New Operas and Premieres - CPANDA: Cultural Policy and the Arts

Transcription

CENTRAL OPERA SERVICE BULLETIN
INDEX
, - NEW OPERAS AND PREMIERES
, NEWS FROM COMPANIES
FORECAST
GOVERNMENT & NATIONAL OFUiANIZATIONS
INACADEMIA
PERFORMERS' ARCHIVES
NEW ARTS CENTERS, RENOVATfcD THEATERS
PUBLISHERS' NEWS
COMPOSER/LIBRETTIST CORNER
VERSIONS and ADAPTATIONS
• COS INSIDE INFORMATION
1981-82 OPERA SURVEY U S A
COS SALUTES
APPOINTMENTS AND RESIGNATIONS
WINNERS
CAREER GUIDE AMENDMENT
OBITUARIES
LATEST ADDENDA, DIRECTORY SETS & COSTUMES
.LATESTAQDENDA, DIRECTORY ENGLISH TRANSLATIONS
PERFORMANCE LISTING 1982-83 cont.
Sponsored by the Metropolitan Opera National Council
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CENTRAL OPERA SERVICE COMMITTEE
Founder
MRS. AUGUST BEIMONT
11879-1979)
Honorary National Chairman
ROBERT L. B. TOBIN
National Chairman*
EUHU M. HYNDMAN
National Co-Chairmen
MRS. NORRIS DARRELL
GEORGE HOVVERTON
See pages 26 and 27 for:
COS Inside Information
Annual Opera Statistics
Central Opera Service Bulletin • Vol. 24, No. 2 • Fall/Winter 1982
Editor, MARIA F. RICH
Assistant Editor, JEANNE HANIFEE KEMP
The COS Bulletin is published quarterly for its members by Central Opera
Service. For membership information see back cover.
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: $3.00
ISSN 0008-9508
NEW OPERAS AND PREMIERES
A QUIET PLACE is the title of Leonard Bernstein's new opera, the
previously announced sequel to Trouble in Tahiti.
The two-act, 4 0 minute work has a libretto by Stephen Wadsworth, and will be premiered
on June 17 by the Houston Grand Opera, together with its companion
piece. Following some ten performances there, t h e double-bill will
move to Kennedy Center for two weeks in October, and then to La
Scala, Milan, for six or eight performances in January '84.
NEW
AMERICAN
OPERAS
The West Coast Opera in San Gabriel, California, has scheduled t h e
professional premiere of Gregory Isaacs' THE DEATH OF TINTAGILES
for February 25, 1983. The one-act, 4-scene, 25-minute work will
share a triple-bill with Suor Angelica and The Medium.
It is based
on a Maeterlinck play which Mr. Isaacs translated and adapted for his
libretto. The work is scored for chamber orchestra, and features a
mezzo, a young girl or boy soprano, and a baritone in leading roles,
with three supporting singers. It was presented in a workshop production
with piano a t Simpson College in 1973.
On November 9, the Florida Lyric Opera in Largo gave the first
performance of t h e l a t e s t musical adaptation of Hawthorne's short
story, Rappaccini's Daughter.
This one was composed by Francesco
Zampini and is entitled MARIA
RAPPACCINI.
The New L e c t u r e Hall a t American University will be t h e site of t h e
premiere of Natalia Raigorodsky's THE WHITE CLIFFS OF DOVER.
The Opera Theatre of Washington will produce t h e work during t h e
current season.
THE FATHER, by Nicholas Scarim, is based on the Strindberg play.
Although conceived in three acts, it is to be played without intermission
in about 75 minutes. The leading roles a r e portrayed by a baritone
and a mezzo, with five supporting singers. A piano-vocal score is
available from the composer at 417 Clinton St., Brooklyn, New York
11231. (See also Children's Operas.)
The Lake George Opera plans to give the first production of Glenn
Paxton's THE ADVENTURES
OF FRIAR TUCK this summer. Scenes
of this musical t h e a t r e piece were heard a t t h e Opera America
Composer Showcase two years ago, and it also appeared a t the O'Neill
Center Composer/Librettist Workshop last year.
A fitting tribute for t h e 300th anniversary celebration of t h e C i t y of
Philadelphia was the stage premiere of Romeo Cascarino's WILLIAM
PENN.
The production, a joint effort of the Concerto Soloists of
Philadelphia, t h e Philadelphia Singers, and Combs College of Music,
opened on October 24 a t the Academy of Music. The cast featured
Dolores Ferraro and John Cheek, with Christopher Macatsoris conducting, Dino Yannopoulos staging, and Toni Businger responsible for
the designs. The work was previously heard in concert a t Drexel
University in 1975.
THE PONDER HEART, set in a town in rural Mississippi, first appeared
as a short story in The New Yorker.
It was then turned into a book
by its author, Eudora Welty, subsequently dramatized for Broadway,
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AMERICAN
SUBJECTS &
SETTINGS
and is now enjoying performances as a comic opera in Jackson,
Mississippi. Alice Parker wrote the music to a libretto especially
prepared by Miss Welty. The opening date was September 10, the
place the New Stage Theatre.
Composer Carol Sams collaborated with librettist and opera director
Ralph Rosinbum to create BENJAMIN BALLOU. It was presented by
the Opera Theatre of the University of Washington, Seattle, during
the November NOA Conference in Portland.
O. Henry's THE RANSOM OF RED CHIEF has been made into a new
opera by composer Sarah Fuller-Hall. The premiere was staged last
season at Appalachian State University in Boone, North Carolina.
Composer Odaline de Martinez, an alumna of Tulane University, is
currently working on a full-length opera based on the life of AIMEE
SEMPLE McPHERSON. A premiere is projected for spring "84 at
Tulane, to coincide with the World's Fair planned for New Orleans
that year. The composer, writing in an avant-garde style, is the
recipient of a recent Guggenheim Fellowship.
Among the operas being considered by the Composer/Librettist Conference at the O'Neill Theatre Center for possible inclusion in the
1983 workshop is the full-length JOHN BROWN by Roger L. Nelson.
The librettist, John Driver, is co-author of the prize-winning play,
Chekov in Yalta. The first act of the new work is set in Kansas in
1857, the second act in Virginia, where we follow the raid on Harper's
Ferry, Brown's trial, and his execution. The opera requires seven main
characters, five supporting roles, and a chorus. The piano/vocal score
as well as a full orchestral score is complete, and is available from
the composer at 21 West 86 Street, New York, 10024.
RELIGIOUS 6
ETHNIC
SUBJECTS
Composer and United States District Judge Richard Owen will have
his latest one-act opera THE DEATH OF THE VIRGIN performed in
February. The New York Lyric Opera will present the premiere on
a double-bill with Paulus' The Village Singer.
Carl Zytowski heads the opera department of the University of California at Santa Barbara, where his THE PLAY OF THE THREE
SHEPHERDS will premiere this season. Sharing the program will be
his Thomas of Canterbury, first heard last year.
THE PROMISE is the title of Claude L. Bass's one-act, seven-scene
Christmas opera. The first performance took place at Southwestern
Baptist Theological Seminary in Fort Worth on November 23.
This season's Opera at Peterloon Festival in Cincinnati premiered
JUDITH, a poem by Pauline Smolin set to music by Douglas R. Smith.
Its score includes electronic instruments. The first performance was
on September 3, with a repeat the following day.
The story of Jewish immigrants in New York City at the turn of the
century is the subject of THE GOLDEN LAND, written in English and
Yiddish by Zahmen Mlotek and Moishe Rosenfeld. It was produced by
the Workmen's Circle at the Folksbiene Playhouse in New York on
October 16, under the musical direction of the composer.
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Isaac Bashevis Singer's story MAZEL AND SHLIMAZEL has been adapted
into an opera with music by Farago. The Camerata Opera Theatre
in Haddonfield, New Jersey, gave the premiere last season.
The Santa Fe Opera has commissioned John Eaton (Myshkin, Cry of
Clytaemnestra, etc.) to compose a new opera for a premiere in 1985.
The title and subject matter have not yet been revealed.
COMMISSIONS
Similarly, Thea Musgrave is working on a yet untitled opera commissioned jointly by the Houston Grand Opera and the Royal Opera, Covent
Garden. It is to be completed for the 1985-86 season.
The team of composer Michael Valenti, director-designer Beni Montresor, and producer J. William Fisher has obtained permission to write
an opera based on Fellini's LA STRADA. (See also New Operas Abroad.)
Dependent upon funding, the Pennsylvania Opera Festival and Opera
Workshop in Pittsburgh will present the premiere of Joseph Summer's
HYPOLITUS next summer. The composer wrote his own libretto for
the two-act work.
Thomas Pasatieri has been commissioned by the University of Arizona
Opera Theatre and its director, Larry Day, to write a one-act opera.
The result, MARIA ELENA, will have its first performance on April
8 in Tucson.
DESIRE UNDER THE ELMS, announced in Vol. 24, No. 1 as being CANCELLATIONS
premiered last summer, was cancelled when the producing organization,
AND
the Central City Opera, had to suspend its entire season. — In the POSTPONEMENT
same issue, Robert Wilson/Gavin Bryar's MEDEA was listed for a
premiere by the Next Wave Series at Brooklyn College. As the work
is not ready, it will be replaced by Wilson's GREAT DAY IN THE
MORNING in its American premiere. The first performance occurred
in Paris last September, and featured Jessye Norman. The Brooklyn
dates are in December. — Laurie Anderson's UNITED STATES I-IV
was postponed from October '82 to February '83.
THE GENTLE BOY is the title of a one-act opera by Philip Rhodes,
presented by Carleton College at the Northfield Arts Guild in Minnesota.
"An American Trilogy", performed in June by the Opera Studio at New
York University, included the premiere of Steven Cohen's THE COP
AND THE ANTHEM, a work first heard at the 1980 composer/librettist
workshop of the Lake George Opera.
Clayton Jr. College in Morrow, Georgia, produced the premiere of
Larry Corse's THE OPEN WINDOW, a one-act opera performed May
19 on a double-bill with The Devil and Daniel Webster. Corse adapted
the libretto from a short story by Saki (H.H. Munro), and scored the
work for tenor, soprano, alto, three baritones, and a chamber orchestra
of eight.
The University of Georgia in Athens has announced the first production
of THE TELLING OF THE NORTH STAR, a one-act chamber opera
with music by John Corina and a libretto by Vincent Ferinni. The
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IN ACADEMIA
premiere will take place on March 28, 1983. — The same opera
workshop premiered DEBORAH SAMPSON, by Watson, in April '81.
This one-act opera is accompanied by wind instruments. Its main
character is based on a heroine who fought in the Revolutionary War.
Next season, Jacksonville University in Florida plans to present a new
work by one of its faculty members: William Schirmer's OUR TOWN.
While various organizations have mounted an opera with its related
play alternately, the Philadelphia College of the Performing Arts
offered a combination of both media last March. Students performed
the play and opera intertwined under the title FIGARO'S MARRIAGE,
using an English translation for Beaumarchais' words but the original
Italian for the Mozart opera excerpts.
MUSICAL
THEATRE
Robert Nathan's PORTRAIT OF JENNIE, which received the second
annual Richard Rodgers Production Award and which was a part of
the O'Neill Theatre Center workshop last summer, is under consideration
for performances at Playwrights Horizons. The following new music
theatre works have been staged at that theatre recently: NIGHT CITY
DIARIES by Richard P. Isen, written for five singer/actors accompanied
by piano, flute, violin, and bass; composer Skip Kennon and librettist
Ellen Fitzhugh's HERRINGBONE; and composer/lyricist Michael Finn's
THE SOUP KITCHEN.
Also in New York City, AMAS Repertory Theatre mounted the following
new musical theatre pieces last season: Osayandi Baruti's WILL THEY
EVER LOVE US ON BROADWAY?; Franklin Tramutola, Joseph d'Agostino, and Gary Romero's WINDS OF CHANGE; and Laurence Holder
and John Braden's FIVE POINTS. Bradley Wexler and Rocky Stone's
LOUISIANA SUMMER and Laurence Holder's HER STORMY WEATHER
will be premiered this season.
CHILDREN'S
OPERAS
Composer James Dashow received a special Rockefeller Foundation
grant to complete his opera, THE LITTLE PRINCE, based on the
Saint-Exupe'ry book. It is written for voices, laser, and multi-channel,
digitally synthesized, electronic music.
The new children's opera by Gian Carlo Menotti, THE BOY WHO GREW
TOO FAST, was premiered by OperaDelaware. The one-act work,
featuring six adult singers and a children's chorus, opened a three-day
schedule on September 24, and was staged by the composer.
UNDER ONE ROOF, by Karen DiChiera and Joan Hill, is billed as a
"revue for family entertainment". Henry Holt is credited with the
story idea. The work is scored for two adult singers with piano
accompaniment, and was performed at schools and community centers
in Michigan.
The Story Concert Players is a group with adults performing for
children. Last season's program included Roselyn Winokur's MAINLY
MOZART in a "multi-arts production"; also the same composer/librettist's THE PRINCESS WHO TALKED BACKWARDS in a revised
version for four voices.
The First All Children's Theatre in New York has scheduled the premiere
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of the two-act version cf CHILDREN'S CRUSADE, by Richard Peaslee
and Kenneth Cavander, for February.
The latest works premiered at Southern California Conservatory of
Music include Sally Wolf and Lurrine Burgess' one-act OLD PIPES AND
THE DRYAD and the same team's PINOCCHIO, both with piano
accompaniment.
Brooklyn composer Nicholas Scarim has prepared three new operas for
children.
WE WANT A PLACE was created for 7 to 12-year-old
performers; its overture and 18 songs tell of kids' lives in the big city.
WE'RE GONNA DRIVE THEM CRAZY is a "street wise" comedy for
14 to 18-year-old performers; it is based on the Lysistrata story, is
about 30 minutes in duration, and is accompanied by a rock combo.
SPACE is a children's musical written for some 40 young performers;
it was premiered at the Third Street Settlement in March.
THE MUSICIANS OF BREMEN, A Not-So-Grimm Modern Musical Fairy
Tale, by Alfred Balkin, transforms t h e robbers into a rock band called
The Robbers. Although primarily intended to be performed by adults
for children, students at Third S t r e e t Settlement have successfully
presented a shortened version of this one-and-one-half-hour opera. It
combines a variety of musical styles and requires audience participation.
It is published by Now View Music, 170 NE 33 St., F t . Lauderdale,
Florida 33334.
Frederick Delius' one-act MARGOT-LA-ROUGE
was composed in 1902 FOREIGN OPERAS
but never performed. It exists in an unpublished full score, and in a PREMIERE IN US
piano reduction made by Ravel. The work was r e c e n t l y edited by Eric
Fenby and will be produced for t h e first time anywhere by t h e Opera
T h e a t r e of Saint Louis on June 8, 1983. Mo. Fenby will conduct it
on a double-bill with Les Mamelles de Tiresias.
The Yamaha Music Development Association sponsored t h e premiere
of the two-act BEAUTIFUL SUNDAY, with music by Shimon Masato
and book and l i b r e t t o by Yutaka Okada. It could be seen and heard
at the Chernuchin T h e a t r e in New York in 16 performances between
July 21 and August 14, 1982.
American composer J a m e s Wade wrote t h e music for THE MARTYRED,
with a story based on a book and an incident in North Korea in t h e
early 50's. The l i b r e t t o is by Korean-born Richard Kim; the premiere
took place at t h e National Theatre of Seoul last June.
AMERICAN
OPERAS
ABROAD
Although an American opera, Nicholas Flagello's THE JUDGEMENT
OF SAINT FRANCIS was brought back to its original scene when it
was presented, in its European premiere, at t h e Summer Festival of
Assisi last July.
It was first performed in New York in 1966.
In May '83, t h e Com us Music Theatre in Toronto will stage a "theatrical
happening with music" at the Ontario Science Centre. The company
commissioned Don Radford and R. Murray Schafer to create and write
the music for RA, a celebration of the mysteries of the Egyptian sun
god. The performances are continuous over eight hours, from dusk to
dawn. The cast includes singers, actors, dancers, and instrumentalists.
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NEW CANADIAN
OPERAS
Another commission by Comus went to Sean Mulcahy and the Canadian
Electronic Ensemble, which will create a two-act work entitled NIGHTBLOOM. The premiere date is to be announced.
Last season the Banff Centre Music Theatre Studio Ensemble premiered
Stephen McNeff and Michael Bawtree's one-act PEKING DUST on a
double-bill with The Price of Oil (10/30/81), and Richard Pearson
Thomas and Leofwin Luke's THE GRIMWOOD CLOCK (12/11/81). This
season's new works will include Stephen Oliver's ARTISTS AND ADMIRERS* This full-length music theatre piece is based on Ostrovsky's
book of the same title; it is scored for chamber orchestra. The
premiere on April 7 will be conducted by Steuart Bedford and directed
by Colin Graham, with sets designed by Neil Jampolis.
NORTH
AMERICAN
PREMIERE
The same Studio Ensemble recently staged the first North American
performance of Roy Hudd's BEAUTIFUL DREAMER. The two-act
music theatre piece, previously seen at the Haymarket Theatre in
Leicester and the Greenwich Young People's Theatre in London, is
based on Stephen Foster's life, and incorporates much of his music.
The Banff performances took place on October 22 and 23, were directed
by Campbell Smith, and subsequently toured Alberta.
AMERICAN
PREMIERES
Francesco Cavalli's L'ORIONE, originally heard in three acts and a
prologue in Milan in 1653, will have its first modern performance next
July 23 in Santa Fe. This will be the first production of the recently
completed reconstruction by Raymond Leppard. The text is by F.
Melosio. — The following summer, Santa Fe audiences will have an
opportunity to witness the American premiere of Hans Werner Henze's
WE COME TO THE RIVER. The work was composed to an English
text by Edward Bond.
Edward Downes and H.C. Robbins Landon are responsible for the new
edition of Johann Christian Bach's TEMISTOCLE, originally premiered
in 1772. The new edition was first used in Stuttgart in 1965, and
New York's Bel Canto Opera just staged the first American performance
on October 30, with Victoria Bond conducting, Anton Jaworski directing,
and Edward Downes functioning as artistic advisor.
The premiere date of Donizetti's Af ARIA PADILLA was 1841, the place
La Scala, Milan. Now it will be performed by two U.S. companies
within one week. The Pocket Opera will stage the premiere on April
17 in San Francisco, and the Long Island Opera Society will present
it in concert on April 23 in Stony Brook, New York.
Richard Wagner's second opera, DAS LIEBESVERBOT, will soon receive
its American premiere. It will be performed in concert on July 9 at
the Waterloo Festival in New Jersey under the baton of Gerard Schwarz,
sponsored by the Wagner Society of New York.
Johanna Dordick and her Los Angeles Opera Theatre were able to
procure the rights to the American premiere of Iain Hamilton's ANNA
KARENINA, first performed by the English National Opera in London
in 1981. This new production of the Tolstoy story will be presented
at the Wilshire Ebell Theatre in Los Angeles March 16-19, and will
use slide and film projections shot on location in Europe by Ron Chase.
These will include a German castle backdrop for the ballroom scene.
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The American Repertory Theatre in Cambridge, Robert Brustein, producer, will offer the first American production of Peter Maxwell
Davies1 THE LIGHTHOUSE in 1983. The Fires of London gave the
first performances at the Edinburgh Festival two years ago. The
American performances will be staged by Peter Sellars.
Washington, D.C., will be treated to the American premieres of two
Czech operas, both to be mounted by the Sokol Opera. The first, in
spring '83, is DRATENIK by FrantiSek Skroup (dating back to 1826),
the other, which will appear the following season, is KRAL A UHLIR
(The King and the Coalminer) by Antonin Dvofdlc (premiered 1871,
revised 1887). Both operas will be sung in the original language.
Another Dvof6k opera which is being considered for a premiere production in the U.S. is DIMITRU, first heard in Prague in 1882. A concert
performance by the Collegiate Chorale at Carnegie Hall is contemplated
for 1983-84.
When the Finnish National Opera visits New York next April, it will
bring two contemporary Finnish works for presentation here at the
Met. April 26 is the opening date for the one-week guest appearance,
and the operas are Kokkonen's THE LAST TEMPTATION and Sallinen's
THE RED LINE.
December 9-12 will bring the first staged production of Gluck's PARIS
AND HELEN to Queens College. It will be performed in a new English
translation by Lee Goldstein. The work was first heard here at Town
Hall (American Opera Society) in 1954.
Aulis Sallinen has been commissioned jointly by the Savonlinna Festival
and the BBC to write THE KING GOES FORTH TO FRANCE. A
premiere is planned for summer '84 at the Finnish festival, to be
followed by performances at the Royal Opera, Covent Garden and by
BBC broadcasts.
The Royal Opera, Covent Garden has three additional commissions
outstanding, two of them also in collaboration with other opera companies. One was awarded Edward Cowie to write NED KELLY for
the Victoria State Opera in Australia, where it will be heard before
being brought to London. The second is a new opera by Thea Musgrave,
ordered jointly by the Houston Grand Opera and the Royal Opera.
The solo commission went to Gyorgi Ligeti, who is to complete a work
for a first performance in 1990. Meanwhile, Covent Garden plans
British firsts of Stockhausen's Donnerstag aus Licht for 1985-86, and
Berio's La Vera storia for the following season. The English National
Opera announced the first British performance of Ligeti's Le Grand
macabre for the current season.
A classical Persian poem is the basis of an opera commissioned from
Anthony Powers by the Nedina High School in Newport, Isle of Wight,
England.
The premiere of the two-act THE SEARCH FOR THE
SIMORGH took place on May 14. Described as "an allegorical quest
for self-knowledge", the opera has a libretto by Dick Davis.
On January 5, Den Jyske Opera in Aarhus, Denmark, will premiere
Per Norgaard's fourth opera, THE DIVINE CIRCUS. — Last April,
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NEW OPERAS
ABROAD
Stockholm's Oskar Theatern offered a new children's opera, DER MAERCHENPROFESSOR. Lasse Dahlberg and Bjorn Isfalt wrote the music,
Britt Hallquist and Christina Lagerson the text.
LA TERESINA is an Italian children's opera by Roberto Hazon, with
a text by V.A. Castiglioni. It was premiered in 1972, although not
previously reported here, and has had repeated performances in Italy,
Germany, France, and Belgium, all in respective translations. It has
also enjoyed several television broadcasts in these countries. The
two-act, 70-minute work was written to be performed for and by
children in the 10-12 year age group. It is available from Sonzogno
Publishers, and is scored for chamber orchestra or piano accompaniment. — Mr. Hazon's earlier music theatre work, L'AMANTE CUBISTA,
was given an 80-performance tour through Europe and Canada under
the auspices of Les Jeunesses musicales. The two character (soprano
and baritone) story is accompanied by two pianos, and the publisher
is Curci, Italy. — The same composer's mono-opera Madame Landru,
for mezzo-soprano with two pianos, first heard in Majorca in 1963, is
available from Sonzogno, not Riccordi as listed in an earlier COS
directory.
The 1983 Salzburg Festival plans to present Luciano Berio's latest
operatic work, UN RE IN ASCOLTA.
— DER ALCHEMIST, a
full-length opera by Max Lang, is scheduled for a first performance
on April 15 at the Stadttheater, St. Gallen, in Switzerland. — The
same month, Freiburg, Germany, is planning the premiere of SENNTUNTSCHI, created by Swiss composer Jost Meier and librettist Martin
Markun. — Ingomar Griinauer's latest opera, AMLETH UND FENGO,
is scheduled for a first production on May 30, 1983, by the Stadttheater
in Heidelberg. — Walter Haupt, whose various music theatre pieces
were premiered at Munich's Experimentierbiihne, will see his one-act
MARAT produced for the first time at the opera house in Kassel.
The opening date is June 23, 1983; the work will share the program
with the German premiere of Don Perlimplin.
With no copyright recognition in Eastern bloc countries, Czech composer
Va'clav Kaslik needed no permission to adapt Fellini's LA STRADA into
a one-act opera (see also Commissions). The first performance took
place at Prague's S met ana Theatre on January 13, 1982, with sets and
projections designed by Josef Svoboda. — Jan F. Fischer's latest
work, COPERNICUS, will be premiered by the National Theatre Company in Prague on June 16, 1983. — ROSES FOR JOHANNA, by
Otmar Mdcha with a libretto by Josef Pavek, is loosely based on the
Heydrich assassination during the German occupation of Prague. The
Janacek Opera House in Brno staged the premiere on January 8, 1982,
with Jiri Pinkas conducting.
•
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NEWS FROM OPERA COMPANIES
The formation of THE SALT LAKE CITY OPERA THEATRE has not
previously been reported here. In its first year, the company offered
the Verdi Requiem, followed in 1980 by a double-bill of Cavalleria
rusticana and Suor Angelica. Last season, the Opera Theatre graduated
to two full productions, Madama Butterfly, and Gianni Schicchi together
with II Tabarro, each performed four times. Founder Bob Zabriskie
is general manager and David Baer is director of personnel. Offering
employment opportunities primarily for area artists, the company
performs in the 2,000-seat Kingsbury Hall of the University of Utah,
and uses an orchestra of about 60. — The Utah Opera, under Glade
Peterson, is the older company in the city, having started in 1977. It
gives three productions in 14 performances, and imports its leading
singers fron the East and West coasts.
A new company in Nevada is THE LAS VEGAS OPERA. It opened
with a benefit concert last June, and has scheduled Don Giovanni and
Macbeth for its inaugural season. Its managing director is R. Sullivan.
The SAN JOSE COMMUNITY OPERA THEATRE is the result of a
slow evolution of the Opera Theatre at San Jose State University into
an independent organization. Both are under the directorship of Irene
Dalis. This season the Community Opera will offer Amahl and the
Night Visitors together with a dance piece with music by Kirke Mechem,
another contemporary double-bill of Hoiby's The Scarf and Hollingsworth's Harrison Loved His Umbrella, and in the spring, Cosi fan tutte.
The company's Outreach Program will take the Hollingsworth opera
and Many Moons to schools and community centers, while the third
program, under the title of Community Opera Touring, travels with
Rita, The Old Maid and the Thief, and an opera scenes program.
