICHARD DREWS
of Eau-Claire, WI, DONALD KASCH and JOSEPH WOLVERTON, both of Chicago, baritones
JOHN HORTON MURRAY of Westmont, NJ, and
PATRICK WROBLEWSKI of Chicago, and bass
STEFAN SZKAFAROWSKY of New York.
Messrs. Kasch and Szkafarowsky will be in their
second year with the Center. In addition, three
apprentices and six auditors were also accepted
into the program.
The 1986 Adler Fellowship Awards were bestowed on nine singers enrolled at the San
Francisco Opera Center: sopranos LI-CHAN
CHEN, SUSAN PATTERSON and DEBORAH
VOIGT, mezzos KATHERYN COWDRICK and
CHRISTIANE YOUNG, tenor JOHN DAVID de
HAAN, baritone MARK DELAVAN, and bass-baritones MONTE PEDERSON and PHILIP SKINNER.
The newly created Pittsburgh Opera Center
(see Vol. 26, No. 3) has enrolled seven young
singers into its first five-week intensive
training program. They are sopranos ETHELYN
VICTORIA ENOS of New York and ALICIA
GONZALEZ-GRUGETT, originally of Cuba,
more recently
of
Pennsylvania,
mezzos
DEBORAH DUNN of Ohio and SUSAN NICELY
of Pennsylvania, tenors DANIEL ANTHONY
BREWER also of Pennsylvania and JOHN B.
DANIECKI of New Jersey, and, finally, baritone
JAY TAYLOR of Massachusetts. The singers
are between twenty-three and thirty years old,
and all have had performing experience, some
in internships or apprentice programs.
The first four apprentice singers engaged by
the Skylight Comic Opera of Milwaukee are
mezzo-sopranos SARAH PSCHEIDT and DONNA
MARIA TURCHI, tenor WHITE EAGLE, and
baritone JOHN KEITH.
Soprano KAREN HOLVIK, who won the 1985
Joy in Singing competition, was presented in
her debut recital at Tully Hall on March 21.
- Another debut recital, this one as winner of
the Center for Contemporary Opera Competition, was given by mezzo-soprano ADRIA FIRESTONE at Merkin Concert Hall in April.
The 1986 Richard Tucker Award went to mezzosoprano DOLORA ZAJIC of Nevada. It carries
a $20,000 stipend and the artist's presentation
at the Avery Fisher Hall concert of the Tucker
Foundation next fall. In addition, the Foundation awarded $4,000 career grants to the
following young artists: CYNTHIA HAYMON,
PATRICIA SCHUMAN, ALESSANDRA MARC,
and MARGARET JANE WRAY.
The 1986 winners of the George London Grants,
each receiving the amount of $10,000 awarded
by the National Institute for Music Theater,
were presented in a special George London
-55-
Gala Tribute concert on March 20 at New
York's Tully Hall. They were soprano AMY
BURTON, mezzo SHEILA SMITH, baritones JEFF
MCCARTHY and EUGENE PERRY (see also Met
Opera finalists), and bass KEVIN MAYNOR. In
addition, Mr. Perry was selected at the concert
as the recipient of an extra $5,000 grant that
was accompanied by the gift of a specially
commissioned sculpture.
The following five
singers were chosen to receive $2,000 Encouragement Grants: KATE BUTLER, ANDREA
MATTHEWS, JEFFREY REYNOLDS, DAWN UPSHAW and LISA VROMAN. Miss Upshaw was
also invited to participate in the New York
concert. - NIMT's other awards this year
recognized RICHARD GADDES, founder and
former general director of the Opera Theater
of St. Louis, for his services to opera, composer
DOMINICK ARGENTO for his opera Casanova,
and composer/director/performer MEREDITH
MONK and her collaborator, theater artist PING
CHONG for their jointly created music theater
piece, The Games.
Endowed in turn by Ungaro Perfumes, M'kor
Sasson Foundation, Stanley Towsend, and Richard Gold, the 1985 recipients were (in the above
order) soprano MARIANNE CHRISTOS, and mezzo-soprano CYNTHIA ROSE, soprano CAROL
SPARROW, and tenor MARK THOMSEN, the
last three all one-year veterans of the company.
The Baltimore Opera International Vocal
Competition is among the major American
contests and the $19,000 distributed in 1986
were awarded the following winners: MARILYN
MIMS soprano from Louisville (first - $5,000),
JOAN CAMPBELL mezzo from Philadelphia
(second - $3,000), AMANDA HALGRIMSON
North Dakota soprano (Steber Fndt. - $2,500),
YANYU GUO mezzo from People's Republic of
China (third - $2,000), CORINA CIRCA mezzo
from Romania (Puccini Award - $2,000),
CHARLES P. LOEHLE bass from Louisville
(fourth - $1,500), MARK DOSS bass from
Chicago (fifth - $1,200), and also sopranos
KARLI GILBERTSON and ELIZABETH PROCURONOFF.
The Phillip and Judy George Scholarship Awards, distributed by the Greater Miami Opera, The Shreveport Opera has announced the winwent to bass-baritone STEPHAN KIRCH-GRA- ners of its sixth annual Singer of the Year
BER ($2,500), mezzo CYNTHIA ACKLEY competition. First prize went to tenor LEON
($1,000), and MARY PAUL, TIMOTHY MILLER, FORBES WOODS, second prize to baritone
and KEITH SPENCER ($500 each).
KENNETH SLAUGHTER, and third prize to
coloratura soprano SUSAN BARROW. The other
The American Friends of Austria in Chicago finalists included soprano Kathy Weiss-Smith,
and the American Institute of Musical Studies tenor Mark Evans, and baritone Arden Hopkin.
in Graz have awarded their 1986 prize of $2,500
to Illinois soprano DONNA JOYCE ROLLENE. The Friday Morning Music Club Foundation,
The prize affords her a scholarship to AIMS which sponsors the Washington International
this summer. Due to the high caliber of this Competition, has selected four winners of its
year's competitors, a second prize was given 1986 vocal contest. Soprano SALLY STEVENS
to CAROL BYERS of Indiana, who will be of Wisconsin, and baritone NED BARTH of
presented in a Dame Myra Hess Memorial Pennsylvania placed first in the women's and
Concert in Chicago, under the auspicies of men's division respectively; they will be presenconductor Margaret Hillis.
ted in debut recitals, and received $3,000 each;
baritone JOHN MURIELLO of Michigan took
Recent winners of the Liederkranz Competition second prize ($1,500), and soprano SANDRA
included mezzo-soprano VICTORIA LIVENGOOD MOON of Ohio third ($1,000). The next contest
(first place), also sopranos JUDY BERRY and open to singers will be in three years (1989).
MARILYN ALTMAN.
Opera/Columbus announced the winners of its
The National Arts Club selected tenor JAN 1986 competition as follows: 1st prize in the
DENIETZKI winner of its 1986 award in voice, senior division went to tenor STANFORD OLSEN
and SALVATORE CHAMPAIGN as runner-up. ($1,500 Eleanor Steber Music Foundation Award
This year's major award was given in flute. and scholarship to AIMS, Graz); he was also
— Mezzo soprano RACHEL LOUIS won the finalist in the Met Opera Regional Auditions
$1,000 scholarship award of the Henry Holt contest; second place senior division was won
Competition in Palo Alto, and her California by baritone WILLIAM FLORESCU ($750). First
colleague, LINDA COVINGTON, received the place in the junior division was awarded to
mezzo-soprano CATHERINE KEEN ($250), and
San Jose Opera Guild scholarship.
other junior awards were given to soprano
The New York City Opera is able to make four SARAH WILSON and bass-baritone MARK BAawards to recognize specially gifted and out- KER. Also, mezzos JANET WILSON and HILstanding young singers within the company. LARY NICHOLSON, tenor RICHARD BLOCHER,
-56-
and bass DALE TRAVIS won awards of merit.
The first prize of California's Loren Zaehary
Society Opera Award was given dramatic
coloratura soprano DeLAINE MORROW of New
York, formerly of Denver. She received $3,000
cash and travel expenses for an audition tour
to major European opera centers. One other
contestant, tenor MICHAEL SYLVESTER, also
won an audition trip to Europe. The other
finalists, each receiving a $1,000 grant, were:
NED BARTH, ANNE-MARIE BOSCH, JORGE
LOPEZ-YANEZ, ERIC McCLUSKEY, REBECCA
RUSSELL, REBECCA SHERBURN, JACOB
WILL, and VALERIE YOVA.
The 33-year old baritone MARK RUCKER won
this year's Bruce Yarnell Award; bass JOSE
GARCIA, was chosen for the Encouragement
Award.
Oklahoma Symphony prizes for 1986 went to
mezzo MARIETTA SIMPSON, tenor MARK R.
CALKINS, and baritone RICHARD P. FINK.
The first annual Voice Competition held by the
Queens Opera Company (NY) in March resulted
in five winners chosen from among some 200
applicants. First prize of $1,000 plus recital
and an appearance in a major role with the
company went to soprano KATHERINE LUNA
of Long Island; $300 cash and a recital were
won by soprano MARYTE BIZINKAUSKAS who
placed second; baritone DAVID TROMBLEY
placed third and won $200 and a recital, and
both will be invited to take part in the
company's opera season. Fourth and fifth place
winners were mezzo-soprano VICTORIA LIVENGOOD, and bass ERIC JOHNSON. Thanks to
the high quality of the applicants and the great
number of applications received, next season's
competition will be expanded to give away a
total of $2,500 in prize money, plus recitals
and participation in Queens Opera productions.
It will be held in October-November.
Opera News has selected fourteen young American singers "on the rise". The experts suggest
you keep your eye on: sopranos NANCY GUSTAFSON, CONSTANCE HAUMAN, CYNTHIA
HAYMON, BARBARA KILDUFF, CHERYL PARRISH, and RUTH ANN SWENSON; mezzo DOLORA ZAJIC; tenors CARROLL FREEMAN and
MARCUS HADDOCK; baritones DAVID MALIS,
KURT OLLMANN, ERICH PARCE, and PATRICK WROBLEWSKI; and bass KENNETH COX.
While our space is limited to a list of names,
the July Opera News mentions roles, and includes photos that bear witness to the attractive looks and personalities of the artists.
Musical America, too, has published its annual
list of Young American Artists of the Year,
the latest being for 1986. Chosen among those
most likely to succeed are the following vocalists: sopranos MARIA GIORDANO and LORRAINE HUNT, mezzos ALTEOUISE De-VAUGHN
and VICTORIA LIVENGOOD, countertenors
DEREK LEE RAGIN and STEVEN RICKARDS,
tenor
GREGORY
KUNDE, and
baritone
WILLIAM PARCHER.
The Josef Weinberger Centenary Award, a oneyear scholarship to the Royal College of Music
in London, went to American tenor BLAIR WILSON, chosen for a tenor voice "suitable for
operetta and light opera". - Eastman School of
Music's Jessie Kneisel Competition awarded
baritone KEITH KIBLER first prize of $1,000
and soprano CAROL ALLRED the second prize
of $500; the 1985 winners were tenor TONY
BOUTTE and baritone JOHN KRAMER.
The National Bach Aria Competition for Canadians selected soprano ERICA NORTHCOTT of
Vancouver for first place; bass PETER BARNES
and soprano VIOLET GOOSEN took second and
third place respectively.
Foreign competitions where Americans shared
the spotlight included the 1985 Francisco Vinas
Singing Contest in Barcelona where tenor SAMUEL COOK of the, U.S. received the first
prize. Other winners in the men's division
included the German bass UDO ROESTEL,
Italian baritone LUCIO GALLO, and Spanish
tenor JOSE ANTONIO SEMPERE, and in the
women's division Korean soprano SOO KYONG
JO, Romanian soprano LEONTINA VADUVA, and
Japanese soprano ASSAYO OTSUKA. — Soprano
MARILYN MIMS (see also Met and Baltimore)
placed first at the International Singing Competition in Pretoria, South Africa.
The Canadian Opera Company Ensemble chose
five of its young participants as 1986 Canadian
Mozart Singers (see Addenda).
Sopranos
SHARON ANN MILLER and LYNE FORTIN,
mezzos GABRI-ELLE PRATA and LINDA
BENNETT, and tenor DENNIS GIESBRECHT
received grants between $500 and $2,000 each.
Belgium's International Competition for operatic Voices in Verviers gave its first prize to
Canadian counter-tenor ALLAN FAST; the '86
Calgary Opera Guild scholarship went to its
native-born tenor ANDRE CLOUTIER. - Canadian soprano ODETTE BEAUPRE won the $3,000
MacAllister Award from Indiana Opera Theater.
-57-
LATE ANNOUNCEMENTS
NEW OPERAS
& PREMIERES
Tne
1986 National Opera/Music Theater Conference of the Eugene O'Neill
Theater Center has selected three works for development and staged
work-in-progress performances in August. The following composers and
librettists will be in attendance during the two-week try-out period: Joe
Masteroff, librettist, and Edward Thomas, composer, of SIX WIVES (based
on Henry VIII), Thomas F. Megan, librettist/composer of A VISION, and
Ray Bradbury, author, Georgia B. Holof, lyricist, and David Mettee,
composer, whose FAHRENHEIT 451 is being brought back by the O'Neill
Center for a second summer.
NEWS FROM
OPERA
COMPANIES
Over the last years, the musicians union had acquired the reputation as
the most demanding union among those dealing with performing arts
organizations. Others relied on them to stick by their demands and to
bear the brunt of strikes, if necessary. But this picture is changing
rapidly.
A new Realpolitik has brought two interesting and related
announcements in short succession. The NEW YORK CITY OPERA ORCHESTRA led the way in 1986 in ratifying its contract with the opera
company for the next three years. This was accomplished at an earlier
date than ever before, and without the usual adverse publicity. Wage
increases of 5i percent for each of the first two years and 5 percent
for the third year were agreed upon. Two weeks later the METROPOLITAN
OPERA was able to sign an agreement with Deutsche Grammophone
Records for a complete recording of Der Ring des Nibelungen, with Met
stars, orchestra and chorus under Music Director James Levine. Concessions from the musicians, members of Local 802 of the American
Federation of Musicians who relinquished certain benefits customarily
demanded at recordings, made this project possible. It was a well-known
fact that the United States had priced itself out of the classical recording
market some years ago. This first move may well be a turning point.
APPOINTMENTS
The New York City Opera has engaged SERGIU COMISSIONA as its Music
Director and principal conductor. Maestro Comissiona will keep his present
positions as Music Director of the Houston Symphony Orchestra and
principal conductor of the Hilversum Radio Philharmonic in Holland, each
of which will take about 10-12 weeks of his time during the year. He
has agreed to be available to the opera company for 27 weeks. He will
be replacing Christopher Keene, whose resignation had been announced
earlier, and who will continue to lead some performances at the City
Opera. Mo. Comissiona will be conducting most of the new productions,
and several revivals. He will also be responsible for future programmaking and casting in collaboration with the General Director, Miss Sills.
However, since opera plans are necessarily made far in advance, his
imprint will not be felt until the 1988 season, which is in the planning
stages now. — DANIEL LIPTON has joined the Opera Hamilton in Ontario
as the company's Artistic Director and Conductor.
PUBLISHERS
BELWIN MILLS has just announced that its rental music catalogue holdings,
including operatic orchestral and vocal scores and translations, as well
as rental items from the Casa Musicale Sonzogno and United Artists
Music, will now be distributed by THEODORE PRESSER COMPANY, Bryn
Mawr, PA. Belwin's New York office will continue to handle the rights
for recordings, films, TV, etc., and its parent company, Columbia Pictures
in Miami, will publish and distribute related printed products.
-58-
LATEST CAREER GUIDE SUPPLEMENT
(lists new information since Addenda in Vol. 26, No. 4)
To be used with Career Guide (Fifth Edition) published in 1985. Only entries marked "insert"
are new and complete listings. All others, marked with page numbers only, contain information
exclusively which differs from the original entry; details not amended here remain the same.
Complete Addenda to the 1985 Fifth Edition of the Career Guide for Young American Singers
may be ordered for $2.50 pre-paid. Copies of the Guide and the Addenda are $9.50, including
postage.
GRANTS TO SINGERS
NEW YORK
Affiliate Artists, Inc. (page 1)
Deadline: 6/1/86
Eligible are singers with at least 3, but generally not more than 10 years of professional
experience.
REGIONAL, NATIONAL AND INTERNATIONAL COMPETITIONS
IN THE UNITED STATES & CANADA
ALABAMA
Southern Regional Opera Vocal Competition (page 5)
c/o Sam Urmey, 204 Nash Circle, Birmingham, AL 35213
Deadline: 5/9/86; Prizes: total cash prize of $2,000
CALIFORNIA
San Francisco Opera Center Auditions (page 5) — Christine Bullin, Manager
Regional Auditions for 1987: San Francisco 11/29/86-12/1/86; Denver, Tucson, Chicago, New
York, Waco, TX, Los Angeles, and Seattle dates vary.
Deadline: applications must be postmarked no later than 9/24/86; write for application forms
Application: must include self-addressed stamped envelope, $10 non-refundable application fee
(check payable to Merola Opera Program), signed and sealed reference forms completed by
2 musical authorities (forms cannot be substituted by letters of recommendation), notarized
copy of birth certificate, driver's license or passport, and 8x10 glossy photograph.
Auditioners may bring their own accompanists.
Applicants are expected to be available for Regional Finals and Merola Opera Program.
Victor Fuchs Memorial Awards (page 6)
Add: Open to residents of California
Repertory requirements: 4 arias in original language & key
Prizes: Cash awards from $500 to $2,500
MARYLAND
Baltimore Opera International Vocal Competition (page 9)
527 North Charles Street, Baltimore, MD 21201; (301) 727-0592
Deadline: 5/12/86; Competition: 6/2-6/86; Finals: 6/6/86
Prizes: 1st: Baltimore Opera Guild Award, $5,000; 2nd: Clementine & Duane Peterson Award,
$3,000; 3rd: Alfred Ver Valen Memorial Award, $2,000; 4th: Mary Finney Barada Award,
$1,500; 5th: Morris Mechanic Memorial Award, $1,500; 6th Dragi Jovanovski Award, $1,000;
Special Prizes: Puccini Foundation Award, $2,000; Eleanor Steber Music Foundation Award,
$2,500; Stipends for semi-finalists, $150
MICHIGAN
Maccabees/PROS Vocal Scholarship Competition (insert page 11)
P.O. Box 3194, Southfield, MI 48037; Robin Schakne
Restricted to Michigan residents; Prizes: $3,000, $2,000 & $1,000 to be used for further education.
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NEW JERSEY
New Jersey State Opera Scholarship (page 11) — Deadline: 4/28/86; Competition: 6/86
NEW YORK
East & West Artists Vocal Competition (page 13) — Deadline 1/15/87; Competition: 2-3/87
Metropolitan Opera National Council Auditions (page 14)
1986-87 Regional Auditions
Region (City)
Region (City)
Date
Rocky Mountain (Denver)
Australia (Sydney)
8/17/86
Central (Chicago)
11/12/86 Northwest (Seattle)
Western (Los Angeles)
11/15/86 Eastern (New York)
Pacific (San Francisco)
11/22/86 Southeast (Atlanta)
Midwest (Kansas City, MO)
Great Lakes (Pittsburgh)
1/10/87
Finals Concert (New York)
Gulf Coast (New Orleans)
2/1/87
Date
2/1/87
2/7/87
2/20/87
2/28/87
2/28/87
3/29/87
Musicians Emergency Fund (page 15)
Annually; 1986 Deadline: 4/30; Auditions: 5/12-22; Age limit: 24-33
Requirements: Must have sung one major role with regional opera company and/or professional
concert performance in the past 24 months; must be resident of New York State or studied
there for one year immediately prior to '86 auditions.
Prizes: 1st: $10,000 Paul Cravath & Vera Cravath Gibbs Memorial Award; 2nd: $3,000; 3rd:
$2,000; additional contractual awards.