Another company which has its roots in the academic opera workshop
is the RED RIVER LYRIC THEATRE in Wichita Falls, Texas. Baritone
Robert Hanson, who heads the workshop at Midwestern State University
in the same city, opened his first season with four performances of
Die Fledermaus; he mounted two productions last summer, and plans
to give 15 performances of three operas in repertory during July '83.
"An Evening in the Eighteenth Century", presenting La Serva padrona
and The Impresario, will introduce the newly formed AMERICAN
SINGERS ENSEMBLE in New York. Affiliated with Musica Nobilis,
Inc., and the Cultural Council Foundation, the ensemble is devoted to
opera in English presented in "total theatricality". The Church of the
Good Shepherd on West 66 Street is the group's theatre.
The first SAN ANTONIO FESTIVAL (see Vol. 24, No. 1) will feature
some 80 separate events between May 14 and June 5, 1983. All types
of music, from symphonic (San Antonio Symphony, Dallas and Houston
orchestras) to jazz and western will be offered; ballet performances
will include a number of visiting companies, and opera will feature
the first U.S. visit by the Deutsche Oper Berlin. May 22, 25, and 28
are the performance dates for Salome, with Karan Armstrong, Ruth
Hesse, Ingvar Wixell, and Hans Beirer in a production staged by Gotz
Friedrich and designed by Wieland Wagner. Horst Stein will conduct,
with the San Antonio Symphony in the pit. The orchestra, under its
music director Lawrence Smith, will also give a concert performance
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NEW COMPANIES
NEWS FROM COMPANIES
of La Damnation de Faust, with Frederica von Stade and Paul Plishka,
at the Theatre for the Performing Arts. In addition, Britten's Prodigal
Son will be performed at St. Mark's Episcopal Church, and "Bernstein
on Broadway" at Beethoven Hall. Enhancing the interest in t h e Strauss
opera will be performances of the original Wilde play May 17-21.
A CHANGE
IN SEASON
A determined move to put the NEW YORK CITY OPERA on a sounder
financial footing resulted in the consolidation of the fall and spring
seasons beginning in 1983. The company will open at the State Theatre
in early July and play uninterruptedly until mid-November. The summer
weeks, when there a r e tourists but no staged opera performances at
Lincoln Center, will include a three-week run of an operetta, while
rehearsals for new fall productions take place simultaneously. The
two or three-week guest engagement in Los Angeles at the end of the
New York season is expected to continue, and additional tour possibilities are under investigation. These would be independent of t h e
company's touring ensemble, formerly known as the National Opera
Touring Company and now renamed t h e New York City Opera National
Company. — Meanwhile, due to the severity of the situation, the
company's artists and staff members, in conjunction with their unions,
have agreed to a wage freeze for the current season. New contracts
with ten different unions were to have been re-negotiated this fall.
— Other assistance came in the form of a $500,000 grant from Warner
Communications Inc. for new productions over the next three years,
a $100,000 grant from ITT to underwrite the rehearsal costs of the
four new productions this season, and a substantial increase in subscriptions following the intensive campaign, with a 20 percent discount
offer.
CANCELLATIONS A notice of cancellation came from the ATLANTA CIVIC OPERA,
which had originally planned two productions for this season. This
company, too, hopes to raise sufficient monies within a year to cover
past deficits and reopen in 1983-84.
The SAN DIEGO OPERA has cancelled its 1983 Verdi Festival in order
to conserve funds. The promise to resume in 1984 has been confirmed
by the announcement that the Festival will present Mme. Sutherland
in / Masnadieri, and Sherrill Milnes in Simon
Boccanegra.
MORE
REOPEN INGS
Similarly, the CENTRAL CITY OPERA will reopen with two productions
in summer 1983, after suspending the 1982 season for lack of funds.
La Traviata and L'Elisir d'amore will be performed in repertory, and
the Apprentice Program will also be reactivated.
Several other companies which remained on the sidelines during the
1981-82 season have announced programs for the current year. The
NEW YORK LYRIC OPERA plans three contemporary works in a
traditional theatre setting, and Monteverdi's Coronation of Poppea at
a New York discotheque; the NATIONAL LYRIC OPERA in Washington,
D.C., has ambitious plans for productions of Faust and Boris Godunov,
the NORTH MIAMI BEACH OPERA will return with two full productions
and the Verdi Requiem; the COLORADO OPERA FESTIVAL will increase its productions to two next summer; the NEW YORK CITY
OPERA NATIONAL COMPANY resumes its tour performances this fall,
and the INDIANAPOLIS OPERA is returning to a four-production
schedule after a season curtailed to one single opera.
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NEWS FROM COMPANIES
Due to the NEW YORK CITY OPERA'S new schedule (see above), its
performances this season will be greatly curtailed. The fall season
began, as it always had, in late August, to finish in December in Los
Angeles. There will not be a spring season, which consequently reduces
the number of productions from 26 to 16, and the weeks of performances
from 26 to 14. — The NEW ORLEANS OPERA is the only other
major company to cut back the number of its productions, offering
four instead of five operas. — The San Francisco Opera's WESTERN
OPERA THEATER will be restricted to a fall tour of one opera only.
REDUCED
SEASONS
There have been a number of opera companies which started as a
division of the resident orchestra - Orlando, Columbus, San Antonio,
to name ju:t a few. However, the LYRIC OPERA OF KANSAS CITY
may well be the first opera company, certainly the first American
opera company, to take on the management of the local symphony
orchestra. After some years of financial problems and little visible
community support, the Kansas City Philharmonic finally disbanded,
an orchestra with a history of almost 50 years. A gift of $1 million
from R. Crosby Kemper facilitated the founding of a new orchestra,
the Kansas City Symphony, under the auspices of the Lyric Opera and
its founder and director Russell Patterson. The new symphony is
comprised of 72 musicians, primarily members of the former Philharmonic, and serves, of course, the opera and also the ballet. Within
two months of its formation, it organized and offered a subscription
series of ten pairs of concerts. It plans to include pops and outreach
programs in addition to subscription concerts featuring international
artists. The events are held from November until May at the Lyric
Theatre, a house owned and operated by the opera company. The
success and/or problems of the first season will determine whether
the present affiliation between the opera company and the orchestra
shall become a permanent arrangement.
COMPANIES
EXPAND
At the same time, the LYRIC OPERA OF KANSAS CITY is increasing
its own productions and performances this season. Three operas of
the classic repertoire were given 14 performances in SeptemberOctober, and a third work will be added to the usual two given during
the spring season. To celebrate its 25th anniversary, the April theme
is American contemporary opera, and there will be a total of ten
performances within this series (see Performance Listing).
The neighboring OPERA THEATRE OF SAINT LOUIS, perhaps coincidentally, continues to widen its performance sphere and expand its
activities. Supported by the Raintree Arts Council, a production of
The Beggar's Opera was staged by the company in a most unusual
setting, The Apple Shed in Clarksville. In December, the company
will return to Washington University with The Pirates of Penzance.
The main June season features four productions (again including one
premiere) in 25 performances at the Loretto-Hilton Theatre at Webster
College. July and August are reserved for "Opera on the Road", a
concert tour of seven young singers and an accompanist offering
"favorite selections" from opera, operetta, and musicals in community
centers, parks, schools, etc.
Thanks to the BOSTON LYRIC OPERA, Wagnerites could hear the
complete Ring des Nibelungen in concert last summer, and staged
productions of the tetralogy are being considered for next summer.
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NEWS FROM COMPANIES
This would again be under the auspices of the Wagner International
Institution, Inc. Meanwhile, this season's varied fare will offer three
major productions in six performances, one opera with piano at the
Gardner Museum, and three evenings of different chamber operas at
a dinner theatre. (See Performance Listing.)
For the last two seasons, the MISSISSIPPI OPERA restricted its two
productions to a June Festival in conjunction with a young artists
program at Millsaps College. With the engagement of a new artistic/musical director (see Appointments), the company will return to
independently given performances this year. It has scheduled Aida for
February, and The Barber of Seville for May and a subsequent tour.
The apprentice program has been suspended, at least temporarily.
The seven-year-old OAKLAND OPERA will move to a new theatre
this season, and will also change from three to five productions in ten
performances. As the relocation is from a non-union to a union house,
the company expects to double its budget of last season.
NEW NAMES
To avoid mistaken identities, the former Eastern Opera Theatre has
NEW ADDRESSES been more descriptively renamed the BALTIMORE OPERA TOURING
THEATRE. (Another Eastern Opera Theatre tours out of New York.)
Similarly, the former National Touring Opera Company is now easily
recognizable as the NEW YORK CITY OPERA NATIONAL COMPANY.
(The National Opera Company is the 32-year-old touring ensemble
based in Raleigh, North Carolina.)
The DALLAS OPERA moved its administrative offices to the Majestic
Theatre, 1925 Elm Street, Dallas, Texas 75201, with a new telephone
number of (214) 747-8600. The move was prompted by the generous
offer of the Hoblitzelle Foundation, the original owner of the theatre,
to underwrite the office space costs. This may also bring the company
a step closer to the realization of a spring season of chamber opera
at the Majestic. The international fall season is presented at the
3,400-seat Music Hall at Fair Park.
The administrative offices of the LYRIC OPERA OF CHICAGO have
a new telephone number: (312) 332-2244.
MORE
OVERSEAS
TOURS
The Reichhold Center for the Arts at the College of the Virgin Islands
has invited the ORLANDO OPERA to bring its production of Die
Entfuhrung aus dem Serail to St. Thomas. The performance will take
place at the end of March and will use a local chorus and a new
English adaptation entitled The Abduction from the Harem.
May and June 1984 will find the ENGLISH NATIONAL OPERA visiting
the United States for the first time. The tour, sponsored by the U.S.
Friends of ENO, will start in Texas with performances in Houston,
Austin, and San Antonio, continue on to New Orleans, and close with
performances at the Metropolitan Opera House in New York. The
following operas have been mentioned as the possible repertoire of the
tour: War and Peace, Patience, Salome, Turn of the Screw, and Britten's
Gloriana, which would be an American premiere. If the Strauss opera
is shown in San Antonio it might make for an interesting comparison
with the imported production of the Berlin Opera (see New Companies).
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NEWS FROM COMPANIES
OPERA THEATRE NORTHWEST is t h e n a m e of t h e touring ensemble
of t h e P o r t l a n d O p e r a . L a s t season it gave 22 p e r f o r m a n c e s of t h r e e
operas, and over 70 p e r f o r m a n c e s of workshop a n d ensemble programs.
EDUCATIONAL
& COMMUNITY
PROGRAMS
The Florentine Opera's educational program travels in and around
Milwaukee under the name of WISCONSIN OPERA THEATER. This
year's opera is Rossini's Cenerentola, coproduced with the Music for
Youth Orchestra.
Additional performance opportunities for the young artists participating
in the SAN FRANCISCO OPERA CENTER training program will be
four after-dinner performances of "Opera at Maxwell's Plum". A
program of arias and ensembles has been prepared for November and
December presentations.
For the first time, the ASOLO OPERA in Sarasota has accepted
apprentice singers who are to work with the company's professional
staff and participate in performances as chorus members and/or cornprim arios.
Under the title MATINEE OPERA, young singers of the Florida Lyric
Opera offer programs of scenes and arias in costume with piano.
Apprentices, who also receive instruction and training, are accepted
without charge and without pay; preference is given to residents of
the Tampa Bay area.
Arts organizations receiving a bonus from American Express whenever
a card is used or a new subscriber enrolled was mentioned in an earlier
issue of the Bulletin. Similarly, to promote its new direct route from
Dallas/Fort Worth airport to London, AMERICAN AIRLINES donates
$5 to the Dallas Symphony for each passenger boarding this non-stop
flight from the Texas airport. Further arrangements make American
the official airline of the Symphony's 1984 tour of Great Britain.
Other airlines have flown an entire performing arts ensemble free of
charge, or have given special consideration to artists, in exchange for
the use of the names in publicity material. Some accept short
promotional films from performing arts organizations located in cities
served by the carrier, for in-flight showings.
Special favors or privileges for patrons or subscribers are welcomed
by them and may even put a little extra cash into the companies'
coffers. A special discount arrangement with a record store (on all
operatic records or on artists or operas in a company's season) or a
special discount on pre-opera dinners at restaurants near the theatre
are only two of many options. The VIRGINIA OPERA offers each
new subscriber a "free box-seat ticket to the Met", in this case
referring to its Metro Park, where the local baseball team plays. The
BOSTON LYRIC OPERA COMPANY benefitted from a special antiques
appraisal by a major auction firm, with $5 for a verbal appraisal of
one item, $12.50 for three. Several companies arrange for benefit
opera film screenings; the BALTIMORE OPERA got its bid in early
for Pavarotti in Yes, Giorgio before he was seen in commercial movie
houses in the city, and the SAN FRANCISCO OPERA orchestra last
year accompanied Gance's Napoleon. In PORTLAND, where Wuthering
Heights was just premiered, the opera company devised a special film
festival featuring those movies for which Bernard Hermann, the opera's
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FUNDRAISING
£ PROMOTION
NEWS FROM COMPANIES
composer, had written the score (Citizen Kane, Jane Eyre, Psycho,
Taxi Driver).
While the idea of opera cookbooks may not be a novelty, the WASHINGTON OPERA capitalized on its location by featuring in its new
publication recipies from five first ladies, from long-time White House
chef Henry Haller, and from members of the diplomatic and social
elite. The 288-page, illustrated book was launched at a formal reception
which featured some of the special dishes included in this gourmet
guide. It may be ordered for $10 postpaid from the Washington Opera.
OPERADELAWARE and HIDDEN VALLEY MUSIC both benefitted this
year from "Designer Showcases" especially arranged for their patrons.
Twenty-three and 16 interior designers participated in the respective
exhibits. The Delaware event was held in cooperation with the Division
of Parks and Recreation, and a special lecture series was sponsored
by the University of Delaware Department of Textiles, Design, and
Consumer Economics.
We have frequently reported on the promotional value of coordinating
attractions with the ethnic or cultural background, history, or setting
of a specific opera. Madama Butterfly is not the only example,
although it seems the one which inspires the greatest activities. The
CHARLOTTE OPERA, which invited Shozo Sako to stage its production
in Kabuki style, will offer a number of events including special lectures
and courses by the visiting Kabuki master. The MICHIGAN OPERA
in Detroit, which included an Armenian opera in last year's schedule
and a Polish one this year, is soliciting and receiving support from
those segments of the city's population. The large Polish community
organized special polka parties, a visit to an old Polish church where
a dinner was served, and special guest lectures, all in connection with
and for the benefit of the opera company. A committee even arranged
for the loan of authentic Polish costumes for the performances.
Among the buttons, slogans, and other promotional materials distributed
by companies, two ideas seem particularly catchy. The VANCOUVER
SYMPHONY offers "your golden opportunity to perform for the orchestra — no musical training required". This solicitation letter,
followed by telephone calls, resulted in a more than doubling of donors
and donations. — TRI-CITIES OPERA confidently states, "We Appeal
to You".
SUBSCRIPTION
AND TICKETS
The SEATTLE OPERA is one of a number of companies offering a
"Short Season Package", a subscription to the remainder of its season,
following the performances of its first production. — The DALLAS
OPERA has continued its special discount for student subscriptions in
certain areas of the house, and TRI-CITIES OPERA offers a 42 percent
discount for a senior citizen's subscription to its Sunday matinee series.
— The FLORENTINE OPERA in Milwaukee offered a 15 percent
discount on group sales of 25 or more tickets for its opening production.
The DALLAS company also announced that, for the first time, its
opera tickets will be available through Ticketron in 18 major cities
across the country.
The LOS ANGELES OPERA is well ahead of last year in its subscription
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NEWS FROM COMPANIES
sales, despite, or because of, the inclusion of the American premiere
of a contemporary British opera in its repertoire. — The WASHINGTON
OPERA and the LYRIC OPERA OF CHICAGO also report heavy
demands for tickets, and full houses.
It is interesting to note that those companies which raised their ticket
prices for the 1981-82 season, almost without exception continued
those prices in the current season. Companies whose prices remained
stable from 80-81 to 81-82 increased their fees this year. The most
expensive tickets run $60 and $55 at the Met (respectively, weekends
and weekdays), $60 at the Seattle Festival, $50 in Washington, Miami,
and San Francisco, $48 at the Lyric Opera of Chicago, $45 in Houston
and Den/er (Opera Colorado), $40 in Santa Fe, Dallas, and Tulsa, and
$35 in Philadelphia. Shreveport, Baltimore, Cincinnati, Portland, New
Jersey State, Connecticut Opera, and Connecticut Grand are among
those receiving $30 for their best seats.
The original Sadler's Wells Opera Company took its name from the NEW COMPANIES
theatre in which it performed. Later, it changed its name to English
ABROAD
National Opera, and moved t o t h e Coliseum. Now a NEW SADLER'S
WELLS OPERA COMPANY has been founded. It produces t h r e e light
operas during January and February in a t o t a l of 30 performances. In
1983, when t h e Sadler's Wells T h e a t r e c e l e b r a t e s its 300th anniversary,
the company will offer The Count of Luxembourg,
Countess
Maritza,
and The Mikado. — Australia has added a new company under General
Director Neil Duncan, t h e LYRIC OPERA OF QUEENSLAND.
Unresolved labor negotiations between management and dancers of the
AMERICAN BALLET THEATRE caused a work stoppage which began
in early September and which lasted nearly t h r e e months. Appearances
in Paris, Boston, and Washington were cancelled; a November s e t t l e m e n t
finally saved t h e remainder of t h e season.
BRIEFLY
NOTED:
BALLET
The J O F F R E Y BALLET will become t h e resident dance company of
the Los Angeles Music C e n t e r beginning in t h e 1983-84 season. The
company will continue its annual national tours.
A new orchestra, the MARYLAND SYMPHONY, has been founded in
Hagerstown. Internationally renowned horn virtuoso Barry Tuekwell is
its music director, and the first concert took place in November.
SYMPHONY
Negotiations on various orchestra contracts brought differing results.
In addition t o the aforementioned Kansas City Philharmonic, t h e
18-year-old FLORIDA PHILHARMONIC in Miami was dissolved. Members of the NATIONAL SYMPHONY in Washington agreed t o a one-year
moratorium on wages (as did members of t h e New York City Opera)
after seeing t h e orchestra's books and projected budget. Agreements
were reached in CHICAGO and NEW YORK, although t h e former did
not s e t t l e until after a two-week strike. Musicians of the SYRACUSE
ORCHESTRA also struck before an a g r e e m e n t was signed.
THEATRE COMMUNICATIONS GROUP, the service organization for
not-for-profit theatres, reported that seven of its member theatres
closed for financial reasons during the 1981-82 season. Some of these
theatres were long-established, one being founded 18 years ago.
•
-15-
THEATRE
FORECAST
SUMMER '83
The SAN FRANCISCO OPERA FESTIVAL, which opens May 27, will
introduce new productions of the first two works of Der Ring des
Nibelungen. Siegfried will be added in 1984, and Gbtterdammerung in
1985, at which time the complete cycle of these new productions will
constitute the Festival. The performances will be conducted by Edo
de Waart, music director of the San Francisco Symphony, directed by
Nikolaus Lehnhoff, and designed by John Conklin. In addition to Das
Rheingold and Die Walkiire, the 1983 Festival will also include productions of La Boheme, Cosi fan tutte, and Carmen.
The PACIFIC NORTHWEST FESTIVAL in Seattle will again show the
German and English Ring Cycles between July 23 and August 6.
The SANTA FE OPERA has announced a varied 1983 season, opening
with Orpheus in the Underworld and followed by Don Pasquale, the
first American staging of Cavalli's L'Orione, Arabella, and closing with
The Turn of the Screw.
May 20 to June 5 are the dates of the SPOLETO FESTIVAL USA in
Charleston, South Carolina, where this year's operatic fare will feature
Barber's Antony and Cleopatra, Menotti's A Bride from Pluto, and
Puccini's La Rondine. — Colorado tourists and residents will have
the opportunity to hear La Traviata and L'Elisir d'amore in CENTRAL
CITY, and Don Giovanni and Carmen produced by the COLORADO
OPERA FESTIVAL at the new Pikes Peak Performing Arts Center.
The DES MOINES METRO OPERA in Indianola, Iowa, will contrast the
light La Fille du regiment and The Merry Widow with the verismo
double-bill of Cavalleria rusticana and Pagliacci. — Camelot, The
Yeomen of the Guard, and Cosi fan tutte will make up this summer's
season of the RED RIVER LYRIC THEATRE in Wichita Falls, Texas.
As always, New York State abounds in music festivals, and the ambitious
traveller will be able to hear Lucia di Lammermoor, Ariadne auf
Naxos, Kiss Me Kate, and the premiere of Paxton's The Adventures
of Friar Tuck in Glens Falls, as produced by the LAKE GEORGE
OPERA, The Mikado, Rigoletto, and The Abduction from the Seraglio
in Cooperstown, performed by the GLIMMERGLASS OPERA, The Merry
Widow, Manon Lescaut, Of Mice and Men, and Le Nozze di Figaro in
CHAUTAUQUA, and Hello, Dolly!, H.M.S. Pinafore, Salome, and Rigoletto in Lewiston, presented by ARTPARK. Venturing further north,
one might see Eugene Onegin and La Cenerentola at the National Arts
Centre, produced by the OTTAWA FESTIVAL OPERA.
1983-84 cont.
Terence McEwen, general director of the SAN FRANCISCO OPERA,
announced the engagement of the Italian composer/conductor Giuseppe
Sinopoli. In September '83, he will lead La Traviata, and return in
September '84 for Emani.
Emani will also be in the METROPOLITAN OPERA'S repertoire in
1983-84. The company's centennial season will open with Les Troyens,
featuring Jessye Norman and Placido Domingo.
Fall '83 will bring a new production of Aida to the LYRIC OPERA
OF CHICAGO, with Anna Tomowa-Sintow and Fiorenza Cossotto vying
-16-
FORECAST
for Luciano Pavarotti's favor.
is also on the schedule.
A revival of Der fliegende Hollander
More Wagner, in this centennial year of his death, is included in the
programs of the SAN DIEGO OPERA (Lohengrin in September) and the
BALTIMORE OPERA (Die Walkure in February).
The NEW YORK CITY OPERA will continue its baroque festival with
Raymond Leppard conducting Handel's Alcina next fall. Other new
productions include Pique Dame, sponsored by Warner Communications,
and La Rondine, sponsored by the Gramma Fisher Foundation.
The Rake's Progress, La Forza del destino, Carmen, and La Fille du
regiment comprise the 1983 season of the DALLAS OPERA. Each
will be given four performances between November 3 and December
23; the first two mentioned are works new to the area. — The
company continues to work toward the completion of its new Ring
production with the addition of Siegfried in 1984, and Gotterdammerung
the following year.
Madama Butterfly and Salome will be two of the three operas presented
by the FLORENTINE OPERA of Milwaukee.
The four operas announced by L'OPERA DE MONTREAL for the coming
season are Manon, Le Nozze di Figaro, Turandot, and Rigoletto. —The
MANITOBA OPERA will share Edmonton's Norma, and, in addition,
will t r e a t Winnipeg audiences t o performances of L'Elisir d'amore and
Aida.
H e r b e r t von Karajan will honor Wagner a t t h e SALZBURG EASTER
FESTIVAL by presenting a new production of Lohengrin.
— At the
SUMMER FESTIVAL, he will direct and conduct a new production of
Der Roserikavalier. The other major operas to be performed there
will be Idomeneo and Die Zauberflb'te under James Levine, Fidelio
under Lorin Maazel, and Cos\ fan tutte under Riccardo Muti.
Another Austrian festival, that in BREGENZ, will bring Kiss Me Kate
to its floating stage on the lake, and Der Freischiitz, in a Schenk/Schneider-Siemssen production, to its new Festspielhaus. Performances are
scheduled between July 22 and August 20.
The GLYNDEBOURNE FESTIVAL will run from May 26 to August 10,
and will feature new productions of Idomeneo and La Cenerentola, and
revivals of Die EntfUhrung aus dem Serail, Intermezzo, and The Love
for Three Oranges. — The following summer will be the 50th
anniversary of the Festival, and two Mozart operas which were presented in the opening year will return in 1984: Le Nozze di Figaro
and Cosi fan tutte. L'lncoronazione di Poppea, the first baroque opera
at Glyndebourne, has also been scheduled, as has the highly acclaimed
production of A Midsummer Night's Dream. Appearing at Glyndebourne
for the first time will be Strauss's Arabella.
BAYREUTH is getting ready for a completely new production of Der
Ring des Nibelungen, this time under the musical direction of Sir Georg
Solti and staged by Peter Hall. Rounding out the Wagner centennial
season will be productions of Die M eistersinger von NUmberg, Tristan
und Isolde, and Parsifal.
•
-17-
EUROPEAN
FESTIVALS
GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS
NEA
As of early December, no congressional vote had decided t h e specific
amount to be appropriated for t h e NATIONAL ENDOWMENT FOR THE
ARTS or the NATIONAL ENDOWMENT FOR THE HUMANITIES. Both
are operating under t h e interim measure of a "continuing resolution"
which s e t the appropriation level a t that of the previous year. Thus,
NEA is currently working with a $143 million allocation. Of this
amount, $11.5 million was distributed in challenge grants requiring a
three to one match; t h e largest, $800,000, went t o Dance Theatre of
Harlem.
Last year, a total of $15 million was spent in challenge
grants.
— The FY'82 Music Program distributed $8.4 million in
orchestral grants to 154 organizations, and $433,200 in choral grants
to 81 professional choruses and two choral projects. The Opera-Musical
Theater Program made 130 grants in FY'82, disbursing $5.6 million.
The National Council on t h e Arts recently voted in favor of a new
pilot project which allows the National Endowment t o make direct
federal grants to small, community-based arts organizations. Heretofore, these had been served only by s t a t e or local arts councils.
Between $1 million and $2 million will be s e t aside for what is expected
to total some 15 grants in t h e first year. Recipients will be chosen
by peer panel reviews, and t h e federal monies will have t o be matched
locally before the grant can be realized.
A new NEA Fellowship Program sponsors six to twelve months of study
in Japan. For further information contact Kathleen Bannon.
NEA Regional Representatives were reduced from twelve t o six, and
the regions were re-drawn. (A listing is available from COS.)
REGIONAL 6
The GREAT LAKES ARTS ALLIANCE announced the publication of a
STATE AGENCIES resource directory entitled "Touring Performing Companies". Encompassing t h e s t a t e s of Illinois, Indiana, Michigan, and Ohio, the $8
directory lists some 200 companies. It is a companion publication t o
"Presenters of Performing Arts". Both are available from t h e Alliance,
11424 Bellflower Rd., Cleveland, Ohio 44106.
For t h e first time last year, OREGON taxpayers were able to designate
$5 or less of their t a x refunds for use by the arts in their s t a t e . In
order to avoid a conflict with t h e S t a t e Arts Council funds, tax-refund
money will be used exclusively for arts facilities (acquisition, renovation, or construction). The 1981 returns netted over $100,000 towards
the program. — ALABAMA and LOUISIANA recently passed similar
laws, although these funds will be administered by t h e respective s t a t e
arts councils. New York, which was the first s t a t e to propose such
a tax check-off, has yet to pass the bilL
MUNICIPAL
PROGRAMS
The City of SANTA FE is granting part of the monies raised by its
hotel/motel tax to local arts organizations.
Arts Management honors especially generous and particularly imaginative corporate donors on the national level, and some communities
conduct similar programs on a municipal scale. The KANSAS CITY
ARTS COUNCIL joined with the Chamber of Commerce, Corporate
Report magazine, and the Kansas City Star in selecting and honoring
in the first category a corporation which donated $1 million to an art
=-18-
GOVERNMENT 6 NATIONAL
ORGANIZATIONS
gallery, and in the second category a law firm which provided professional assistance to a theatre.
The PRESIDENT'S COMMITTEE ON THE ARTS AND THE HUMANITIES
named Diane Brokaw as its executive director and opened offices at
726 Jackson Place NW, Washington, DC 20503.
EXECUTIVE
BRANCH
President Reagan's latest appointed member of the NATIONAL COUNCIL ON THE ARTS is C. Douglas Dillon, chairman of the board of
the Metropolitan Museum and former Secretary of the Treasury.
The former National Assembly of Community Arts Agencies is now
called t t e NATIONAL ASSEMBLY OF LOCAL ARTS AGENCIES.
NALAA
OPERA AMERICA, DANCE USA, and the AMERICAN SYMPHONY
ORCHESTRA LEAGUE have all vacated their former offices and will
henceforth share the same building: 633 E Street NW, Washington, DC
20004.
NEW OFFICES
The new address of CHAMBER MUSIC AMERICA is 215 Park Avenue
South, New York, NY 10003.
The U.S. branch of the BRITISH AMERICAN ARTS ASSOCIATION
opened an office at 1789 Columbia Rd. NW, Washington, DC 20009.
Nan S. Levinson is executive director and Hamish Sandison is president.
A new organization, THE ASSOCIATION FOR CLASSICAL MUSIC, has
been founded for the promotion of classical music. Its address is 128
Central Park South, Suite 5D, New York, NY 10019. The founding
board of governors includes Matt Biberfeld, Martin Bookspan, Margaret
Carson, Schuyler Chapin, John Corigliano, Leonard Marcus, Roy Moore,
Jack Romann, Stuart Schwartz, Gerard Schwarz, and Teri Noel Towe.
The ACUCAA has established a technical assistance fund to aid
presenting organizations with specific problems in marketing, fundraising, programming, facility operation, etc. In order to be eligible,
Technical Assistance Program (TAP) applicants must have been in
existence for at least two years, maintain a yearly or seasonal program
of at least five professional touring presentations, and have a minimum
of one full-time administrator.
TECH
ASS I STANCE
BOX OFFICE MANAGEMENT INTERNATIONAL will hold its convention
in London January 25-28. The title of the meeting is "Box Office in
Transition - New Perspective". For further information, address BOMI
at 500 East 77 Street, New York, NY 10162.
The CANADA COUNCIL is considering the creation of a separate
"Media Arts Section", which would also include the performing arts as
they relate to media art. At the moment, Media Art is part of the
CC's Visual Arts Section.
•
-19-
CANADA
COUNCIL
IN ACADEMIA
Although there was a slight decrease in performing organizations and
in performances last season (see COS Inside Information), academic
opera workshops registered a small gain, both in performing groups
and in number of performances. Indiana University Opera Theatre
still leads with eight full evening productions, with Arizona State
University in Tempe running a close second with seven productions.
In fact, the performances in Arizona exceed those in Indiana by 20.
If we consider only workshop performances with orchestral accompaniment, and count two short operas as one full evening, we find the
University of Illinois in Urbana next in line with six productions in 28
performances, and the Academy of Vocal Arts in Philadelphia with six
productions in 18 performances. Five full productions were staged by
California State University in Northridge, Florida State University in
Tallahassee, University of Northern Colorado in Greeley, and Tulane
University in New Orleans. (For premieres and unusual repertoire, see
"Holding Pattern" in the November issue of Opera News.)
Thirty-three schools of music or opera departments now award specific
degrees in opera or music theatre performance, as compared to 30
the previous year; 51 institutions reported cooperative programs with
professional opera companies in their area. However, many of these
sounded rather vague, and a more formal structure or at least a more
defined and scheduled program would assure some continuation once
the dialogue was started and some collaboration established.
Two exceptions are the programs established by the Madison Civic
Opera in collaboration with MADISON AREA TECHNICAL COLLEGE
and the UNIVERSITY OF WISCONSIN, whereby the opera company
accepts students for apprenticeships in stage lighting, design, etc. It
also includes several singers as understudies. — The Oswego Opera
Theatre and SUNY-OSWEGO have arranged for interns in performance,
design, and administration to work with the company in order to get
some practical experience and receive academic credit.
Due to curtailed budgets, fewer opera departments took independent
tours into the community.
The number dropped from 93 to 75
institutions, although more community-based organizations were found
to assist with such tours. As we previously reported with the programs
of USC and CALIFORNIA STATE UNIVERSITY SAN JOSE, the Opera
Theatre of the UNIVERSITY OF WASHINGTON in Seattle has formed
a support group, "the F.riends of University Opera", which gives both
financial and promotional assistance. This committee also sponsors
pre-performance lectures by invited guest speakers such as Edward
Downes, who will open the series. The Lyric Theatre of the UNIVERSITY OF NORTHERN IOWA in Cedar Falls has its own touring arm,
"Opera on the Road", which is supported in part by a grant from the
State Arts Council. Three different programs are offered to community
centers or grade schools: the 30-minute Watch Out! or the Music Will
Get You, a 90-minute version of Working, the show based on the book
by Studs Terkel with music by six composers, and a one-hour Workshop
in Music Theatre.
The PHILADELPHIA COLLEGE OF PERFORMING ARTS alternated
last season's performances of Don Pasquale between the original Italian
and an English translation.
-20-
IN ACAOEMIA
Nine institutions indicated they offer a degree in coaching/accompanying. Among them is the UNIVERSITY OF ARIZONA in Tucson,
where John Wustman held masterclasses in Lieder and operatic literature this October.
Next summer, HARVARD UNIVERSITY will hold a special Summer
Opera Workshop under music director Christoph Wolf and stage director
Peter Sellars. It will be a seminar for singers, pianists, directors, and
designers, preparing and performing The Magic Flute. Other projects
will include the staging of several of the major song cycles.
The FESTIVAL OF LEARNING AND PERFORMING, at Loyola-Marymount College in Orange, California, offers nine master sessions in
Opera, Art Song, Musical Theatre, Body Coordination, and Stage Presentation.
Teachers include Martial Singher, Giorgio Tozzi, Dorothy
Warenskjold, and Mona Paulee, with Dr. Susan Brenner as founding
director. Each teacher presents his students in one public concert.
Singers under 35 may apply; some experience and repertoire are
required, as are two recommendations and a fee of $35. The first
Festival took place this November. Inquiries should be addressed to
Susan Brenner, Director, Festival of Learning and Performing, Box 921,
Santa Ana, California 92702.
One of the most demanding musical theatre workshops is administered
by the LOS ANGELES CIVIC LIGHT OPERA. Now in its 20th year,
the Workshop accepts just over 20 students, who must be "seasoned
performers, not beginners". Address inquiries to LACLO, The Music
Center, 135 Grand Avenue, Los Angeles, California 90012.
New York's HIGH SCHOOL OF MUSIC AND ART and HIGH SCHOOL ALUMNI WANTED!
OF THE PERFORMING ARTS would like to invite their famous graduates to the opening celebrations of their new joint building near
Lincoln Center. Suggestions of names and addresses of colleagues are
requested.
THE BANFF CENTRE in Alberta is also seeking its graduates, particularly those enrolled in the opening year, to be founding members of
a new Alumni Association. 1983 will be the school's 50th anniversary. •
PERFORMERS' COLLECTIONS AND ARCHIVES
Dana College in Blair, Nebraska, has established
a LAURITZ MELCHIOR ARCHIVE, at present
holding some memorabilia and recordings. Additional material relating to the celebrated Hel-
nowned soprano, with Gilda Cruz-Romo, Sheila
Nadler, and Spiro Malas participating,
VILLA PACE, Rosa Ponselle's home in Greenspring Valley, a suburb of Baltimore, has been
opened as a museum. The inaugural festivities
included a special concert honoring the re-
and is open to visitors during the summer
months. In addition to viewing the exhibited
memorabilia, guests receive free postcards and
will find recordings for sale.
•
-21-
_.
NFW ARTS CENTFRS. RFNOVATED THEATRES
Building booms come in cycles, and there is currently an abundance
of new theatres and performing arts centers under construction or
opening this season. This column in the last Bulletin issue alone
offered peepholes into ten construction sites; another 19 were mentioned in the preceding issue.
Even more have come to our attention now. The G & D WHARTON
CENTER FOR THE PERFORMING ARTS at Michigan State University
in East Lansing, built at a cost of $20.1 million, and the $16.2 million
DOROTHY DALTON CENTER at Western Michigan University in Kalamazoo both opened this fall. The latter includes a multi-media room
with a continuous 250-foot cyclorama, and over 100 prefabricated
practice rooms.
The KENTUCKY CENTER in Louisville will be completed in September
'83 at a cost of $50 million, and the $14 million PIKES PEAK CENTER
in Colorado Springs will open later this season. The previously mentioned arts center in Eugene, Oregon, has been renamed THE HULT
CENTER FOR THE PERFORMING ARTS, in honor of a $3 million
endowment fund established by the Hult family to assure continuing
operation, maintenance funds, assistance for programming, etc. The
arts center was built with money realized from a municipal bond issue
and various grants, without the assistance of any federal or state
funds. The 2,530-seat Silva Concert Hall is named after the major
donor of its $18.5 million cost. The hall has the distinction of being
one of the first to be electronically tuned for resonance response.
A 1985 completion date has been tentatively set for the new TAMPA
BAY ARTS CENTER, expected to cost $49.5 million. It will house a
2,400-seat auditorium, a 900-seat theatre, and a 300-seat convertible
space. During that same year, the $59 million ORANGE COUNTY
PERFORMING ARTS CENTER in Mesa, California, and the $20 million
SIERRA ARTS CENTER in Reno are expected to open. Also under
construction is a new theatre/concert hall in CLEARWATER, Florida,
expected to cost under $10 million.
The Baltimore Symphony inaugurated the new MEYERHOFF CONCERT
HALL this fall, and the Lyric Theatre was renovated for the Baltimore
Opera. At the company's November opening it was renamed the
BALTIMORE LYRIC OPERA HOUSE.
The 752-seat KINO THEATRE in Albuquerque, New Mexico, has been
restored to its original 1920's "Pueblo/Art Deeo" design, and all technical facilities have been modernized. The Albuquerque Opera Theatre
now performs there. At the theatre's 1927 opening, a program by
Pueblo dancers preceded the showing of a movie.
The CALGARY CENTER FOR THE PERFORMING ARTS projects an
opening concert in July '84, when the Calgary Philharmonic will be
conducted by its new music director, Mario Bernardi.
Three years ago, the historic PAPER MILL PLAYHOUSE in Millburn,
New Jersey, burned down. Because it is the official theatre of the
state, state funds helped in the rebuilding, which cost $4.5 million. The
-22-
ARTS CENTERS AND THEATRES
house reopened in November with the 1964 British musical, Robert
and Elizabeth.
With a special congressional legislation allowing a $9 million government
grant and an additional $8 million government loan, WOLF TRAP FARM
PARK hopes to commence rebuilding its Filene Center this winter.
Additional funds will be raised privately.
Plans are underway to expand the 15-year-old LOS ANGELES MUSIC
CENTER. It has been suggested to double the present facilities by
constructing adjoining buildings to house a 3,200-seat concert hall/theatre, a 1,500-seat theatre, and a 500-seat flexible space.
Cost
estimates run about $40 million; construction may begin in 1984-85.
With all this innovation and renovation going on, it is sad to report
that one of the most beautiful theatre buildings, Lincoln Center's
VIVIAN BEAUMONT THEATRE, has yet to find its rightful place in
New York production schedules. To make the hall more practical and
versatile, alterations had been suggested. However, they were never
started and the proposed costs have jumped from $4 million to $8
million. As a result, the Fan Fox and Leslie Samuels Foundation
recently withdrew its pledge of $4 million. One can only hope that
a solution will soon be found to bring life back into the building
designed by Eero Saarinen.
The renovation of Prague's NATIONAL THEATRE is taking longer than
was first anticipated, and although this is the 100th anniversary of
the Ndrodni Divadlo, the house will not reopen before fall '83. In the
meantime, the company continues to perform in the two other theatres
which also form part of the National Opera, the Smetana Theatre and
the more intimate baroque Tyl Theatre.
•
PUBLISHERS' NEWS
G. SCHIRMER, INC., the publisher of Menotti's
latest opera, The Boy Who Grew Too Fast,
announced the installation of a toll-free telephone number for its performance department:
1-800-221-4755. This number should be used
for rental and performance arrangements only.
The regular 212 number must be used for inquiries and orders for purchases.
latest, The Death of the Virgin.
George Rochberg*s The Confidence Man is published by THEODORE PRESSER, Bryn Mawr,
Pennsylvania.
The Romanian State Opera recently revived a
number of operas by Nicolae Bretan (1887-1968);
some of these performances were broadcast
here on National Public Radio. The Romanian
composer's operatic and other musical material
is available for review and performance from
his daughter, Judith Bretan le Bovet, care of
ASCAP.
•
MUSIC ASSOCIATES OF AMERICA in Englewood, New Jersey, is the representative of
composer Richard Owen. His operas include
Mary Dyer, A Fisherman Called Peter, and his
CASA RICORDI and the UNIVERSITY OF CHICAGO PRESS have announced the publication
of Rigoletto in a critical edition by Martin
Chusid. This is the first of a complete critical
edition of Verdi operas, with one work to be
added annually.
-23-
Richard Marshall, former general director of the Charlotte Opera, has
established the CENTER FOR CONTEMPORARY OPERA, INC., in New
York. Dedicated to commissioning and producing contemporary operas
and musical theatre works for the theatre/opera house, concerts,
television, radio, and recording, the Center hopes, through its various
activities, to further the cause of contemporary opera. Among the
possible projects mentioned are special seminars and workshops for
composers, librettists, producers, and performers on contemporary opera
and its performances. Coordinating joint productions of new works by
several companies is yet another aim of the Center. Mr. Marshall's
first priority is to assemble a committed and supportive board of
directors. For further information write Mr. Marshall at Box 1704,
New York, New York 10023.
The O'NEILL THEATRE CENTERNATIONAL OPERA/MUSIC THEATRE
CONFERENCE (formerly the Composer/Librettist Conference) is continuing its successful operation. The dates for this year's Conference
are again May and June. The categories are opera, music theatre
works, musicals, children's musicals, and music theatre pieces for
television. As always, the composer and librettist must be in residence
during the period in which the work is being developed. They receive
free transportation, room and board, and a $250 per week stipend.
This year's BMI and ASCAP workshops for composers, librettists, and
lyricists are held in collaboration with the Dramatists Guild. This
tuition-free MUSICAL THEATER DEVELOPMENT PROGRAM has arranged with Playwrights Horizons for possible staged readings, with
professional performers, of selected works from the program.
The Musical Theatre Program of the TISCH SCHOOL OF THE ARTS
at New York University offers academic training for composers, librettists, lyricists, and directors. A recent gift enables the school to
offer two scholarships, established in memory of Oscar Hammerstein II.
Brooklyn College announced the second annual competition for an
unpublished, unperformed chamber opera. It must be suitable for
student performers, have no more than eight solo roles, and be scored
for no more than ten instruments. The composer must supply a full
score and parts. The winning work will be performed in February.
Last year's winner was Constantinides' Intimations.
The INTERNATIONAL COMPETITION FOR MUSICAL COMPOSITION
OF OPERA AND BALLET in Geneva is awarding its prizes for orchestral
or ballet compositions this coming year. The competition is biennial,
and in 1985 will again include operatic compositions. Cosponsored by
Radio-Television Suisse Romande, the 1983 contest is dedicated to
Ernest Ansermet on the occasion of the 100th anniversary of his birth.
Further information may be obtained from Maison de la Radio, 66
Boulevard Carl-Vogt, CH-1211, Geneva, Switzerland.
The CENTER FOR ARTS INFORMATION, 625 Broadway, New York,
New York 10012, has published a guide to "Artist Colonies", including
such information as residency season, application deadline, and financial
assistance. Fifteen such retreats are open to composers and/or performers; the list is available from the Center for $1.50.
-24-
Yehudi Menuhin has been named honorary president of the ALEXANDER
TCHEREPNIN SOCIETY, INC., 270 Madison Avenue, 7th floor, New
York, New York 10016. In addition to promoting interest in and
performances of the composer's music, the Society plans to assist
young composers by commissioning new works and offering exchange
fellowships.
COMPOSERS'
SOCIETIES
The STEFAN WOLPE SOCIETY was founded earlier this year in commemoration of the 80th anniversary of the composer's birth. In addition
to promoting performances, the Society hopes to edit and copy the
composer's unpublished works. Further information is available from
Mrs. Hilda Morley Wolpe, 463 West Street, Apt. 321C, New York, New
York 1C014.
The WAGNER INTERNATIONAL INSTITUTION has opened a new Southern California chapter, chaired by Irene and Dr. Sherwin Sloan. It
was inaugurated with a reception and musieale in the Conference Room
of the Los Angeles Music Center. — To avoid confusion, we would
like to clarify: the above mentioned Institution has chapters in various
cities with headquarters in New York under Ingo von Boenigk, president.
The WAGNER SOCIETY OF NEW YORK is an independent membership
organization with educational programs, sponsorship of some performances, and a bimonthly newsletter. Yet another group dedicated to
the promulgation of the composer's works is the WAGNER SOCIETY
OF AMERICA, located in Chicago.
•
SPECIAL VERSIONS AND ADAPTATIONS
When THE BEGGAR'S OPERA was staged by
the Opera Theatre of Saint Louis on an open
stage and making use of the total auditorium
- The Apple Shed - it was performed in a
dramatic adaptation by director Colin Graham
and a musical adaptation by Raymond Leppard.
text which was used on this occasion. Mr.
Haber previously staged the Monteverdi opera
in the traditional style for other opera companies.
mu u-_!.i
• J XT v i o-* /-.
The highly Praised New York City Opera production of CANDDE presented the work in a
new two-act version with some of the original
Tom Durrie is responsible for abbreviated versions of five standard operas for use in school
presentations. He wrote English texts and nar£ ions f
TrovStore, Faust, Rigo^
'
^
ftnd
f
M ^
fo'rmed b
t n e educational program of the
material restored, the book expanded, and a
^meoma
° r c C c he D Strat !° n
,buy J w t a J * a u c e r l -
based
If*
the 1956 Bernstem/Hershy Kay score.
on
The Malipiero version of Monteverdi's L'lNCORONAZIONE DI POPPEA has been scored by
Michael Ward for electronic instruments, to be
sung by jazz and rock singers in performances
at the Xenon discotheque in New York. The
New York Lyric Opera was the performing
group; its artistic director, John Haber, collaborated with Mr. Ward on the new English
-25-
y
Q
,„
area s c h o
^
c
ies
of
the individual programs are available from Mr.
^
Durpie at u , *
g t f e e t f V a n c o u v e r j BC>
Canada V5L 4K8.
The H.C. Robbins Landon edition of Haydn's LE
PESCATRIC1 was used in the opera's premiere
performance in Eisenstadt, Austria, last summer. The performing group consisted of members of the Classical Music Seminar of the
University of Iowa, which held a summer session
in Haydn's old home town.
•
COS INSIDE INFORMATION
COS POSITION
ASSISTANCE
PROGRAM
A number of positions have r e c e n t l y been filled as a r e s u l t of t h e
C O S POSITION ASSISTANCE P R O G R A M , a n d w e have h a d m o s t g r a t i fying responses from companies remarking on the speed with which
we circulate information on openings and on the high level of the
applicants. We would like to take this opportunity to thank all for
the favorable comments and to remind others who do not use the
service regularly of the categories we cover.
1) High level administrative posts (general manager, executive director,
etc.)
2) Director of Development
3) Director of Press and/or Public Relations and/or Marketing
4) Assistants to any of the above
5) Conductor or music director
6) Coach/accompanists
7) Technical personnel (including stage manager)
We have, for the time being, discontinued the service for stage directors
and for designers, as there have not been sufficient offers of positions
to warrant subscription. In the event that several companies feel a
need for service in these areas and inform us of the positions, we
shall be glad to reinstate stage directors and designers to the program.
We are also pleased to report that we will be collaborating with
Opportunity Resources for the Performing Arts to assist in distributing
suitable announcements.
COS
PUBLICATIONS
T h e 1982-83 edition of THE DIRECTORY
OF OPERA/MUSICAL
THEATRE COMPANIES
AND WORKSHOPS IN THE U.S. AND
CANADA
is now available for $9.25 postpaid. As always, the listing is arranged
by state and city. Entries are coded as to budget categories, festivals,
orchestras, academic workshops, non-profit theatres, etc., and the
information includes the name of the company, address, telephone
number, names of general and artistic directors, and the performing
facility, its capacity, and stage type and dimensions.
Also available is the 1981-82 OPERA REPERTORY USA, divided into
contemporary operas (and indicating world premieres, American premieres, or premiere readings), classical or standard operas and operettas
(indicating American premieres), musicals, and Gilbert and Sullivan
operettas. Each list is arranged by title, primarily in the original
language, with the composer's name indicated and showing the number
of performances given during the season. The complete list may be
ordered for $2.50 postpaid. Repertory lists are available for the past
10 years, each at the above price.
Finally, the latest Addenda to the CAREER GUIDE FOR THE YOUNG
AMERICAN SINGER is always available, and we urge all singers who
have the original 1978 publication to order the Addenda. There are
continual changes in deadlines, addresses, and managers, new competitions are added and others deleted, and it will save the serious
applicant much time and effort to have the latest information. A
new feature, a supplement to the Addenda, lists audition dates and
places for the 1983 apprentice or special training programs. The latest
Addenda, including the supplement, is available for $2 postpaid.
-26-
CENTRAL OPERA SERVICE ANNUAL U.S. SURVEY STATISTICS
Opera/Musical Theatre Companies and Workshops
PERFORMING GROUPS*
Companies: over $100,000 budget
Companies: other
College/University workshops
Total
81-82
80-81
79-80
78-79
77-78
74-75
70-71
64-65
54-55
133
416
444
993
127
456
436
1,019
109
458
419
986
95
456
415
966
78
458
420
956
54
335
418
807
40
269
376
685
27
296
409
732
280
167
447
5,534
535
3,456
9,510
5,475
555
3,653
9,683
5,482
548
3,361
9,391
5,181
609
2,764
8,554
5,191
523
2,092
7,806
4,097
677
1,654
6,428
3,332
504
1,410
5,246
2,643
1,533
na
4,176
1,844
1,373
na
3,217
2,251 1,397 1,430
11,934 10,788
9,984
906
8,712
209
71
107
167
164
na
331
103
107
387
158
67
99
324
11
11
NUMBER OF PERFORMANCES
Standard repertoire
Contemporary foreign repertoire
Contemporary American repertoire
sub-total
Musicals (exclusive of commercial theatre)
Total
2,233
11,758
NUMBER 0 ' OPERAS PERFORMED
Standard
Contemporary (foreign)
Contemporary (American)
sub-total
275
54
242
571
263
62
234
559
237
47
213
497
242
54
202
498
237
55
156
448
Musicals
122
693
118
677
104
601
72
570
43
491
94
88
79
64
42
Total
World Premieres (79 American contemp.)
Premiere Readings (not incl. in World Prems.)
American Premieres
Audiences (in millions)
EXPENSES (in millions)
Companies: over $100,000 budget
Companies: $25,000-$99,999 budgets
All others
Total
budget
budget
budget
budget
over
over
over
over
27
23
7
25
22
18
10.9
11.1
10.7
$191.1
4.9
41.0
$237.0
•DETAIL OF PERFORMING GROUPS
Companies:
Companies:
Companies:
Companies:
14
31
$1 million1
$500,000
$200,000
$100,000
sub-total
9.94
21
9.76
$161.6 $133.6 $111.5
$96.3
4.9
3.7
3.8
4.4
42.4
38.5
31.1 29.8
$208.9 $175.8 $146.4 $130.5
number of companies
1981-82
1980-81
8.0
6.0
$41.2
na
number of performances
1981-82
1980-81
28
26
39
40
133
25
24
40
38
127
3,513
3,329
sub-total
51
41
92
50
32
82
1,092
891
sub-total
95
128
101
324
94
198
82
374
3,759
4,612
Total Companies
549
583
College/University Workshops
444
436
3,394
3,102
Dns
Total Opera Producing Organizations
993
1,019
11,758
11,934
120
75
128
93
Companies: budget over $50,000
Companies: budget over $25,000
Orchestra/Festival/Chorus
A vocational/Clubs, etc.