The National Arts Club (insert page 15)
Music Committee, 15 Gramercy Park South, New York, NY 10003
The Margaret Baiz Award for Young Singers - Bi-annually; alternating for men and women,
some experience required; Competition - November.
Music Scholarship Prizes - Annually, for vocalists and instrumentalists; Age limit: 18-25; Prizes:
$500, $300, $200; Competition: February
Sponsorship Awards Pro Musicis Foundation (insert page 16)
140 West 79th Street, New York, NY 10024
Deadline: 5/1/86
Application: No age or nationality restrictions; must be fully prepared for an international solo
career. Complete application form in 3 copies, submit 2 copies of unedited live recording
of entire solo recital on high quality cassette; $50 fee.
Prizes: 5-6 full sponsored recitals in major U.S. cities (e.g. New York, Boston, Washington, DC,
San Francisco, etc.), honorarium for each concert, promotional material for these concerts;
possibly also engagements with orchestras and/or European concert tour, promotional recordings
on commercial label.
OHIO
American Opera Auditions (page 17) — 1986 Deadline: advanced to 2/28
Opera/Columbus Operatic Competition (insert page 17)
50 West Broad Street, Columbus, OH 43215; (614) 461-8101; Rosa Stolz, Director of Marketing
Annual; 1986 Deadline: 2/21; Auditions: 3/25,26; Semi-Finals: 4/23; Finals: 5/2 in Columbus
Age limit: Senior 24-35; Junior: 20-23; Prizes: Cash awards totaling $5,000
Requirements: Ohio residents who have completed or engaged in completing musical education
and who have not made their debut in a leading role with a major opera company.
TEXAS
Opera Guild of San Antonio (insert page 18)
4015 Spotswood Trail, San Antonio, TX 78230; (512) 699-8791; Evelyn Troxler, Vice President
for Educational Development
Competition: April; Age limit: 20-35 as of 4/87; Prizes: $3,000; $1,000; $500
Application: must include notarized birth certificate, driver's license or passport, non-refundable
fee of $15 (money order or certified check) and recommendation letter from voice teacher,
coach, accompanist or reputable musician familiar with contestant's work.
Repertory requirements: 4 arias: one from Italian bel canto, one verismo, one from French or
German repertory and one by an American composer (Barber, Moore, Floyd, Menotti, Bernstein)
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CANADA
Toronto Arts Awards Foundation (insert page 20)
80 Richmond Street West, Suite 404, Toronto, Ont., Canada M5H 2A4; (416) 362-8223; Peter
Caldwell, Executive Director
Recognizes Toronto artists performing over several years.
Prizes: totaling $50,000
Awards ceremony televised by CBC on 9/25/86
FOREIGN COMPETITIONS
FRANCE
Concours International de Chant de Paris (page 23)
Address same except: F 75116 Paris
Age limit: Women - born after 1/1/54; Men - born after 1/1/52
Deadline: 9/25/86; Competition advanced to: 11/10-17/86
FEDERAL REPUBLIC OF GERMANY (WEST)
Broadcast Corporation of FRG International Music Competition (page 23)
Age limit: Women 20-30; Men 20-32; Deadline: 7/1/86; Competition: 9/2-19/86; Fee 100 DM
Extensive repertoire requirements.
Prizes: Free lodging and breakfast for duration of competition plus 2 days; if admitted into
second round, lunch and dinners paid also. Cash prizes separate for men and women each
12,000 DM; 9,000 DM; 7,000 DM.
ITALY
Pier Adolfo Tirindelli International Singing Competition for Lyric Artists (insert page 25)
Associazione Lirica "Pier Adolfo Tirindelli", Piazza 4 Novembre, 31015 Conegliano Treviso
Deadline: 9/20/86; Age limit: Women 32; Men 35; Competition: 11/3-6/86
Write for repertory requirements.
Carlo Coccia Ente Musicale Novarese (page 26)
Deadline: 6/25/86; Age limit: 18-40; Fee: 50,000 lire
Requirements: Musical studies completed; recommendation from private teacher(s); birth
certificate; 5 postcard-size photos.
NETHERLANDS
's-Hertogenbosch International Singing Competition (page 27)
Deadline: 7/1/86; Next voice competition: 8/30-9/10/86
Age limit for 1986 Competition: born after 12/31/53
Address same except: 5200 replace with NL-5200
SPAIN
International Voice Competition of Bilbao (insert page 28)
Concurso Internacional de Canto, Dpto. de Cultura de la Deputacion Foral de Vizcaya, Gran
Via, 26, 4. dcha., 48009 Bilbao
Deadline: 11/1/86; Competition: 11/29-12/6/86; Age limit: 18-33
Requirements: Application must be accompanied by proof of date and place of birth and
nationality, 3 good recent photos, 2,000 ptas. registration.
Repertory requirements: A) six compositions from oratoria/cantata or Lied/concert aria; B) six
operatic arias in original key, everything in original language, total in at least three different
languages. Accompanists are being provided. A daily expense of 3,000 ptas. is paid each
contestant for the duration of contest. - Contest in three phases, earliest phase may be
skipped by those with proof of having won first or second place in a recent international contest.
Prizes: 500,000 ptas., 125,000 ptas. each for men and women; concert and opera performances
in Bilbao. Special prize for Spaniards: 1 million ptas. to complete studies; 500,000 ptas. for
best interpretation of works in Basque.
Francisco Viiias International Singing Competition (page 28)
Age limit: Women - under 32; Men - under 35; Deadline: 10/86; Competition: 11/86
Address same except: Barcelona 08037 replace with Barcelona E-08037
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ADDITIONAL AUDITIONS OPPORTUNITIES
OPERA America (page 29) — Program varies, not offered annually.
OPERA/MUSICAL THEATER COMPANIES IN THE UNITED STATES AND CANADA
CALIFORNIA
Long Beach Civic Light Opera (page 32) — Musical Theatre Workshops (see "Advanced Training")
San Diego Opera (page 33) — Ian D. Campbell, General Director
Add: San Diego Opera Ensemble of young singers
2-4/87; 10-week tour of educational, outreach, community programs.
FLORIDA
Greater Miami Opera (page 37) — Add: Phillip & Judy George Scholarship Awards
For singers from the Miami area; Prizes: totaling $6,000
ILLINOIS
Chicago Opera Theater (page 39) — Auditions: Held annually in Chicago
Lyric Opera of Chicago (page 39)
Lyric Opera Center for American Artists
Auditions for 1987 Ensemble: 10/86 in Chicago, New York, Dallas, Los Angeles, San Francisco,
and Bloomington, IN; Finals: 12/86 in Chicago
Applications: Available Summer '86; Contact: Wendee Wolf, Auditions Coordinator
Prizes: Full scholarship to training program plus stipends from $13,500 to $15,000
MICHIGAN
Michigan Opera Theatre (page 43)
Young Artists Apprentice Program — add 6-8 week spring program corresponding to the expanded
1986/87 season of six main stage productions.
Deadline: 5/2/86; Auditions: Detroit, New York, Los Angeles.
MISSOURI
Opera Theatre of Saint Louis (page 44)
Add: The Richard Gaddes Fund for Young Singers
Age limit: 22-32; Auditions: Fall '86 in New York City & St. Louis; write for application.
NEW MEXICO
Santa Fe Opera (page 46)
Santa Fe Opera Apprentice Program, David Terry, Administrative Director, replaces D. Rice
48 E. 63rd Street, New York, NY 10021
"Open to young singers who are making the transition from student life to a professional career."
Age limit: No official age limit; Deadline 11/5/87 for 1987
Auditions: 12/86 New York City & Boston; 1/87 Chicago, Los Angeles, Albuquerque.
Requirements: Singers must not have performed more than 5 different roles with other professional
opera company under regular AGMA contract and must not have been engaged more than
once under Apprentice Artist Status with AGMA contract with another professional company.
NEW YORK
New York Lyric Opera (page 51) — delete telephone no.; replace with (212) 874-1993
NORTH CAROLINA
Charlotte Opera (page 52) Name changed to Opera Carolina
Opera Carolina Guild's Scholarships - Dorothy Allen Memorial Scholarship for voice students
Age limit: 16-24; Auditions: April; Prizes: $500, $250, $150, $100
Opera Carolina (touring company) - Auditions for 1986-87 season: Charlotte 4/11,12
(deadline 4/5); New York City 5/9,10 (deadline 5/1)
OHIO
Opera/Columbus (page 54) — Annual Operatic Competition — see "Competitions".
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OKLAHOMA
Tulsa Opera (page 55)
Young Artists/Touring ensemble; Cheryl Zrnic, Associate Director
Auditions: 2/2,3 3/13,17/86; Program: Engagement for six weeks 9-10/86 tour
Requirements: 2 arias (incl. one in Eng.); also required to read short script. Send resume & photo.
New joint program with Oklahoma City University for singers and coaches (see also "Other Fields").
Selected graduate level students accepted as apprentices with Tulsa Opera Studio; must be
enrolled at university for graduate credit, some scholarships available: John Reed, Dean School
of Music and Performing Arts, OCU. Singers apply for audition: Cheryl Zrnic, Mng.Dir. Tulsa
Opera; send resume and photo; prepare minimum of 2 arias (1 English, 1 foreign language).
TEXAS
Lyric Opera of Dallas (insert page 59) formerly Public Opera of Dallas
12005 Forestgate Dr., Dallas, TX 75240; (214) 231-6566; Terry Hicklin, Gen.Dir.; John Burrows,
Art.Dir.; Honorarium paid*; season: Summer Festival; productions/performances: 3/21
INSTITUTES FOR ADVANCED TRAINING
UNITED STATES AND CANADA
CALIFORNIA
Long Beach Civic Light Opera (insert page 64)
Musical Theatre Workshops
Program: 7-week intensive training program in the fall includes instruction in voice, drama,
coaching, dance, and movement; lectures by professionals in the entertainment world. Also
Spring and Summer Musical Theatre Workshops for aspiring young performers.
MASSACHUSETTS
Tanglewood Music Center (insert page 64)
Song and Vocal Chamber Music Seminars; 8-week summer program; Richard Ortner, Admin.Dir.
Apply: Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115; (617) 266-5241
Fellows Program: Advanced study for approx. 15 singers with sufficient training in music and
languages for professional career. Four-hour weekly master classes by Phyllis Curtin and
intensive private coaching by professional staff. Fellows give public recitals and may perform
small parts with Boston Symphony Orchestra at Tanglewood. Students also audition for Mo.
Ozawa. Tuition-free program and some fellowships for room, board, and travel available.
Phyllis Curtin Seminar Program: Training for 24 singers with potential for professional career,
requiring further training. Four-hour weekly master class with Miss Curtin, also private
coaching by professional staff. Students give in-house recitals and have opportunity for a
public recital; also sing in Tanglewood Chorus (payment $250). Tuition: $1,050 for eight
weeks. Scholarships available, but dormitory and board fees ($1,450) are not covered.
MINNESOTA
Minnesota Opera Institute (page 64)
Deadline: 5/15/86; $100 early deposit required in all categories, not refundable after 5/15.
OREGON
Theatre Workshop Training for Actors/Singers (insert page 65)
511 Southeast 60th St., Portland, OR 97215; (503) 235-4551; Ghita Hager, Musical Theater
Coordinator
Program: Theater Workshop Training for actors/singers. 8 Students at Beginner level and 8 at
advanced level; 14 weekly hours of instruction in acting, voice movement, and dance; admission
for entire year only. Program in collaboration with The Musical Company.
EUROPE
FRANCE
Centre International de Formation Musicale (insert page 67)
Conservatoire National de Region de la Ville de Nice, 24 Boulevard de Cimiez, F-06000 Nice;
Alain Marion, Artistic Director
Program: Two 1986 summer sessions: 7/7-22 and 7/24-8/8. Instruction in singing, interpretation,
accompanying; also in various instrument playing. Write for tuition and other information.
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ITALY
Studio Lirico (page 68) formerly Firenze Lirica Studio
Scholarship Award
Full-tuition vocal scholarship of $1400 for a tenor, baritone or bass; 4 weeks program in Stia,
Italy studying stage movement, characterization, Italian diction, language and culture.
Auditions: 11/86 at NOA convention in Los Angeles
For details contact Mary Elaine Wallace, Executive Secretary; NOA, Route 2, Box 93, Commerce,
TX 75428;
SWITZERLAND
Geneva Master Classes (insert page 68)
Geneva Conservatory of Music, Case Postale 440, CH-1211, Geneva 11
Deadline: 5/31/86; Registration fee: 750 SF; for auditors 150 SF
Program: Summer Master Classes in Voice by G. Souzay (8/6-31/86) with closing public concert.
OPERA/MUSIC THEATER APPRENTICE PROGRAMS IN FIELDS OTHER THAN SINGING
MASSACHUSETTS
Tanglewood Music Center (insert page 70)
Song and Vocal Chamber Music Seminars; 8-week summer program; Richard Ortner, Admin. Dir.
Training for 5 coach/accompanists. For details write: Boston Symphony Orchestra, Symphony
Hall, Boston, MA 02115; (617) 266-5241
MINNESOTA
Minnesota Opera (page 70)
Minnesota Opera Institute — Deadline: 5/15/86
Coaches: include with application: $100 deposit (not refundable after 5/15), resume, cassette
tape containing 1 aria or song in which they accompany a singer (a solo piano piece is also
acceptable), and a brief statement outlining their goals in attending the Institute.
Directors: include with application: $100 deposit (not refundable after 5/15), resume, and a
brief statement outlining their goals in attending the Institute.
NEW YORK
New York City Opera (page 71)
Correction: Julius Rudel Award: one position for a conductor/coaeh/accompanist/administrator
Tri-Cities Opera (page 71) — DELETE ENTRY
OKLAHOMA
Tulsa Opera (insert page 71)
1610 S. Boulder Ave., Tulsa, OK 74119; (918) 582-4035; Edward Purrington, General Director
New joint program with Oklahoma City University for singers and coaches.
Selected graduate level students accepted as apprentices with Tulsa Opera studio; must be
enrolled at university for graduate credit, some scholarships available: John Reed, Dean,
School of Music and Performing Arts, OCU.
Coach/accompanists audition by accompanying auditioning singers; sight-reading of operatic
repertoire tested.
CANADA
Banff Music Theatre Studio Ensemble (insert page 72)
The Banff Centre, Box 1029, Station 23, Banff, Alberta, Canada T0L 0C0; (403) 762-6193
Unstructured program for designers, stage managers, accompanists, coaches, stage directors, and
music directors. Send letter outlining your interest.
[]
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PERFORMANCE LISTING 1985-86 (cow.)
AH performances are staged with orchestra unless marked "conc.pf." or "w.p." (with piano). An
* following a title indicates a new production; a f indicates performances shown with projected
English Captions.
Performances and news items once listed will not be relisted at the time
of performance. A single date appearing for a listing of several performances indicates the
opening night.
ALABAMA
Birmingham Civic Opera, D. Grimsley, Art.Dir., Birmingham (see also Vol.26, No.4)
3/8/86 La Boheme Herzberg, Beckman; Estep, Liebl, Lusmann; c: Polivniek; d: Kellner
Huntingdon College, J. Shaffer, Dir. Opera Theater, Montgomery
11/21,22,23,24/85 Shaffer/Barmettler's Balls! prem.
2/27,28 3/1,2/86 Lampe's Pyramus and Thisbe Am.prem.
4/10,11,12,13/86 Gigi
ARIZONA
Arizona State University, K. Seipp, Dir. Opera Theater, Tempe
10/4-13/85 Pippin 7 pfs.
11/15-24/85 The Mikado 6 pfs.
2/21-3/1/86 Dido and Aeneas 6 pfs.
4/25-5/4/86 Shinn's Wilbur! prem., 6 pfs.
CALIFORNIA
Beethoven Festival, H. Blomstedt, Mus.Dir., San Francisco (6/8-31/86)
6/13,14/86 Fidelio conc.pfs.; de Vol, Morgan; Goldberg, Reich, Plishka; c: Blomstedt;
d: George; San Francisco Symphony
California State University Opera Theater, R.L. Stradley, Dir., Sacramento
4/28,29/86 The Goose Girl* & The Impresario *tour, 3 pfs.
Carmel Bach Festival, S. Salgo, Mus.Dir., Carmel (7/14-8/3/86)
7/19m,26m 8/2m/86 Le Nozze di Figaro Eng. Porter; Schuman, Swenson, Heyler; Will, Delavan;
c: Salgo; d: Takazauckas
Center Theatre Group of Los Angeles, Los Angeles Music Center
1985-86 Kuramoto/Mori/Mirikitani/Nishikawa's Sansei workshop prem.
Concert Opera Assn., W. Lewis, Art.Dir., San Francisco
2/9/86 La Finta giardiniera Eng. Pearlman; Angermiiller/Berke ed.; 11/25/85 at University of
Akron, OH
5/10/86 La Vestale conc.pf.; Neblett; Dominguez, Pederson; c: Cathcart
Early Music Ensemble, Los Angeles
6/14/86 An evening of Monteverdi incl. D. Combattimento di Tancredi e Clorinda stgd.pf.;
c: Cansino
El Camino College Opera Workshop, B. Ferguson, Dir., Torrance
5/2,3,9,10/86 Camelot
5/30,31/86 H.M.S. Pinafore
Hollywood Bowl, Los Angeles Philharmonic, A. Previn, Mus.Dir., Los Angeles (7/2-9/13/86)
7/25,26/86 "A Night in Vienna" Peters; DuBois
7/27/86 Fidelio conc.pf.; Polaski, Hunt; Jenkins, Cox, Noble; c: Groves
Idyllwild School of Music and the Arts, Musical Theatre Workshop, Idyllwild
6/29-7/20/86 The Pirates of Penzance d: J. Pressman
Los Angeles Music Theatre Company, North Hollywood
5/2,3,7,9,10,14,16,17/86 La Traviata
Marin Civic Light Opera, M. Rios, Mus.Dir., San Rafael
2/21-3/15/86 Kismet
4/25-5/18/86 A Chorus Line
Marina Del Rey/Westchester Symphony, F. Fetta, Mus.Dir., Wadsworth Theatre, West Los Angeles
6/21/86 La Traviata cone.pf.; Mustafa; c: Fetta
Merola Opera Program, San Francisco Opera, A. Cunningham, Exec.Dir., San Francisco
7/20m/86 Cosli fan tutte c: Baustian; at Stern Grove
8/9m,10m/86 La Boheme at Villa Montalvo, Saratoga
8/24/86 Grand Finale Concert
Music Academy of the West, L. Smith, Mus.Dir., M. Singher, Art.Dir., Santa Barbara
8/18,19,20,21/86 Manon c: Smith; d: Igesz
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1985-86 Season
Music from Bear Valley Festival, C. Nice, Mus.Dir., Bear Valley (7/26-8/10/86)
8/7,9/86 Die Fledermaus J. Rhodus, R. Conlin, Crawford; D. Rhodus, Little, Tuff; c: T. Conlin
8/2m/86 Babar, the Little Elephant
New Music America '85, Music Center Opera St. Mark Taper Forum (revised schedule)
11/1-14/85 Bley's For Under the Volcano & Glass1 A Madrigal Opera & Dresher's Slow Fire
Oakland Opera, A. Taylor, Dir., Oakland
6/21,27,29/86 The Bartered Bride Eng.; Roemer; Peeples, MacAllister; c: Kanouse
Pacific Chamber Opera, C. Lindsay, Gen.Dir., La Jolla
4/12,13m,18,20m/86 Die Fledermaus
6/20,22111,27,2901/86 The Merry Wives of Windsor
Performing Arts Alliance Festival, M. Frederick, Exec.Dir., Foothills College, Los Altos Hills
(6/6-8/17/86)
6/6-7/86 La Cenerentola West Bay Opera prod.
6/13-17,19-22,24-28/86 The Pirates of Penzance Saratoga Chamber Opera Theatre prod.
6/20,21/86 "Shakespeare's Greatest Hits" Valley Institute of Theatre Arts/The Baroque Choral
Guild prod.
8/7-10,14-17/86 Candide Foothills College Summer Stock prod.