Theatres (non-profit)
na
na
MISCELLANEOUS
Companies: community/educational
service programs
Academia: community/educational programs
4,621 (in addition to regular season)
759 (in addition to regular season)
Light repertoire of opera companies, workshops, and non-profit theatres included above
Gilbert & Sullivan (14)
1,001
849 performances
Classical operetta (25)
576
648
"
Musicals (122)
2,233
2,251
"
3,810
3,748
-27-
COS 1981-82
SURVEY
The annual survey a r t i c l e , covering trends and details of the season
just past, is in t h e November issue of Opera News.
This is t h e
fifteenth article by Maria F. Rich, executive director of COS and
editor of the COS Bulletin. This year she celebrates her 20th anniversary with Central Opera Service.
COS SALUTES
...our own METROPOLITAN OPERA NATIONAL COUNCIL on its 30th
anniversary, and the four founding members who were honored at a
special anniversary dinner: Mrs. John Barry Ryan, Mrs. Norris Darrell,
Mr. Lowell Wadmond, and Mr. Howard Hook, Jr.
...the SAN FRANCISCO OPERA, celebrating its 60th anniversary, and
50 years of performing in the War Memorial Opera House.
...the FLORENTINE OPERA OF MILWAUKEE and THE BANFF CENTRE
in Alberta on their golden anniversaries, and the LYRIC OPERA OF
KANSAS CITY on its silver anniversary.
...THE LAMPLIGHTERS, of San Francisco, on reaching its 30th anniversary, and the HIDDEN VALLEY MUSIC SEMINAR AND FESTIVAL in
California and the EDMONTON OPERA on their 20th anniversaries.
...the 10-year-old ANNAPOLIS OPERA in Maryland, the ARKANSAS
OPERA in Little Rock, which began as the Henderson Opera Theatre
in Arkadelphia, and, across the seas, the unique SYDNEY OPERA
HOUSE, which was completed in 1973.
...YOUNG AUDIENCES, founded 30 years ago, which in its first year
brought music to 2,000 school children; last year it reached 3.5 million.
...the RICHARD WAGNER CENTENNIAL YEAR, which will open in
January with the nationwide PBS telecast of the Chereau/Boulez Ring
production from Bayreuth, and which will bring all 13 Wagner operas
to the stage of the Bayerische Staatsoper in Munich between January
and July f83 (all staged with the exception of Die Feen).
...RUSSELL PATTERSON, general and artistic director of the Lyric
Opera of Kansas City, who received from Columbia University the
1982 Ditson Conductor of the Year Award for "sustained service to
contemporary American music, especially in opera by Americans".
...EUGENE ORMANDY, conductor laureate of the Philadelphia Orchestra of which he was music director for 44 years, on being chosen
a 1982 Kennedy Center Honoree in the Arts.
...RALPH BURGARD, recipient of the 1982 ACUCAA Award of Merit
as "father of the community arts council movement". After heading
arts councils in Winston-Salem and St. Paul, he became the first
director of the American Council for the Arts (1965-70).
...bass and educator ITALO TAJO on being the first occupant of the
J. Ralph Corbett Distinguished Chair in Opera, endowed at the CollegeConservatory of Music at the University of Cincinnati.
•
-28-
APPOINTMENTS AND RESIGNATIONS
GOVERNMENT AGENCIES
NANCY REAGAN was named Honorary Chairman of the President's Committee on the Arts
and Humanities, whose 16 members are headed
by ANDREW HEISKELL. DIANE J. BROKAW
is Executive Director.
A Presidential appointment made C. DOUGLAS
DILLON, Chairman of the Board of the Metropolitan Museum of Art and former Secretary
of the Treasury, a new member of the National
Council on the Arts.
PAUL E. FRAN was named Assistant Director
of the NEA Music Program. Formerly with
Chamber Music America, he will be working
with Program Director Adrian Gnam.
and ESTHER WACHTELL were elected Vice
Chairmen.
The Business Committee for the Arts elected
JUDITH JEDLICKA President, succeeding Edward M. Strauss, Jr. RALPH P. DAVIDSON,
Chairman of Time, Inc., is BCA's new Chairman.
Theatre Communications Group has named one
of its 1961 founders, ALLAN SCHNEIDER, President for a two-year term.
Director HAROLD PRINCE succeeds Beverly
Sills as Chairman of the Board of the National
Opera Institute. Other nominations for officers
were accepted as follows: LEE DAY GILLESPIE,
President; SUE YAGER COOK, ANN GETTY,
and JAMES H. SEMANS, Vice Presidents; RUDOLPH W. DRISCOLL, Secretary; HERMAN E.
MULLER, Jr., Treasurer; and, as Committee
Chairpersons: ROBERT WARD, Executive; JOSEPH CUTLER, Finance; and SUE YAGER
COOK, Nominating.
The following changes have occurred in leading
positions at state levels: BETTIE B. BARKDULL, Chairman of the Florida State Arts
Council; GERALD JOHNSON, Chairman of the
Maryland State Arts Council; HUGO NEUHAUS,
Chairman of the Texas Commission on the Arts;
DAVID ISHII, Chairman of the Washington State Following the retirement of DeLloyd Tibbs,
Arts Commission; SUSAN ROACH KELLY, Metropolitan Opera baritone GENE BOUCHER
Chairman of the Connecticut Commission on was appointed the new Executive Secretary of
the Arts; CLEMENT PRICE, Chairman of the the American Guild of Musical Artists.
New Jersey State Council on the Arts; THOMAS
CREECH, Chairman of the South Carolina Arts The Alliance for Arts Education at the Kennedy
Commission;
KATHERINE
BYE-MURPHY, Center named DAN CANNON Director, to sucChairman, and JAMES OLSEN, Executive Di- ceed Acting Director Anne Moore. Mr. Cannon
rector of the Minnesota Arts Board; CHRISTINA has been associated with AAE on a regional
WHITE, Director of the Rhode Island State Arts basis for 10 years. In Washington he will be
Council; and DAVID FRAHER, Director of the working with the Center's Director of EducaWyoming State Arts CounciL
tion, Jack Kukuk.
PLATO KARAYANIS, General Director of the
Dallas Opera, was appointed to serve on the
Music Advisory Panel of the Texas Commission
on the Arts for a three-year term.
Dr. DAVID KLEIN, whose term as President of
the Cleveland Opera ended last summer, was
elected Chairman of the Board of Chamber
Music America.
After five years as Commissioner of Cultural
Affairs of the City of New York, HENRY
GELDZAHLER resigned the post effective December 15. During his term, the Department's
budget rose from $22 million to $42 million,
and in 1980 he was able to prevent a threatened
closing of the department. Before his municipal
appointment he had been Curator of 20th Century Art at the Metropolitan Museum.
As a result of Hugh Southern's departure from
the Theatre Development Fund to join NEA as
Deputy Director of Programs (see VoL 24, No.
1), HENRY GUETTEL was elected to succeed
him as TDF's Executive Director.
NATIONAL ARTS ORGANIZATIONS
MARSHALL COGAN, former President of the
American Council for the Arts, was elected
Chairman of the Board, and MILTON RHODES
succeeded him as President. LOUIS HARRIS
was named Chairman of the Executive Committee, and PETER DUCHIN, STEPHEN SAMAS,
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JOHN HOBDAY exchanged the position of national Director of the Canadian Conference of
the Arts for that of Director of Corporate
Donations of Seagram & Sons, Canada.
MARTHALIE FURBER returned to her former
post as Director of Education at Opera America,
after a brief interlude at Wolf Trap in the same
capacity. In her absence, CLIFFORD BROOKS
held the job at Opera America; he has now
moved on as Director of Education with the
Opera Company of Boston.
ARTS CENTERS
JOHN MAZZOLA recently resigned as President
of Lincoln Center after 20 years with the organization. He was appointed Senior Vice President in 1967, Managing Director in 1969, and
has been President for the past five years. He
will remain as Special Consultant through 1983.
LAURA LONGLEY joined Kennedy Center for
the Performing Arts as Director of Public Relations, succeeding Leo Sullivan, who will remain associated with the Center as Consultant.
Ms. Longley had been Editor of the Washington
Post Magazine. — The Midland Music Society
of the Midland Center for the Arts in Michigan
engaged the former Technical Director of Symphony Hall in Springfield, Massachusetts, ROBERT L. HERMAN, as Coordinator of Production and Education.
OPERA COMPANIES
The Board of Directors of the Cleveland Opera
has elected NICHOLAS PEAY to succeed Dr.
David Klein (see National Organizations) as
President and, in turn, LOIS GOODMAN to
succeed Mr. Peay as Vice President.
The New York City Opera announced the appointment of CHRISTOPHER KEENE as Artistic
Supervisor, a newly created position of second
in command on artistic matters. He will be
working with and directly under Beverly Sills,
advising and supervising artistic policy, and is
to conduct a significant number of performances
and new productions. The 35-year-old Maestro,
who is Music Director of the Syracuse Symphony
and the Artpark Festival, was the first recipient
of the Julius Rudel Award for young conductors
in 1969. He made his New York City Opera
debut with Ginastera's Don Rodrigo in 1970.
Although the new appointment is effective immediately and he will conduct some 20 performances next season, it will be 1984 before he
is able to spend the greater part of his time
at the opera house, due to prior commitments.
Daniel Rule continues as Managing Director in
charge of administrative matters.
When the Central City Opera reopens next summer, it will be under Artistic Director JOHN
MORIARTY, Director and Chairman of the joint
Opera Departments of the New England and the
Boston conservatories. J. GLEN ARKO is the
company's Managing Director, and DUAIN
WOLFE, Chairman of the Fine Arts Department
of the Colorado Academy, was named Artistic
Administrator.
At the end of November, EDWARD CORN left
his position as Vice President and General Director of the Wolf Trap Foundation to become
the General Director of the Minnesota Opera
in St. Paul. Mr. Corn's previous affiliations
include the Metropolitan Opera, the San Francisco Opera, and the Opera Company of Philadelphia. In 1980 and 1981 he was Director of
the NEA Opera-Musical Theater Program.
The Mississippi Opera in Jackson engaged
FRANKLIN CHOSET as General Manager and
Artistic Director, succeeding James Goolsby.
Mo. Choset had been Artistic Director of Opera
Metropolitana in Caracas and, prior to that,
was affiliated with the Israel National Opera.
Several changes occurred in officer and staff
positions at the Edmonton Opera last fall.
MORLEY WORKUN succeeded Merv Stewart as
President, and JAMES A. BOYLES, formerly of
CBC, has been named General Manager. LORIN
MOORE, his predecessor in the post for the
last 10 years, is now the company's Director
of Fundraising. Irving Guttman remained Artistic Director, and WILLIAM SHOOKHOFF, Music
Director of the Regina Symphony in Saskatchewan, accepted the position of Resident Music
Director with the opera company.
C. WILLIAM HARWOOD, who is the Exxon/Affiliate Artist Associate Conductor with the
Houston Symphony and who conducted two premiere operas last summer, was made Music
Director of the Arkansas Opera Theatre in Little Rock. — ROBERT ASHENS, who teaches
at the Hartt School of Music, has become Music
Director of the Troupers Light Opera in South
Norwalk, Connecticut.
Designer CAREY WONG, former Resident Designer with the Portland Opera, has joined Opera
Memphis as Associate Artistic Director. —
The San Antonio Symphony and Grand Opera,
with Lawrence Smith, Music Director, has retained FRANS BOERLAGE as Special Opera
Consultant.
Opera/Omaha has a new team heading the company. They are MARY ROBERT as General
Director and GEORGE MANAHAN as Music
Director. — DIANE BENNINGHOFF has taken
over from Robert Patterson as Executive Director of the Colorado Opera Festival, where Donald Jenkins is Artistic Director.
VERITY BOSTICK, formerly with the NEA
Opera-Musical Theater Program and Manager
of the Intermountain Opera, has become Managing Director of the Light Opera of Manhattan.
— JOHN HIDDLESTONE has been engaged as
General Manager of the Connecticut Grand
Opera in Bridgeport.
DAPHNE GRIMSLEY succeeded founder Martha
Dick McClung as Director of the Birmingham
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Civic Opera, following Ms. McClung's retire- MARIO BERNARDI, former Music Director of
ment. — The North Carolina Opera, the touring the National Arts Centre Orchestra in Ottawa,
and educational arm of the Charlotte Opera, will take over the Calgary Philharmonic in the
signed ROBERT SWEDBERG as Manager and summer of '84. He is moving from a chamber
Artistic Director. He is a former semi-finalist size orchestra to a full symphony. In the
of the Metropolitan Opera National Council meantime, he is guest conducting various U.S.
Auditions and winner of the Alexander Saunder- and Canadian performances.
son award; he was also an apprentice to Wesley
Balk in stage direction. He succeeds Patricia DAVID ZINMAN signed a two-year contract as
Heuermann, who occupied the position for two Principal Guest Conductor of the Baltimore
years.
Symphony; he starts next fall. — SERGIU
COMISSIONA resigned as Music Advisor of the
Using experience gathered while with the New American Symphony Orchestra to accept an
York City Opera and the Central City Opera, assignment as Permanent Guest Conductor of
DAVID E. KLEISER is working as the new the Radio Philharmonic of the Netherlands. —In
Business Manager and Comptroller of the Wash- addition to being the Chorus Director of the
ington Opera. — Robert Driver, General Man- Chicago Symphony Chorus, MARGARET HILLIS
ager of the Opera Theatre of Syracuse, an- became Director of the Chorus of the San
nounceJ the promotion of CHRISTINE DAY to Francisco Symphony last August.
Manager of the company. — Another promotion
is that of ROBERT L. HULL of the Dallas Orchestra administrators in new positions inOpera, whose new title is Assistant General clude BENJAMIN S. DUNHAM, former ExecuDirector/Development. JOHN A. TOOHEY, for- tive Director of Chamber Music America and
merly of Fort Worth, joined the company as Director of Special Projects of the Chamber
Marketing Director. — Four new appointments Music Society of Lincoln Center, to Executive
were announced by the Lyric Opera of Kansas
of the American Symphony Orchestra
City. BRIAN LINGHAM was named Director Director
New York, MICHAEL A. SMITH to General
of Marketing, DAVINA GRACE HILL Director in
of the Detroit Symphony, and NAT
of Public Relations, MARY FRANCES GORDON Manager
GREENBERG to Manager of the newly formed
Production Manager, and CATHY TRABUE Box Kansas
City Symphony. Mr. Greenberg, who
Office Manager.
was Managing Director of the San Antonio SymThe San Diego Opera Center, the outreach and phony for five years, also managed orchestras
educational programs, and the tours are now in Columbus, Rochester (New York), and Fort
under the jurisdiction of Administrator WIL- Wayne. He began his career as Personnel ManLIAM GILLESPIE. SABA McWILLIAMS is As- ager of the Kansas City Philharmonic in 1950.
sociate Director of Marketing and Public Relations at the San Diego company. — Texas FESTIVALS
Opera Theater's Managing Director M. Jane The Caramoor Festival in Katonah, New York,
Weaver has engaged the following new adminis- has engaged JOHN NELSON as Music Director.
trators: TIM FOX as Development Director, His three-year contract begins next summer.
ERIC KANTOR as Marketing Director, LULU The last music director of the Festival was
LOPEZ as Publicity Director, and GEORGE Julius Rudel, who served from 1963 to 1976.
GLANDER as Company Manager.
Michael Feldman, of the St. Luke's Chamber
Ensemble, remains as Musical Advisor, and his
There were two recent resignations from the Ensemble will continue to form the core of the
administrative staff of the New York City Caramoor orchestra. In addition to his guest
Opera. They were Press Director SHEILA POR- appearances with major orchestras and opera
TER, and Director of Development ALBERT companies, Mo. Nelson is Music Director of the
HUDES.
Indianapolis Symphony.
SYMPHONY ORCHESTRAS
The following maestri took over new orchestras
at the beginning of the current season: GERHARDT ZIMMERMANN North Carolina Symphony in Raleigh; ISAIAH JACKSON Flint Symphony in Michigan and Anchorage Symphony in
Alaska; ADRIAN GNAM, NEA Program Director
for Music, the Midland Symphony in Michigan,
and SIDNEY ROTHSTEIN the Florida Symphony
in Orlando, in addition to holding the same
position in Charleston and Reading (Pennsylvania).
Following the resignation of Edward Corn, the
Wolf Trap Foundation announced the appointment of EDWARD H. MATTOS as Executive
Director. His previous positions include those
of Director of Public Affairs at the Kennedy
Center, and Director of the Arts and Humanities
Program of the USIA. — The new San Antonio
Festival (see News from Companies) is administered by General Director PARVAN BAKARDJIEV, Director of Marketing and Public Relations JOHN CUNNINGHAM, Director of Development JULIA ANN FLEMING, Director of
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Finance KEVIN FITZPATRICK, and Music Administrator MARK JANAS.
JAMES T. KEARNEY, General Manager of the
Spoleto Festival USA, will terminate his contract after the 1983 season, which will be his
fifth with the Charleston company.
ACADEMIA
At the beginning of this school year, soprano
ADELAIDE BISHOP, former head of the opera
department at Boston University, became Chairman and Artistic Director of the Hartt Opera
Theatre at the Hartt School of Music of the
University of Hartford. She will also continue
to work as a free-lance stage director for
various opera companies, and, in the summer,
as Artistic Director of the Wolf Trap Opera
Company.
Composer ALVIN BREHM was appointed Dean
of Music at SUNY at Purchase. He has been
on the music faculty there for the past 10
years. — Oglebay Institute, in Wheeling, West
Virginia, named SARAH SHELLEY Director of
Performing Arts. — Baritone ALFRED ANDERSON was recently promoted to Chairman
of the Music Department at Southern Mississippi
University in Hattiesburg. He combines teaching with a performing career. — Another
promotion was awarded to L. GENE BLACK
when he was named Dean of the School of
Music of Samford University in Birmingham.
—From De Paul University in Chicago, where
he had been Chairman of the Music Performance
Studies Department, tenor FRANK LITTLE went
to Furman University in Greenville, South Carolina, as Chairman of the Music Department.
Washington University in Pullman engaged tenor
GARY GRICE as Director of its Opera Workshop. — TOMAS C. HERNANDEZ is the new
Director of Opera and Associate Professor of
Theatre at Kansas State University in Manhattan.
EDWARD HOUSER, formerly with Shaw Concerts, was appointed Director of the Greenwich
House Music School in New York. — The
Third Street Music School Settlement has signed
BETH FLUSSER as Director of Concerts and
Community Activities. Her predecessor in that
post was Marcy Horwitz.
Soprano VIRGINIA ZEANI joined the voice faculty at Indiana University in Bloomington after
singing her farewell performance in Dialogues
des Carmilites at the San Francisco Opera last
falL She participated in the world premiere
of that opera in 1957. — A Professor of Voice
at the University of Michigan since 1966, so-
prano EVA LIKOVA will take early retirement
from the school in order to accept a Professorship at the Bavarian State Academy of Music
in Munich. She will be succeeded as Director
of the opera studio at Ann Arbor by JOHAN
VAN DER MERWE; soprano LORNA HAYWOOD
will join the faculty as Professor of Voice. —
New to the voice faculty of the New England
Conservatory this year are dramatic soprano
DONNA ROLL and diction coach TODD GORDON. — Soprano SUSAN ERICKSON has been
added to the vocal department of the Cleveland
Institute of Music as Assistant Professor. —
Dramatic mezzo CANDACE DE LATTRE became Assistant Professor of Voice at Oregon
State University in Corvallis.
AND MUSIC ABROAD
Next fall, PETER KATONA will become Artistic
Administrator of the Royal Opera, Covent Garden. — London's Royal Philharmonic has announced the appointment of ANDRE PREVIN
as Music Director, effective June '85. He will
continue as Music Director of the Pittsburgh
Symphony, but will terminate his association
with the London Symphony Orchestra, where he
holds the title of Conductor Emeritus. —
MAREK JANOWSKI, who conducts at various
European opera houses, was named Senior Conductor and Artistic Advisor to the Royal Liverpool Philharmonic.
In addition to his position as General Music
Director of the Deutsche Oper am Rhein in
Dilsseldorf, HIROSHI WAKASUGI became Permanent Conductor of the Dresden Philharmonie
and the Dresden Oper. He conducted the latter
at recent guest appearances at the Edinburgh
Festival.
The San Carlo Opera in Naples has engaged
music critic FRANCESCO CANESSA as its
Sopraintendente. — Two resignations of major
importance occurred recently in Italy. GIORGIO STREHLER left La Scala as Artistic Director, and DANIEL OREN the Teatro dell'
Opera in Rome, where he was Musical Director.
RUDOLF NUREYEV has signed a three-year
contract as Director of the Paris Opera Ballet,
effective fall '83. He has agreed to choreograph
several works, dance in 30 performances annually, and to reside in Paris for six months
each year. Thierry Fouquet remains as Ballet
Administrator. Mr. Nureyev's predecessor was
the American, Rosella Hightower.
With the beginning of the current season,
PETER MAAG became Music Director of the
Symphony Orchestra of Berne, Switzerland,
where he succeeded Gustav Kuhn.
•
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WINNERS
Twenty-two singers entered the San Francisco
Opera Finals and 10 received special cash
awards. They are listed here in order of their
prizes, with the first prize amounting to $2,500
and the 10th prize $500: tenur MICHAEL SYLVESTER, soprano RUTH ANN SWENSON, mezzo
CARLA COOK, sopranos TERESA RINGHOLZ,
NANCY GUSTAFSON, and SYLVIA McNAIR,
baritone MARK RUCKER, mezzo DONNA BRUNO, soprano JEAN HERZBERG, and baritone
DAVID MALIS. The Otto Guth Memorial Award
for apprentice coaches was shared by JULIAN
REED, SUSAN CALDWELL, WILLIAM JONES,
and MICHELLE KRISEL. A special Stage Director Talent Award was given to apprentice
directors KEN CAZAN and BEN KRYWOSZ. —
In addition Miss RINGHOLZ won the Leona
Gordon Lewin Memorial Prize of the Merola
Program and also placed second in the '82
Liederkranz Competition.
The 1982 American Music Competition, cosponsored by Carnegie Hall and the Rockefeller
Foundation, held its two-day semi-finals in open
concerts at Carnegie Hall. Because of its
importance, and the large amount of money
distributed to the winner, a very prestigious
jury listened to several selections by each semifinalist before reaching a decision. Baritone
HENRY HERFORD, a Scotsman who lives in
London, received the first prize of $10,000 and
various benefits such as concert and recording
contracts. His winning selections were Rorem's
"War Scenes" and Thomson's "Five Songs from
William Blake". — Second prize was awarded
American sopranos MARGARET CUSACK, of
New York, and DIANA WALKER-LEUCK, who
each received $4,000. (For a listing of the
semi-finalists, see Vol. 24, No. 1.)
Soprano FAITH ESHAM is the 1982 Naumburg
Award winner. Among the benefits is a concert
recital at the Library of Congress. — Another
competition which presents its winner in a New
York debut recital is Joy of Singing. Its latest
award went to BEN HOLT. — The 1982 Norman
Treigle Prize was awarded baritone DAVID
MALIS (see also San Francisco); the Corbett
Prize went to mezzo HILARY NICHOLSON.
Both prizes are awarded through the CollegeConservatory of Cincinnati University. — This
year's Bruce Yarnell Memorial Competition
found two baritones worthy of prizes. ROBERT
GALBRAITH and ROGER ROLOFF shared the
honors and the cash.
The Eleanor Steber Music Foundation was able
to disburse a total of $12,000 to its '82 winners.
They were sopranos CECILY NALL from Cincinnati, and JOYCE GUYER-HILLER from New
York, mezzo WENDY CAROL HILLHOUSE from
Redwood City, California, tenor JOHN FOWLER
from New York, and baritone RICHARD HARRELL, also from New York. They were presented in a joint concert at Merkin Hall, and
received cash awards.
Other competitions' prizes may include a paid
trip to Europe for the purpose of auditions.
Such an all-expense-paid trip, in this case to
Germany, was won by New York lyric soprano
SHARON COONER, a result of the second annual voice competition of International Opera,
Ltd., in Sheboygan, Wisconsin. She also received
a contract to sing with the Wisconsin company
next summer. A second prize of $200 and a
1983 engagement with the company was awarded Milwaukee soprano LESLIE MULDER; third
prize went to coloratura soprano JENNIFER
FOSTER of Boston. — The Zachary Society
Opera Award also pays for an audition trip to
Germany, and this year's two recipients are
tenor EDUARDO VILLA and mezzo WENDY
HILLHOUSE. The other winners of the Society's
cash awards were sopranos ELLEN KERRIGAN
and HELEN CENTNER. — The Bel Canto
Foundation of Chicago's first prize is an allexpense paid trip to Italy to study with Tito
Gobbi for six weeks. This year's recipient was
Chicago soprano PAMELA HOFFMAN.
The 11-month program of the Lyric Opera Center for American Artists (the former School of
the Lyric Opera of Chicago) is a much desired
training ground. After a screening of some 400
applicants, 24 entered the semi-finals and 10
were chosen to participate in the 1983 program:
sopranos MARCIA COPE (California) and ILENE
RUTTENBERG (New York), mezzos ALICE
ELIZABETH BAKER (California) and ROBYNN
LEIGH REDMON (Texas), tenors WILLIAM
CHAMBERLAIN (Texas) and PAUL HARTFIELD
(Missouri), baritones RICHARD COWAN (New
York), PAUL K. KREIDER (Minnesota), and BRIAN MONTGOMERY (Washington), and bass
GREGORY FRANK, who had been an '82 apprentice. All the above are paid between
$12,500 and $15,000 for the 11 months beginning
in January. In addition, the Apprentice Program
accepted soprano LEE ANNE CAMPOS, contralto GWENNETH BEAN, and bass BRIAN
JAUHIAINEN.