Redlands Bowl Summer Music Festival, F. Fetta, Mus.Dir., Redlands (6/24-8/26/86)
7/1/86 Musical Scenes, Knight; Sheppard; c: Fetta
7/25-27/86 Camelot stgd.; d: Little
8/15/86 La Traviata stgd.; Mustafa; c: Fetta; d: Bascetta
San Diego Civic Light Opera, L. Drew, Gen.Mgr., Starlight Bowl, Balboa Park
6/19-29/86 The Music Man
7/10-20/86 The Student Prince
7/31-8/10/86 Mame
8/21-31/86 Oklahoma
9/11-21/86 Evita
San Diego State University Opera Theater, C. Genzlinger, Dir., San Diego
4/24,29/86 The Face on the Barroom Floor & Rita <5c Suor Angelica Eng.
San Francisco Conservatory of Music Opera Theater, S. Webb, Dir., San Francisco (see also
Vol.26, No.4)
3/21,22,23m/86 Argento's Christopher Sly
San Francisco School of Dramatic Arts New Music Theatre Festival, Fort Mason Center, San
Francisco (6/22-7/12/86)
6/22m,23/86 Brigg/Linnard's Least of My Children stgd. work-in-progress reading
6/22,24/86 Rabin/Brody's The Girl Who Stole His Heart stgd. work-in-progress reading
6/30 7/13/86 Feinblum/Strohm's Neon Frontier stgd. work-in-progress reading
7/1,9/86 Schoen/Shearer's Traveling in My Chair stgd. work-in-progress reading
7/7,13m/86 Steele/Marcus' Lila-Bye stgd. work-in-progress reading
7/8,12m/86 Scott/Glover's Size 12 stgd. work-in-progress reading
San Gabriel Civic Light Opera, San Gabriel
5/2-4,9-11/86 Annie
San Jose Civic Light Opera, H. Mollicone, Mus.Dir., San Jose
3/7-16/86 Barnum
4-5/4/86 The King and I
Theater Artaud, San Francisco
10-12/85 George Coates 1 RareArea 3-month run; 1/86 3 pfs. at Herbst Theater
Townsend Opera Players, E. Townsend, Gen.Dir., Modesto
10/12/85 Scenes
ll/6m/85 Cosi fan tutte Eng.; also tour to schools 11/1-8
1/30 2/1,2/86 Amahl and the Night Visitors 4 pfs.
4/12,19/86 La Boheme Eng.; 6 pfs.
7/20/86 Warner/Townsend/Fraser's Opera Line prem. at Manchini Bowl
University of Redlands, Music Department, J. Wilson, Dir., Redlands
4/25,27/86 Bernstein's Mass c: J. Wilson
University of Southern California Opera, N. Limonick, Mus.Dir., Los Angeles (see also Vo.26., No.4)
3/19/86 70th Birthday Concert of Ellis Kohs' music; incl. arias from Amerika M. Sells
3/21,22,23m,23/86 The Magic Flute Eng. dialogue; c: Duerr; d: Boerlage; ds: Merkley/
Holt
Valley Opera, R. Chauls, Dir., Van Nuys
5/17,18/86 Chauls' Alice in Wonderland & The Magic Rhyme w.o.; c: Chauls; d: Tarleton
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1985-86 Season
Voices S/F, D. Ahlstrom, Art.Dir., San Francisco
4/86 Aesop's Fables
5/86 Ahlstrom's The Song of the Golden Fish prem.
6/14-7/26/86 Opera Workshops for Children
West Coast Opera, J. Lombardo, Dir., Palm Springs
3/15/86 Le Nozze di Figaro Eng.; Prunty, Brundage, Gordon; Remington, Mathews; e: Isaacs
Whittier-La Mirada Civic Light Opera, P. Gorman, Prod., La Mirada
3/14-29/86 The Desert Song
COLORADO
Colorado Opera Festival, D. Jenkins, Gen.Dir., Colorado Springs (revised schedule)
7/11,13/86 Faust Eng.; South; Goodson; J. Evans, Nim; c: Jenkins; d: Bakman; ds: Beck
7/18/86 Mozart Requiem
8/1,3/86 The Ballad of Baby Doe Burton; Foss; e: Jenkins; d: Malcolm
University of Denver, Lamont Opera Theatre, R. Worstell, Dir., Denver
2/28 3/1,2/86 Wolf-Ferrari's I Quattro rusteghi Eng. Dent
5/29-31/86 Sweeney Todd
CONNECTICUT
Eugene O'Neill Theater Center Opera/Music Theater Conference, Works-in-progress, P. HauptNolen, Art.Dir., Waterford
8/14,15,16/86 E. Thomas/Masteroff s Six Wives stgd. reading; d: Soeder
8/21,22,23/86 Mettee/Holof/Bradbury's Fahrenheit 451 stgd. reading; d: Harrer
8/21m,22m,23m/86 Megan's A Vision stgd. reading; d: Kalfin
Goodspeed Opera House, M. Price, Exec.Dir., East Haddam
4/16-6/27/86 Irma La Douce c: Crigler; d: Soeder; ds/c: Joy/Miller/Verheyen
7/2-9/26/86 Fanny c: Crigler; d: Gruenewald; ds/c: Joy/Sullivan
New England Lyric Operetta Co., Wm. Edgerton, Art.Dir., Stamford
3/22/86 Kalman's Countess Maritza Eng.; Shuttleworth; Crossfield; c: Fardink; d: Traubner;
at Palace Theatre
Norfolk Chamber Music Festival, J. Panetti, Dir., Norfolk (6/27-8/9/86)
7/13/86 Concert inch Honegger's Le Roi David narr: R.J. Lurtsema
8/2/86 Concert inch L'Histoire du soldat narr: McDonough
Opera Express of the Connecticut Opera, Hartford/tour (see also Vol.26, No.4)
1/5/86 Zaimont's Goldilocks and the Three Bears 40 pfs. on tour
4/86 The Merry Widow tour (Connecticut Opera prod.)
Yale University Opera Theatre, J. Mauceri, Dir., New Haven
3/5,7/86 La Boheme c: Bergeson; d: Capobianco
DISTRICT OF COLUMBIA
Summer Opera Theater, E. Walter, Dir., Hartke Theater, Washington
7/7,9,11,13,15/86 La Boheme c: Stockton; d: Lehmeyer
7/31 8/1,3/86 Katya Kabanova M. Merritt; c: Stockton; d: Lehmeyer
FLORIDA
Palm Beach Festival/Vienna Chamber Opera/Vienna Academy of Music and Dramatic Art, CoProds., Palm Beach
4/7,8,9/86 Die EntfUhrung aus dem Serail
4/11,12/86 Orphee aux enfers
Treasure Coast Opera, C. Barrena, Gen.Dir., Fort Pierce (see also Vol.26, No.4)
3/22/86 La Traviata Goetz; Haas, Hernandez; c: Bracali; d: Moresco; ds: Stivanello
GEORGIA
Atlanta Opera, W.F. Scott, Art.Dir., Woodruff Arts Center, Atlanta
5/4/86 Tatiana Troyanos in Recital
7/24,26,28/86 Lucia di Lammermoor Ringo; di Paolo, Evitts, Eckhoff; c: Scott; d: W. Lloyd
8/14,16,18/86 The Abduction from the Seraglio Eng.; Donahue, C. Nail; Evans, Fleck, Culpepper;
c: Scott; d: Lesenger
Atlanta Opera Studio, W.F. Scott, Mus.Dir., tour to area schools, Atlanta
1985-86 The Impresario Eng. L. Oliver; c: W.F. Scott; d: L. Oliver
ILLINOIS
Illinois Wesleyan University Opera Theatre, L.J. Snyder, Dir., Bloomington
3/7,9/86 Larsen's Clair de Lune
Lithuanian Opera Co., E. Rukstelyte-Sundstrom, V.P., Chodl Audit., Cicero (amended sched.)
1/19/86 Benefit Concert
6/14,15/86 William Tell in Lithuanian Cepkus, Simonaitis, Stempuzis; Zelinski, Rowader;
c: Kaminskas
-67-
1985-86 Season
Lyric Opera of Chicago & Northwestern University & Lyric Opera Center for American Artists
6/20/86 Neil's The Guilt of Lillian Sloan prem.; Gibbons; Kasch, Wroblewski; c: Schaenen;
d: Galati; ds: D. Williams
Millikin University Opera Theatre, S. Fiol, Dir., Decatur
10/4-6/85 The Sound of Music
11/15/85 The Impresario Eng. Fiol
12/6/85 Scenes
2/26-3/2/86 Grease 5 pfs.
5/2,3/86 Cosi fan tutte Eng. Holliday
New Opera of Chicago, D. Lapinskas, Art.Dir., Chicago
5/31/86 Lapinskas' Dux Magnus U.S. prem.
Northwestern University, Mason/Ragland Opera Theater, R. Alderson, Chmn., Evanston
11/12/85 Face on the Barroom Floor & Humel's Proposal & Nelson's Trio Con Brio prem.
2/20-23/86 Don Giovanni Eng. Martin
5/2,3/86 The Turn of the Screw
12/85 3-6/86 Opera Scenes, 3 pfs. on campus, 4 pfs. off campus
The Opera Factory, B.A. Lewis, Art.Dir., Angel Guardian Theatre, Chicago
5/17,18/86 Offenbach's Cat Turned into a Woman Eng. Pippin & Rossini's La Cambiale di
matrimonio Eng. Reims; c: Blackwelder; d: Voegtle; ds: Mone/Baird
Peoria Civic Opera, W. Vacano, Mus.Dir., Peoria (see also Vol.26, No.4)
4/12/86 The Bartered Bride
Ravinia Festival, J. Levine, Mus.Dir., Chicago Symphony, Highland Park (6/27-9/14/86)
6/27/86 Elektra conc.pf. Vinzing, Rysanek, Dunn; Estes; c: Levine
7/6/86 La Damnation de Faust conc.pf. Troyanos; Rosenshein, Cheek
INDIANA
Indiana University Opera Theater, C. Webb, Dean, Bloomington (see also Vol.26, No.4)
7/12,18,19,26/86 Camelot
8/2,8,9/86 L'Elisir d'amore Eng. Martin
KANSAS
Kansas State University Opera Theatre, J. Langenkamp, Mus.Dir., Manhattan
10/31/85 Scenes w.p.
11/7-16/85 Lippman's The Buck Stops Here 7 pfs.
2/27,28 3/1/86 The Pirates of Penzance
KENTUCKY
The Blue Apple Players, P. Lenzi & G.A. Snyder, Co-Dirs., Louisville
2/24/86 Lenzi/Snyder's Passing in the Night prem.
LOUISIANA
Festival of New Music, Contemporary Arts Center, New Orleans (3/13-23/86)
3/13/86 Concert, incl. Constantinides' Intimations Faust Straley; c: Constantinides
Louisiana State University Opera Theatre, R. Aslanian, Dir., Baton Rouge (see also Vol.26, No.4)
2/20/86 Taranto's The Cistern prem. & Penri-Evans' Study in Grey prem.; c: S. Lawton; d: R.Ney
4/12,13/86 Hansel and Gretel
5/4/86 Scenes
MAINE
University of Maine Opera Theater, L. Hallman, Art.Dir., Orono
1/25,26,31 2/1/86 Le Nozze di Figaro
MARYLAND
Theatre of Nations Festival, Baltimore (6/15-29/86)
6/18-20,21m/86 Peaslee/Clarke's Garden of Earthly Delights Music Theatre Group/Lenox Arts
Center at Goucher College
6/18-20/86 Dario Fo's Mistero Buffo Itl.; at Peabody Concert Hall; 5/28-6/7 in NY
6/27,28,29m/86 Ghashiram Kotwol Theatre Academy of Poona, India at Baltimore School for
the Performing Arts; 5/25,28 in NY
University of Maryland Opera Theatre, M. Mangold, Dir., College Park
11/23,24/85 2/27 3/4,6/86 Hansel and Gretel Eng. Wette
12/11/85 4/8 5/8,13/86 Scenes
2/23,26 3/1,7/86 The Gondoliers w.o.
5/14/86 Mangold's Bleah! w.o.; prem.
MASSACHUSETTS
American Repertory Theatre, R. Brustein, Art.Dir., Cambridge (see also Vol.26, No.4)
5/9-6/19/86 Damashek/Cavander's Olympian Games
5/30-6/17/86 Genet's The Balcony Eng. van Itallie; incid. music by R. Blades; d: Akalaitis
6/27-7/13/86 Alcestis adapt. R. Wilson; incid. music by Laurie Anderson; d: R. Wilson
-68-
1985-86 Season
Berkshire Music Festival, Boston Symphony Orchestra, S. Ozawa, Mus.Dir., Tanglewood/Lenox
6/27-8/31/86 Festival Concerts
8/2/86 Weber's Oberon E. Connell; Lindroos; c: Ozawa, stgd. pf. (2OOth anniversary of
composer's birth)
Berkshire Opera Company, R.A. Hearne, Gen.Dir., Lenox
7/26,27,29 8/1,2,6,7/86 La Serva padrona Eng. Hearne & L'Oca del Cairo Eng. Harniek
Boston Symphony Orchestra, S. Ozawa, Mus.Dir., Boston (see also Vol.26, No.4)
11/1,2/85 Schumann's Das Paradies und die Peri cone. pfs. Haggander, L. Hunt, Lipovsek;
Cole, Gronroos; c: Sinopoli
Boston University Opera Program, J. Haber, Dir., Boston
11/6,7 12/7,8/85 Scenes
1/25/86 Toch's The Princess and the Pea
4/11,13/86 Le Nozze di Figaro
5/2,3/86 Merryman's Antigone prem. & Walton's The Bear
Castle Hill Festival, T. Kelly, Art.Dir., Boston Camerata, Ispwich
7/4-8/17/86 Festival incl. The Beggar's Opera; L'Histoire du soldat stgd.pfs.
Great Woods Performing Arts Center, Pittsburgh Symphony, M. Tilson Thomas, Mus.Dir., Mansfield
(6/13-8/24/86)
8/16/86 Tosca conc.pf.; Scotto; Raffanti, Diaz, Tajo; c: Tilson Thomas; Pittsburgh Symphony
Lenox Arts Center/Music Theatre Group, Stockbridge season (see also Vol.26., No.4)
7/9-26/86 Cooper/Bogart/Litwalk's Between Wind
8/6-24/86 Shostakovich/Silverman's Black Sea Follies
Merrimack Lyric Opera, J. Bates, Art.Dir., Lowell
11/85 Verdi Requiem
5/23,25m/86 La Boheme Sasson; Cortez, Fleck; c: Laino; d: Brumet
Williams College, Williamstown
4/26,27,29,30 5/2,3/86 The Abduction from the Seraglio Croll ed.
Williamstown Theatre Festival, Williamstown
Summer '86 Peaslee/Cavander's Hawthorne County
MICHIGAN
Opera Company of Mid-Michigan, R. Peterson, Art.Dir., East Lansing
4/26/86 Die Fledermaus at Michigan State Univ., Ann Arbor
Piccolo Opera Company, M. Gordon, Dir., Detroit
4/12/86 Die Fledermaus c: N. Gordon; at Civic Music Series, Erie, PA
Summer '86 de Pue's The Three Little Pigs at Meadow Brook Festival, Rochester
University of Michigan, Opera Workshop/Theatre Dept., Ann Arbor
4/17-20/86 Raposo/Harnick's A Wonderful Life prem.
MINNESOTA
Minnesota Orchestra Sommerfest, L. Slatkin, Art.Dir., Minneapolis (7/16-31/86)
7/22,25m/86 Vienna and Broadway Concert, Hohenfeld, Hardy; Groenendaal, Sykes; c: Susskind
8/9/86 Fidelio conc.pf.; Hinds, Martin; Jenkins, Brunner, Perry; c: Slatkin
University of Minnesota Opera Theater, V. Sutton, Dir., Minneapolis
2/21,22,28 3/1/86 The Medium &. Trial by Jury
5/9,10,16,17/86 Argento's Sicilian Limes & V. Fullam's The Mermaid prem.
MISSOURI
St. Louis Symphony Orchestra, L. Slatkin, Mus.Dir., St. Louis
1/16,18/86 Tosca cone.pfs.; S. Dunn; Morris
University of Missouri Opera Workshop, H. Morrison, Dir., Columbia
10/27 11/2/85 Sheffield's Cleavage
7/4,5,10,14,17,22,25 8/1,2/86 Chicago
2/25,27/86 Gianni Schicchi
University of Missouri, Music & Theater Depts., D. Jorgenson, Kansas City
11/85 La Perichole d: Graham
MONTANA
Inter mountain Opera, J. Hubbard, Pres., Bozeman
5/8,11/86 Lucia di Lammermoor
NEW HAMPSHIRE
Monadnock Music Festival, A. Alexander, Bus.Mng., J. Bolle, Art.Dir., Peterborough/Jaffrey
(7/12-8/31/86)
8/16/86 The Magic Flute conc.pf.
Theater by the Sea, T. Celli, Dir., Portsmouth
12/85-1/4/86 Godspell
2/13-3/15/86 A Day in Hollywood/A Night in the Ukraine
-69-
1985-86 Season
NEW JERSEY
Musica da Camera, M. Braun, Dir., Fort Lee
5/18m/86 Handel's Cecilia, Volgi un sguardo Am.prem.
Westfield Symphony Orchestra, B. Keimach, Mus.Dir., Westfield
3/29/86 Fidelio Hinshaw; McCoy, Barzel, Hedlund; c: B. Keimaeh; Wesleyan College Chorale;
at Carnegie Hall
NEW MEXICO
University of New Mexico Opera Workshop, M. Tyler, Dir., Albuquerque
2/28/86 Le Nozze di Figaro
NEW YORK
Chautauqua Opera, C. Auerbach, Art.Dir., Chautauqua
7/11,14/86 II Trovatore Fernandez, Nadler; Hamrick, Dietsch; c: Kellogg; d: Kneuss; ds: Ostroff
7/18,21/86 La Fille du regiment Parrish; Kunde, Malas; c: DeMain; d: D. Danner
7/25,28 8/8,11/86 The Mikado Connors, Koyl; D.R. Smith, Fitch, Stevens; d: H. Danner
8/15,18/86 The Rake's Progress S. Friede, S. Smith; Eisler; c: DeMain; d: Auerbach
Glimmerglass Opera Theater, P. Kellogg, Gen.Dir., Cooperstown (revised schedule)
7/2-12/86 La Cenerentola* Eng.; Lerner; Haddock, Griffin, Stephens; c: Schneider; d: Holliday;
ds: Beck; 6 pfs.
7/23-8/2/86 Gianni Schicchi* Eng. & Mighty Casey* Conte; Bortnick, Eddleman & Cortner,
B. Harris; Steele; c: Schneider; d: Eddleman; 6 pfs.
8/13-23/86 The Pearl Fishers* Eng.; South; Pendergraph, Halfvarson; c: Schneider; d: Gately;
ds: Beck; 6 pfs.
Lake George Opera Festival, B. Lingham, Gen.Dir., Glens Falls
7/18,25,29,31 8/4,6,9/86 Die Fledermaus Eng. Dietz & Kanin; Lamy, K. Beardsley; Trentham,
Puzzo, Massey; c: France; d: Cullinan; ds: Klein
7/20,27 8/3,10/86 Opera-on-the-Lake Cruises
7/26,28,30 8/1,5,7/86 Tosca Eng. Tracey; Hadani; Evanko, Karel; c: Salemno; d: Mattaliano;
ds: Brumley
8/2/86 Anniversary Gala
8/8,11,12,13,14,15,18/86 Carousel c: Everly; d/c: Holby
8/17,19/86 Rita <5c L'Heure espagnole & Gallantry (American Lyric Theatre - Apprentice Artists
Program, R. Elias, Dir.)
PepsiCo Summerfare, C. Hunt, Art.Dir., Purchase (7/11-8/3/86)
7/12-26/86 A Midsummer Night's Dream Guthrie Theatre prod. w. incidental music by
P. Glass; d: Ciulei; ds: Montresor
7/16,18,20m,23,25,27m/86 Co^l fan tutte* Felty, Kuzman, Larson; Kelley; Maddalena, Sylvan;
c: C. Smith; d: Sellars; ds: Lobel/Ramicova/Ingalls; Boston Early Music Festival Orchestra
7/25,26,27m/86 Attraciones Fenix The Companias Divas; d: Rodriguez; ds: Trejo/Figueroa
Society for New Music, R. Kess, Mus.Dir., Syracuse
2/23/86 Taverner's A Gentle Spirit
State University of New York Opera Workshop, D. Ostwald, Dir., Purchase
4/30 5/2,4/86 Hoist's Savitri & Gianni Schicchi Eng. Grossman
NEW YORK CITY
A MAS Repertory Theatre, R. LeNoir, Art.Dir. (see also Vol.26, No.4)
2/14/86 Carleton Carpenter's Northern Boulevard prem.
3/1/86 Bubbling Brown Sugar benefit pf.; Claridge Hotel, Atlantic City, NJ
American Place & New Federal Theaters, W. Handman & W. King, Jr., Co-prods.
2/9-3/1/86 Smith's Williams and Walker prem.; at New Federal; 3/9 at American Place
American Symphony Orchestra, J. Mauceri, Mus.Dir., Carnegie Hall
4/27m/86 del Trediei's Child Alice prem. of complete vers.; Dahl, Upshaw, Redmon
The Apple Hill Chamber Players, Symphony Space
4/18/86 J. Deak's Lady Chatterley's Dream & Owl in Love
Bronx Arts Ensemble, W. Scribner, Art.Dir., Merkin Hall
5/11/86 Salute to the Bronx and American Composers incl. Currie/Kornfield's A Dream Within
a Dream Hart; Spinetti, Bell; c: Gould/Booth
Brooklyn College Fifth Annual Chamber Opera Competition, Gershwin Theater
4/10-13/86 Gerberg/McGuire's The Yellow Wallpaper & Bergsma's The Murder of Comrade
Sharik prems.; e/d: Boswell; 10 pfs.
Carnegie Hall Productions, Carnegie Recital Hall
4/2,4,5m,5,6m/86 No, No Nanette orig. 1925 orchestration and book; Luker, Kaye, Connell;
Dvorsky, Groenendaal; c: McGlinn
-70-
1985-86 Season
Cathedral of St. John the Divine, West 112th Street
3/28/86 The Passion According to St. John stgd.; Bogdan, Kramer
Chelsea Theater Center, R. Kalfin, Art.Dir.
4/21 6/9*/86 Isen/Beard's Spring Awakening *rev.reading
5/19 6/30*786 Marvin/Jakes' The Haunted Place *rev.reading
Children's Free Opera, St. Luke's Chamber Ensemble
2/86 Offenbach's Pomme d'api Eng.
Circle in the Square Downtown, Bleecker St.
4/20/86 Pen/Harmon's Goblin Market (Vineyard Theater prod.) open run
Composers' Showcase, C. Schwartz, Art.Dir., Tully Hall
3/23/86 Homage to Stravinsky: L'Histoire du soldat (text & dir. Corsaro) & Renard & Les Noces
Gregg Smith Singers; narr.: T. Randall; c: Craft
5/11/86 Concert incl. excerpts from A. Davis' X
6/16/86 Telson's The Warrior Ant conc.pf. of work-in-progress
Da Capo Chamber Players, Carnegie Recital Hall
4/11/86 Pierrot lunaire Eng. Porter; Bonazzi
Diana Productions, M. Torre, Mus.Dir., Little Theater of the West Side YMCA
4/17-5/3/86 Martini/Comparato's Wine In My Blood prem.
Gilbert and Sullivan Light Opera Co. of Long Island, Far Rockaway, Queens
4/20/86 H.M.S. Pinafore in Yiddish; at Gustave Hartman Auditorium
Juilliard American Opera Center, D. Lloyd, Dir., Lincoln Center (see also Vol.26, No.4)
4/16,18,20m/86 Don Giovanni c: Seibel; d: Yannopoulos; ds: Scheffler/Anderson
LaMaMa ETC, E. Stewart, Exec.Prod., East 4th Street
4/3-20/86 Monk's Acts From Under and Above prem.
4/22-27/86 Monk's Turtle Dreams: Cabaret
5/15-25/86 Nora's Once Upon a Dream Come True
Manhattan Opera Theater, A. Charlet, Art.Dir., CAMI Hall
5/16,17/86 Saint-Saen's La Princesse jaune 5/29m at Singer's Forum
Manhattan School of Music, J. Crosby, Pres. (see also Vol.26, No. 4)
3/19,21,23m/86 Henze's The English Cat c: Gilbert; d: Galterio; ds: M.W. Klein/Rubin
4/13-16/86 Birgit Nilsson Master Classes; 4/16 open to public
4/27m/86 Opera Scenes w.p., d: Kazan
Manhattan School of Music Preparatory Division, C. Auerbach, Art.Dir.
4/20/86 P.M. Davies' The Rainbow & Menotti's Chip and His Dog c: Krieger; d: King
Mannes College Opera Department, P. Wolfe, Dean
5/17,19/86 Balk's Magic Abduction and Cosi Marriage of Tutte Giovanni
Metropolitan Opera on Tour, B. Crawford, Gen.Mgr., Boston, Cleveland, Atlanta, Minneapolis
5/5,12,19,26/86 Tosca Bumbry; Bartolini, MacNeil; c: Badea
5/6,13,20,27/86 Cavalleria rusticana & Pagliacci Lorange; Popov/DiGiuseppe & Pilou/Nicolesco;
McCracken; c: Navarro
5/7,14,21,28/86 L'Italians in Algeri Dubinbaum, Norden; Ahlstedt, Montarsolo; c: Vendice
5/8,15,22,29/86 Aida Mitchell; Sebastian, Zancanaro; c: Santi
5/9,16,23,30/86 Carmen I.Jones/Bumbry, Pilou; Popov/Lewis, Edwards; c: Navarro
5/10m,17,24,31/86 La Traviata Daniels; O'Neill, Zancanaro; c: Santi
5/10,17m,24m,31m/86 Romeo et Juliette G. Robinson; Gulyas, Schexnayder, Plishka; c: Mauceri
Metropolitan Opera in New York City Parks, B. Crawford, Gen.Mgr., New York
6/17,20,25,28/86 Aida Millo/Amara, Bumbry/Richards; McCracken/Veronelli, Quilico, Plishka,
Vernon; c: Santi; cone. pfs. in Central Park, Brooklyn, Bronx, Nassau County
6/18,21,23,27/86 Romeo et Juliette Robinson/Baudoin, Harris; Fowler, Glassman, Schexnayder,
Plishka, Malas; c: Mauceri; cone. pfs. in Staten Island, Queens, Central Park, Co-op City
Mostly Mozart, G. Schwarz, Mus.Dir., Fisher Hall (7/7-8/23/86)
8/14,16/86 La Finta giardiniera cone.pfs.; Chalker, Erickson, Parrish, D. Jones; Blake,
M. Myers, Hampson; c: Schwarz
National Music Theater Network Samplers, T. Jerome, Exec.Dir., Donnell Library/New Dramatists
(see also Vol.26, No.4)
3/10,11/86 Baksa's Aria da Capo <5c Troob's All Bets Off prem. & Margoshes' A Midsummer
Night's Dream
5/16,17,18m,18/86 "Opening Night" Sampler Program; Andreas, Kaye; Ferrer; narr.: M.
Charnin; at Fairbanks Theatre
5/19/86 Gala Benefit at NewHouse Theater
-71-
1985-86 Season
New Amsterdam Theatre Company, B. Tynes, Art.Dir., Town Hall
10/20m/85 George White's Scandals of 1926 stgd.; benefit
3/2m,3/86 Porter/Hart's Jubilee semi-stgd.
5/17,18m,19/86 I Married an Angel semi-stgd.
New York City Opera, B. Sills, Gen.Dir., Lincoln Center (see '86-87 Season for 9/9-11/16/86)
7/1,2,3,4,5m,5,6m,6/86 Candide
7/8,9,10,11,12m,12,13m,13/86 Kismet
7/16,22,31 8/22/86 Les Pgeheurs de perlest
7/17,26m 8/2/86 Le Nozze di Figarot
7/18,26 8/9m, 13,21/86 Die Fledermaus Eng.
7/19m,30 8/8,14,23/86 Carment
7/19,25 8/5/86 La Bohemet
7/23,29 8/7,16m/86 Werther*t W.White, Peterson/S. Woods; Hadley/Garrison, Stone, Parker;
c: Comissiona; d: Mansouri; ds: Bosquet
8/1,6,12,16/86 Don Quichotte*t Vergara/Marsee; Ramey/Dworehak, J. McKee/Opalach;
c: Bernardi; d: Copley; ds: Don/Benson
8/2m,9,20/86 Madama Butterflyt
8/15,23m/86 Cendrillont
8/26-9/7/86 Romberg's The New Moon* Munro, Costa-Greenspon, Shaulis; R. White, Cousins,
McKee, Baerg; c: Coleman; d: Johanson; ds: Anania/Marley; 16 pfs.
New York Grand Opera, V. LaSelva, Mus.Dir., Central Park (all stgd. pfs.)
7/10/86 La Juive K. Luna, Aronoff; Perretti, Gleason; c: LaSelva; d: Gentilesca
7/17/86 La Traviata Zeldin; Naldi, Holley; c: LaSelva; d: R. Stivanello
7/24/86 Oberto, Conte di San Bonifacio Minicozzi, Gruenwald; Corteggiano, Zuccarelli; d: Lucas
7/31/86 Lucia di Lammermoor Kristhea; Olson, Roisum, Ulloa; d: Lucas
New York Philharmonic Horizons '86: Music as Theater Festival, J. Drucktnan, Art.Dir., Fisher
Hall (5/21-6/4/86)
5/21/86 Ligeti's Le Grand Macabre excpts. & Aventures/Nouvelle Aventures stgd.; Hargan,
O. Fredericks; Haage, Weller & K. Beardsley, Castle; Brandstetter; c: Pesk6;
d: Strasfogel
6/3/86 Concert incl. Dresner's Slow Fire Act I; Paul Dresher Ensemble
New York Shakespeare Festival, J. Papp, Art.Dir., Delacorte Theater, Central Park (6/20-9/8/86)
(see also Vol.26, No.4)
6/20-7/20/86 Twelfth Night w. incidental music and songs by R. Holmes; d: Leach
8/6-10/86 Cabrera's La Verdadera Historia de Pedro Navaja (based on Threepenny Opera)
C. Avellanet & Teatro del Siente of Puerto Rico; d: Cabrera
New York University, Reimann Opera Studio, W. Williams, Mus.Dir. (see also Vol.26, No.4)
6/27,28/86 Amram's Twelfth Night c: Amram
8/7,8,9/86 High Button Shoes by NYU Summer Musical Theater
Opera Uptown, R. Rubinson, Dir., Barnard College
2/20,21,22m,22/86 Cage & Valinsky/Schubert's The Bus to Stockport and Other Stories prem.
Performing Garage, 33 Wooster St.
3/21,22,23/86 Christian Marclay's Dead Stories a performance-art piece, prem.; d: Marclay
5/23-6/28/86 Foreman's The Cure
Philharmonica Hungarica, Avery Fisher Hall
4/25/86 Zajc's Nikola Subid Zrinski conc.pf.; Hofstetter, Carrington; Geilsdorfer, Schneider;
e: Cerovac; Munich Chamber Chorus; also pfs. in Cleveland, Toronto & Vancouver
Playwrights Horizon, A. Bishop, Art.Dir., 416 West 42 Street
1/1-26/86 Feldman/Wasserstein/Sussman's Miami
PRISM, R. Black, Mus.Dir., Symphony Space
2/11/86 Rudin's Three Sisters reading of scenes & arias, W. Hill
Riverside Opera, Rutgers Church
5/30,31 6/lm/86 Werther
Sequentia/Cologne, Medieval Sculpture Court, Metropolitan Museum
3/23,24/86 Hildegard von Bingen's 12th century Ordo Virtutum Thornton
Soho Repertory Theater, J. Engelbach & M. Swartz, Art.Dirs., Greenwich House
5/30-6/22/86 Bowles/Fielding's The Grub Street Opera prem.; 16 pfs.
Speculum Musicae, Merkin Concert Hall
2/24/86 Henze's n Cimarrdn J. Sprague
Terra Australis Incognita, M. Copland, Prod., Symphony Space
3/11/86 Concert incl. Conyngham's Bony Anderson & Butterley's The Owl Am.prems.; O'Keefe &
Chilcott; c: Simon
-72-
1985-86 Season
West End Opera Theatre Inc., W. 76 St., Trinity School, W. 91 St.
5/2,3,4111/86 The Impresario Eng.; adapt. J. Kolody & Gallantry
Westside Opera Workshop, Greek Orthodox Church
4/3,5/86 Cos^ fan tutte
York Theater at Murphy Center (see also Vol.26, No.4)
2/21-3/1/86 St. German/Katsaros' Moby Dick prem.
NORTH CAROLINA
Brevard Music Center, H. Janiec, Art.Dir., Brevard (6/25-8/10/86)
6/28/86 Dido and Aeneas & Down in the Valley c: Saunders; d: Ferguson
6/29m/86 Gianna Rolandi in Concert, c: Janiec
7/4/86 H.M.S. Pinafore c: Hughes
7/11/86 Lucia di Lammermoor c: Janiec; d: Patacchi
7/18/86 Selections from Rogers & Hammerstein, c: Janiec
7/20m/86 Samuel Ramey in Concert, c: Janiec
7/25/86 The Music Man c: Janiec; d: Magoulas
8/1/86 Aida c: Janiec; d: Patacchi
8/2/86 Selections from Lerner <5c Lowe, c: Janiec
8/3m/86 Renata Scotto in Concert, c: Janiec
8/9/86 The Fantasticks c: Reilly; d: Magoulas
East Carolina University, Opera Theater, C. Hiss, Dir. Greenville
11/1/85 Scenes
2/20,21,22 4/17/86 Hagemann's The Music Cure & Trial by Jury & Gallantry 5 pfs. w.o.;
c: Hagemann
North Carolina School of the Arts Opera Workshop, N. Johnson, Dir., Winston-Salem
1/30 2/1,2/86 The Unicorn in the Garden & Hollingsworth's The Mother
5/16,17/86 Scenes
University of North Carolina Opera Workshop, A.J. Knutsen, Dir., Greensboro
10/2-6/85 South Pacific 5 pfs. w.o.
10/31/85 Harper's Fanny Robin also 10/18/85 at NOA Convention
11/19/85 2/17/86 Scenes
4/11-13/86 A Midsummer Night's Dream 3 pfs.
6/12-7/5/86 Tintypes 9 pfs.
6/14-7/19/86 The Sound of Music 11 pfs.
OHIO
Blossom Music Center Festival, Cleveland Orchestra, K. Haas, Gen.Mgr., Cuyahoga Falls (6/278/31/86)
8/31/86 The Merry Widow Silja; c: von Dohnanyi
Cleveland Orchestra, C. von Dohnanyi, Mus.Dir., Cleveland (see also Vol.26, No.4)
4/24,25,26/86 Berlioz's Romeo et Juliette cone.pfs.; Ka. Ciesinski; Garrison, Cheek
Kent State University Opera Theater, Kent
4/10,13/86 Britten's Curlew River
Ohio Light Opera Company, B. Havholm, Mgr., College of Wooster
6/10,13,19,21,24 7/15,16,23m,31 8/3m,10/86 Die Fledermaus
6/ll,14,20,22m,28m 7/10,29 8/7/86 Patience
6/12,14m,18,29m 7/19,24 8/1,5/86 The Pirates of Penzance
6/17,21,25,27 7/2,12m,17,26m,27,30m 8/10/86 The Desert Song
6/26,28 7/1,5m,9,13m 8/3,6m,8/86 Kalmdn's The Gypsy Princess
7/3,6m,8,11,19m,26 8/6/86 The Yeomen of the Guard
7/12,15,18,20m,23 8/2m 9/86 La belle Helene
7/22,25,27m,30 8/2,9m/86 Trial by Jury & The Sorcerer
University of Cincinnati College-Conservatory of Music, Opera Theater, G. Samuels, Mus.Dir.,
Cincinnati
11/85 Tchaikovsky's Iolantha 4 pfs.
2/86 Handel's Alcina 4 pfs.
5/15-18/86 The Love for Three Oranges Eng. Stoppard; c: Samuel; d: Fraser
PENNSYLVANIA
Erie Opera Theatre, B. M. Wright, Mus.Dir., Erie
4/25,27/86 La Boheme P. King; Sirianni; e: Wright
RHODE ISLAND
Opera Rhode Island, M. Robbins, Gen.Mgr., Providence
10/4,5/85 The Old Maid and the Thief & Dido and Aeneas
2/7,8/86 Verdi and Puccini Scenes, Eng. Robbins
-73-
1985-86 Season
SOUTH CAROLINA
Charleston Symphony Orchestra, D. Stahl, Mus.Dir., Charleston
4/19/86 La Traviata stgd.; Rolandi; W. MacNeil, Titus; c: Conlin; d: Bowes; ds: Gano/
Lehmeyer
Spoleto Festival, G.C. Menotti, Art.Dir., N. Redden, Gen.Mgr., Charleston (5/22-6/8/86)
5/23,27 6/2,7/86 The Saint of Bleecker Street* Dobish, Silvestri, Brown, Richards; Farina,
Biggers, Robbins; c: Badea; d: Menotti; ds: Brown
5/24m,26,30m 6/lm,4,6,8m/86 de Banfield's Lord Byron's Love Letter & Renard* della Rosa,
Myerson; F. Menotti, Eagleson; Mississippi Opera prod. <5c Barrell, Broitman, Gillis,
Kirchgraber; c: Choset <5c Stringer; d: de Banfield & Gordon; ds: Sormani/Horton <5c
Montresor
6/l,5m/86 Concert incl. The Tender Land excpts. c: Flummerfeldt; Westminster Choir
TENNESSEE
Carson-Newman Lyric Theatre, C. Measels, Prof., Jefferson City
10/17-19/85 My Fair Lady w.o.
4/20/86 Mendelssohn's The Conversion of Saint Paul stgd. w.o.
5/29,30/86 Brigadoon
East Tennessee State University Opera Theatre, R. LaPella, Dir., Johnson City
11/27/85 4/2/86 Scenes
3/14,15/86 Miranda and the Dark Young Man
Playhouse on the Square, J. Nichols, Exec.Dir., Memphis
9-10/19/85 Evita
12/13/85-1/18/86 Gypsy
4/25-5/31/86 Purlie
University of Tennessee Opera Theater, Knoxville
3/7,8/86 The Magic Flute Eng. Porter
TEXAS
Dallas Opera Education Dept. & Dallas Opera Guild, w. Puppet Opera Theater, Dallas
1-3/86 Arlan's The Ballad, of the Bremen Band abt. 75 pfs. to schools
Hardin-Simmons University Opera Theatre, J. Middleton, Dir., Abilene
2/18-22/86 Annie Get Your Gun 5 pfs.
Houston Grand Opera Spring Opera Festival, D. Gockley, Gen.Dir., Miller Outdoor Theater
5/28,29,30,31 6/4,5,6,7/86 Glass/Moran's The Juniper Tree Grissom, Gale, Zambalis; Davis, J.
Smith; c: DeMain; d: Serban/Otte; ds: Yeargan (American Repertory Theater prem. prod.)
Lyric Opera of Dallas (form. Public Opera of Dallas), T. Hicklin, Gen.Dir., Dallas
6/20-29/86 The Magic Flute Eng.; Paschal, Barrow; Ca. Freeman, Coker; c: Salemno; d: Muni;
ds: Conklin; 6 pfs.
7/11-20/86 Madame Butterfly Eng.; Jonason, Knight; Serbo, Perry; c: Burrows; d: Luchinger;
6 pfs.
7/25-8/3/86 H.M.S. Pinafore 6 pfs.