The current High Noon Opera Ensemble of the
Dallas Opera consists of Oklahoma soprano SUSAN PETERSON, Massachusetts mezzo JOAN
TIRRELL, Texas tenor BARRY CRAFT, and
Florida baritone GEORGE MASSEY. — In its
first year, the Baton Rouge Opera has engaged
one intern for an eight-week contract. She is
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soprano JULIE ASHTON, a graduate of the
Houston Opera Studio educational program. —
Baritone JOHN BRANDSTETTER is the 1982
"Sun Affiliate Artist" with the Tulsa Opera,
where he presents Affiliate Artists' successful
"informances".
International Competition, held last summer
under the auspices of the Vienna Chamber
Opera, chose American tenor JOHN HURST as
first-prize winner; second place was shared by
an Italian tenor and a South Korean baritone,
and third prize was won by Canadian soprano
JANE MacKENZIE. (See also Guelph.)
In Canada, the Guelph Spring Festival presented
six of its competition winners in a gala concert
accompanied by the Kitchener-Waterloo Symphony. The first prize of $5,000 was won by
JANE MacKENZIE, a soprano from British Columbia. Tenor JAMES McLEAN and soprano
JEANNE KILOMYJEC received second and third
prizes, respectively, and honorable mention
went to soprano SHARI SAUNDERS and mezzos
TANIA PARRISH and LAETITIA SNETHAN.
The three winners at the Oralia Dominguez
Vocal Competition in Mexico were baritone
NICHOLAS KAROUSATOS, tenor FLAVIO BECERRA, and soprano PAMELA HINCHMAN. —
The Argentine chapter of the Wagner International Institution awarded its first prize, a
round-trip ticket Buenos Aires-Bayreuth, to Argentinian tenor GUIDO DE KEHRIG. The jury
was chaired by Placido Domingo.
In European competitions, Americans were, as
always, prominent winners. KAAREN HERR
ERICKSON, 28-year-old soprano from California, received first prize at the Munich International Competition. — DONNA MOREIN, a
mezzo from Philadelphia and a member of the
Zurich Opera Studio, won the Toti Dal Monte
Competition in Treviso, and as a result will be
singing Princess Eboli in some 10 performances
in Treviso, Bergamo, and Rovigo. Her compatriot, tenor LAWRENCE BAKST, won the role
of Don Carlo in the same performances. —
In the vocal category of the Tchaikovsky Competition in Moscow, Americans reached third
place with mezzo DOLORA-MARIA ZAGIC receiving the bronze medal. Baritone STEVEN
WEST of San Diego placed seventh and was
especially honored for "best performance of a
Russian composition". — Austria's Belvedere
COMPOSERS & CONDUCTORS
Recipients of the Kennedy Center/Friedheim
Award, "given this year in recognition of a
particular symphonic composition, were DOMINICK ARGENTO, THOMAS LUDWIG, GUNDARIS PONE, IVANA THEMMEN, and DAVID
DEL TREDICI.
The latest San Diego Opera Young American
Conductors Program accepted the following promising maestri: SUSAN HAIG, JOHN McKINNON, STEVEN STUCKI, MARK GIBSON, and
STEPHEN STEIN. The last mentioned also received a special award at the end of the program and will be an assistant to Sarah Caldwell
at the Opera Company of Boston this season.
— KIRK TREVOR, former associate conductor
of the Charlotte Symphony, has been selected
as Exxon/NEA/Affiliate Artist Conductor with
the Dallas Symphony.
•
FINALS CONCERT WITH ORCHESTRA
When the ten or eleven winners of the 1983
METROPOLITAN OPERA NATIONAL COUNCIL
AUDITIONS are presented in concert on the
stage of the Met, they wilL for the first time,
be accompanied by an orchestra in the pit. The
concert is scheduled for Sunday afternoon,
March 27.
The four finalists of the 1983 BENSON AND
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HEDGES INTERNATIONAL GOLD AWARD contest will be heard on October 2, 1983 in a
concert at Covent Garden, accompanied by the
Royal Opera orchestra. Semi-finals will take
place at the Royal Academy of Music September
27 and 28. Cash prizes have been increased
to £3,000 for a first place winner. Please note
a change of address for applications: 5 Grove
Place, Bedford, MK40 3JJ, England.
•
CAREER GUIDE AMENDMENT
A new edition of the Addenda to the original
Career Guide for the Young American Singer
has been published and includes, for the first
time, a list of the current audition dates for
apprentice programs. Copies of the complete
Addenda are available for $2 postpaid.
The next DALLAS MORNING NEWS/G.B. DEALEY AWARD will be given in 1983; the application deadline is February 1. The competition
will hold regional auditions in Dallas, New York,
San Francisco, and Chicago in March, with the
finals in Dallas in May. Cash prizes have been
increased to a top of $7,500; eligibility is now
on an international basis; applicants must be
under 32 as of May 5, 1983.
All inquiries regarding competitions sponsored
by the NATIONAL FEDERATION OF MUSIC
CLUBS should be addressed to 1336 N. Delaware
St., Indianapolis, Indiana 46202, and a selfaddressed, stamped envelope enclosed.
While YOUNG AUDIENCES programs are primarily oriented toward the instrumentalist,
some chapters do engage singers to lecture and
perform in schools. The national office, at 115
East 92 Street, New York 10028, has the addresses of the various regional chapters. Singers
residing in New York may write the Program
Director, Community of Young Audiences New
York, 2112 Broadway, New York, 10023.
Deadline for applications for participation in
the 1983 CONCERT ARTISTS GUILD COMPETITION is January 14. Audition dates are April
13-17; the contest is also open to Canadian
singers.
The application deadline for the Young Soloists
Competition of the NATIONAL SYMPHONY
ORCHESTRA in Washington, DC, has been
changed to February 6, 1983.
Although the deadline for Career Development
Awards given by the NATIONAL OPERA INSTITUTE was September, singers are reminded that
there is no deadline for applications for Special
Project Grants.
The following competitions listed in the original
Career Guide have been discontinued: FINANCIAL FEDERAL SHOWCASE page 7, ROCHESTER SYMPHONY COMPETITION page 10,
VOICES OF TOMORROW page 11, SYMPHONY
OF THE NEW WORLD page 13, MUSIC TEACHERS NATIONAL ASSOCIATION COLLEGIATE
ARTISTS AWARD page 14, CHARLESTON SYMPHONY COMPETITION page 15, AMARILLO
NATIONAL ARTISTS AUDITIONS page 15,
MONTREAL SYMPHONY page 18.
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APPRENTICE PROGRAMS
The SAN DIEGO OPERA CENTER training program has been extended to ten weeks. This
year's enrollment includes 14 singers, plus seven
music and drama students registered in university programs.
The fifth MINNESOTA OPERA INSTITUTE will
be held in St. Paul June 13 to July 1, 1983.
The program, directed by H. Wesley Balk, is
for singers, directors, and coaches, and is resuming after a two-year hiatus. Enrollment is
limited (about 40) and a fee of $450 is charged.
For further information write the company at
850 Grand Avenue, St. Paul, Minnesota 55105.
Three additional opera companies have begun
to accept young singers as apprentices. The
ASOLO OPERA in Sarasota offers some training
and performance opportunities to seven or eight
young artists for a three-month period. — The
new BATON ROUGE OPERA has accepted its
first apprentice for the current season. — The
FOUR CORNERS OPERA is holding a threeweek Young Artists Workshop for 20 singers.
A public concert of staged operatic scenes is
held at the end of the session.
APPRENTICESHIPS, OTHER AREAS
OPERA MEMPHIS is accepting applications for
apprenticeships in the following areas: administration, musical preparation (coaching), and
production. The latter includes stage directors,
designers, and technical stage personnel. Applicants must have an undergraduate degree and
be working toward an advanced degree in their
field. Apprentices will be working and training
under Carey Wong, the company's Associate
Artistic Administrator. Application deadlines
are October 15 to begin work November 1, and
January 5 to begin February 1.
The CHAMBER OPERA THEATRE OF NEW
YORK offers one or two internships to aspiring
arts administrators.
For the first time last summer, the MEROLA
OPERA PROGRAM of the San Francisco Opera
offered a training and apprentice program for
stage directors. Wesley Balk of the Minnesota
Opera was in charge.
The HOUSTON OPERA STUDIO has expanded
its program to include a few exceptionally
gifted stage directors, designers, coaches, conductors, composers, and librettists. Some professional experience is required. For participation in the 1983-84 Studio program, singers
had to apply by October 25, 1982.
•
OBITUARIES
Conductor CHARLOTTE BERGEN, American, 84 years old, in Bernardsville, NJ 7/10/82. An amateur musician, she began to conduct
concerts in New York at Town Hall and later at Carnegie Hall. She
underwrote all expenses and did not charge admission. The first of
her annual concerts was in 1967, when she gave a concert performance
of Monteverdi's La Favola d'Orfeo.
Mezzo-soprano MARIA CASTAGNA, Italian, 81 years old, in Buenos
Aires in summer '82. The sister of the renowned Bruna Castagna, she
began her singing career in 1928, appearing soon after at La Scala
and other Italian opera houses. She often sang under the name Maria
Falliani-Fullin. She appeared in North and South America and in 1952
settled in Argentina where she taught singing.
Music critic and tenor MAX DE SCHAUENSEE, American, 82 years
old, in Philadelphia 7/24/82. "In his later years considered the dean
of American music critics, he was the leading critic in Philadelphia
for nearly 40 years, writing as music editor of the Philadelphia Evening
Bulletin. In addition, he wrote for many music magazines; his book,
The Collector's Verdi and Puccini, was published in 1962. He studied
at the Curtis Institute of Music, and sang tenor roles with the
Philadelphia Opera and the Cosmopolitan Opera in the 30's.
Conductor OLIVIERI DE FABRITIIS, Italian, 80 years old, in Italy
8/12/82. An internationally famous conductor of opera and symphony,
he made his operatic debut in 1925 in Salerno and his symphonic debut
with Radio Rome. He was artistic administrator of the Rome Opera
1934-44, and conducted at most major Italian, German, and Austrian
theatres, and also in London and Japan. His American guest appearances included the opera companies in San Antonio and San Francisco.
Tenor MARIO DEL MONACO, Italian, 67 years old, in Venice 10/16/82.
He was one of the Metropolitan Opera's most celebrated tenors, singing
16 leading roles of the Italian dramatic repertoire for the company
from 1951 to 1959. His first U.S. appearance was in 1950 as Radames
with the San Francisco Opera, his last a Carnegie Hall concert in
1962. In the interim, he sang more than 100 performances at the
Met, but divided his time between the U.S. and Europe throughout the
height of his career. He made his debut as Lt. Pinkerton in Milan in
1941, before his induction into the Italian army. At the time of his
La Scala debut in the late 40's he was already in international demand.
In 1973, he retired to his house near Venice and turned to teaching.
Voice teacher PHILIP A. DUEY, American, in Chapel Hill, NC 4/7/82.
A member of the voice faculty at the University of Michigan in Ann
Arbor, he was named Professor Emeritus after his retirement in 1970.
Earlier he had headed the Music Department of Butler University, and
was previously affiliated with CCNY. He was President of NATS, and
in 1951 wrote a book entitled Bel Canto in its Golden Age.
Conductor and author LEHMAN ENGEL, American, 71 years old, in
New York 8/29/82. In his long career he conducted over 100 Broadway
musicals. He won Antoinette Perry awards for his conducting of the
1950 premiere production of The Consul and, in 1953, for conducting
Wonderful Town and various Gilbert and Sullivan operettas; he also
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OBITUARIES
conducted the first American production of The Threepenny Opera in
1933. He studied composition at Juilliard under Roger Sessions, and
occasionally composed for Martha Graham and incidental music for
several plays. His books include Words with Music, The American
Musical Theater, Their Words are Music, This Bright Day, and Getting
Started in the Theater.
Opera patron CARROLL G. HARPER, American, 53 years old, in New
York 6/28/82. He was a lawyer by profession, but his avocation was
the Metropolitan Opera, of which he was a devoted supporter. A
long-time member of the Metropolitan Opera National Council, he was
national chairman of its auditions program from 1969 to 1974. He
was also president of the Metropolitan Opera Club.
Voice teacher and tenor HANS JOACHIM HEINZ, Austrian/American,
77 years old, in Albany, NY 8/5/82. In the 1930's he sang tenor roles
in smaller European houses, and came to the U.S. in 1937 upon the
recommendation of Otto Klemperer. He joined the voice faculty of
the Juilliard School of Music in 1956, becoming one of its most
prominent members. He retired in 1979. Many world famous singers
were among his pupils.
Coach, accompanist and baritone ROYAL HINMAN, American, 74 years
old, in Boulder, CO 10/20/81 (not previously reported). For more than
20 years he was coach and accompanist for many Metropolitan Opera
singers, both in New York and on tour, and also taught at the Turtle
Bay Music School and at the Neighborhood Playhouse. He returned
to his native Colorado, where he joined the faculty of Colorado
University and also coached privately.
Composer TEIJI ITO, Japanese/American, 47 years old, in Haiti (on
vacation) 8/16/82. His scores for Off Broadway theatre won him an
Obie Award; he also composed for Broadway plays, the New York City
Ballet, and for experimental films. He also played various instruments
and was especially interested in styles of playing drums.
Tenor FREDERICK JAGEL, American, 85 years old, in San Francisco
7/5/82. One of the most celebrated American singers, he was a leading
tenor at the Metropolitan Opera for 23 years. He began his career
in Italy in 1924 under the Italianized name of Federico Jeghelli, and
made his Metropolitan Opera debut in November 1927 as Radames.
Leading roles in the Italian and French repertory of the Met followed,
and he later added such German roles as Florestan and Herod; through
engagements with the Chicago, San Francisco, and New York City
Opera companies, he expanded his repertoire to include some 60 roles.
He portrayed Peter Grimes at the Met in the first American professional
production of the Britten work in 1948. In 1969 he sang Luka in the
NBC Television production of Jan£cek's From the House of the Dead.
After retiring from the Met in 1950, he became Chairman of the voice
department at the New England Conservatory of Music. He moved
to San Francisco in 1970, and continued to teach privately.
Soprano MARIA JERITZA (ne'e Mitzi Jedlicka), Czech/American, 94
years old, in Orange, NJ 7/10/82. She was one of the great prima
donnas of opera, an international star who fascinated her audiences
as much by her dramatic personality as by her expressive voice. While
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OBITUARIES
she excelled in a wide repertoire, her portrayal of Tosca was probably
her greatest single triumph. It was the role in which she took New
York by storm, after making her debut the same season (1921) in Die
tote Stadt. She sang at the Metropolitan Opera annually from 1921
to 1932, and again in 1951 in a special benefit performance of Die
Fledermaus in English. She appeared in 20 roles in New York, and
sang in some 60 different operas almost exclusively in Vienna and New
York. After a debut in Olmiitz in 1910 as Elsa in Lohengrin, she
portrayed Elisabeth in Tannhauser at the Vienna Volksoper the same
year. Her first appearance at the Wiener Staatsoper occurred two
years later, after the Austrian emperor heard her Rosalinde in the
Austrian spa of Bad Ischl. She created the title role in the world
premiere of Ariadne auf Naxos, the Empress in Die Frau ohne Schatten,
and the German language Jenufa in Vienna in 1918, which she repeated
in New York in 1924. Until quite recently she could be seen regularly
at Metropolitan Opera performances on Saturday afternoons, and was
active at Austrian social functions in New York.
Composer GEORGE KLEINSINGER, American, 68 years old, in New
York 7/28/82. His best known work for the stage is the chamber
opera archy and mehitabel, premiered at Town Hall in 1954 and
expanded into Shinbone Alley for Broadway three years later. His
Brooklyn Baseball Cantata was recently performed at the Third Street
Music School Settlement.
Art and opera patron GERALD KLOT, American, 75 years old, in New
York 8/21/82. He was the founder of the Bronx Opera Company and
the Bronx Symphony, and a former member of the board of directors
of the Bronx Council of the Arts. He assisted in bringing live
performances into the New York City school system.
Soprano NANNY LARSEN-TODSEN, Swedish, 97 years old, in Stockholm
5/26/82. After making her debut as Agathe at the Royal Opera in
1906, she sang with the Stockholm company until 1923. Toscanini
brought her to La Scala as Isolde the following season, and from 1924
to 1928 she sang the heavy, dramatic repertoire at the Metropolitan
Opera. She appeared in Bayreuth between 1927 and 1931, and her
farewell performance was as Isolde in Paris in 1937. She retired to
Stockholm, where she taught singing.
Tenor PETER MARKWORT, German, 84 years old, in Hamburg 6/9/82.
When he retired from the Hamburg Opera in 1968 he had been a
member of the company for 37 years, and had sung over 100 different
roles there. These included Peter Grimes in the first German production
in 1947. In 1950 he sang Mime in the Ring performances at La Scala,
which were conducted by Furtwangler.
Company founder and director Sister MARY ELISE S.B.S., American,
84 years old, in Cornwells Heights, PA 7/21/82. Using her dedication,
great determination, and unflagging energy, she founded three opera
companies, each devoted to the advancement of black artists. The
first was at Xavier University in New Orleans, the second was Opera/
South in Jackson, Mississippi, which quickly developed professional
qualities and national recognition. The third company is Opera Ebony
in Philadelphia. COS members may recall her softly spoken comments
and great sense of humor at the various conferences she attended.
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OBITUARIES
Soprano ESTER MAZZOLENI, Italian, 99 years old, in Palermo 5/17/82.
A member of La Scala from 1908 to 1911 and again in 1916-1917, she
had a large repertory of Italian and French operas, but on occasion
was also featured in Wagnerian roles. She portrayed Aida at the
opening of the Arena di Verona in 1913, and was a guest at other
European and South American theatres. She retired after a performance
of Norma in Naples in 1925, then taught in Palermo and at the
Accademia Chigiana in Siena until the early 50's.
Educator ALEXANDER RICHTER, Russian/American, 78 years old, in
New York 11/6/82. In 1936, Mayor La Guardia and Walter Damrosch
appointed him chairman of the music department of the newly founded
High School of Music and Art. He was responsible for developing the
music curriculum and teaching method which became the model for
the New York school system. He also established a program wherein
American composers wrote small pieces to be performed by school
ensembles.
Set designer, artist, architect, and educator RICHARD RYCHTARIK,
Czech/American, 87 years old, in New York 7/10/82. He pursued a
versatile career, which began in the U.S. in the 20's as a teacher of
theatre history, design, and architecture, first at Case Western Reserve
University and then at the Cleveland Institute of Music. At the same
time, he designed sets and costumes for the Cleveland Playhouse. He
was appointed chief designer for the Great Lakes Exposition, which
included a music shell and 16 acres of "Streets of the World", a display
so successful that it was later included in the New York World's Fair.
His first operatic stage designs were for the Cleveland Opera Theatre
and included the American premiere of Shostakovich's Lady Macbeth
of Mtsensk under Artur Rodzinsky, which the Cleveland Orchestra
brought to the stage of the Metropolitan Opera in 1935. He was
identified with other American premieres, such as that of Peter Grimes
at Tanglewood in 1946 under Bernstein, and Mozart's Idomeneo also
at the Berkshire Festival in the following year. He also designed the
first American production of Dvorak's Rusalka in 1935. In the late
30's he began work for the newly formed New York City Opera, and
in 1942 was appointed designer and technical coordinator of the
Metropolitan Opera. There he remained until 1950, when he joined
CBS television as senior designer and co-founder of Studio One. His
productions at the Met included Die ZauberflSte under conductor Bruno
Walter, Gluck's Alceste, and Lucia di Lammermoor. The San Francisco
Opera engaged him to design the 1952 opening night production of
Don Giovanni, in which he introduced slide projection into American
opera production: Also in the 50's he designed Falstaff for La Scala,
and two Puccini operas for the Arena di Verona, with Herbert Graf
as stage director. Summers were spent at Red Rocks Theatre in
Colorado, where he created the designs for the memorable outdoor
productions of Die WalMire, La Fanciulla del West, and the first staged
version of Haydn's The Creation.
Conductor CALVIN SIMMONS, American, 32 years old, Connery Pond
near Lake Placid, NY (by accidental drowning) 8/21/82. At the time
of his tragically early death, he was music director and conductor of
the Oakland Symphony Orchestra in California, a post he had held for
the past three years. He led the American Symphony Orchestra in
his New York debut in 1976, and returned to the city two years later
-39-
OBITUARIES
to conduct Hansel and Gretel at the Metropolitan Opera. That same
year he made his San Francisco Opera conducting debut. In 1980 he
led The Pearl Fishers at the New York City Opera, and in 1981
collaborated with Jonathan Miller on Cosi fan tutte in St. Louis. In
1975 he made his debut in England as the first American conductor
to appear at the Glyndebourne Festival. He also had the distinction
of being the youngest black conductor to be appointed music director
of a major American orchestra. In his childhood he was a member
of the San Francisco Boys Chorus; his musical studies were under the
guidance of Max Rudolf, first in Cincinnati and later at the Curtis
Institute. He was considered one of the country's most promising
young conductors, and the current season would have seen him return
as guest conductor to the New York City Opera, the Opera Theatre
of Saint Louis, the Houston Symphony, and the Los Angeles Philharmonic, where he began his career as assistant conductor to Zubin
Mehta. Kurt Herbert Adler led the Oakland Symphony in a memorial
concert last September; the Orchestra is establishing a Simmons Memorial Fund to assist young musicians, especially young conductors.
Conductor RUDOLF VASATA, Czech, 70 years old, in Prague 6/8/82.
From 1937 to 1949 he was chief conductor of the National Opera in
Prague, and rejoined that company in 1970 for another 10 year period,
following positions as music director in Ostrava and Liberec. He also
appeared as guest conductor in Germany, Sweden and Argentina. He
was married to soprano Ludmila Dvordkova".
Intendant and conductor BRUNO VON DEN HOFF, German, 80 years
old, in Frankfurt 7/7/82. He was the first Generalmusikdirektor of
the Frankfurt Oper after World War II, and continued in that post
until 1950.
Bass OTTO VON ROHR, German, 68 years old, near Stuttgart 7/15/82.
After singing at provincial opera houses in Germany, he joined the
Stuttgart Opera in 1941, where he remained a member until the late
60's. While with the company he visited London and Edinburgh, appeared
at La Scala, the Paris Opera, and Vienna State Opera, and in 1961
sang the German repertoire at the San Francisco Opera.
Composer JOHN WATTS, American, 52 years old, in New York 7/2/82.
He wrote over 100 compositions, including various music theatre pieces.
His frequent and dexterous use of the electronic synthesizer helped
make this instrument popular, and for this achievement he received
various awards and many performance invitations.
Soprano DOROTHEA WEISS, Austrian, 44 years old, in Berlin 6/17/82.
As a member of the Deutsche Oper, Berlin, she achieved prominence
in many leading dramatic roles of the German repertoire, such as
Agathe and Leonore in Fidelio. She also participated in many premiere
productions of experimental works.
In addition, this report must include mention of the deaths of the
widows of two prominent composers. VERA STRAVINSKY, second
wife of Igor Stravinsky, 93 years old, in New York 9/17/82, and pianist
DITTA PASZTORY-BARTOK, second wife of Bela Bartdk, 80 years
old, in Budapest 11/21/82.
•
-40-
ADDITIONS TO DIRECTORY OF SETS AND COSTUMES
Volume 21, Number 2 available for $10.50 including addenda
This compilation contains the latest 1982-83 information, listed here for the first
time.
ARGENTO, DOMINICK
Postcard from Morocco (c) Malabar, Ltd. (Mess '81)
BARAB, SEYMOUR
Little Red Riding Hood (c) Malabar, Ltd. (Killiek '80)
BART, LIONEL
Oliver (c) Malabar, Ltd.
BECKWITH, JOHN
Shivaree (s) Comus Music Theatre (Dinwiddie '81) 1/
BEETHOVEN, LUDWIG van
Leonore (s,c) Princeton Opera Theatre ('82) - set in 1805
BIZET, GEORGES
Carmen (s) Cleveland Opera (Stone '81) 48x32; 1/45'
(s) Lake George Opera (Anania '77) - FOR SALE
(s) Louisiana Opera Theatre, Shreveport ('80)
(s) Sacramento Opera (Moore '82) 1/40'
(c) Fullerton Civic Light Opera, CA ('82)
(c) University of Illinois, Urbana (Harris '81)
BLITZSTEIN, MARC
Regina (s) Chautauqua Opera (Joy '82)
BLOW, JOHN
Venus and Adonis (c) Rutgers University Opera Workshop
BOCK, JERRY
Fiddler on the Roof (c) Malabar, Ltd.
BOIELDIEU, FRANCOIS-ADRIEN
Ha tante Aurore (s,c) Asolo Opera (Cornell/Jackson '82)
BOITO, ARRIGO
Mefistofele (c) Malabar, Ltd. (Roberts '80)
BRITTEN, BENJAMIN
Rape of Lucretia (s) Boston University Opera Theatre (Isackes '82)
Turn of the Screw (c) Malabar, Ltd.
DI CAPUA, RINALDO
n Bravo burlato (s) Denison University Opera Wksp., OH (Galbreath '82)
DONIZETTI, GAETANO
Don Pasquale (s) Glimmerglass Opera (Beck '82) 1/30'
(c) Long Beach Grand Opera (Cox '82)
(c) Malabar, Ltd. (Lehmeyer '80)
L'Elisir d'amore (s) Chattanooga Opera (Higgins T82) 1/20'
delete Kentucky Opera
Lucia di Lammermoor (s) Cleveland Opera (Stone '82) 40x28 expandable; 1/45' - replaces
earlier Merrill Stone listing .
DVORAK, ANTONIN
Two Widows (c) Malabar, Ltd. (Mess '82)
FLOYD, CARLISLE
Susannah (s) Five Penny Opera, CA (Chardonnay '82)
(s) Opera Memphis (Wong '82) 1/40'
FRIML, RUDOLF
The Vagabond King (c) Malabar, Ltd.
GELD, GARY
Shenandoah (s) Cleveland Opera (Tschetter '82) variable; 1/40'
GERSHWIN, GEORGE
Porgy and Bess (s,c) Pioneer Memorial Theatre, Salt Lake City ('81)
-41-
GIORDANO, UMBERTO
Andrea Chenier (s) Greater Miami Opera (Benois '83)
GOETZ, HERMANN
Der Widerspenstigen Zahmung (c) Malabar, Ltd.