Metro Opera Works & Tarrant County Junior College, M.K. Little, Dir., Ft. Worth
11/85 Le Nozze di Figaro Act II; Eng. Martin
3/12,14,15/86 Susannah at Carillon Theater w.o.
4/3 5/10/86 Scenes
Rice University, Shepherd School of Music, A. Addison, Dir., Houston
11/2,19/85 3/1,22/86 Scenes
11/16/85 The Man on the Bearskin Rug at NATS Convention, San Marcos
2/25,26/86 The Crucible
San Antonio Festival, J. Cunningham, Mng.Dir., revised schedule (6/7-22/86)
6/7/86 Opening Gala Opera Concert, Arroyo; McFarland, Hines; c: Franci
6/16,19/86 Recitals Hines and Arroyo
6/21m/86 Zarzuela Music Concert, Aznir; Lagunes
6/21/86 Bernstein's Mass Nolen; c: Nance; d: Karp
6/22/86 Handel's Saul stgd.; Esswood, Evitts; c/d: McGegan
Texas A & I University, Opera Workshop, R. Scott, Dir., Kingsville
10/16/85 Pirates of Penzance w.p. 4 pfs.
4/9/86 Company 3 pfs.
7/9/86 Once Upon a Mattress 3 pfs.
University of Houston Opera Workshop, B. Ross, Dir., Houston
4/18,20/86 The Mother of Us All
4/29/86 Mahagonny Songspiel
-74-
1985-86 Season
UTAH
Brigham Young University Opera Theater, C. Robison, Dir., Provo
11/1,2,6,8,9/85 The Tales of Hoffmann w.o.; c: Robison
2/19-22/86 d'Albert's Die Abreise Eng. Robison & Hin und zuriick Eng. Farquhar & The Stoned
Guest & Trouble in Tahiti w.p.
3/26-29/86 Pasatieri's Calvary w.o.
6/4-7/86 The Merry Widow Eng. Curtis; w.o.
VIRGINIA
Southwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke (see also Vol.26, No.4)
5/7,9,10/86 Naughty Marietta C. Nail; Fulsebakke; c: Granger
Wolf Trap Opera Company, P. Russell, Adm.Dir., R. Woitach & F. Rizzo, Art.Dirs., Filene
Center/The Barns, Vienna
7/10,12,17,19/86 The Marriage of Figaro* Eng. Porter; Faulkner, Dahl, Redmon; Bernard,
Barth; c: J. Rescigno; d: Mattaliano; ds: J. Schneider; at the Barns
7/24,26,31 8/1/86 Postcard from Morocco* c: Woitach; d: L. Brovsky; ds: Schneider; at the Barns
8/3m/86 Showcase Concert w. members of the Company, w.o. at Filene Center
8/14,16/86 The Tales of Hoffmannt Dahl, Faulkner, Redmon; Livengood, A. Glassman, Garcia,
Hawkins; c: Woitach; d: Ehrman; ds: Sehneider-Siemssen (Greater Miami prod.) at Filene Center
Wolf Trap Opera Company's Children's Series, Theatre-in-the-Woods, Vienna
7/5,12,19/86 Little Red Riding Hood
7/26 8/2,9/86 Cox and Box
Wolf Trap Summer Festival, C. Harford, Pres., Filene Center, Vienna (5/28-8/31/86)
6/10,12/86 Carmen New York City Opera prod.
6/11,13/86 La Boheme New York City Opera prod.
6/14,15/86 Die Fledermaus New York City Opera prod.
7/l,2,3,4,5m,5,6m/86 Singin' In The Rain Broadway prod.
8/14,16/86 see Wolf Trap Opera Company above
8/23-31/86 Camelot 10 pfs.
WASHINGTON
University of Washington Opera Theater, R. Feist, Dir. Opera & Symphony, Seattle
11/14,15,16,17/85 The Magic Flute Eng. Martin; c: Feist; d: Liotta
2/27,28 3/1,2/86 II Combattimento di Tancredi e Clorinda <5c La Paloma e la verbena
c: K. Thomas/J. Hendrix; d: Deacon/Chacon
5/21,23,24,25/86 L'ltaliana in Algeri Eng. Martin; c: Feist; d: Farrar
WISCONSIN
Lawrence University Opera Theatre, J. Koopman, Dir., Appleton
4/24-26/86 La Canterina Eng. Zytowski & La Serva padrona Eng. Benz
CANADA
Banff Centre Music Theatre Studio Ensemble, M. Bawtree, Art.Dir. (see also Vol.26, No.4)
8-9/85 Schafer's The Princess of the Stars mus.dir.: R. Rosen
10/85 McNeff's The Government Inspector pfs. in Banff & Alberta tour
2/86 "Mahagonny Songs" Concert, Jones
3-4/86 Mini Festival: Cocteau's play/Poulenc's opera La Voix humaine Krueker; Parsons/
Anderson's Garden Variations; Kohn/White's Rite of Passage; Grant/Devin's Dreamer;
Grant/Causely's Kings' Children; Causely's A Field of Vision
Banff Festival of the Arts, Alberta (7/7-8/16/86)
8/9,12,14,16/86 Eugene Onegin c: Vendice; d: Graham; ds: Jampolis
8/13,14/86 Gianni Schicchi & The Bear & The Scarf <5c The Dinner Engagement
L'Opera de Montreal, J. Langevin, Gen.Mgr., Montreal (see also Vol.26, No.4)
4/24,26 5/1/86 n Barbiere di Siviglia Marsee; Gimenez, Baerg, Charbonneau, Corbeil; c: Hetu;
d: Gascon; ds: PreVost; L'Orchestre des Jeunes de Quebec
Toronto Symphony Orchestra, A. Davies, Mus.Dir., Toronto (see also Vol.26, No.4)
8/5,6/86 L'Histoire du soldat d/chrgr: B. Macdonald (9/86 at Edinburgh Festival Scotland)
University of British Columbia Opera Theatre, F. Tickner, Dir., Vancouver
3/17,18,20,21,22/86 Postcard from Morocco c: E. Wilson; d: Tickner
Vancouver Expo '86 - World Festival, A. Ferris-Darling, Art.Dir., Vancouver, BC (5-10/86)
5/2/86 Gala Opening Concert, 16 internatl. solo artists, Vancouver Symphony, c: Bernardi
5/3,6,8,10/86 Carmen Vancouver Opera prod, (see also Vol. 26, No.4)
6/1-8/86 The Telephone Trifunovich; Oliver; d: Alarie; Canada Opera Piccola prod, at Canada
Pavilion, 14 pfs.
6/6,7,8/86 Antologia de la Zarzuela Domingo
continued
-75-
1985-86 Season
Vancouver Expo, continued
6/18-24/86 Davies1 The Lighthouse Guelph Spring Festival prod., 5 pfs. at Canada Pavilion
6/20-7/5/86 Ruddell/Pollock's God's Not Finished with Us Yet
7/15-22/86 Pop Opera Selections, Canada Opera Piccola prod, at B.C. Pavilion
7/15-26/86 42nd Street
7/22-29/86 Schirle's Whiteman Meets Bigfoot
8/12/86 Marni Nixon Sings Gershwin
8/24-9/4/86 Guest Engagement Teatro alia Scala, Milan; I Lombardit Connell/Hayashi;
Burchuladze, Luchetti; c: Gavazzeni; d: Diaz; ds: Agostin ucci/Viotti; 6 pfs.; Verdi Requiem
2 pfs.
9/3,5,6,8/86 Le Nozze di Figaro Canada Opera Piccola prod, at Queen Elizabeth Playhouse;
also 8/21,23,24 in Victoria, B.C.
9/22-27/86 Anne of Green Gables (Charlottetown Festival prod.)
Victoria International Festival, Victoria, B.C.
7/10-8/24/86 Festival incl. Le Nozze di Figaro Eng.
-76-
FIRST PERFORMANCE U5TING, 1986-67 SEASON
All performances are staged with orchestra unless marked "conc.pf." or "w.p." (with piano). An
* following a title indicates a new production; a t indicates performances shown with projected
English Captions.
Performances and news items once listed will not be relisted at the time
of performance. A single date appearing for a listing of several performances indicates the
opening night.
ALABAMA
Mobile PacOpera, H. France, Mus.Dir., Mobile
10/9,11/86 La Bohemet
3/19,21/87 Die Zauberflfite Eng. Porter
1/87 Ba-ta-clan Eng. Strasfogel; w.p.; tour
ALASKA
Anchorage Opera, J. Wright, Gen.Dir., Anchorage
9/19-27/86 La Traviata 4 pfs.
3/27-4/4/87 The Barber of Seville 4 pfs.
Perseverance Theatre, M. Smith, Art.Dir., Douglas
2/87 Adams/Lopez's Giving Birth to Thunder, Sleeping with His Daughter, Coyote Builds
North America prem.; d: Smith, ds: Ray; chrg.: Dworkin-Kerr; also tour through Alaska
ARKANSAS
Arkansas Opera Theatre, A. Chotard, Gen. & Art.Dir., Arkansas Arts Center, Little Rock
9/19,21m/86 Rigoletto Eng. Fenton; Donahue; Spencer-Atkins, Lightfoot; d: Chotard; set in
Latin America in 30's
ll/7,9m/86 Sondheim's A Little Night Music
2/27 3/lm/87 The Barber of Seville C. Rose; Parsons; c: Hess
5/16m,23m/87 The Pirates of Penzance Castle House out-door pfs.
ARIZONA
Arizona Opera, G. Ross, Gen.Dir., Tucson/Phoenix*
10/23,25,30* 11/1V86 Pique Damet Eng.; V. Thomas, Thebom; Sooter; d: Lucas
l/8,10,15*,17*/87 La Bohemet Luna, Welty; Ichihara, Perry, Drake; c: Holt
2/5,8,12*,15m*/87 Manon Lescautt Lorange; Ashbaker; e: Colacioppo
3/5,7,12*.14*/87 The Barber of Sevillet Peterson; Elvira, Tozzi, Freeman, Kline
CALIFORNIA
Berkeley Opera, R. Goodman, Art.Dir., Berkeley
2/13,14,19,20,22,28 3/1/87 Fidelio
5/1,2,8,9,16,17/87 n Tabarro & Gianni Schicchi
Cinnabar Opera Theatre, M. Klebe, Art.Dir., Petaluma
10/31-11/15/86 The Medium
1/19-31/87 Barab's Who Am I
3/13-28/87 Mihalovici's Krapp's Last Tape Am.prem. & Henze's A Country Doctor
5/8-30/87 The Consul
7/10-8/15/87 Man of La Mancha
Hollywood Opera Ensemble, A. Monte, Gen.Dir., Los Angeles
9/28/86 The Telephone & Pagliacci
1/18/87 Carmen
The Lamplighters, G. Russak, Art.Adm., Opera West Foundation, San Francisco
9/20-10/26/86 The Merry Widow Eng. Pippin
12/5,6,7/86 The Opera Gala
3/7-4/12/87 Ruddigore
6/20-8/2/87 The Pirates of Penzance
Long Beach Opera, M. Milenski, Gen.Dir., Long Beach
10/17,19,21,24,26/86 The Tales of Hoffmann
2/10,14/87 Szymanowski's King Roger Am. stage prem.
3/21,23,25,27,29/87 The Ballad of Baby Doe
Los Angeles Music Center Mark Taper Forum
Fall '86 Sobol's Ghetto Am.prem.
Marin Opera, L Martinez, Gen.Dir., Ignacio
9/26,28/86 Madama Butterfly
12/28,31/86 Die Fledermaus
3/6,8/87 The Ballad of Baby Doe
5/8,10/87 Carousel
-77-
1986-87 Season
Music Center Opera Ass'n., P.Hemmings, Exec.Dir., Chandler Pavilion, Los Angeles
10/7,10,12/86 Otello*t Plowright; Domingo, Milnes; c: Foster; d: Friedrich; ds: SchneiderSiemssen/J. Skalicki
10/8,11,14/86 Madama Butterflyt Mitchell/Kim, A. Baker; N. Wilson, Glossop; c: A. Gibson;
d: P. Ebert; ds: Lee (Washington Opera prod.)
10/9,13,18/86 Salome*t Ewing, Cariaga; Devlin, Ulfung; c: H. Lewis; d: Hall; ds: Bury
11/4,6,8/86 Alcinat Auger, S. Vlahos; D. Jones ; c: Hickox; d: Corsaro; ds: Crowley; Philharmonia
Baroque Orchestra/LA Master Chorale (eo-prod. London's Opera Stage) Wiltern Theatre
2/19,20,21/87 Porgy and Bess c: DeMain; d: O'Brien; ds: Schmidt/Potts (shared prod.)
Oakland Opera, A. Taylor, Art.Dir., Calvin Simmons Theatre, Oakland
9/86 The Magic Flute
Opera Pacific, D. DiChiera, Gen.Dir., Orange County Performing Arts Center, Inaugural Season
2/11-15/87 Porgy and Bess (shared prod.) c: DeMain; d: O'Brien; ds: Schmidt/Potts; 7 pfs.
2/20-3/8/87 West Side Story d:Montel; ds: O'Hearn/Caine (Michigan Opera Theater prod.) 18 pfs.
3/27 4/1,4/87 La Boheme Soviero, Huffstodt; Hadley, Noble, Cox, Tajo; c: Maueeri; d: Menotti;
ds: Z. Brown (Washington Opera prod.; Lyric Opera Chicago costumes)
Opera San Jose, I. Dalis, Gen.Dir., San Jose
10/4,5,10,11,18,19/86 Gianni Schicchi Eng. <5c Suor Angelicat
10/12m/86 Eilana Lappalainen in Recital
12/13m,13,14m,14/86 Amahl and the Night Visitors
2/28 3/1,6,7,14,15/87 Le Nozze di Figarot
2/11/87 An Evening with Sherrill Milnes
3/8m/87 David Rohrbaugh in Recital
6/6,7,12,13,20,21/87 The Merry Widow
6/14m/87 Elizabeth Enmann in Recital
Riverside Opera, J.A. Sullivan, Gen.Dir., Riverside
10/12/86 The Impresario
3/14,24*/87 Un Ballo in maschera *Palm Springs
5/30/87 II Barbiere di Siviglia
Sacramento Opera, M. Oaks, Gen.Dir., Sacramento
9/19,21/86 Carmen
11/21,23/86 The Merry Widow
2/27,28 3/1/87 La Traviata
San Diego Gilbert & Sullivan, H. Koman, Gen.Dir., San Diego
9/26,27,28 10/4,10,12/86 Jones' The Savoy Theatre Cat prem.
10/3,5,11,17,18,19/86 Ruddigore
2/20m,20,21m,21,22/87 Florodora conc.pf.
3/27,28,29, 4/3,4m,4/87 She Loves Me
6/19,20,21,26,27,28/87 The Mikado
San Diego Opera, I. Campbell, Gen.Dir., Civic Theatre, San Diego
10/ll,14,17,19m/86 Toscat Zschau; Popov, Fortune; c: Fulton; d: S. Wanamaker
10/25,28,31 ll/2m/86 Normat Deutekom, Ziegler; Barasorda, Ghiuselev; c: MUUer; d: Benthaak
2/7,10,13,15m/87 Der fliegende Hollander*t Hass; Jerusalem, Roloff, Langan; c: Kuntzsch;
d: Benthaak
2/21,24,27 3/lm/87 The Barber of Sevillet Mentzer; DuBois, Prey, Langan, Loup; c: Keltner;
d: W. Weber (San Francisco Opera prod.)
1/23/87 Joan Sutherland in Concert, c: Bonynge
2/28/87 Kiri Te Kanawa in Recital
2-4/87 Don Pasquale abrdg.; Opera Highlights; tour by San Diego Opera Ensemble
3/5,7m,7,8m,8/87 Porgy and Bess (shared prod.)
San Diego Opera at the Old Globe, I. Campbell, Gen.Dir., San Diego
1/26/87 Sigfried Jerusalem in Recital
5/9,11,13,15,17/87 The Telephone & The Medium A. Burton; Turnage <5c B. Evans, Pelle;
F. Menotti; c: Keltner; d: Menotti (Washington Opera prod.)
San Francisco Concert Opera, K. Cathcart, Art.Dir., San Francisco
2/12/87 I Lombardi
3/18/87 Rameau's Hippolyte et Aricie
5/21-24/87 Adam's Nixon in China conc.wksp.pf.
Sierra Chamber Opera, A. Rea, Gen.Dir., Fresno
1986-87 The Impresario Eng.; adapt. Monson
tour to schools: Rea/Monson's The Owl's Secret prem.
-78-
1986-87 Season
San Francisco Opera, T. McEwen, Gen.Dir., San Francisco
9/2/86 Sutherland & Pavarotti in Concert, San Francisco Opera Orchestra, c: Bonynge; at
Oakland Coliseum
9/5,10,13,17,20,28m 10/1/86 Don Carlos*t Lorengar, Toczyska, Voigt; Shicoff, Rouleau, Titus,
R. Lloyd; c: Pritchard; d: Cox; ds: Lazaridis; 5-aet vers.; in French
9/6,9,12,16,21m,24,26/86 Le Nozze di Figarot Te Kanawa, Rolandi, Quittmeyer; Ramey, Devlin;
c: Tate; d: Copley; ds: Brown
9/14m, 19,23,27 10/2,5m/86 Jenufat Bendckovd, Rysanek; Ochman, Rosenshein; c: Mackerras;
d: W. Weber; ds: Bauer-Ecsy
9/25,30 10/4,9,12m,15,18/86 La Forza del destinot Slatinaru, Forst; Cossutta, Zancanaro,
Plishka, Fissore; c: Meltzer; d: Calabria; ds: Samaritani
10/7,10,16,22,25,30 ll/2m/86 Faustt M.J. Johnson, Cowdrick, Christin; Dvorsky, R. Lloyd, Titus;
c: Fournet; d: Zambello; ds: W. Skalicki/Munn/Mahoney; 10/16,30 stud.mats.
10/14,19m,23,26m,29 11/1,7/86 Die Meistersinger von Niirnbergt Studer, Snd. Walker; Schunk,
Tschammer, Rydl, Trempont; c: Adler; d: Brenner; ds: Oswald
10/24,28,31 11/4,6,9m,12,15/86 La Boheme*t Miricioiu, d'Amico/Gustafson; Cupido/Lima,
Krause, Pendergraph, Langan; c: Arena; d: Freedman; ds: Mitchell/Button; 10-11/86 stud.mats.
& abrv.vers. pfs.in Eng. in schools
11/8,11,16m,21,26,30m 12/5/86 Eugene Onegint M. Freni, Snd. Walker; Gulyas, T. Allen,
Ghiaurov, Tate; c: Bradshaw; d: Copley; ds: Don/Stennett
11/14,20,23m,28,30 12/3,6/86 Manont Greenawald; Araiza, G. Quilico, T. Paul; c: Fournet;
d: Mansouri; ds: Mitchell/George
11/19,22,25,29 12/2,4,7m/86 Macbeth*t Verrett; Popov, Noble, Tomlinson; c: Kord; d/ds: Pizzi
San Francisco Opera - Royal Family of Opera Series, War Memorial Opera House
10/5/86 Jessye Norman in Recital
10/26/86 Carlo Bergonzi in Recital
3/4/87 Kiri Te Kanawa in Concert
5/13/87 James Morris in Recital
San Francisco Opera Summer Season, T. McEwen, Gen.Dir., San Francisco
6/87 Tippett's The Midsummer Marriage d: Copley
6/87 Die Frau ohne Schatten
6/87 La Fanciulla del West
6/11-14/87 Central Opera Service National Conference
Ventura Opera, B. Taft, Art. & Mus.Dir., Ventura
10/24,26/86 Madama Butterfly
3/20,22/87 Orph6e aux enfers
West Bay Opera, M. Holt, Gen.Mgr. Palo Alto
10/24,25,26,30,31/86 La Boheme c: Cristler; d: Helfgot
1/30,31 2/1,5,6,7/87 Manon c: Popper; d: Clark
5/15,16,17,21,22,23/87 La Traviata c: Ramadanoff; d: Helfgot
COLORADO
Opera Colorado, N. Merrill, Pres. & Gen.Dir., Denver
5/2,5,8/87 Manon Lescaut
5/9,12,15,17/87 Samson et Dalila
CONNECTICUT
Connecticut Grand Opera & Stamford State Opera, J. Hiddlestone, Gen.Mgr., Stamford/
Bridgeport*
9/13,20*/86 Rigoletto Valente; Elvira; c: G. Bellini; d: Gentilesca
11/15,22*/86 Busoni's Turandot* Am. stage prem.; P. Craig; c: Gilgore; d: A. Brown; ds: Nespolo
3/21*,28/87 Cherubini's Medea Cruz-Romo; c: G. Bellini
5/9,16*/87 La Boheme Kineses; c: Gilgore
Connecticut Opera, G. Osborne, Gen.Dir., Hartford
10/23,25/86 Tosca Verrett
11/21,22/86 Cosi fan tutte
2/13,14/87 Cavalleria rusticana & Pagliacci
Goodspeed Opera House, M. Price, Exec.Dir., East Haddam
10/1-12/7/86 Carnival! c: Crigler; d/c: Gruenewald/Giiagni; ds: Joy
New England Lyric Operetta, W.H. Edgerton, Pres., Palace Theatre, Stamford
9/20/86 Naughty Marietta
3/7/87 La Vie parisienne Eng.
5/8/87 Operetta Scenes
-79-
1986-87 Season
DELAWARE
OperaDelaware, E. Kjellmark, Admin., Grand Opera House, Wilmington
11/29 12/5,6/86 Cavalleria rusticana 3c Pagliacci Eng. Machlis; e: Ahramjian; d: K. Walker/
C. Tobias
2/27,28/87 Help, Help, the Globolinks! c: E. Swensson; d: Menotti; 4 pfs.
5/9,15,16/87 Fidelio Eng. S. Kozinski; c: S. Kozinski; d: McDonough; also recitals & workshop
on Harriet, A Woman Called Moses
DISTRICT OF COLUMBIA
Kennedy Center Handel Festival '87, S. Simon, Mus.Dir., Kennedy Center
1/18/87 Joshua C. Watkinson; Vickers; conc.pf.
3/1/87 Deidamia Valente, Troyanos, Marsh; Meredith; conc.pf.
5/3/87 "Hallelujah, Handel IV"
Washington Opera, M. Feinstein, Gen.Dir., Kennedy Center
10/25,29,31 11/3,9,13/86 n Trovatoret S. Dunn, Toczyska; Bonisolli, Manuguerra; c: Oren;
d: W.D. Ludwig; ds: Benois (co-prod. Miami, Chicago, Dallas opera companies) at Opera House
10/28 11/1,5,7,10,16/86 Rimsky-Korsakov's The Tsar's Bridet* (in Russian) Knighton, Ciurca,
Guzman; McCauley, S. Dupont, A. Baldwin, Voketaitis; c: Rostropovich; d: G. Vishnevskaya;
ds: Brown (co-prod, w. Monte Carlo Opera) at Opera House
11/15,19,23,26,28/86 Menotti's Goya prem.; Vergara, Huffstodt; Domingo, Otey, Dupont;
c: Friihbeck de Burgos; d: Menotti; ds: P. Grossi; at Opera House
11/22,24,29,30/86 n Matrimonio segretot J. Hall, Resick, Szirmay; Feller, Kuebler, C. Nicolai;
c: Ostman; d: Hampe; ds: Sehlubach/Rupprecht; at Opera House (Cologne Opera prod.)
12/13,15,17,19,21,23,26,28,30/86 1/3,5,7,9,11/87 Don Pasquale* P. South; Wilson, Busterud,
Loup; c: Kellogg; d: Wager; ds: Brown; at Terrace Theater
12/16,20,22,25,27,29,31/86 1/2,4,6,10,13,16,18/87 The Abduction from the Seraglio Eng. Porter;
Guyer; Kuebler, Beudert, Cox; c: Isep; d: Major; ds: Brown; at Terrace Theater
1/12,14,17,20,24,26,28,30 2/1,3,7,9,11,13,15/87 Strauss's Wienerblut Eng.; S. Woods, Reaux;
Thomsen, Manguin, Fiorito; c: Mauldin; d/chorgr: Saddler; ds: Brown; at Terrace Theater
1/19,21,23,25,27,31 2/2,4,6,8,10,14/87 The Coronation of Poppea Eng.; E. Ross, E. Golden,
W. Hill; Ellsworth, Hardesty, Roy, Remo; c: McGegan; d: C. Alden; ds: D. Eastman/Berry
(modern dress - Long Beach Opera prod.) at Terrace Theater
FLORIDA
Coconut Grove Playhouse, A. Mittelcan, Prod.Art.Dir., Miami
10/86 Coconuts revue; open run
Fall '86 A Latin C e ^ - a t i o n
12/5-21/86 Levy/Margcsiiv: 'Fernandez's Fame H.S. prem.
2/27-3/15/87 Goggin's Nunsei.,4/10-26/87 Martin's Swallows
Festival Miami, Miami Chamber Symphony.. J. Serebrier, Art.Dir., Gussman Center, Miami
11/86 Liszt's Don Sanche Am.prem.; semi-stgd.; McDonall, Dobie, Dugdale; Goldthorpe,
McDonnell; c: Serebrier; d: DeSouza
Florida Opera, T. Palmer, Gen.Mgr., Clearwater
11/16,18/86 n Barbiere di Siviglia
3/27,29/87 Tosca
Greater Miami Opera, R. Heuer, Gen.Mgr., Miami
12/29,30,31/86 1/2,3,4/87 Porgy and Bess (shared prod.)
1/12,13,14,17,18/87 La Traviata Miricioiu; Elvira; c: Veltri; d: Uzan; ds: O'Hearn
2/9,10,11,14,15/87 Salome Zschau, Dunn; Devlin; c: Waters; d: Hebert; ds: Klein
3/9,10,11,14,15/87 Thomas' Hamlet Rolandi; Milnes; c: Buckley/Waters; d: Melano;
ds: Toms/Vanarelli
4/6,7,8,11,12/87 Aida Chiara; c: Buckley/Waters; d: Ventura; ds: Skalicki
Orlando Opera Company, R. Owens, Gen.Mgr., Orlando
11/7,9/86 Der Rosenkavaliert Lear, Hastings, Found; Best, Fiorito; c: Eberhardt
12/19,20,21/86 Amahl and the Night Visitors d: Menotti
1/23,25/87 L'Elisir d'amoret Kim; Merritt, Cossa, Kline; c: Coppola; d: Butler
3/20,22/87 Susannah Holleque; Wells, Steele; c: Huckaby; d: Floyd
Palm Beach Opera, A. Guadagno, Art.Dir., J.H. Conlin, Gen.Mgr., Palm Beach
12/12,14/86 Manon Lescaut Riociarelli; Sebastian, Lambrinos, D. Peterson
1/9,11/87 The Barber of Seville H. Kristhea; J. Evans, Fissore
3/6,8/87 Die Fledermaus Eng.; Neblett, C. Nail; Ahlstedt
3/3/87 Gala Concert, J. Carreras
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1986-87 Season
Sarasota Opera, D.C. Allyn, Exec.Dir., V. DeRenzi, Art.Dir., Sarasota
2/7,10,12,15111,20,22,25,28/87 Carment
2/14,17,19,22m/87 The Daughter of the Regiment Eng.
2/21,24,26 3/lm/87 CavaUeria rusticanat & n Tabarrot
2/23/87 Visiting Artists' Concert
2/27/87 Apprentice Artists' Concert
3/14/87 Concluding Concert <5c Crystal Ball
GEORGIA
Alliance Theatre Company/Atlanta Childrens Theatre, E. Love, Mng.Dir., Atlanta
8/28-10/5/86 The Gospel at Colonus
12/3/86-1/4/87 A Funny Thing Happened on the Way to the Forum
Augusta Opera, E. Bradberry, Gen.Dir., Augusta
9/17,19,20/86 Romeo et Juliette Eng.
1/87 Hansel and Gretel
4/87 La Traviata
HAWAII
Hawaii Opera Theatre, R. Cribley, Gen.Mgr., Honolulu
1/30 2/1,3/87 Un Ballo in maschera
2/13,15,17/87 Le Peeheurs de perles
2/27 3/1,3/87 La Boheme
ILLINOIS
Chicago Opera Theater, A. Stone, Art.Dir., Chicago
2/14,15,18,20,21,22,25/87 Cos\ fan tutte
4/4,5,8,10,11,12,15/87 The Turn of the Screw
5/23,25,27,29,30,31 6/3/87 The Two Widows
Light Opera Works, B. McDonough, Mng.Dir., Evanston
9/5,6,7/86 The Grand Duchess of Gerolstein Eng.
12/31/86-1/4/87 Die Fledermaus Eng. Puffer
Lyric Opera of Chicago, A. Krainik, Gen.Mgr., Chicago
9/12/86 Silver Jubilee Concert: Sutherland <5c Pavarotti; c: Bonynge; at Rosemont Horizon
9/20,23,26,29 10/2,7,11,15/86 The Magic Flutet Blegen, Serra, Gamberoni, Daniels; Araiza,
Nolen, Salminen, T. Stewart; c: Slatkin; d: Everding; ds: J. Zimmerman
9/24,27,30 10/4,8,13,17*/86 La Bohemet Ricciarelli/*Dessr, Daniels; Lima, Corbelli, Kreider,
Washington, Capecchi; c: Tilson Thomas; d: Copley; ds: Pizzi; 1/18,21,24,30/87 Benackova,
Putnam; Cianella, Titus; c: Mauceri
10/6,10,14,18,22,25,30/86 Parsifal Troyanos; Vickers, Nimsgern, Sotin, Salminen/Kennedy, Becht;
c: Perick; d/ds: Pizzi
10/24,28,31 11/3,8 12/1,5/86 Orlandot Home, J. Anderson, Rolandi; R. Kennedy, Gall;
c: Mackerras; d: Copley; ds: Pascoe/Stennett (co-prod, w. San Francisco Opera)
11/1,4,7,10,16,19,22,25 12/4*,10*/86 Lucia di Lammermoor Gruberova/*J. Anderson;
Shicoff/* Domingo, Raftery, G. Howell/Giaiotti; c: Mackerras; d: Reichenbach; ds: Bardon/Hall
(Dallas Opera prod.)
11/14,18,21,14,29 12/3.6V86 Un Ballo in maschera Chiara, Cossotto, Blackwell; Pavarotti/
•Sebastian, Cappuccilli, Vinco; c: Bartoletti; d: Frisell; ds: Conklin (San Francisco prod.)
11/28 12/2,5,8,12,17,20/86 Katya Kabanova* Eng.; E. Shade, Palmer, Graham; Jenkins, D. Bailey,
Kunde, Wildermann; c: Bartoletti; d: Puecher; ds: Schneider-Siemssen/Walek (San Francisco
Opera prod.)
12/13,15,19,30/86 1/3,6,11,14,16/87 The Merry Widow Ewing, Mentzer; Hadley, Titus, Adams,
Kessler; c: Podic; d: Mansouri; ds: Laufer/Mess (Canadian Opera Co. prod.)
1/13,17,20,23,26*,29*,31*/87 La Gioeonda Dimitrova, Milcheva, M. Dunn/*Curry; Martinucci,
Welker, Plishka; c: Bartoletti; d: Crivelli; ds: Brown/Robbins (San Francisco Opera prod.)
Opera Factory, B.A Lewis, Art.Dir., Chicago
4/3/87 Salieri's Arlecchinata <5c n Segreto di Susanna Eng.
6/12,13,14/87 La Finta semplice & Salieri's Arlecchinata
INDIANA
Indiana University Opera Theater, C. Webb, Dean, Bloomington
9/27 10/3,4,11/86 The Bartered Bride
10/18,25,31 11/1/86 The Rake's Progress
11/8,14,15 12/6/86 Der FreischUtz
2/7,13,14,21/87 Rigoletto
2/28 3/7,27,28/87 Dialogues of the Carmelites
4/4,11,18,25/87 Rimsky-Korsakov's The Legend of the Tsar Saltan
-81-
1986-87 Season
Indianapolis Opera, R. Driver, Art.Dir., Indianapolis
11/7,9/86 Carmen
12/12,14/86 Tosca
3/27,29/87 Ariadne auf Naxos
Whitewater Opera Company, C. Combopiano, Art.Dir., Centerville H.S.; Richmond/Centerville
10/3,4/86 Kismet
2/20,21/87 Carmina burana & Hazon's The Marriage Agency
4/24,25/87 La Traviata
KENTUCKY
Kentucky Opera, T. Smillie, Gen.Dir., Kentucky Arts Center, Louisville
10/25,27,29/86 Aidat Hinds, Meyerson; Bakst, A. Smith, Samuelsen; c: A. Gibson; d: Muni; at
Whitney Hall
1/31-2/11/87 The Barber of Seville Eng.; Terzian; C. Freeman, Everette, Havranek;
c: R. Bernhardt; d: Uzan; ds: Girard; at Bomhard Theater; 6 pfs.
4/11,15/87 The Golden Cockerel Eng.; e: L. Smith; d: Sutcliffe (Scottish Opera prod.) at
Whitney Hall
5/6-10/87 Porgy and Bess c: DeMain; d: O'Brien (shared prod.) 5 pfs. at Whitney
Hall
Louisville Children's Theatre, Macauley Theatre, Kentucky Center, Louisville
1986-87 Rumplestiltskin; Legend of Sleepy Hollow; Snow Queen; Little Red Riding Hood and
Three Little Pigs; Sherlock Holmes; Charlotte's Web; Hey, There - Hello!; Tale of Peter
Rabbit; some with children/audience participation; also regional tour
LOUISIANA
Baton Rouge Opera, H. Holt, Art.Dir., Baton Rouge
10/15,17/86 The Barber of Seville
2/4,6/87 Don Giovanni
New Orleans Opera, A. Cosenza, Art.Dir., New Orleans
9/24,27/86 D Trovatoret Evstatieva, Nadler; Bonanome, MacNeil, Cheek; c: Siciliani; d: Hebert;
ds: Gano
10/15,18/86 Madama Butterfly! Soviero, Rose; Farina, Opthof; c: Coppola; d: Uzan; ds: Gano
11/12,15/86 Faustt Christos; Cupido, Galbraith, Diaz; c: Giovaninetti; d: Morelock;
ds: Armstrong
12/10,13/86 The Magic Plutet S. Wolf, Hynes; Ashbaker, Parker, Patterson; c: Manahan;
d: Hebert; ds: Klein
Shreveport Opera, R. Murray, Gen.Dir., The Strand Theatre, Shreveport
10/25/86 Rigoletto
2/21/87 Met Winners' Recital
4/25/87 Lincoln Center to Broadway Recital
5/23/87 The Medium
12/6/86 1/24/87 Film Festival (Carmen, La Traviata)
Tulane University Music Department, Downman Performance Series, F. Monachino, Cnrm., New
Orleans
ll/2m/86 A Gilbert & Sullivan Potpourri
12/7m/86 Berlioz's L'Enfance du Christ
2/12,14/87 Le Nozze di Figaro Eng. Dent
5/3m/87 Follies
MARYLAND
Baltimore Opera, J. Holbrook, GeiuMgr. Baltimore
10/30 11/1,3/86 La Forza del destinot Neblett; Veronelli, Hines, Kouloumbis; c: Guadagno;
d: Gately
2/19,21,23/87 Romeo et Juliettet Gamberoni; Schwisow, Pedrotti; c: Kellogg; d: Hebert
4/2,4,6/87 Turandott J. Meier, Haymon; Moldoveanu; c: Keene; d/ds: Lehmeyer
Baltimore Opera Touring Theater, R. Allen, Mgr., Baltimore
1986-87 The Toyshop; One Pig Puppet Theater
MASSACHUSETTS
Boston Concert Opera, D. Stockton, Art.Dir., Boston
10/12/86 Manon P. Schuman; Shicoff
11/16/86 Porgy and Bess C. Haymon; D.R. Albert
2/8/87 Rusalka Eng.
4/11/87 Tosca Falcon
-82-
1986-87 Season
Boston Lyric Opera, J. Balme, Art.Die, at Northeastern Univ., Boston
10/17,19m/86 Rigoletto Eng.; Saffer; Honeysucker; e: Balme; d: Ewers
1/23,25/87 The Rake's Progress J. West, V. Walters; M. Jackson, J. Kleyla
Merrimack Lyric Opera, J. Bates, Art.Dir., Lowell
3/87 L'Elisir d'amore
Opera New England, S. Caldwell, Art.Dir., Boston
10/26-11/9/86 Rigoletto
11/14-27/86 The Jumping Frog of Calaveras County
5/8-24/87 L'Elisir d'amore
MICHIGAN
Comic Opera Guild, T.W. Petiet, Mng.Dir., Ann Arbor
10/10,11,12 11/21/86 Cogger's Revue prem.; w. music of Offenbach, Verdi, Mascagni & others;
adapt. Petiet
5/5,6,7,21/87 Kismet
Michigan Opera Theatre, 0. DiChiera, Gen.Dir., Fisher Theatre & Masonic Temple, Detroit
10/10-18/86 Orpheus in the Underworld* Eng.; ds: G. Scarfe (English National Opera prod,
shared w. Houston); at Fisher Theatre; 6 pfs.
10/24-11/1/86 Madama Butterflyt Spacagna; c: Flint; at Fisher Theatre 6 pfs.
11/14-12/7/86 My Fair Lady* 24 pfs. at Fisher Theatre
5/9,13,16/87 Tosea*t Zampieri; Aragall; d: Uzan; ds: Brown; at Masonic Temple
5/23,27,30/87 n Barbiere di Sivigliat Forst; Elvira, Berberian; at Masonic Temple
6/3-7/87 Porgy and Bess c: DeMain; d: O'Brien; ds: Schmidt/Potts; (shared prod.)
7 pfs.
Opera Grand Rapids, R. Peterson, Gen.Dir., Grand Rapids
10/22,24/86 Le Nozze di Figaro
3/18,20/87 L'Elisir d'amore
MINNESOTA
Minnesota Opera, K. Smith., Gen.Dir., Ordway Theatre, St. Paul
9/19,21m,26,27/86 The Pearl Fisherst Gustafson; Schwisow, Busterud; c: P. Nadler; d: Gately
10/31 ll/2m,7,8/86 Paulus' The Postman Always Rings Twice P. South; Kreider, Kazarus;
c: Manahan; d: Wadsworth
6/5,7m,11,13/87 Ariadne auf Naxost Eng.prol.; J. Meier, Mills, Bunnell; Bachlund; c: P.
Zukerman (co-prod, w. St. Paul Chamber Orchestra)
6/87 "Opera Tomorrow" at Ordway Studio Theater
7/87 Broadway Musical prod. w. Ordway Music Theatre
MISSISSIPPI
Mississippi Opera, F. Choset, Art.Dir. & Gen.Mgr., Jackson
10/8,10/86 Tosca
2/5,7/87 Q Trovatore
MISSOURI
Lyric Opera of Kansas City, R. Patterson, Gen. & Art.Dir., Kansas City
9/16,17,18,19,20,22/86 Where the Wild Things Are* & The Goose from Cairo* K. Beardsley <5c
Gumbel; ds: Sendak; 8 pfs.
9/27,29 10/1,3/86 The Crucible H. Foss
10/4,6,8,10/86 Tosea* Hadani; d: Brumley; tour 8/22,24 Boonesville, 10/16,20,21,23,25
4/18,20,22,24/87 Falstaff* B. Steele
4/15,21,13,25,27,29 5/1,2,5/87 The Pirates of Penzance
Opera Theatre of Saint Louis, C. MacKay, Gen.Dir., St. Louis
10/12,14-19,21,22,23,25/86 Curlew River
12/26,27,28,30,31 1/2,3m,3,4,6,8,9,10m,10,11/87 The Gondoliers
5/23-6/21/87 Carmen 9 pfs.