GOUNOD, CHARLES
Faust (s) Cleveland Opera (Stone '81) 50x30 expandable; 1/45' - replaces earlier listing
(s) Greater Miami Opera (Businger '83)
(s) Lake George Opera (Anania '78) - FOR SALE
(s) Project Opera, Boston ('82) - all soft w. 5 circular platforms
Romeo et Juliette (s) Cincinnati Opera (Debenbroek '82)
(s) Dallas Opera ('81)
delete Virginia Opera/Tri-Cities Opera
HAYDN, FRANZ JOSEF
La Cantarina (c) St. Cecilia Opera Repertory, Chicago
HANDEL, GEORG FRIEDRICH
Alceste (s,e) Kentucky Opera (Butlin '82) *
Rinaldo (c) Malabar, Ltd. (Negin '82)
HERBERT, VICTOR
Naughty Marietta (s) Cleveland Opera (Peektal '81) 40x32 expandable; 1/40'
The Red Mill (c) Malabar, Ltd.
HERMAN, JERRY
Hello Dolly! (c) Malabar, Ltd.
(c) University of Portland, OR (Peterson '81)
Mame (c) Malabar, Ltd.
HERRMANN, BERNARD
Wuthering Heights (s,c) Portland Opera ('82)
HUMPERDINCK, ENGELBERT
Hansel and Gretel (s) Opera Theatre of Rochester, NY - FOR SALE
(s) Pittsburgh Chamber Opera Theatre (Heymann '81)
(c) University of Illinois, Urbana (Lines '80)
JANACEK, LEOS
Jenufa (s) Baltimore Opera (Klein '81) 2/40'
KERN, JEROME
Show Boat (c) Malabar, Ltd.
LEHAR, FRANZ
Das Land des Lachelns (c) Malabar, Ltd.
Die lustige Witwe (c) Fullerton Civic Light Opera, CA ('81)
(c) Malabar, Ltd. (Mess '82)
LEIGH, MITCH
Man of La Mancha (s,c) Vancouver Opera (Simon '81) 1/45'
(c) Arizona State University, Tempe (Turner '82)
LOEWE, FRITZ
Brigadoon (c) Malabar, Ltd.
Camelot (s,c) Pioneer Memorial Theatre, Salt Lake City
My Fair Lady (c) Malabar, Ltd.
MASCAGNI, PIETRO
Cavalleria rusticana delete Opera Theatre of Syracuse
MASSENET, JULES
La Navarraise (c) Malabar, Ltd. (Mess '79)
MENDELSSOHN, FELIX
Elijah (c) Southern Baptist Theological Seminary, Louisville (Paris '82)
MENOTTI, GIAN CARLO
Amahl and the Night Visitors (s,c) Virginia Opera (Hemink '82)
(c) Rutgers University Opera Wksp.
(c) University of Illinois, Urbana (Lines '80)
A Bride from Pluto (s,c) Kennedy Center (Brown '82)
-42-
The Consul (s) Cleveland Opera (Stone '79) 40x50x20; 1/12' <5c 1/24' - replaces earlier
Merrill Stone listing
(e) Arizona State University, Tempe (Turner '81)
The Egg (c) Brooklyn Philharmonic
MONTEVERDI, CLAUDIO
La Favola d"Orfeo (c) Southern Methodist University (Powell '81)
MOORE, DOUGLAS
The Devil and Daniel Webster (c) Malabar, Ltd.
MOZART, WOLFGANG AMADEUS
COM fan tutte (s,c) Kentucky Opera (Owen/Wilhelm '83)
(s,e) Opera Theatre of Saint Louis (Conklin '82) 1/45'
(s) Los Angeles Opera Theatre (Shaffner '82) 1/40'
Don Giovanni (s) Lake George Opera (Anania 79) - FOR SALE
(c) University of Illinois, Urbana (Lotsof '81)
delete Virginia Opera
Entfiihrung aus dem Serail (s) Chicago Opera Theatre ('82)
(s) Opera Memphis (Wong '83) 1/40'
(s) St. Luke's Chamber Ensemble ('82)
delete Chautauqua Opera
delete University of Illinois
Le Nozze di Figaro (s) Florida State University, Tallahassee ('80)
(s) Pittsburgh Chamber Opera Theatre (Heymann '81)
L'Oea del Cairo (s) Lyric Opera of Kansas City (James '82)
Der Schauspieldirektor (c) St. Cecilia Opera Repertory, Chicago
Die Zauberflote (s,c) Oswego Opera Theatre (Mineher/Stark '82) 1/40'
(c) Arizona State University, Tempe (Turner '82)
delete Merrill Stone
MUSSORGSKY, MODISTE
Boris Godunov delete Tulsa Opera
OFFENBACH, JACQUES
Orphe"e aux enfers delete Opera Company of Boston
La PeVichole (s) Chicago Opera Theatre ('80)
(s) San Diego Opera (Scheffler '74) 2/45'
PASATIERI, THOMAS
Black Widow (s) Atlanta Civic Opera
The Goose Girl (c) Malabar, Ltd. (Killick '80)
The Seagull (c) Malabar, Ltd. (Killick '80)
PAULUS, STEPHEN
The Village Singer (s) Chattanooga Opera (Mack '82) 1/24'
delete Minnesota Opera
PORTER, COLE
Kiss Me Kate (c) Malabar, Ltd.
PROKOFIEV, SERGE
Love For Three Oranges (c) Arizona Opera ('82)
PUCCINI, GIACOMO
La Boheme (s,c) Chattanooga Opera (Higgins '80) 1/20' - replaces earlier listing
(s) Charlotte Opera (Stevens '81) 1/40'
(s) New Orleans Opera (Gano '82) - replaces earlier listing
(s) Virginia Opera (Detweiler '79) - replaces earlier listing
(c) Portland Opera ('79)
(c) University of Illinois, Urbana (Melloy '82)
delete Merrill Stone
La Fanciulla del West (s) Toledo Opera (King '81) 1/24'
Madama Butterfly (s) Cleveland Opera (Isackes'80) 44x32; 1/45'
(s) Glimmerglass Opera (Beck '82) 1/30'
-43-
Butterfly (cont.) (s) Los Angeles Opera Theatre (Beck '82) 1/45'
(c) University of Illinois, Urbana (Sato '79)
delete Lyric Opera of Kansas City
La Rondine (s) Pittsburgh Opera ('82) 1/40'
Turandot (s) Merrill Stone (Stone '81) 3/40'
PURCELL, HENRY
Dido and Aeneas (s) DePaul University, Chicago (Anderson '82)
(s) Houston Grand Opera Studio - FOR SALE
RAIMONDI, PIETRO
n Ventaglio (s) Philadelphia College of Performing Arts (Koziara '82) 1/20'
RAVEL, MAURICE
L'Heure espagnole (s) Houston Grand Opera Studio - FOR SALE
REA, ALAN
The Enchanted Flute (s) Sierra Chamber Opera, CA ('82)
RODGERS, RICHARD
Carousel (c) Malabar, Ltd.
The King and I (c) Malabar, Ltd.
Oklahoma! (c) Malabar, Ltd.
The Sound of Music (c) Malabar, Ltd.
South Pacific (s,c) Pioneer Memorial Theatre, Salt Lake City ('83)
(s) Chautauqua Opera (Baird '82)
ROMBERG, SIGMUND
The Desert Song (c) Fullerton Civic Light Opera, CA ('79)
The Student Prince (c) Fullerton Civic Light Opera ('78)
(c) Malabar, Ltd.
ROSSINI, GIOCCHINO
n Barbiere di Siviglia (s,c) Washington Opera (Brown '81) 1/45'
(s) Opera Hamilton, Ont. (Sawchuk '82) 1/40'
(s) Pittsburgh Chamber Opera Theatre (Heymann '80) 1/14'
(c) Long Beach Grand Opera (Cox '82)
Litaliana in Algeri (c) Arizona Opera ('81)
La Seala di seta (s) St. Luke's Chamber Ensemble, New York ('82)
SAINT-SAENS, CAMILLE
Samson et Dalila (s) New Orleans Opera (Gano '82)
SCHMIDT, HARVEY
The Fantasticks (s) Cleveland Opera (Isackes '82) 36x26; 1/30'
SHOSTAKOVICH, DMITRI
Katya Kabanova (s) Houston Grand Opera (Bjornson '81)
Lady Macbeth of Mtsensk (s,c) Spoleto Festival USA ('80)
SHAPIRO/HOLT/FRIEDMAN
The Me Nobody Knows (s,c) La Guardia Comm. College (Stewart/Thomas '82)
STRAUSS, JOHANN
Die Fledermaus (s) Virginia Opera (Romero '82) 1/40'
(c) Malabar, Ltd. (Mess '81)
STRAUSS, RICHARD
Ariadne auf Naxos (s) Atlanta Civic Opera ('81)
(s) Palm Beach Opera - FOR SALE (stored in Kentucky)
delete Opera Theatre of Saint Louis
Elektra (s) New Orleans Opera (Gano '82)
Die Liebe der Danae (s,c) Santa Fe Opera (Ter-Arutunian '82)
Der Rosenkavalier (c) Malabar, Ltd. (Differn '81)
STRAVINSKY, IGOR
The Rake's Progress (s) Opera Ensemble of New York (Metheny '82) 1/20'
-44-
SULLIVAN, ARTHUR
The Gondoliers (e) Malabar, Ltd.
delete Vancouver Opera
H.M.S. Pinafore (s) Glendale College, CA (Wood '82) 1/24'
(c) Malabar, Ltd.
(c) Rutgers University Opera Wksp.
The Mikado (s,e) Desert Opera Theatre, Palm Desert (Zeisler '82) 1/
(s,c) New York Gilbert & Sullivan Players
(s,c) Saskatoon Opera ('82) 1/
(s) Augusta Opera (Brehm '82) 1/35'
(c) Malabar, Ltd.
Patience (s,e) New York Gilbert <5c Sullivan Players
The Pirates of Penzance (s,e) Fullerton Civic Light Opera, CA ('82)
(s,c) New York Gilbert 6c Sullivan Players
(e) Arizona State University, Tempe (Turner '81)
(c) Malabar, Ltd.
Ruddigore (s,c) New York Gilbert <5c Sullivan Players
Trial by Jury (e) Malabar, Ltd.
The Yeomen of the Guard (s) Cornell Savoyards, New York 081)
(c) Malabar, Ltd.
(c) Troupers Light Opera, Connecticut
SUSA, CONRAD
Black River delete Minnesota Opera
TIGRANIAN, ARMEN
Anosh (s,c) Michigan Opera (Colavecchia '81) 1/45'
VERDI, GIUSEPPE
Aida (s) Merrill Stone (Stone '81) 3/45'
Un Ballo in maschera (s) Canadian Opera (Skalicki '81)
(s) Cleveland Opera (Stone '82) 40x34; 1/40'
Ernani (s,c) Dallas Opera ('81)
Falstaff (s) Cleveland Opera (Stone '82) 40x34; 1/40'
(s) University of Washington, Seattle (Dahlstrom '82)
Macbeth (s) Virginia Opera (Romero '83)
(c) Arizona Opera, Tucson ('79)
Otello (s) Cincinnati Opera (Debenbrock '82) 1/45'
(c) Malabar, Ltd. (Differn '81)
La Traviata (s) Cleveland Opera (Stone '82) 40x34/ 1/40' - replaces earlier Merrill Stone
listing
(s) Los Angeles Opera Theatre (Beck '82) 1/45'
delete Opera Theatre of Syracuse
n Trovatore delete Tri-Cities Opera
VAN EATON,
Christopher Robin's Dreams (c) Oklahoma State University, Stillwater
WAGNER, RICHARD
Lohengrin (c) Arizona Opera ('80)
WARD, ROBERT
Abelard and Heloise (c) Malabar, Ltd. (Killick '82)
WEILL, KURT
Der Jasager (c) Rutgers University Opera Workshop
WILLIAMSON, MALCOLM
The Happy Prince (c) Syracuse University Opera Workshop
WILLSON, MEREDITH
The Music Man (c) Malabar, Ltd.
(continued on page 48)
-45-
ADDITIONS TO DIRECTORY OF ENGLISH TRANSLATIONS
Volume 16, Number 2 available for $10.50 including addenda
This compilation contains the latest 1982-83 information, listed here for the first time.
ANONYMOUS
Second Shepherd's Play Betty-Jane Wylie, Comus Music Theatre, Toronto
ALFANO, FRANCO
Risurrezione Andrew Porter, E. Snapp, Inc.
BARTOK, BELA
Bluebeard's Castle George Lawner, University of Kansas, Lawrence
BEETHOVEN, LUDWIG van
Fidelio Russell Patterson, Lyric Opera of Kansas City
Leonore Peter Westergaard, Princeton University
BERG, ALBAN
Wozzeck Harford/Blackall, Indiana University, Bloomington
BRETON, THOMAS
Verbena de la Paloma Jose Vasquez & Mayda Prado, Opera Theatre of Saint Louis
CAVALLI, FRANCESCO
Eritrea Anne Ridler, Phoenix Opera, London
Orione Raymond Leppard, Santa Fe Opera
OLE A, FRANCESCO
Adriana Lecouvreur Bliss Hebert (BM) - formerly Greater Miami Opera
CIMAROSA, DOMENICO
n Hatrimonio segreto Jan Popper (26 Walton, San Carlos, CA 94070)
D'ALBERT, EUGEN
Tiefland Ruth <5c Thomas Martin, Liederkranz Society, New York
DiCAPUA, RENATO
n Bravo burlato R. Lee Bostian, Denison University, Ohio
DONIZETTI, GAETANO
Fille du regiment Bair-Smith, Opera a la Carte, Florida
Francesca di Foix Camden Festival, England
Furioso all'isola di San Domingo William Ashbrook, Pennsylvania Opera Theater
Lucia di Lammermoor Donald Pippin, Pocket Opera, San Francisco
Maria PadUla Donald Pippin, Pocket Opera, San Francisco
La Romanziera Camden Festival, England
GLUCK, CHRISTOF WILLIBALD
Paris and Helen Lee Goldstein, Queens College, New York
GOUNOD, CHARLES
Le M&Jecin malgre' lui Lee Goldstein & Donald Frame, Queens College, New York
HANDEL, GEORG FRIEDRICH
Agrippina Anne Ridler, Kent Opera, England
Giulio Cesare Brian Trowell, San Francisco Opera
HAYDN, FRANZ JOSEF
La Cantarina Heiden/Viamonte, Willamette University, Oregon
Lo Speziale Thomas Holliday (50 Waverly St., Potsdam, NY 13676)
HINDEMITH, PAUL
Cardillac Cinnabar Opera Theatre, Petaluma, CA
Sancta Susanna John Moriarty, Boston Conservatory of Music
HUMPERDINCK, ENGELBERT
Hansel und Gretel K. Frederick, Albuquerque Opera Theatre
Mildred Miller & Helen Knox, Pittsburgh Chamber Opera
Robert Murray, Shreveport Opera
Sudermann, Michiana Opera, South Bend, Indiana
JANACEK, LEOS
From the House of the Dead Yvetta Graff & Robert Jones, New York Philharmonic
David Pountney, Welsh National Opera
-46-
LEHAR, FRANZ
Der Graf von Luxemburg Ruth & Thomas Martin (AB-Glv) - incorrectly listed as GS
Die lustige Witwe Thomas Holliday (50 Waverly, Potsdam, NY 13676)
Alice Hammerstein Mathias, Light Opera of Manhattan
M.A. Microutsicos, International Opera, Sheboygan
Der Zarewich (AB-Glv)
Zigeunerliebe (AB-Glv)
MONIUSZKO, STANISLAW
The Haunted Castle Sally Williams-Haik, Michigan Opera Theatre
MONTEVERDI, CLAUDIO
La Favola d'Orfeo Anne Ridler (GS-Fab) - formerly Castle Hill Festival
LTncoronazione di Poppea Haber dc Ward, New York Lyric Opera (eontemp. setting)
MOZART, WOLFGANG AMADEUS
Cosi fan tutte Thomas Holliday (40 Waverly, Potsdam, NY 13676)
Don Giovanni Heinz Blankenburg, California State Univ. at Los Angeles
Guest, Eastman School of Music, Rochester, NY
Die Entfiihrung aus dem Serail James Atherton (dialogue only), Opera Memphis
Dwight Bowes, Orlando Opera
Le Nozze di Figaro Jeral Becker, University of Missouri, St. Louis
Heinz Blankenburg, California State Univ. at Los Angeles
Der Schauspieldirektor Tomas Hernandez & Franz Vote, Kansas State Univ., Manhattan
Die Zauberflote Andrew Porter, E. Snapp, Inc.
MUSSORGSKY, MODISTE
Boris Godunov Wadad Saba, Seattle Pacific University
NEDBAL, OSKAR
Polish Blood Dagmar White, Vienna Light Opera, Virginia
NICOLAI, OTTO
Die lustigen Weiber von Windsor Hancock, Indiana University, Bloomington
OFFENBACH, JACQUES
La belle Helene David Warraek, Canadian Opera Company
Manage aux lanterns Boris Goldovsky (154 West 57 St., New York, NY 10019)
Orphee aux enfers Bliss Hebert, Santa Fe Opera
Pepito Thomas East, University of Toledo, Ohio
La P6richole Peter Knapp, Southern Methodist University
La Vie parisienne Donald Pippin (BM)
PAISIELLO, GIOVANNI
n Barbiere di Siviglia Joan Smith, Dominican College, San Rafael, CA
PERGOLESI, GIOVANNI BATTISTA
n Geloso schernito Paul Mallalieu (GS-Sik) - formerly Belwin-Mills
D Maestro di musica Janet Bookspan (155 West 68 St., New York, NY 10023)
La Serva padrona Hamilton Benz (GS) - formerly Mankato State Univ.
PROKOFIEV, SERGE
Maddalena Edward Downes, Opera Theatre of Saint Louis
PUCCINI, GIACOMO
La Boheme Gay, University of North Carolina, Greensboro
Russell Patterson, Lyric Opera of Kansas City
Gianni Schicchi Philip A. Kraus, Light Opera Works, Evanston, IL
Zias, Opera Theatre of Washington
n Tabarro Zias, Opera Theatre of Washington
Tosca Robert Murray, Shreveport Opera
Thomas Philips, Albuquerque Opera Theatre
RIMSKY-KORSAKOV, NICOLAI
Mozart and Salieri Boris Goldovsky (154 West 57 St., New York, NY 10019)
ROSSINI, GIOACCHINO
La Cambiale di matrimonio Clifford Reims, Roosevelt University, Chicago
La Cenerentola Donald Pippin, Pocket Opera, San Francisco
-47-
SAINT-SAENS, CAMILLE
Henry VB3 Andrew Porter, E. Snapp, Inc.
SCHUBERT, FRANZ
Der Advokaten Jeral Becker, University of Missouri, St. Louis
Freunde von Salamanka Thomas Holliday (50 Waverly, Potsdam, NY 13676)
SHOSTAKOVICH, DMITRI
Lady Macbeth of Mtsensk Edward Downes, Spoleto Festival USA
SMETANA, BEDRICH
The Bartered Bride Tony Harrison (GS) - formerly Metropolitan Opera
David Pountney & Leonard Hancock, Opera North, Leeds, England
Two Widows Donald Pippin, Pocket Opera, San Francisco
STRAUSS, JOHANN
Die Fledermaus Lou Galterio (dialogue only), Santa Fe Opera
Wolfe, Eugene Opera
Zigeunerbaron Gore, Ohio Light Opera
TCHAIKOVSKY, PETER ILYICH
Eugene Onegin Donald Pippin, Pocket Opera, San Francisco
THOMAS, AMBROISE
Hamlet Andrew Porter, E. Snapp, Inc.
TIGRANIAN, ARMEN
Anosh Gerald Papasian, Michigan Opera Theatre
VERDI, GIUSEPPE
Un Giorno di regno Mark Herman & Ronnie Apter (13 Woodside Rd., Madison, NJ 07940)
Luisa Miller Donald Pippin, Pocket Opera, San Francisco
Rigoletto James Fenton, English National Opera, London
La Traviata Anthony Addison, University of Texas, Austin
David Bamberger, Cleveland Opera
WAGNER, RICHARD
Gotterdammerung Frederick Jameson (GS)
WEBER, CARL MARIA von
Abu Hassan Marilyn Tyler, Jacksonville University, Florida
PLEASE NOTE: The following publishers' catalogues have changed hands; make the appropriate changes in your 1974 Directory of English Translations.
Baerenreiter — from G. Schirmer to MagnaMusic-Baton
Chappell - to Theodore Presser
Chester - from G. Schirmer to MagnaMusic-Baton
Faber - from G. Schirmer to MagnaMusie-Baton
Hansen - from G. Schirmer to MagnaMusic-Baton
Novello - from Belwin-Mills to Theodore Presser
Riccordi - from Belwin-Mills to G. Schirmer
Salabert - to G. Schirmer
Schott, Mainz/London - from Belwin-Mills to European American Music Distributors
Suvini-Zerboni - from Belwin-Mills to Boosey & Hawkes
Universal Editions - from T. Presser to European American Music Distributors
•
Additions to Directory of Sets and Costumes
(continued from page k5)
WRIGHT/FORREST
Kismet (s,c) Pioneer Memorial Theatre, Salt Lake City ('82)
Song of Norway (c) Fullerton Civic Light Opera, CA ('80)
ZIMMERMANN, BERND ALOIS
Die Soldaten (c) Malabar, Ltd. (Differn '81)
All New York City Opera sets listed in the Addenda only should be deleted. Address all
New York City Opera rental inquiries to Daniel Rule, Managing Director.
•
-48-
PERFORMANCE LISTING 1982-83
(CONT.)
Ail performances are staged with orchestra unless marked "cone, pf." or "w.p." (with piano)
— * following an opera title indicates a new production. — Performances and news items
once announced 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 Southern College Opera Wksp., T. Gibbs, Dir., Birmingham
11/4,5,6/82 Suor Angelica & Gianni Schicchi
Mobile Opera, K. Willson, Gen.Dir., Mobile
10/12,14,16/82 The Elixir of Love Eng. Martin; Telese, G. Wilson; Galbraith, Sullivan;
c: Hess; d: Gately
12/2/82 Gala
3/17,19/83 Carmen Eng. Martin; Quittmeyer; c: Hess
Southern Regional Opera, W.C. Stewart, Pres., Birmingham
10/30/82 The Student Prince Brooks; Tonne, Procter; c: Hinds; d: Pennybaker
4/9/83 The Old Maid and the Thief
University of Montevallo Lyric Theatre, B. Middaugh, Dir., Montevallo
9/20,21/82 Jacques Brel is Alive and Well and Living in Paris w.p.
12/4/82 Amahl and the Night Visitors w.o.
3/8/83 The Four Note Opera <5c The Stoned Guest w.p.
4/21,22/83 Camelot w.o.
ALASKA
Alaska Repertory Theatre, R. Farley, Art.Dir., Anchorage
12/19/82-1/15/83 Strouse's Nightingale
2/27-3/26/83 Ain't Misbehavin'
Anchorage Civic Opera, M. More, Exec.Dir., Anchorage
10/15,17,19,21,23/82 Cavalleria rusticana & Pagliacci Mirel; Arbizu, Jimerson & G.
Moser; Winter, Petersen; c: Silverstein; d: Ehman; ds: Veazy/Zeldis
12/7,8,10,12,13/82 Hansel and Gretel
3/14-20/83 The Face on the Barroom Floor
4/22,24,26,28,30/83 La Perichole
ARIZONA
Arizona Opera, R. Woitach, Art.Adv., Tucson <5c Phoenix
9/30 10/2,7,9/82 The Ballad of Baby Doe Flasch, Krueger; Rhodes; c: Woitach; d:
Lloyd; ds: Schwanke/Campbell
2/3,6,10,12/83 Carmen
4/21,23 5/5,7/83 L'Elisir tfamore
Arizona State Univ. Lyric Opera Theatre, K. Seipp, Dir., Tempe
10/1,2,3,6,8,9,10/82 Camelot
11/19,20 12/1,3,4/82 Titus's Rosina
2/16,18,19/83 Kismet
4/22,23,27,29,30/83 The Marriage of Figaro
Grand Canyon College Opera Wksp., M. Sherman, Dir., Phoenix
12/82 The Marriage of Figaro 3 pfs.
2/83 Song of Norway
Northern Arizona Univ. Opera Theatre, H. Pickup, Dir., Flagstaff
10/22,23,24/82 Camelot
12/8/82 Amahl and the Night Visitors
2/16,17/83 Opera Scenes w.p.
4/15,16/83 The Magic Flute Eng. Swift
Prescott Fine Arts Ass*n, B. Gackle, Dir.Pfg.Arts, Prescott
10/21-23,28-30/82 Damn Yankees w. combo
12/16-19/82 Amahl and the Night Visitors 8 pfs. w.p.
3/17-20,24-27/83 I Do, I Do w.p.
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ARKANSAS
Arkansas Opera Theatre, A. Chotard, Gen.Dir., Little Rock
9/11,12/82 Madama Butterfly Eng. Martin; J. Stewart; Ballam, MaeFarland
12/12/82 English Carol Service
4/23,24/83 Cosi fan tutte Eng. Martin
Arkansas State Univ. Opera Wksp., D. Niederbrach, Dir., State University
12/2,3/82 The Marriage of Figaro Eng. Martin
CALIFORNIA
Berkeley Symphony, K. Nagano, Mus.Dir., R. Halper, Dramaturg, Berkeley
1/20/83 Gluck's Armide c: Curtis
California State Univ. Opera Theatre, M. Kurkjian, Dir., Fullerton
9/24,25/82 Do I Hear a Waltz?
4/16,17,18/83 La Traviata Eng. Martin
California State Univ. Opera Wksp., H. Lampl, Dir., Long Beach
11/12-14,18-20/82 Pippin
12/14,16/82 5/18/83 Opera Scenes w.p.
3/18-20,24-26/83 The Turn of the Screw
California State Univ. Opera Theatre, D. Scott, Dir., Northridge
11/82 Adriana Lecouvreur Eng. Hebert; 6 pfs.
3/83 Cosi fan tutte Eng. Martin; 6 pfs.
Cinnabar Opera Theatre, M. Klebe, Art.Dir., Petaluma
10/8,9,15-17,23-25/82 The Secret Marriage Eng. Popper
11/5-7,12-14/82 Cardillac Eng.
2-3/83 The Rise and Fall of the City of Mahagonny
Dominican College Opera Wksp., M. Frick, Dir., San Rafael
3/18,19,25,26/83 Paisiello's The Barber of Seville Eng. Smith & Bach's Peasant Cantata
Five Penny Opera, C. Chardonnay, Dir., Orange Coast College, Costa Mesa
11/3,5,6,10,12,13/82 The Merry Widow Eng. Harnick
3/2,4,6,8,10,12/83 The Merry Wives of Windsor Eng. Blatt (alt w. Shakespeare's play)
Glendale College Music Theatre Wksp., M. Young, Dir., Glendale
11/19-12/5/82 The Music Man
4/8-24/83 The Mikado
Hollywood Opera Ensemble, A. Monte, GeruDir., Los Angeles
10/10/82 La Boheme
2/83 Don Pasquale
5/83 The Barber of Seville
Lamplighters, G. Russak, Mus.Dir., San Francisco
9/25 10/1-3,8,9,15-17,22,23,29-31/82 Ruddigore
12/10-12/82 Galas
3/5,11-13,18,19,25-27 4/8-10,15-17/83 The Pirates of Penzance
6/18,24-26 7/8,9,15-17,22,23,29-31/83 La belle Helene Eng. Pippin
Long Beach Grand Opera, M. MQenski, Gen.Dir., Long Beach
10/6/82 The Barber of Seville Dubinbaum; Nimnicht, Densen; c: Fried; d: Muni; ds:
Wright
3/5/83 Death in Venice Retno, Hedlund
Los Angeles Music Theatre Co., L. White, Dir., Los Angeles
10/22,23,29,30/82 L'Amieo Fritz Eng., w.p.
Los Angeles Opera Theatre, J. Dordick, Art.Dir./Gen.Mgr., Wflshire Ebell Theatre
3/16,18,19/83 Hamilton's Anna Karenina Am.prem.; Rawlins, Christin; Bortnick, Roloff,
Cooper; c: Cantrell; d: Pearlman; ds.& proj: Chase
4/20,22,23/83 The Elixir of Love Eng.; Gamberoni; Sylvester, McFarland, Gallup; c:
Nance; d: Muni
5/18,20,21/83 Tosca* Rogers; Calleo, Gallup; c: Cantrell; d: Fraad; ds: Montresor
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Marin Opera, I. Martinez, GeiuDir., San Rafael
10/1,9,15/82 Lucia di Lammermoor
10/2,10,16/82 Faust c: Rinaldi
12/10/82 Gala Concert w.o.
5/83 Die Fledermaus; Madama Butterfly 3 pfs. each
Modesto Jr. College Opera Theatre, L. Woodward, Dir., Modesto
11/19,20/82 The Four Mote Opera w.p.
5/6,7,13,14/83 Susannah w.o.
Novato Lyric Opera, J. Palunco, Mus.Dir., Novato
9/24-26 10/1-3/82 Suor Angelica <5c La Serva padrona
Oakland Opera, A. Taylor, GeruDir., Oakland
10/13/82 Madama Butterfly at Oakland Arts Festival
11/27 12/4,5/82 Amahl and the Night Visitors
3/26,27/83 La Traviata
6/25,26/83 The Barber of Seville
8/27,28/83 The Marriage of Figaro
Pocket Opera, D. Pippin, Mus.Dir., Marines Memorial Theatre, San Francisco
2/6/83 La belle Helene Eng. Pippin
2/13/83 Handel's Teseo
2/20/83 Martha Eng. Pippin
2/27/83 Handel's Orlando
3/6/83 Cosl fan tutte Eng. Pippin
3/13/83 Lltaliana in Algeri Eng. Pippin
3/20 4/10/83 Eugene Onegin Eng. Pippin
3/27/83 Lucia di Lammermoor Eng. Pippin
4/17/83 Donizetti's Maria Padilla Am.prem.; Eng. Pippin
Sacramento Opera, M. Oaks, Gen.Dir., Sacramento
10/29/82 Carmen Gwendolyn Jones, Norskog; Fay; c: Kanouse; d: Conrad; 2 pfs.
4/83 The Barber of Seville 2 pfs.
San Diego Opera Center/San Diego State Univ., T. Capobianco, Dir., San Diego
11/9,11,13,15/82 Gianni Schicchi Eng. Grossman <5c Mozart and Salieri Eng. Motyka
Fall '82 outreach tour: Little Red Riding Hood; Many Moons; Opera, It's Grand!
1982-83 tour to schools: Hansel and Gretel 4 pfs.
San Francisco Children's Opera, N. Gingold, Dir., Herbst Theatre
11/20/82 Cinderella
12/18/82 Santa Claus1 Beard
1/29/83 The Emperor's New Clothes
3/26/83 Suzanne and Her Double prem.
4/23/83 Sinbad the Sailor
5/21/83 Snow White and Rose Red
San Francisco Talent Bank, C. Dayton, Mgr., San Francisco
12/82 Amahl and the Night Visitors 2 pfs. 1/83 Opera Scenes
5/83 Chip and His Dog 2 pfs.
San Jose Community Opera, I. Dalis, Dir., Montgomery Auditorium, San Jose
12/11,12,18,19/82 Amahl and the Night Visitors
3/5,6,12,13/83 The Scarf & Harrison Loved His Umbrella
4/30 5/1,7,8/83 Cos! fan tutte Eng. Martin
1982-83 Outreach Opera: Harrison Loved His Umbrella 20 pfs.
10/82-6/83 touring community theatre: Many Moons 30 pfs.; w.p.
San Jose Symphony/Opera, R. Wright, Gen.Mgr., San Jose
2/10,12,14/83 Rigoletto
Scholar Opera, D. Straka, Gen.Dir., Palo Alto
11/5,7,12,14,20,21/82 Carmen
1/22,23,28,29 2/5,6/83 The Elixir of Love
Shasta College Fine Arts Div., C. Johnson, Dir., Redding
3/10-13,18,19/83 La Boheme Eng. Martin; c: Tognozzi
Sonoma State Univ. Opera Theatre, P. Donovan-Jeffry, Dir., Rohnert Park
12/82 Musgrave's A Christmas Carol
4/83 The Jumping Frog of Calaveras County w.p.
-51-
University of Southern California Opera, N. Limonick, Gen.Dir., Los Angeles
11/1/82 4/1/83 The Daughter of the Regiment
11/19-21/82 The Rape of Lucretia
3/18,19,21,22/83 La Clemenza di Tito
4/4-5/6/83 tour to schools: Opera Scenes w.p.
University of the Pacific Opera Theatre, G. Buckbee, Dir., Stockton
12/1-5/82 Guys and Dolls
5/83 Dido and Aeneas & The Outcasts of Poker Flat 2 pfs.
West Bay Opera, H. Holt, Gen.Dir., Palo Alto
10/15-17,21-23/82 Madama Butterfly c: Ramadanoff
2/11-13,17-19/83 The Ballad of Baby Doe Knight; c: Holt
5/13-15,19-21/83 Rigoletto
Western Opera Theater, T. McEwen, Gen.Dir., touring company of San Francisco Opera
9/23-11/29/82 Rigoletto 40 pfs.
Youth in Arts, N. Koppich, Exec.Dir., Greenbrae
3/24/83 The Jumping Frog of Calaveras County
COLORADO
Colorado State Univ. Opera Wksp., J. Lueck, Dir., Fort Collins
11/11,12/82 The Telephone & Sweet Betsy from Pike
3/3,4/83 Pagliacci Eng.
Denver Center Theatre Co., E.P. Call, Art.Dir., Denver
11/8-12/18/82 Damashek's Quitters; also tour 5/2-29/83
San Luis Valley Community Opera, M. Wienand, Dir., Alamosa
10/15,16/82 The Mikado w.p.
6/12,13/83 The Merry Widow
University of Colorado Opera Theater, D. Jackson, Dir., Boulder
11/18,19,20/82 The Turn of the Screw
3/10,11,12,13/83 The Secret Marriage Eng. Popper
7/8,10,12,14,16,18,20,22/83 The Gondoliers
7/9,11,13,15,17,19,21,23/83 Trial by Jury & The Sorcerer
University of Denver Opera Theatre, R. Worstell, Dir., Denver
11/10/82 La Vida breve
2/24,25,26 3/4,5,6/83 A Little Night Music
CONNECTICUT
Connecticut Grand Opera, G. Campora, Art.Dir., Darien/Bridgeport
9/25/82 La Boheme Soviero, Conte; Cigoj, Parker, Seabury; c: Pallo; d: Gentilesea;
ds: Cartaya
11/20/82 The Saint of Bleecker Street Casella, Volkman, R. Freni; Poll, Densen; c:
L. Mutij d: Menotti; ds: Cartaya
4/9/83 Verdi Requiem c: Gandolfi
5/28/83 The Merry Widow Eng.; Palmer; Campora, Crossfield, Billings, Densen; c:
Pallo; d: Lucas
Opera Express, G. Osborne, Dir., touring company of Connecticut Opera
4/6-9/83 and tour: Hansel and Gretel
Stamford State Opera, G. Consiglio, Art.Dir., Stamford
10/2/82 II Trovatore Regis, Nadler; Consiglio, Manuguerra; c: Coppola; d/ds: Stivanello
2/12/83 The Marriage of Figaro Eng.; Niska, S. Daniels; Hartman; Lake George Opera
prod.
4/16/83 The Secret of Susanna & Pagliacci Consiglio
Troupers Light Opera, R. Luchsinger, Dir., S. Norwalk
4/83 The Sorcerer 4 pfs. w.o.
DELAWARE
Minikin Opera Co., J. Cason, GeiuMgr., Wilmington
1982-83 tour: The Boor; An Incomplete Education; Bastien and Bastienne; Dr. Miracle
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OperaDelaware, E. Kjellmark, Jr., Pres., Grand Opera House, Wilmington
9/24,25m,25,26/82 Menotti's The Boy Who Grew Too Fast prem.; c: Swensson; d:
Menotti
11/20,26,27/82 Tosca Ciesinski; Adkins, Crafts; e: Macatsoris; d: Kugler; ds: Kimball
2/25,26,27/83 II Furioso all'isola di San Domingo Eng.; co-prod. Pennsylvania Opera
4/30 5/6,7/83 La Perichole
DISTRICT OF COLUMBIA
National Lyric Opera, N. Wells, Gen.Mgr., Lisner Auditorium, Washington
12/10,11/82 Faust Christos; Calleo, BeU; c: Fowler
National Symphony Orchestra, M. Rostropovich, Mus.Dir., Kennedy Center
11/82 Carmina burana Bradley; c: de Burgos
Theater Chamber Players of Kennedy Center, L. Fleisher & D. Koston, Dirs.
10/2,3m/82 L'Histoire du soldat narr: Claire Bloom
FLORIDA
Florida Lyric Opera, R. Maresca, Dir., Clearwater
10/23/82 Gala Concert
11/9,10,12,13/82 Zampini's Maria Rappaccini prem.; c: Zampini; d: Pascual
12/1,2,3,5/82 Amahl and the Night Visitors
12/21/82 Hansel and Gretel
1/29/83 II Trovatore
2/26/83 La Boheme
3/26 4/2/83 The Barber of Seville
Florida Opera West, T. Palmer, Gen.Mgr., St. Petersburg
11/13/82 Die Fledermaus Eng.; Thomson, Boky, Bonazzi; Garrison, Campora; c: Schubaek;
d: Symeox; ds: O'Hearn
1/22/83 Cosl fan tutte Eng.; Flaseh, Fortunato; Britton, Stone; c: Cullison
2/25/83 Roberta Peters Gala Concert; c: Harwood
3/2/83 Lucia di Lammermoor Welting; diGiuseppe, Cossa, Bell; c: Coppola; d: Igesz
Florida State Univ. Opera Wksp., F. Dybdahl, Dir., Tallahassee
11/4-7/82 Cosi fan tutte
3/17-20/83 Carmen
7/16,17/83 n Matrimonio segreto w.p.
Greater Miami Opera, R. Herman, Gen.Dir., Miami
1/17,19,22,25/83 Andrea Chenier Savova; Domingo, Sardinero; c: Buckley; d: Frisell;
ds: Benois/Mess; also 1/18,23 Eng.
2/14,16,19/83 La Grande Duchesse de Gerolstein Lear, Langton; Kays, Stewart; c:
Crosby; d: Hebert; ds: Klein; Santa Fe Opera prod.; also 2/15,20 Eng.
3/14,16,19,22/83 Faust Niculescu, Hegierski; Lima, Duesing, Morris;, c: de Almeida;
d: Yannopoulos; ds: Businger; also 3/15,20 Eng.
4/11,13,16,19/83 Un Ballo in maschera Zylis-Gara, Rolandi, Conrad; Pavarotti, Milnes;
c: Buckley; d: Lucas; ds: Brown/Collins; Washington Opera prod.; also 4/12,17 Eng.
North Miami Beach Opera, L. Siegel, Mus.Dir., N. Miami Beach
1/23/83 Madama Butterfly
2/27/83 Verdi Requiem
3/26/83 Don Giovanni
Opera a la Carte/Opera Jacksonville, A. Smith, Gen.Mgr., Jacksonville
11/6,7/82 Otello Ferrell; Pastorello, Young; <s Maraffi
2/19,20/83 Don Pasquale Eng. Csonka/Theslof
5/7,8/83 Pagliacci <5c The Impresario Eng. Cardelli
Orlando Opera, D. Bowes, Gen.Mgr., Orlando
11/12,14/82 La Boheme Soviero, Fernandez; Reed, Poulimenos; c: Savia; d: Uzan; ds:
Shortt
2/11,13/83 The Marriage of Figaro Eng. Martin; Wildes, Zoghby, Schuman; Cheek,
Embree
3/30,31 4/2/83 The Abduction from the Harem Eng. Bowes; Dolbashian, Keesling;
McKee; <s Woodbury; d: Bowes; also 3/26 in St. Thomas, V.I.
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Palm Beach Opera, J. St-John, Acting GeiuDir., Palm Beach
12/10,12,14/82 Pagliacci & Gianni Schicchi Graham; McCracken, Quintero & Rada;
Farina, Beni; c: de Almeida; d: Beni
1/21,23,25/83 The Magic Flute French, Wolf, J. Evans, Uppman, Langan; c: Csonka
3/4,6,8/83 Lucia di Lammermoor
Treasure Coast Opera, Ft. Pierce
1/15/83 Carmen
2/83 D Barbiere di SivigUa
GEORGIA
Alliance Theatre Co., F. Chappell, Art.Dir., Atlanta
12/1/82-1/2/83 Mame
1/24-3/25/83 The Pirates of Penzance
2/23-3/27/83 A Little Night Music
Augusta Opera, E. Bradberry, Art.Dir., Augusta
10/15,16/82 The Mikado Sanabria, Curry; Harger, J. Stephens; c: Gaughan; d: Brovsky
1/28,29/83 Carmen White, Burgess; Evanko, Wexler; c: Flint; d: Missimi
3/11,12/83 La Boheme
Clayton Jr. College Music Theatre Ensemble, L. Corse, Dir., Morrow
3/83 Cabaret 7 pfs.
5/83 The Beggar's Opera 4 pfs.
Shoestring Opera, M. Oietrichs, GeiuDir., Atlanta
10/14,16/82 Die Fledermaus Eng. Kanin; w.p.
5/26,28/83 Madama Butterfly w.p.
University of Georgia Opera Wksp., D. Stoffel, Dir., Athens
3/28,29/83 Corina's The Telling of the North Star prem.
Valdosta State College Opera Theatre, C. Mikkelsen, Dir., Valdosta
5/12-14,19-21/83 Carousel
HAWAII
Hawaii Opera Theatre, A. Taylor Glessner, GeiuMgr., Honolulu
1/14,16,18/83 Rigoletto McNair; Willoughby, M. Myers; c: Johanos; d: Morelock; ds:
Gullicksen
1/28,30 2/1/83 The Marriage of Figaro Eng. Porter; Cook, Petersen, Quittmeyer; Kline,
Woodman; c: Adler; d: Darling; ds: Gullicksen
2/11,13,15/83 Eugene Onegin Cook; Walker, Long; c: LaMarchina; d: Corsaro
University of Hawaii Opera Wksp., J. Mount, Dir., Honolulu
11/20,21/82 Zytowski's The Emperor's New Clothes (adapt, of Mozart)
IDAHO
Boise Civic Opera, V. Eke, Gen.Dir., Boise
9/30 10/2/82 Tosca c: Stern; d: Rosinbum
1/27-29/83 The Barber of Seville Eng.
Boise State Univ. Opera Theatre, V. Chacon, Dir., Boise
11/18-21/82 The Marriage of Figaro Eng. Martin; 4 pfs.
4/29/83 Opera Scenes w.p.
ILLINOIS
Illinois Wesleyan Univ. Opera Theatre, L. Snyder, Dir., Bloomington
12/3,4/82 Amahl and the Night Visitors w.p.
4/22-24 5/1/83 West Side Story w.o.
Light Opera Works, P. Kraus, Art.Dir., Evanston
9/9-12/82 The Beautiful Galatea Eng. & Gianni Schicchi Eng. Kraus; c: Jones
12/30/82-1/2/83 Candide c: Jones
Lithuanian Opera Co., V. Radzius, Gen.Mgr., Chicago
6-7/83 Ponchielli's I Lituani 3 pfs.
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Lyric Opera of Chicago, A. Krainik, Gen-Dir. (see also Vol. 24, No. 1)
5/13-28/83 The Mikado c: CSmith; d: Sellars; ds: Lobel/Ryaek; 8 pfs.
MOlikin Univ. Opera Theatre, S. Fiol, Dir., Decatur
10/22-24,29-31/82 Pippin
5/6,7/83 H.M.S. Pinafore
Northwestern Univ. Opera Theatre, R. Gay, Dir., Evanston
12/8/82 3/9 4/18,25/83 Opera Scenes w.p.
2/25,27 3/4,6/83 The Cunning Little Vixen Eng. Graff/Jones
Roosevelt Univ. Opera Theatre, C. Reims, Dir., Chicago
12/11,12,13/82 The Ballad of Baby Doe
Spring '83 tour: Isle of Tidipatan Eng. Marvin; 6 pfs.
St. Cecilia Opera Repertory Co., H. Lopez, Mng.Dir., IVS School of Music, Oak Park
5/13/83 Mozart and Salieri & Une Demoiselle en loterie Eng. Lehmeyer
5/14/83 The Stronger &. La Cantarina Eng. Zytowski
Southern Illinois Univ. Marjorie Lawrence Opera Theatre, M. Blum, Dir., Carbondale
10/16/82 COM fan tutte Eng.; also tour
12/4-6/82 Rodgers' Cinderella
3/3-6/83 Carmen Eng.
4/16/83 Side by Side by Sondheim and tour
4/24/83 Gianni Schicchi <5c Suor Angelica Eng.; w.p.
University of Illinois Opera Theatre, D. Lloyd, Art.Dir., Urbana
11/4/82 The Marriage of Figaro Eng. Martin; 4 pfs.
12/5/82 Hansel and Gretel scenes <5c Amahl and the Night Visitors 4 pfs.
3/4/83 La Rondine Eng. Hess; 4 pfs.
4/3/83 "Best of Broadway" 4 pfs.
4/28/83 Handel's Rodelinda 4 pfs.
INDIANA
Ball State Univ. Opera Wksp., P. Ewart, Dir., Muncie
11/6/82 Opera Scenes
5/6,7/83 Madama Butterfly
Michiana Opera Guild, R. Demaree, Art.Dir., South Bend
12/15-24/82 La Cenerentola 10 pfs. w.p.
7/23,24/83 Carousel w.o.
Northern Indiana Opera Ass^n, W. Jaworski, Gen-Mgr., Huntington
Fall '82 tour: Little Red Riding Hood
Spring '83 tour: The Old Maid and the Thief; The Impresario
6/83 La Traviata 3 pfs. w. Ft. Wayne Symphony
IOWA
Drake Univ. Opera Theatre, M. Hall, Dir., Des Moines
11/4-6/82 South Pacific
Faith Baptist Bible College Opera Wksp., M. Doonan, Dir., Anekeny
4/29/83 Mendelssohn's Elijah stgd.
Old Creamery Theatre Co., J. SmulL ExecDir., Garrison
9/1-10/10/82 Once Upon a Mattress
University of Northern Iowa Lyric Theatre, J. Pape, Dir., Cedar Falls
10/7-9,14-16/82 The Mikado
3/3-11/83 Schwartz's Working also tour in Feb.
1982-83 tour: Miner's Watch Out! Or the Music Will Get You 12 pfs.
KANSAS
Kansas State Univ. Opera Dept., T. Hernandez, Dir., Manhattan
3/83 Susannah c: Winkier; d: Hernandez; 3 pfs.
University of Kansas Opera Theatre, G. Lawner, Dir., Lawrence
11/4-6,11-13/82 A Little Night Music
4/1,2,8,9/83 The Magic Flute Eng.
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KENTUCKY
Kentucky Opera Educational Dept., T. Smillie, Gen-Dir. (see also Vol. 24, No. 1)
1982-83 tour: The Face on the Barroom Floor 14 pfs.
Southern Baptist Theological Seminary Opera Wksp., C. Gerbrandt, Dir., Louisville
11/9,11/82 The Medium & Scenes
3/22,24/83 D Combattimento di Tancredi e Clorinda
Western Kentucky Univ. Opera Wksp., V. Hale, Dir., Bowling Green
2/22-27/83 Faust Eng. Martin
LOUISIANA
Northwestern State Univ. Opera Wksp., J. Taylor, Dir., Natehitoehes
11/10-12/82 Opera Scenes
4/20-24/83 The Music Man
Northeast Louisiana Univ. Opera Wksp., S. Hickman, Dir., Monroe
2/4,5/83 Cosi fan tutte Eng. Martin
MARYLAND
Annapolis Opera, R. Gretz, Art.Dir. (see also Vol. 24, No. 1)
3/3,5/83 The Medium <5c The Secret of Susanna-Eng. (replaces Frankenstein prem.)
4/30/83 Concert
Baltimore Touring Opera Theatre (formerly Eastern Opera Theatre), J. Lehmeyer, Prod.
Fall '82: The Medium c: Wendelkin-Wilson; d/ds: Lehmeyer
Peabody Conservatory Opera Theatre, R. Brunyate, Dir., Baltimore
11/9,10/82 2/25,26 4/29 5/1/83 Opera Scenes w.p.
12/3-5/82 The Turn of the Screw
4/15-17/83 LTncoronazione di Poppea Eng.;
Prince George's Civic Opera, D. Biondi, Art.Dir., Riverdale
9/17,19/82 The Tales of Hoffmann Eng.; c: Meena
Spring '83: "Operafest"
MASSACHUSETTS
Boston Lyric Opera, J. Balme, Gen-Dir. (see also Vol. 24, No. 1)
9/24/82 Oberto, Conte di San Bonifacio w.p. at Gardner Museum
11/17/82 The Apothecary dinner theatre pf.
2/2/83 Bastien and Bastienne dinner theatre pf.
4/6/83 Rita dinner theatre pf.
Opera Company of Boston, S. Caldwell, Art.Dir., Boston
2/18,20,24,27/83 Turandot
3/17,20,24,27/83 Carmen
4/15,17,21,24/83 The Legend of the Invisible City of Kitezh
5/20,22,26,29/83 tba
Opera New England, K. Porter, Mgr., touring company of Opera Company of Boston
1982-83 tour: La Traviata; Abduction from the Seraglio; children's opera
Project Opera, R. Reseia, ArUDir., Northampton
10/82 Fidelio 2 cone. pfs.
5/83 n Barbiere di Siviglia 2 pfs.
MICHIGAN
Meadow Brook Performing Arts Co., R. Dearth, Dir., Rochester
4/27-5/15/83 The Fantasticks 30 pfs.
Michigan Opera Theatre, D. DiChiera, Gen-Dir., Detroit
10/l,2,3,6m,8,9/82 Moniuszko's The Haunted Castle Eng. Williams-Haik; Gutknecht,
Segar, Baniewicz; Greer, Wells, van Lidth de Jeude; c: Kasprzyk; d: Wojciech-Haik;
ds: Benedyktowics
10/15,16,17,20,22,23/82 Lucia di Lammermoor Devia/P. Myers; Fowler/Aquirre, Warner;
c: Flint; d: Gratale
11/12,13,14,17,19,20/82 Treemonisha Balthrop, Ivory; Duckens; c: Leon; d: Robinson;
ds: Colavecchia; Houston Grand Opera prod.
1/14,15,16,19,21,22/83 The Marriage of Figaro Eng.; Fernandez; also 6 pfs. on tour
1/28-2/13/83 The Sound of Music
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Olivet College Opera Wskp., K. Kleszynski, Dir., Olivet
11/82 La Cantarina Eng. Zytowski; 3 pfs.
3/83 Pippin 3 pfs.
Opera Company of Greater Lansing, D. Burkh, Gen.Mgr., East Lansing
11/18,20/82 Fidelio c: Burkh; d: Ross
4/21-23/83 The Rape of Lucretia Davidson, Helzberg; Serrano, C. Sullivan; c: Burkh;
d: Baldwin
Opera Grand Rapids, R. Peterson, Gen.Dir., Grand Rapids
11/18,20/82 Carmen Eng. Harniek; McCaffrey, Webber; C. Sullivan, Reeve; c: Nance;
d: Karp; ds: Dahlstrom
12/28,30,31/82 The Merry Widow
4/28,30/83 La Cenerentola Clarey
University of Michigan Opera Theatre, G. Meier, Mus.Dir., Ann Arbor
11/5,6,7/82 The Rake's Progress c: Meier; d: R. Altman; ds: Kruger/Bushnell
3/31-4/3/83 Le Nozze di Figaro
8/18-21/83 tba
Western Michigan Univ. Opera Wksp., W. Appel, Dir., Kalamazoo
10/14-17,21-24/82 Grease
3/83 The Pirates of Penzance 4 pfs.