5/28-6/21/87 Alcina 5 pfs.
6/5-21/87 La Cenerentola 7 pfs.
6/11-21/87 Oliver's Beauty and the Beast prem.; 4 pfs.
NEBRASKA
Opera/Omaha, M. Robert, Gen.Dir., Omaha
2/4,6,8/87 La Traviata
4/30, 5/1,2m,2/87 Porgy and Bess (shared prod.)
3/18,20,22/87 The Barber of Seville
NEVADA
Nevada Opera, T. Puffer, Art. & Gen.Dir., Reno
10/24,25/86 Tosca
4/10,11/87 The Vagabond King
2/13,14/87 Cavalleria rusticana & The Medium
-83-
1986-87 Season
NEW JERSEY
New Jersey State Opera, A. Silipigni, Gen.Dir., Newark
10/26/86 Zaza
3/8/87 OteUo
NEW YORK
Delaware Valley Arts Alliance, E. Giguere, Exec.Dir., Narrowsburg
4/87 Debbins' The Scheme prem.
National Grand Opera, M. Scuderi, Gen.Mgr., C.W.Post College, Greenvale
12/6/86 Samson et Dalila I. Jones; McCracken, Schwartzman, Reid, Asbaugh; c: Coppola;
ds: Stivanello
3/21/87 Madama Butterfly Matsumoto; c: Kamirslci; ds: Stivanello
4/25/87 n Trovatore Jurkiewicz-Scuderi, Eckhart; Bini, Elvira; c: Coppola; ds: Stivanello
5/16/87 Norma Falcon; Cecchele, Reid; c: Morss; ds: Stivanello
7/87 Lucia di Lammermoor at Eisenhower Park
Syracuse Opera, R. Driver, Gen. & Art.Dir., Syracuse
10/17,19/86 Carmen
11/14,16/86 Tosca
2/6,7,8,13,14,15/87 Man of La Mancha
Tri-Cities Opera, P. Hibbitt & C. Savoca, Co-Dirs., Binghamton
11/1,8,9/86 The Tales of Hoffmann Eng.
1/24,31 2/1/87 Handel's Giulio Cesaret
4/25 5/2,3/87 Faustt
Tri-Cities Opera-Go-Round, touring co., Binghamton
1986-87 Hansel and Gretel abrgd.; Fair Means or Foul; Rumpelstiltskin
NEW YORK CITY
Amato Opera, A. Amato, Pres., 319 Bowery
9/12,13,14m,20,21m,27,28m 10/4,5m,ll,12m/86 Don Giovanni
10/25,26m,31 11/1,8,9m,14,15,21,22,23m/86 Carmen
ll/2m/86 Gala Benefit; scenes from Gomes' operas
12/5,6,7m,13,14m,31/86 l/3,4m,10,llm/87 Die Fledermaus Eng.
2/27,28 3/lm,7,8m,13,14,21,22m,28,29m/87 Madama Butterfly
4/24,25,26m 5/2,3m,9,10m, 15,16,22,23,24m/87 Gomes' Salvator Rosa* Am.prem.
American Chamber Opera Co., D. Anderson, P.S. 9
10/30-11/1/86 A Water Bird Talk & Hin und zuriick Eng. Farquhar; 3 pfs.
tba Shields' Shaman prem. <5c Dido and Aeneas
Herbert Breslin, Inc., Madison Square Garden
9/16/86 Sutherland & Pavarotti Gala Concert; c: Bonynge; 9/2 Oakland, CA; 9/6 Hollywood
Bowl; 9/12 Rosemont Horizon, Chicago
Bronx Opera Co., M. Spierman, Art.Dir., Lehman College Theatre & Hunter College Playhouse
1/10,11,16,17/87 The Ballad of Baby Doe
5/8,9,15,16/87 The Elixir of Love Eng.
Broque Opera Co., M.A. King, Dir., Triplex Theatre
11/86 The Marriage of Figaro
2/87 Weill's Seven Deadly Sins
Brooklyn Academy of Music, H. Lichtenstein, Pres.
3/87 three-week George Gershwin Festival, mus.dir.: M. Tilson Thomas
5/87 International Festival of Children's Theater
Brooklyn Academy of Music Next Wave Festival, H. Lichtenstein, Exec.Dir.
10/14,15,16,17,18,19/86 Boilen/Schneider's Social Amnesia Impossible Theater
10/22,23,24,25,26/86 Ping Chong's The Angels of Swedenborg The Fiji Company
11/7,8,9/86 Bolcom/Blake's Songs of Innocence and Experience Brooklyn Philharmonic; c: Foss
12/2,3,4,5,6,7/86 L'Histoire du soldat The Flying Karamazov Brothers/The Kamikaze Ground
Crew
12/14,16,18,20,26/86 Glass/Wilson's the CIVIL WarS Act V: Rome Section; Am.prem.
Center For Contemporary Opera, R. Marshall, Dir., Symphony Space
1/24,30,31/87 Argento's Christopher Sly
3/28 4/3,4/87 T. Sullivan's Tomorrow And Tomorrow prem.
5/87 Britten's Curlew River
6/8,9/87 International Opera Singers Competition Finals
6/10/87 Susan Alexander in Recital
-84-
1986-87 Season
Clarion Music Society, N. Jenkins, Mus.Dir., Tully Hall
5/7/87 Stephani's Le Rivali Coneordi Eng. Jenkins; Am.prem.; eone.pf.
Liederkranz Opera Theatre, J. Balme, Mus.Dir., Liederkranz Club
10/23,25/86 Ariadne auf Naxos w.p.
11/4/86 von Suppers Die schone Galatea conc.pf. w.p.
12/9/86 Otello conc.pf. w.o.
1/31/87 Die Entfiihrung aus dem Serail conc.pf. w.o.
3/27,28/87 Die tote Stadt w.p.
5/23/87 Die Fledermaus conc.pf. w.o.
Lincoln Center Theater, G. Mosher, Dir., Vivian Beaumont Theater (11/86-6/87)
5/87 Porter's Anything Goes Crouse/Weidman vers.
Metropolitan Opera, B. Crawford, Gen.Mgr., J. Levine, Art.Dir., Lincoln Center
9/22#,25,30 10/4,8,13,17/86 2/26 3/4,7m/87 Die WalkUre* Behrens/Altmeyer, Altmeyer/Meier,
Fassbander/Dunn; Hofmann/Jenkins, Estes/Mclntyre, Haugland/Vogel; c: Levine; d: Schenk;
ds: Schneider-Siemssen/Langenfass
9/23,26,29 10/2,7,1101,16,23,28*,31 11/3/86 Aida Arroyo/Millo, Bumbry/Berini; Giacomini,
Nucci/MacNeil, Giaiotti/Kavrakos; c: Santi
9/24,27m 10/3,6,11/86 1/20,23,28,31m 2/3/87 Manon Lescaut Mitchell; Mauro, Schexnayder,
Tajo; c: Rudel
9/27 10/l,4m,10,14,18m,22*,25/86 l/8,12,17*/87 Madama Butterfly Scotto/Watanabe;
Moldoveanu, Nucci/Clark/Carlson; c: Masini; d: Scotto
10/9,15,18,21,24,27 ll/lm,7/86 1/29 2/2,7m/87 Le Nozze di Figaro Soderstrom/Griffel,
Battle/Erickson, von Stade/H. Harris; Hampson/Hartman/Hynninen, van Dam; c: Levine
10/20,25m,29 ll/l,5,8m ) ll,15*,20,24,28 12/l,5*/86 Tosca Marton/Slatinaru; Domingo/Ciannella,
Pons/L. Quilico, Tajo; c: Navarro
10/30 11/4,8,12,15m,19,22m,27/86 2/13,17,21m*/87 Der Rosenkavalier Tomowa-Sintow/
Gessendorf/Soderstrbm, Fassbander/Boozer, Hendricks/G. Robinson; Ichihara/Alexander/
Gulya"s, Korn/Nieders, Hornik/Meredith; c: Tate
11/6,10,13,17,21,25,29 12/3,6m,11/86 Romeo et Juliette Gasdia/G. Robinson; Kraus,
Schexnayder/Hartman, Plishka/Macurdy; c: Domingo
11/14*,18,22,26,29m 12/2,6,9,13m,18/86 I Puritani Sutherland/Garner; Fisichella/Blake,
Milnes/Ellis, Ramey/Robbins; c: Bonynge
12/4#>8,12,16,20,24,27m>31*/86 1/3,6,9,14,17/87 Die Fledermaus* Te Kanawa/Griffel, Blegen/
Dobish, Troyanos/Boozer; Rendall/Cole, Hagegard/Hartman, Devlin/Courtney, Mazura/Malas,
Schenk/Castel; c: Tate; d: Schenk; ds: Schneider-Siemssen/P.J. Hall
12/10,13,17,20m,27/86 1/1/87 Fidelio Behrens, McLaughlin/Esham; Schunk/Sooter, McCauley,
Nimsgern, Hb'lle/Macurdy; c: Tennstedt
12/15,19,23,26*,29/86 l/3m,7,10 4/2,11*,15,18/87 La Boheme Mitchell/Hong/Alexander,
Daniels/Merritt; Ciannella/GulyaVCole, Schexnayder, Furlanetto; c: Rudel
12/22,25,30*/86 1/2,5,10m,13,16*,21,24/87 Rigoletto G. Robinson/Devia; Raffanti/Guly^s,
Milnes/L. Quilico, Clark, Kavrakos/Macurdy; c: Fulton
1/15,19,24m,27,31 2/5,11/87 Tannhauser Norman/Rysanek, Randova/Gilmore; Cassilly/Sooter,
Hagegard/Hynninen, Rootering/Macurdy; c: Levine
1/22,26,30 2/4,7,10,14m,19/87 La Clemenza di Tito Vaness, G. Robinson/Upshaw, Troyanos/
Montague; Rendall/Alexander, Robbins; c: Levine
2/6#,9,14,18,21,25,28m 3/3,7,10,13,16/87 Manon* Malfitano/Andrade; Shicoff/Gulyds,
S6n6chal/Castel, Holloway, Malas, Furlanetto/Robbins; c: Rosenthal; d/ds: Ponnelle
2/12,16,20*,24,28* 3/5,ll,14,18,21m,26/87 Carmen Baltsa, Bena"5kova/Cotrubas; Carreras,
Ramey/Baker; c: Levine
2/23,27 3/2,6,9*,14m,19,23/87 Boris Godunov Mineva/Ciurca; Talvela/Plishka, Popov/Raitzin,
Nagy/Lewis, Mazura/Meredith, Plishka/Koptchak; c: Conlon
3/12#,17,20,25,28m 4/1,4,9/87 Turandot* Marton, Mitchell/Millo; Domingo, Plishka/Macurdy;
c: Levine; d/ds: Zeffirelli
3/21,24,27,30 4/4m,7,10,16/87 Dialogues des Carmelites Ewing/Erickson, Norden/Upshaw,
Norman/Craig, Crespin, Quivar/Amara; Kuebler, Courtney/Meredith; c: Rosenthal
3/28,31 4/3,8,13,18/87 Samson et Dalila Horne/Milcheva; Vickers, L. Quilico/Baker, Cook,
Macurdy; c: Fournet; d: Merrill; ds: O'Hearn
4/6,llm,14,17/87 Parsifal Troyanos; Jenkins, Estes/Clark, Sotin, Mclntyre; c: Levine
# Guild benefit pfs.; * non-subscription pfs.
-85-
1986-87 Season
New York City Opera, B. Sills, Gen.Dir., N.Y. State Theater (for 7/1-9/7/86 see 1985-86 listing)
9/9,13,18 10/18,26m,31/86 Faustt
9/11,20m H/lm,9/86 Madama Butterflyt
9/12,20,25 10/1/86 Le Nozze di Figarot
9/13m,21m,27m 10/2/86 Les Pecheurs de perlest
9/14m,21,27/86 Carment
9/14,19,26,30 10/llm/86 Normat
9/17,28m 10/4 ll/2,8m/86 La Bohemet
9/28 10/5m,8,14/86 Davies's X (The Life and Times of Malcolm X) prem.; c: Keene; d: R.
Levine; ds: Conklin
10/4m,12m,25/86 Don Quichotte*t Vergara/Marsee; J. McKeel, Ramey, Opalach; c: Bernardi;
d: Copley
10/5,9,19m,25m 11/1,7/86 Mefistofelet
10/7,17,22/86 Werther*t Woods, Marsee; Garrison, Parker, Green; c: Comissiona; d: Mansouri;
ds: Bosquet
10/10,19,28 11/5/86 La Traviatat
10/11,15,23,30/86 Cendrillont
10/18m,26 ll/2m,8/86 Die Fledermaus Eng.
10/24,29 ll/4,9m/86 Love for Three Orangest
11/11,12,13,14,15m,15,16m,16/86 Candide
1/13-25/87 Guest engagement at Orange County Performing Arts Center, Costa Mesa, CA
2/23-3/29/87 Musical tba, at Lincoln Center
4/20-26/87 Guest engagement at Tampa Bay Performing Arts Center, FL
6/87 One week at Wolf Trap Farm Park (Vienna, VA)
6/87 One week at Saratoga Springs Performing Arts Center (Saratoga Springs, NY)
New York City Opera National Company, B. Sills, Gen.Dir.
3-4/87 Madama Butterflyt on tour; 32 pfs.
New York Philharmonic, Z. Mehta, Mus.Dir., Fisher Hall
12/11,12,16/86 Verdi Requiem, Chiara, Verrett; Pavarotti, Salminen; c: Mehta; NY Choral
Artists
4/16,17,18/87 Mahler Symphony No. 2, Hendricks, Ludwig; c: Bernstein; Westminster Choir
Opera Orchestra of New York, E. Queler, Art.Dir., concert pfs. at Carnegie Hall
1/12/87 Verdi's La Battaglia di Legnano Millo; Malagnini, Manuguerra, Hines
2/8/87 Norma Dimitrova, Toczyska; Martinucci, Plishka
2/22/87 All-Wagner Program incl. Siegfried Act III; the Immolation Scene from Die
Gotterdammerung Marton; Goldberg, Roloff
3/3/87 DvoMk's Rusalka Bena6kovd; Koptchak
Operaworks, D. Leighton & J. Casey, Co-Dirs., Symphony Space
9/11,13,18,20/86 The Soldier's Tale & Babar the Little Elephant Eng.
9/12,14m/86 The Jumping Frog of Calaveras County
9/19,21m/86 Davies' The Martyrdom of St. Magnus H. Harris; Eisler
Richard Tucker Foundation Eleventh Gala, K. Nelson, Admin., Avery Fisher Hall
11/30/86 Gala Concert incl.; Behrens, Marton, Peters; Kraus, Milnes, Plishka, Ramey; Met
Opera Orchestra; c: Bonynge
NORTH CAROLINA
Greensboro Opera Company, P.P. Fuchs, Art.Dir., Greensboro
10/24/86 Madama Butterfly
Spring '87 tba
National Opera Company, D.H. Witherspoon, Gen.Dir., Raleigh
1986-87 tour: The Barber of Seville Eng. Bird; Martha Eng. Baum-Ronell; El Capitan; La
Boheme Eng. Martin; 90 pfs.
Opera Carolina, (formerly Charlotte Opera) B. Chalmers, Gen.Dir., Charlotte
10/2,4/86 Gianni Schicchi Eng. & Pagliaccit Telese
11/13,15/86 A Little Night Music
1/17/87 "Catch A Rising Star" S. Dunn, Fernandez, Forst; G. Lakes; w. orch & chorus
3/26,28/87 The Barber of Seville* Larmore; Price, Nolen, R. McKee, Corbeil
1986-87 tour: Sid, the Serpent Who Wanted to Sing; Cogi fan tutte; A Little Night Music; spec.
ed. program; R. Swedberg, Dir. of Education <5c Touring
Piedmont Opera Theater, N. Johnson, Gen.Dir., Winston-Salem
9/19,21,23/86 Die Fledermaus
4/3,5,7/87 The Abduction from the Seraglio
Young Artists Opera Theater, P. Russell, Gen.Mgr., Greensboro
9/86 Mechem's Tartuffe
-86-
1986-87 Season
NORTH DAKOTA
Fargo-Moorhead Civic Opera, D. Martin, Art.Dir., West Fargo
10/16,17,18/86 Le Nozze di Figaro
1/15,17/87 Faust
4/30 5/1,2/87 Gianni Schicchi & Cavalleria rusticana
OHIO
Cincinnati Opera, J. de Blasis, Gen.Dir., Cincinnati
11/19,21/86 La Fanciulla del Westt Zschau; Norman, Steele
3/25,27/87 Les Contes d'Hoffmannt
6/25,27/87 Leoncavallo's Zazat
7/2,5/87 Madama Butterflyt
7/9,11/87 D Barbiere di Sivigliat
Cleveland Opera, D. Bamberger, Gen.Mgr. & Art.Dir., State Theater
ll/7,8,9m/86 The Merry Widow Peters; Reardon; c: Allers
2/20,21,22m/87 Lucia di Lammermoort Mills/Donahue; c: Page
4/3,4,5m/87 Les Contes d'Hoffmannt S.J. Langton, Vergara; J. Evans, Powers; e: Bergeson
5/27,28,29,30m,30,31m/87 Porgy and Bess (shared prod.)
Fall '86 Barab's Little Red Riding Hood 30 pfs. on tour
Dayton Opera, D. DiChiera, Art.Dir., Dayton
11/7,8/86 Madama Butterflyt Spacagna
12/12,13/86 My Fair Lady
3/27,28/87 Romeo et Juliettet
Opera/Columbus, M. Harrison, Gen.Dir., Columbus
10/9,11/86 Macbetht Niska; Elvira, Halfvarson; c: Eros; d: de Blasis
11/20,22/86 L'Elisir d'amore Gutknecht; M. Thomsen, Bertolino; c: Coppola; d: Stephens
3/18,21/87 Madama Butterflyt Kineses, Hegierski; Johannsson; c: Armenian; d: Igesz
4/23,24,25/87 Porgy and Bess Fernandez; A. Smith; c: D. Kosloff; d: L. Fuller
Toledo Opera, J. Meena, Art.Dir., Toledo
10/25/86 La Traviata
2/14/87 Carmen
5/2/87 The Student Prince
OKLAHOMA
Tulsa Opera, E. Purrington, Gen.Dir., Tulsa Performing Arts Center
11/1,6,8/86 Porgy and Bess S. Reese, Lister, Simpson; S. Estes, D. Evans, Baker; c: Nance;
d: Lehmeyer
3/7,12,14/87 Le Nozze di Figaro* Eng.; S.J. Langton, L. Haywood, Clarey, Christin; Cheek,
Carlson, Strummer; c: Montgomery
5/9,14,16/87 Don Carlost (4-act vers.) Plowright, Troyanos; Ciannella, Ramey, Vanaud, Hines;
c: N. Rescigno; d: Frisell
OREGON
Eugene Opera!, J. Toland, Gen.Mgr., Eugene
10/24,26/86 The Barber of Seville
12/28,31/86 The Merry Widow
2/20,22/87 The Medium
4/24,26/87 The Mikado
Portland Opera, R. Bailey, Exec.Dir., Portland
9/27 10/1,4/86 La Boheme South; Leech, Burchinal; c: Pallo; d: Bailey
11/8,12,15/86 Der Rosenkavalier* Thomson, Parrish, Quittmeyer; Rintzler; c: CrosOy; d: Hebert;
ds: Klein
3/21,25,28/87 Macbeth Tinsley; Braun, Hines; c: Guadagno
5/2,6,9/87 The Magic Flute Wolf, Langan; Garrison, Fields; d:Kuntsch
PENNSYLVANIA
American Music Theater Festival, M. Samoff & E. Salzman, Dirs., Philadelphia
9/10-10/11/86 Cabaret #1-5, 20 pfs.
9/11-21/86 Goldenthal/Goldfarb's The Transposed Heads prem.; 6 previews & 20 pfs.; Drexel
Univ., Mandell Theater
9/18-28/86 Ellington's Queenie Pie prem.; mus.dir.: M. Peress; 9 previews & 14 pfs.; Annenberg
Center, Zellerbach Theater
9/25-28/86 Dresher's Slow Fire prem.; 2 previews & 6 pfs.; Annenberg Center, Prince Theatre
10/9-12/86 Glass/Moran's The Juniper Tree 5 pfs.; Walnut Street Theatre
10/1-12/86 First Stage #1 <5c #2 work-in-progress 6 pfs.; Annenberg Center, Prince Theatre
-87-
1986-87 Season
Pennsylvania Opera, B. Silverstein, Gen. & Art.Dir., Philadelphia
4/18,24,25/87 The Magic Flute O'Flynn
5/30 6/5,6/87 The Turn of the Screw Marrazzo; d: Harrer
Pittsburgh Opera, T. Capobianco, Gen.Dir., Heinz Hall, Pittsburgh
10/9,11,14/86 Macbetht Dimitrova; Bergonzi, Diaz, Elenkov; c: Rigacci; d: Capobianco
12/4,6,9/86 Faustt Watanabe, Creffield, Griffin; Leech, Hale, Burchinal; c: Alcantara; d: Farlow
3/5,7,10/87 Lucia di Lammermoort I. Nielsen; M. Myers, Ghiuselev, Rawnsley; c: Pallo; d: Denda
4/2,4,7/87 n Trovatoret E. Connell, Finnie; Murgu, Rawnsley, Burchinal, Langan; c: Alcantara;
d: Aragon
5/30 6/2,5/87 Thomas' Hamlett S. Murphy, G. Knight; Milnes, Absalom, T. Fox; c: Muller;
d: Capobianco
Opera Company of Philadelphia, M. A. Everitt, Gen.Dir., Philadelphia
10/27,31/86 Madama Butterfly Mitchell; Capecchi; d: Uzan; ds: Girard
12/1,5/86 Death in Venice W. Lewis; c: M. Korn; chorgr: Sebastian
1/26,30/87 Don Giovanni E. Connell, Y. Kenny; G. Quilieo, L. Quilico
3/30 4/3/87 Boris Godunov P. Burchuladze
4/27 5/1/87 Mefistofele Soviero; Morris; c: Baudo; d: Uzan; videotaped for PBS for Spring '87
Opera Ebony, B. Matthews, Art.Dir., Philadelphia
2/26,28/87 Lost in the Stars
6/12,14/87 Carmen
PUERTO RICO
Opera de Camara, L. Pereira, Art.Dir., Rio Piedras
10/9,11/86 Sierra's El Mensajero de Plata prem.
5/87 tour: The Old Maid and the Thief
RHODE ISLAND
Newport Festival Opera, D. Pelton, Exec.Dir., Newport
9/19,21,26,28/86 Der Schauspieldirektor & Prima la musica poi le parole c: N. Kraemer;
d: P. Ebert
Opera Rhode Island, M. Robbins, Gen.Mgr., Providence
10/2,5/86 Coil fan tutte Eng. Robbins
12/21/86 Amahl and the Night Visitors & The Unicorn in the Garden 2 pfs.
SOUTH CAROLINA
Charleston Opera Company, D. Dreyfoos, Art.Dir., Charleston
3/28,29/87 Showboat
TENNESSEE
Chattanooga Opera & Symphony Ass'n., T. Jordania, Art.Dir., Chattanooga
10/4/86 Carmen
2/7,8/87 La Perichole
4/11/87 II Trovatore
Knoxville Opera, R. Lyall, Gen. & Mus.Dir., Knoxville
7/17,18,19,20m,20/86 South Pacific
10/31 11/2/86 Rigoletto Luna; Raitzin, Burchinal
4/3,5/87 Romeo et Juliette
Opera Memphis, R. Driver, Gen. & Art.Dir., Memphis
10/30 11/1/86 Carmen
1/22,24/87 Tosca
3/12,14/87 Ariadne auf Naxos
University of Tennessee, A. Nelson, Art.Dir., Harriett Fulton Perf. Arts Theatre, Martin
10/17/86 Bastien and Bastienne Eng.; w. Daniel Llords1 Marionettes
TEXAS
Austin Lyric Opera, J. McClain, Gen.Dir., W. Ducloux, Art.Dir., Austin Performing Arts Center
1/9,10,11/87 The Magic Flute
Dallas Opera, P. Karayanis, Gen.Dir., Music Hall/Majestic Theatre, Dallas
10/5m/86 Samuel Ramey in Recital
10/30 ll/2m,4,8/86 Andrea Cheniert Evstatieva; Mauro, diBella; c: N. Rescigno; d: Trevisan
11/15,18,21,23/86 Rigolettot Welting, Mineva; Raffanti, Zancanaro, Halfvarson; c: D. Renzetti;
d: Bruscantini; ds: Scarfiotti
11/29, 12/2,5,7m/86 La Sonnambulat von Stade; P. Ballo, Federici; c: Rescigno; d: F. Crivelli
12/13,16,18,21m/86 La Fanciulla del Westt Zschau, Vozza; Giaeomini, Mastromei, Green,
Langan; c: Rescigno; d: Prince; ds: E. Lee/P.J. Hall
2/lm/87 Joan Sutherland in Concert c: Bonynge; at Fair Park
continued
1986-87 Season
Dallas Opera cont.
3/4/87 Marilyn Home and Montserrat Caballe' in Concert; c: N. Rescigno; at Fair Park
4/8,10,12m/87 H Turco in Italiat Welting; Ahlstedt, Bogart, Montarsolo; c: N. Reseigno;
d: Montarsolo
5/13,14,16m,16,17m/87 Porgy and Bess (shared prod.); 6 pfs.
Fort Worth Opera, J. Mario Ramos, Mng.Dir., Fort Worth
11/21,23/86 Le Nozze di Figaro Telese
1/9,23/87 La Gioeonda
3/13,15/87 La Boheme Telese
Houston Grand Opera, D. Gockley, Gen.Dir., Jones Hall
10/16,19,21,24/86 Boris Godunovt (orig.vers.) Ghiaurov, Kavrakos, Gregor; c: Tehakarov;
d: Mansouri; ds: Skalicki/Stennett (Canadian Opera Company prod.)
11/28,29,30 12/2,3,5/86 Orpheus in the Underworld Eng. S. Wilson; Dahl; Eisler, Orth;
c: De Main; d: Schifter; ds: G. Scarfe (English National Opera prod, shared w. Michigan)
1/16-25/87 Porgy and Bess c: DeMain; d: O'Brien; and tour; 14 pfs. (shared prod.)
2/20,21*.22,24,25*,27/87 Falstafft M.J. Johnson, C. James, D. Mazzola; Leech, Elvira,
Wixell/*Noble; d/ds: Ponnelle; (joint prod. w. Lyric Opera of Chicago & San Francisco Opera
companies)
3/27,28*,29,31 4/1*,3/87 Salomet Barstow/*H. Christians; Ochman, Wixell; c: DeMain;
d: Zambello
4/23,26,28 5/1/87 Normat Dimitrova, Toczyska; Giacomini, Kavrakos; c: D. Oren; d: Serban;
ds: Yeargan
6/22,25,28 7/1,4/87 Turandott Marton, Kim; Ciannella, Albert, Noble; c: DeMain (joint prod.
w. Dallas Opera, Greater Miami Opera & San Francisco Opera companies)
Texas Opera Theater, J. Weaver, Gen.Mng., Houston (HGO's touring company)
2-3/87 La Boheme Eng.; 30 pfs. on tour
9/86-5/87 community and in-school pfs.: Starbird; Some Enchanted Evening; Opera Pops;
Papageno's Puppet Parade
UTAH
Utah Opera Company, G. Peterson, Gen.Dir., Salt Lake City
10/9,11,13,15/86 Turandott Kelm, K. Anderson/D. Mitchell; Peterson, Tozzi; c: Lipton;
d: Eddleman
1/22,24,26,28/87 n Barbiere di Sivigliat Senn; Croft, Hanson, LiPaz, Tozzi; c: Robinson, d: Lucas
5/7,9,11,14/87 La Traviatat Peters; Serbo, Robison; c: J. Rescigno; d: Igesz
VIRGINIA
Southwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke
9/86 Tosca 3 pfs. at Center in the Square
Vienna Light Opera, D. White, Vienna
11/86 Rosemarie
5/87 Rusalka Eng. White
Virginia Opera, P. Mark, Gen.Dir., Norfolk/*Richmond
10/24,26,31 ll/2,7*/86 Carmen
11/28,30 12/5,7,12*/86 Musgrave's A Christmas Carol*
1/23,25,30 2/l,6*/87 Lucia di Lammermoor
3/6,8,13,15,20*/87 Man of La Mancha
WASHINGTON
Seattle Opera, S. Jenkins, Gen.Dir., Seattle
9/20,24,27/86 Tosca*t Dimitrova; Popov, Patrick, Loup; c: J. Rescigno; d: Takazauckas;
ds: Brown; 9/21,26 Donaldson, Dietsch
11/1,5,8/86 Don Pasqualet Gamberoni; Morales, Loup, Elvira; c: Kellogg; d: Cazan; ds: Conklin;
11/2,7 Wilson, Parce
11/6/86 Renata Scotto in Recital
1/17,21,24/87 Faustt Studer, Harris; M. Myers, Van Allan, Duesing; c: H. Michael; d: Zambello;
ds: P. Horne/Staley (co-prod. Houston Grand Opera); 1/18,23 Gustafson; Kazaras, Corbeil
2/28 3/4,7/87 Otellot Vaness; Sooter, Ellis, Glassman; c: Bradshaw; d: Bakman; ds: W. Skalicki;
3/1,6 Vanelli; Gray, Crafts
4/8,9,10,llm,11,12m,12/87 Porgy and Bess d: O'Brien (shared prod.)
WISCONSIN
Florentine Opera of Milwaukee, J. Gage, Gen.Mgr., Milwaukee
11/13,15,16/86 Toscat
3/19,21,22/87 Don Giovannit Devlin
5/7,9,10/87 Les Contes d'Hoffmannt
-89-
1986-87 Season
Madison Opera, A. Johnson, Art.Dir., Madison
9/20m,20/86 Noye's Fludde
11/8/86 Fidelio conc.pf., Meier; Vickers
4/3,5/87 Tosca
Skylight Comic Opera, S. Wadsworth & F. Zambello, Art.Dirs., Milwaukee
9/10,12,13,14,17,19,20,21,24,25,26/86 The Cradle Will Rock
10/8,10,11,12,15,17,18,19,22,24,25,26,29,30,31/86 Wadsworth's Bernstein Revued
12/3,5,6,7,10,12,13,14,17,19,20,24,26,27,28,3101,31/86 The Mikado also tour
12/10,12,13,14,17,19,20,21,26,27,28,31m,31/86 Flanders & Swann's At the Drop of a Hat
1/28,30,31 2/lm,1,4,5,6,7,8m,8,11,12,13,14,15m,15/87 Ain't Misbehavin'
3/25,27,28,29 4/1,3,4,5,8,10,11,12/87 Cos! fan tutte
5/6,8,9,10m,10,13,14,15,16,17m,17,20,21,22,23,24m,24/87 Sweeney Todd
CANADA
Calgary Opera, B. Hanson, Gen.Mgr. & Art.Dir., Calgary, Alberta
10/23,25,27/86 The Mikado Welhasch; Eisler, Wildermann; c: Bate; d: Leyshon
12/27m,28m,29/86 Hansel and Gretel Eng.; K. Barber
1/15,17,19/87 Toscat Soviero; Barasorda; c: Pallo; d: Uzan
3/26,28,30/87 n Barbiere di Sivigliat Forst; DuBois, Strummer, Barcza; c: Speers; d: Cotton
Canadian Opera Company, L. Mansouri, Gen.Dir., Toronto, Ont.
9/12,17,20,23,25,28 10/1/86 Boris Godunov* Eng.; C. Powell; G. Howell; c: Klobucar; d: Mansouri
9/19,21,24,27,30 10/2,4/86 Macbeth*T Sass; Monk; c: Domingo; d: Moshinsky (co.prod. w. Los
Angeles Music Center)
1/15,18,20,23,26,28,30 2/3,7/87 Die Fledermaus Eng.; Terrell/Thomson; Baerg/Jobin
1/24,27,29,31 2/2,4,6,8/87 Rigolettot Cuccaro/Spacagna; Ellis/Monk
3/28 4/2,5,8,10,14/87 Idomeneo*! Vaness; Jerusalem
4/3,6,9,12,15,18/87 Adriana Lecouvreurt Can.prem.; Sutherland; Cupido; c: Bonynge
6/10,11,12,13,15,17,19,20,21/87 Lucia di Lammermoort Miricioiu; Hadley/Leech
Edmonton Opera, R. Hallam, Gen.Mgr., Edmonton, Ala.
9/9,10,11/86 Trial by Jury & Sullivan's Pineapple Poll ballet
10/16,18,20/86 Rigoletto Donahue, Stubbs; Fowler, Tumagian; c: Carson; d: Speers
11/27,29 12/1/86 Co& fan tutte Kolomyjec, Hermiston, Forst; Farina, Corbeil, Lapperriere;
c: Agler; d: Maedonald
1/22,24,26/87 Salome Andersson, Vergara; W. Neil, Schwisow; Johnson; c: U. Mayer; d: Ewers
3/26,28,30/87 Tosca Sass; Barasorda, Crafts, Benson, Cameron; e: Kohn; d: Guttman
Kitchener-Waterloo Symphony, R. Armenian, Mus.Dir., Center in the Square, Kitchener, Ont.
9/6/86 Anhalt's Winthrop prem., conc.pf.; Landry, Feldstein; Glyn Evans, Baerg, Ens;
c: Armenian; broadcast CBC 9/14
Manitoba Opera, I. Guttman, Art.Dir., Winnipeg, Manitoba
11/22,25,28/86 Tosca Stapp; Barasorda, Braun; c: Kohn; d: Guttman
2/21,24,27/87 Die Fledermaus Thomson; D.R. Smith, Opthof; c: Coppola; c: Morelock
4/25,28 5/1/87 La Traviata Huffstodt; M. Myers, Monk; c: Pallo; d: Guttman
Opera Hamilton, D. Lipton, Art.Dir., Hamilton, Ont.
9/18,20/86 Un Ballo in mascherat
2/5,7/87 "An Evening of Song" w. Hamilton Philharmonic
5/14,16/87 Andrea Cheniert
Opera in Concert, S. Hamilton, Art.Dir., Mallett & MacMUlian Theatres, Toronto, Ont.
11/8,9/86 Massenet's Sapho Landry/Collins; DuBois; c: Hamilton
12/13,14/86 La Favorita MacPhail/Milsom; Barcza; c: R. Cooper
2/21,22/87 Die lustigen Weiber von Windsor Welhasch, Swanston; Cameron
3/21,22/87 Bizet's Djamileh & L'Heure espagnole Loeb/Beaupr6; Silva-Marin, Stilwell
Royal Alexandra Theatre, E. & D. Mervish, Prods., Toronto
11/4/86 The Mikado d: Maedonald (Stratford Festival Prod.) 6-wk. run in 4-month tour
Toronto Symphony Orchestra, A. Davis, Mus.Dir., Toronto, Ont.
86-87 Handel's Solomon Blaser; c: Davis
10/86 Acis & Galatea Collins; Crook; c: Davis
Vancouver Opera, B. McMaster, Art.Dir., Vancouver
10/4,7,9,11/86 JanaCek's From the House of the Dead Eng.; North Am. stage prem.; K. Barber;
Reece, Maxwell, G. Clark, Barcza; c: Andre1; d: Pountney; ds: Bjornsen
1/24,27,29,31/87 Le Nozze di Figaro* MacKenzie, K. Barber; Laperriere; c: Bakels; d: Walsh
3/7,10,12,14/87 Madama Butterfly Eng.; 1904 orig. vers.; Illing, J. Stilwell; Pederson, Barcza;
c: J. Smith; d: J. Herz; ds: R. Zimmermann/E. Kleiber
5/2,5,7,9/87 Lucia di Lammermoor S. Murphy; D. O'Neill, Malis, Dworchak; c: Bakels
-90-
1986-87 Season
L'Opera de Montreal, J. Langevin, Gen.Dir., J.P. Jeanotte, Art.Dir., Montreal
9/9,13,18,20,24,27,29/86 Romeo et Juliette Soviero; Cupido, Laperriere, Charbonneau;
c: H. Lewis; d: Uzan; ds: Girard
11/18,22,27,29 12/3,6,8/86 Die ZauberflSte Cuccaro, Christman; P. Power, Melbye, Garrard;
c: Armenian; d: Corsaro; ds: Sendak
1/27,31 2/5,7,11,14,16/87 Manon Lescaut Tokody; Lindroos, Siena, Vanaud, Charbonneau;
c: Silipigni; d: Hebert; ds: A.C. Klein
4/14,18,23,25,29 5/2/87 I Puritani Serra; Kunde, Fazah, Capeechi, Charbonneau; c: Franci;
d/ds: Oswald
6/2,6,9,12,16,20,22/87 Tosca Slatinaru; Raffanti, L. Quilico, Capeechi; c: Veltri; d: Gascon;
ds: PreVost
-91-
Metropolitan Opera
Lincoln Center
New York, NY 10023
(212) 799-3467
LIST OF PUBLICATIONS
Price
Post* ige
#1
Directory of Operas and Publishers - in two parts (Vol. 18, Nos. 2 & 3)
Detailing the musical material for 3,000 operas written by 1,028 composers, available from 135
publishers. By composer, cross-referenced by title.
#2
Directory of American Premieres 1962-68 (Vol. 11, No. 2) For sequels see #5 & #6
A listing of the 400 operas which received American premieres during 1962-68. (A sequel to
The Handbook of American Premieres by Julius Mattfeld.)
(1.00)
#3
Directory of American Contemporary Operas (Vol. 10, No. 2) For sequels, see #5 & #6
A listing of the 1,000 operas written between 1930 and 1966 in the U.S. Includes names of composer
librettist, and information on premiere, length of work, original book, orchestration, publishers, e t c .
By composer, cross-referenced by title.
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Directory of Foreign Contemporary Operas (Vo. 12, No. 2) For sequels, see #5 & #6
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Directory of American and Foreign Contemporary Operas 1967-75 (Vol. 17, No. 2)
A sequel to #2, #3, #4. Details information on 398 American and 552 foreign operas, and on 112
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Directory of American and Foreign Contemporary Operas 1975-80 (Vol. 22, No. 2)
A sequel to #2, #3, #4, #5. Details information of 455 American and 449 foreign operas, and on
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Directory of Children's Operas and Musicals (Vol. 24, No. 4)
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Directory of English Translations (Vol. 16, No. 2) with latest addenda
Listing the availability of some 2,000 English translations of over 500 operas by 220 composers.
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Directory of Sets and Costumes for Rent (Vol. 21, No. 2) with latest addenda
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Career Guide for the Young American Singer (Vol. 25, No. 4) fifth edition; with latest addenda
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Directory of Opera/Musical Theatre Companies and Workshops in the U.S. and Canada
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Opera Repertory USA; Annual Repertory Lists
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operas and of musicals, 1967 to present.
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Gateway to Opera (Vol. 23, No. 2)
A guide for opera administrators, boards of directors, trustees, and volunteers.
COS National Conference Seminar, 1981.
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Directory of Selected Opera Films (Vol. 19, No. 2)
Listing 187 operatic films available for 83 American distributors, with emphasis on educational
films. By composer, cross-referenced by title. Includes biographical and educational films.
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Guide to Operatic Music Suitable for Performance in or by Religious Institutions
Listing 90 operas or operatic excerpts suitable for performance in churches, synagogues, and
other religious institutions.
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Transcripts of COS National Conferences
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Direction in the 80's/Career Development of the Young Director; c) Tourism, Opera, & the Arts;
d) 1985 International Symposium
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Summer, 1986 - CPANDA: Cultural Policy and the Arts National

Transcription

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