MINNESOTA
Children's Theatre Company, J. Donahue, Art.Dir., Minneapolis
9/17-11/14/82 The 500 Hats of Bartholomew Cubbins
11/26-12/29/82 Titus's Mr. Pickwick's Christmas prem.
2/11-3/26/83 Rydberg's The Red Shoes prem.
4/28-6/12/83 Rydberg's The Wind in the Willows
College of St. Catherine Opera Wksp., M. Hedges, Dir. St. Paul
11/20/82 The Threepenny Opera
Duluth-Superior Symphony, T. Virkhaus, Mus.Dir., Duluth
9/26,28/82 Die Fledermaus Vasquez, C. Peterson, Felty; Roe
Midwest Opera Theater, W. Balk, Art.Dir., touring company of Minnesota Opera
10-11/82 tour: The Barber of Seville
Minnesota Opera, E. Corn, Gen.Dir., H.W. Balk, Art.Dir., St. Paul
12/10-12,17-19/82 Hansel and Gretel Eng. Kelly; Florez, Wright; Briggle, McKeel;
c: Brunelle
1/28,29 2/4/83 Lucia di Lammermoor Eng. Grossman; Cummings, Villa; Parsons; c:
Brunelle
3/5,11,12/83 W. Mayer's A Death in the Family prem.; c: Brunelle; d: Balk
4/8,9,15/83 Kiss Me Kate
MISSOURI
Lyric Opera of Kansas City, R. Patterson, Gen.Dir., Kansas City
9/18,20,24,29/82 La Boheme Eng. Martin; Del George, S. Daniels; Schwisow, Steele;
c: Patterson; d: Ulfung; ds: Joy
9/22,25,27 10/1/82 The Barber of Seville Eng. Patterson; Schuman; Freeman, Evitts;
c: Patterson; d: Cullinan; ds: McBroom
10/2,4,6,8/82 Rigoletto Eng. Porter; Paschal; Grayson, Karel; c: Patterson; d: Hicks;
ds: Joy
4/16,18,22,27/83 The Ballad of Baby Doe
4/20,23,25,29/83 Kander's The Happy Time
4/30 5/2/83 The Mother of Us All
Opera Theatre of Saint Louis, R. Gaddes, Gen.Dir., Loretto Hilton Theatre
9/10,llm,ll,12m,17,18,19m/82 The Beggar's Opera Leppard/Graham ed.; Bonazzi, Sonnenberg; Parsons, Holleman; c: Leppard; d: Graham; at The Apple Shed, Clarksville
12/15/82-1/2/83 The Pirates of Penzance c: McGegan; d: Graham; ds: Ferger; 17 pfs.
at Washington Univ.
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Opera Theatre of Saint Louis, cont.
5/28-6/25/83 La Traviata Eng.; d: Graham; 7 pfs.
6/2-25/83 Don Giovanni Eng. Porter; ds: Conklin; 8 pfs.
6/8-26/83 Les Mamelles de Tiresias & Deli us' Margot la rouge prem.; c: Fenby; 5 pfs.
6/16-26/83 Beatrice and Benedict c: Nelson; d: Lamas; 5 pfs.
Washington Univ. Baroque Festival, Music & Comparative Lit. Depts., St. Louis
2/23-27/83 incl. Handel's Orlando
MISSISSIPPI
Mississippi Opera, F. Choset, Gen.Mgr. & Mus.Dir., Jackson
2/4/83 Aida
New Stage Theatre, Jackson
9/10-19/82 Parker's The Ponder Heart prem.; Holland, Hale, Waldeek; Wolpe, Campbell;
c: Parker; d: Partlan
Opera/South, E.N. Thomas, GenMgr., Jackson
4/22,23/83 Faust
MONTANA
Intermountain Opera, P. Elvira, Art.Dir., Bozeman
5/20,22/83 The Elixir of Love Eng. Martin; Elvira; c: Salesky
NEBRASKA
Opera/Omaha, M. Robert, GeiuDir., Omaha
11/2,5/82 Don Pasquale Petros; Sullivan, Cameron, Baker; c: Manahan; d: Danner
2/8,11,13/83 Faust South; MeCauley, Brandstetter, Crafts; c: DeMain
3/22,24,27/83 Madama Butterfly Haddon; Di Paolo, Gardner; c: Manahan; d: Kahn
University of Nebraska Opera Wksp., G. Tallman, Dir., Lincoln
10/28-31/82 Side by Side by Sondheim w.p.
2/4-7/83 Manon Eng.; w.o.
NEVADA
Nevada Opera, T. Puffer, Art.Dir., Reno
10/22,23,24/82 Die Flederraaus Eng. Puffer; c: Mesrobian
12/11,12,18,19/82 Nutcracker Ballet
2/18,19,20/83 Macbeth Eng. Puffer
4/15,16,17/83 La Boheme Eng. Puffer
University of Nevada Opera Theatre, C. Kim ball, Dir., Las Vegas
10/15,16,17/82 Little Mary Sunshine
3/4,5,6/83 Die Fledermaus Eng. Martin
NEW HAMPSHIRE
Theatre by the Sea, J. KimbalL Dir., Portsmouth
9/1-10/24/82 Dansieker's Swing Shift
4/27-5/22/83 Pippin
NEW JERSEY
Family Opera, H. Schlisserman, Mus.Dir., N. Bergen
10/10/82 Tosca
11/7/82 La Traviata
12/5/82 La Boheme
1/9/83 Rigoletto
2/6/83 The Barber of Seville
3/6/83 Cavalleria rusticana & scenes
5/1/83 The Merry Widow
6/5/83 Aida
Glassboro State College Opera Wksp., B. Bachman-Granite, Dir., Glassboro
4/19m,21,23,24/83 Suor Angelica & Gianni Scnicchi
Jersey Lyric Opera, S. Lewis, Gen.Mgr., Westfield
10/23/82 Die Fledermaus
Lubo Opera, J. Lasky, Art.Dir., Guttenberg
10/31 11/6/82 Cavalleria rusticana & Pagliacci
1/15/83 Fidelio
4/24/83 The Gypsy Baron
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Metro Lyric Opera, E. Tognoli, ExecDir., Allenhurst
11/6/82 Madama Butterfly w.p.
12/5/82 2/83 The Merry Widow Eng. Tognoli
4/83 La Boheme
6/83 Cavalleria rusticana <5c Pagliacci
8/83 n Trovatore
New Jersey State Opera, A. Silipigni, Art.Dir., Newark
10/23/82 Victor Borge Benefit Concert
3/20/83 Tosca Zeani; Johns, Elvira; c: Silipigni; d: Rossi-Lemeni
4/17/83 II Trovatore Troitskaya, Nadler; Montana, Padovan; c: Silipigni; d: Hansen
Summer '83 tour: Concerts
Opera Classics of New Jersey, G. Ungaro, Gen.Mgr., Paramus
11/20/82 La Boheme c: Coppola; d: Moresco
2/5/83 Carmen
3/26/83 Cavalleria rusticana & Pagliacci
4/23/83 Rigoletto
5/15/83 Gala Concert
Paper Mill Playhouse, A. Del Rossi, Prod., Millburn
11/13-12/19/82 Millar/Grainer's Robert and Elizabeth c: Coleman; d/cgr: Johanson
Red Oak Music Theatre, A. PourmeL Art.Dir., Lakewood
10/22,23,29,30/82 The King and I
1/28,29 2/4,5/83 Bells are Ringing
4/22,23,29,30/83 The Boys from Syracuse
Ridgewood Gilbert & Sullivan Opera Co., R. Weber, Mgr., Ridgewood
11-12/82 The Sorcerer 7 pfs.
4-6/83 The Mikado 12 pfs.
Waterloo Festival, G. Schwarz, Mus.Dir.
7/9/83 Wagner's Das Liebesverbot conc.pf.; Am.prem.
NEW MEXICO
Albuquerque Opera Theatre, J. Opel, Adm., Albuquerque
10/15,16/82 Tosca Eng. Philips; K. Wilson; Paxton, Gregory; c: Landis; d: Philips; ds:
Prouse/Bratcher
11/20,21/82 Hansel and Gretel Eng. Frederick
1/28,29/83 The Merry Wives of Windsor Eng. Blatt; Mendius, Yellott, M. Barrett; c:
Bratcher; d: Opel
2/25,26/83 Double-bill of contemporary operas
4/29,30 5/6,7/83 Carmen
Four Corners Opera, R. Gregori, Gen.Dir., Farmington
11/5,6/82 Hansel and Gretel Eng.; c: Frederick; d: Opel; ds: Prouse/Bratcher
2/25,26/83 Gala Concert w.p.
6/2,4/83 La Traviata Eng. Machlis
University of New Mexico Opera Studio, S. Daniel, Dir., Albuquerque
11-12/82 Opera Scenes
4/83 Candide 8 pfs.
NEW YORK
Cornell Savoyards, J. Mueller, Pres., Ithaca
10/29-31 11/5-7/82 The Pirates of Penzance 4/8-10,15,16/83 Patience
Eastman School of Music Opera Theatre, R. Pearlman, Dir., Rochester
10/21-24/82 The Turn of the Screw
12/3,4,5/82 n Matrimonio segreto Eng.
2/11,12,13,14/83 La Cenerentola Eng.
Empire State Institute of the Performing Arts, Albany
12/3-19/82 The Wizard of Oz
1/28-2/5/83 Strauch's The Wind in the Willows
5/13-21/83 Strouse's Nightingale
Opera Theatre of Rochester, R. Rosenberg, Art.Dir., Rochester
9/24,25/82 The Barber of Seville H. Harris; Brandstetter, Livings, Halfvarson; c: Flint;
d: Auerbach
11/27,28/82 Daisy c: Hodkinson; d: Muni
1/7,8/83 The Merry Widow Lani, S. Harrison; Bortnick, R. Estes; c: Hess; d: Lehmeyer
5/13,14/83 II Trovatore Opera Theatre of Syracuse prod.
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Story Concert Players, R. Winokur, Art.Dir., Millwood
1982-83 tour: Rip van Winkle; The Nutcracker and the Mouse King; With Strings Attached; Mainly Mozart; Silents, Please; Once Upon a Woodwind; Face to Face
SUNY-Fredonia Lyric Theatre Wksp., J. Wiles, Dir., Fredonia
10/14-17,21-24/82 A Little Night Music
11/11-13/82 The Telephone ic Amelia Goes to the Ball w.p.
3/15-21/83 H.M.S. Pinafore
SUNY-Potsdam Crane Opera Theatre, T. Holliday, Dir., Potsdam
11/4-7/82 Albert Herring
3/10-13/83 Kiss Me Kate
Syracuse Univ. Opera Wksp., D. Miller, Dir., Syracuse
3/18,19/83 Philidor's Tom Jones
1982-83 tour to schools: The Faun in the Forest w.p.
NEW YORK CITY
AMAS Repertory Co., R. LeNoire, Art.Dir., Amas Theatre
10/28-11/21/82 Stone's Louisiana Summer prem.; w.p.
2/24-3/27/83 Holder's Her Stormy Weather prem.
4/21-5/15/83 tba
Amato Opera, A. Amato, Pres., Amato Theatre
9/18,19m,25,26m 10/2,3m,8,9,16,17m/82 Don Giovanni
10/30,31m ll/6,7m, 13,14m, 19,20,27,28m/82 Carmen
12/ll,12m,17,18,19m,31/82 l/2m,7,8,9m/83 La Boheme
2/18,19,20m,26,27m 3/4,5,6m,12,13m/83 The Marriage of Figaro Eng.
3/25,26,27m 4/8,9,10m,15,16,17m,22,23,24m/83 Madama Butterfly
5/14,15m,21,22m,28,29m 6/3,4,11,12m/83 Nerone Eng.
Amato Opera Circle, A. Amato, Pres.
11/21/82 Hin und zuriick & Mavra
1/23/83 Haydn's La Contadina
Association for Opera Awareness, C. Cates, Pres., West End Theatre
11/10-14/82 Rita <Jc Not a Spanish Kiss
Bel Canto Opera, T. Sieh, Dir., Wagner HJS. Auditorium
10/30 11/7/82 J.C. Bach's Temistocle Am.prem.; Downes/Bond/Robbins Landon ed.;
Williams, Walker, Lazenby; Talley, Dillon, Voorhees; c: Bond; d: Jaworski
1/15,16,22,23/83 Donizetti's Caterina Cornaro
3/12,13,19,20/83 Offenbach's Robinson Crusoe
6/4,5,11,12/83 Moniuszko's Halka Eng.
Bronx Opera, M. Spierman, Art.Dir., Bronx H.S. & *Hunter College
l/8,9,14*,15*/83 Nielsen's Maskarade
4/29,30 5/6 *,7 */83 Verdi's On Giorno di regno Eng. Herman/Apter
Brooklyn Lyric Opera, N. Myrvick, Gen.Mgr., Brooklyn
1982-83: La Traviata; Die Fledermaus; Lucia di Lammermoor
Chamber Music at the Y, G. Schwarz, Mus.Dir., Kaufmann Auditorium
9/28/82 L*Histoire du soldat narr: Houseman; w. Baird Puppets
11/6/82 Pergolesi's The Music Master Eng.; Thorngren; Heist, Evitts; c: Schwarz; d:
Books pan
Chamber Opera Theatre Forum, Marymount Manhattan
10/5/82 Mozart's n Re pastore c: Fink
Children's Free Opera, M. Feldman, Art.Dir.
1/83 The Abduction from the Seraglio Eng. Hess; 10 pfs.
3/83 Lo Speziale Eng. Hess; 10 pfs.
5/83 La Scala di seta Eng. Hess; 10 pfs.
Children's Musical Theatre, M. Stern-Wolfe, Dir., Third Street Settlement School
11/14/82 Kleinsinger's The Story of Celeste
1/9/83 "The Wonderful World of Opera" After Dinner Opera prod.
3/5,6,11,12/83 Scarim's Space prem. & Kleinsinger's Brooklyn Baseball Cantata
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Collegiate Chorale, R. Bass, Mus.Dir., Carnegie Hall
11/12/82 Handel's Esther Blegen; Cole, D.R. Albert
Eastern Opera Theatre, D. Westwood, Dir., state tour
10-11/82 The Barber of Seville Eng.
Ensemble for Early Music, F. Renz, Dir., Cathedral of St. John the Divine
12/10-12/82 Daniel and the Lions
Finnish National Opera, Metropolitan Opera House
4/26-30/83 Kokkonen's The Last Temptation; Sallinen's The Red Line Am.prems.
First All Children's Theatre, M. Stein, Art.Dir.
12/19/82-1/15/83 Strouse's Nightingale
2-4/83 Peaslee/Cavander's Children's Crusade (new 2-aet vers.)
S.H. Goldman, Prod., Radio City Music Hall
3/19-5/1/83 Porgy and Bess c: Harwood; d: O'Brien; ds: Schmidt/Potts
Goldovsky Opera Theatre, B. Goldovsky, Art.Dir.
10/10-11/6/82 tour: La Boheme 16 pfs.
Juilliard American Opera Center, E. Gastelli, Adm., Lincoln Center
12/9,10,12,13/82 Manon c: Master; d: Ayrton; ds: Landwehr/Mess
2/24,25,26,27/83 I Capuleti ed i Montecchi c: Vaughan; d: Strasfogel; ds: Lee
Light Opera of Manhattan, W. Mount-Burke, Prod.Dir., Eastside Playhouse
9/8-26782 The Red Mill
9/29-10/17/82 Mile. Modiste
10/20-31/82 2/23-3/6 4/6-17/83 The Mikado
11/3-14 12/1-5,31/82 1/2-16/83 H.M.S. Pinafore
11/17-28/82 Iolanthe
12/8-30/82 Babes in Toyland
1/19-2/6/83 The Desert Song
2/9-20/83 The Gondoliers
3/1/83 Savoyard Masque - 15th Anniversary Gala
3/9-20/83 Patience
3/23-4/3/83 The Pirates of Penzance
4/20-5/1/83 The Merry Widow Eng. Mathias
5/4-29/83 Rose Marie
Little Orchestra Society, D. Anagnost, Mus.Dir., A very Fisher Hall
ll/4m/82 Amahl and the Night Visitors Davidson; Vas, Boyd, Kline, Pierson; c:
Anagnost; d: Menotti
12/8/82 L*Enfance du Christ conc.pf. w. Greek Choral Society
Live from the Met, M. Bronson, Exee.Prod., PBS/WNET
10/7/82 Der Rosenkavalier Te Kanawa, Troyanos, Blegen; Moll, Hammond-Stroud; c:
Levine
12/3/82 "In Concert at the Met" Price, Home; c: Levine (taped 3/28/82)
12/25m,29/82 Hansel and Gretel Eng.; Blegen, von Stade, Eli as, Kraft; Devlin;
c: Fulton
1/26/83 Idomeneo Cotrubas, Behrens, von Stade; Pavarotti, Alexander; c: Levine; d/ds:
Ponnelle
3/23/83 Tannhauser Marton, Troyanos; Cassilly, Weikl; c: Levine (taped 12/20/82)
Live from Lincoln Center, J. Goberman, Exee.Prod., PBS/WNET
10/20/82 Madama Butterfly Haddon, Christin; Hadley, Titus; c: Keene; New York City
Opera prod.
Long Island Opera Society, D. Lawton, Mus.Dir.
4/23/83 Donizetti's Maria Padilla conc.pf.
Metropolitan Opera Concert/Recital Series, A.A. Bliss, GeiuDir., (see also Vol. 24, No. 1)
12/12/82 Frederica von Stade & Nicolai Gedda; ace: Levine
1/30/83 Placido Domingo & Sherrill Milnes; c: Levine
2/13/83 Renata Scotto; ace: Levine
3/6/83 Christa Ludwig; ace: Levine
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New York Gilbert & Sullivan Players, A. Bergeret, Art.Dir., Symphony Space
9/23-10/3/82 The Pirates of Penzance 9 pfs.
12/31/82-1/9/83 Iolanthe 9 pfs.
4/7-17/83 The Gondoliers 9 pfs.
6/2-12/83 The Mikado 9 pfs.
New York Grand Opera, V. LaSelva, Mus.Dir., Brooklyn Academy of Music
New York Lyric Opera, J. Haber, Art.Dir., N. Johnson, Mus.Dir., FIT Theatre
11/17,19,21,23,25,26,27/82 The Coronation of Poppea Eng. Haber/Ward; Dennis; d:
Haber; ds: Liitgenhorst; at Xenon Disco
2/4,6,10,12,13/83 Owen's Death of the Virgin prem. & Paulus1 The Village Singer
4/21,23,27,29,30/83 Maxwell Da vies' The Martyrdom of St. Magnus
New York Opera Repertory Theatre, L. Gore, Dir.
10/21/82 The Rape of Lucretia at Tully Hall
12/16,17,18m,18,19m/82 Sandow's A Christmas Carol at Symphony Space
6/10,12/83 Beeson's Captain Jinks of the Horse-Marines at City Center
Opera Camerata, J. Holcombe, Art.Dir., TO MI Theatre
10/8-10,15-17/82 Falstaff
12/11,12,18,19/82 Hansel and Gretel 8 pfs.
5/6,7,8m,14,15m/83 La Traviata
Opera Ensemble of New York, R. Bierhoff, Art.Dir., Lillie Blake Theatre
11/5,7,10,12,14,17,19,21/82 Werther Beer, Hayden-Brown; Breeden, Crawford; c: Sheehan
2/11,13,16,18,20,23,25,27/83 Bastien and Bastienne 6c Dido and Aeneas
5/6,8,11,13,15,18,20,22/83 A Midsummer Night's Dream
Opera Stage of Brooklyn Lyric Opera, N. Myrvick, Gen.Dir.
1982-83: La Traviata; Die Fledermaus; Rigoletto; Andrea Chlnier
Queens College Opera Studio, H. Weisgall, Dir., Flushing
12/9,10,11,12/82 Gluek's Paris and Helen Eng. Goldstein; Am.stg.prem.; d: OlonScrymgeour
Queens Opera, J. Messina, Gen.Dir., Brooklyn
11/82 Tosea
4/83 II Trovatore
7-8/83 La Bone me conc.pf.
Regina Opera Theatre, M. Cantoni, Pres., Regina Hall, Brooklyn
11/27,28 12/4,5/82 Carmen w.o.
3/5,6,12,13/83 tba
6/4,5,11,12/83 Rigoletto
Scovasso Opera, S. Scovasso, Art.Dir., Lundy Hall, Sheepshead Bay
8/25 9/11,12,19,25/82 Die Fledermaus Eng. Martin; w.p.
11/21/82 5/22/83 Concerts
12/4,5,11,12/82 Cosi fan tutte Eng. Martin; w.p.
3/12,13,19,20/83 Madama Butterfly w.p.
6/11,12,18,19/83 Tosea w.p.
WNET-Channel 13, The Ring, Bayreuth Prod., P. Boulez, Mus.Dir., P. Chereau, Dir./Ds.
1/17/83 "A Ring for Television"
1/24/83 Das Rheingold
2/21/83 Die WalkUre Act I
2/28/83 Die Walkiire Acts II and III
4/83 Siegfried
6/83 Gotterdammerung
Workmens Circle, Folksbiene Playhouse
10/16,17m, 17/82 Mlotek's The Golden Land prem.
NORTH CAROLINA
Charlotte Opera, B. Chalmers, Gen.Dir., Charlotte
10/1/82 Concert with Charlotte Symphony c: Driehuys
11/18,20/82 Madama Butterfly J. Stewart, Hegierski; Austin, Tyeska; c: Rosekrans;
d/ds: Sato; co-prod, w. Piedmont <5c Augusta operas
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Charlotte Opera cont.
1/27,29/83 Fidelio Eng. Hammond/Blumer; Telep-Ehrlich, Webber; -J. West, Smith, S.
West; e: Rosekrans; d: Deutsch; ds: Dunham/White
4/14,16/83 The Pirates of Penzance Om merle, Levy; Abruzzo, Griffin; e: Rosekrans;
d: Gately; ds: Jasien; also tour by North Carolina Opera
East Carolina Univ. Opera Theatre, C. Hiss, Dir., Greenville
10/15,16/82 Opera Scenes
2/23,25,26/83 The Bartered Bride Eng.
Greensboro Opera Co., P.P. Fuchs, Art.Dir., War Memorial Auditorium
10/22/82 Lucia di Lammermoor Russell; Price, Kendall, McGraw; c: Fuchs; d: Beck
National Opera Company, D. Witherspoon, Gen.Mgr.
1982-83 tour: Cos! fan tutte; Der Wildschiitz Eng. Cowden; Don Pasquale Eng. Wilder/
Witherspoon; Die Fledermaus Eng. Martin
Piedmont Opera Theatre, N. Johnson, Art.Dir., Winston-Salem
9/24,26/82 Madama Butterfly J. Stewart, Hegierski; Austin, Tyeska; c: Johnson; d/ds:
Sato; co-prod. Charlotte & Augusta operas
University of North Carolina Opera Theatre, M. Marvin, Dir., Chapel Hill
9/13-24/83 A Game of Chance w.p.
10/28/82 de la Halle/Milhaud's The Play of Robin and Marion
11/20/82 The Impresario
4/15,16/83 Albert Herring
University of North Carolina Opera Wksp., J. Dillard, Dir., Charlotte
2/11,12/83 The Merry Widow Eng. Harnick
NORTH DAKOTA
Fargo-Moorhead Civic Opera, D. Martin, Art.Dir., Fargo
10/21/82 Zar und Zimmermann Eng. D. Martin; 3 pfs.
1/83 Tosca 3 pfs.
4/83 The Gondoliers 3 pfs.
OHIO
Cincinnati Opera, J. de Blasis, Gen.Dir., Cincinnati
11/3,5/82 Rigoletto Gonzalez, Goodson; Molese, Justus, Voketaitis; c: Ryan; d: de Blasis;
ds: Klein/Brown
3/17,19/83 Madama Butterfly Craig, Curry; c: Ryan; d: de Blasis
6/23,25/83 Alfano's Risurrezione Eng. Porter; c: Keene
6/30 7/2/83 Die Meistersinger von Niirnberg Alexander
7/7,9/83 Manon Lescaut Neblett; Theyard; d: de Blasis
7/14,16/83 COM fan tutte Eng.; Garrison, Reeve; c: Coppola
7/21,22,23/83 Carousel Edwards; c: Ryan
7/27-31/83 The Music Man c: Coppola
Cincinnati Playhouse in the Park, M. Murray, Prod.Dir., Cincinnati
11/16-12/18/82 The Wizard of Oz
Cleveland Play House, R. Oberlin, Dir., Cleveland
1/12-2/27/83 Tomfoolery
4/6-5/8/83 The Robber Bridegroom
Dayton Opera, D. DiChiera, Art.Dir., Dayton
10/30,31/82 Lucia di Lammermoor Devia/P. Myers; Fowler/Aquirre, Warner; c: Flint;
cfc Gratale; Michigan Opera prod.
3/12,13/83 The Marriage of Figaro Michigan Opera prod.
4/30 5/1/83 H.M.S. Pinafore
5/14,15/83 La Boneme
Oberlin College/Conservatory Opera Theatre, J. Layng, Dir., Oberlin
11/17,19,20/82 Falstaff Eng. Porter; Milan vers.
3/16,18,19/83 Albert Herring
12/82 5/83 Opera Scenes w.p.
Ohio State Univ. Opera Theatre, R. Stephens, Dir., Columbus
11/82 West Side Story 2 pfs.
2/83 Opera Scenes
5/83 Falstaff 2 pfs.
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Opera at Peterloon, C. Combopiano, Mus.Dir., Cincinnati
9/2,3/82 The Wandering Scholar & El Retablo de Maese Pedro
9/4,5/82 L'Osteria portoghese & O.R. Smith's Judith prem.
Otterbein College Opera Theatre, M. Achter, Dir., Westerville
2/24-26/83 The Beggar's Opera
Youngstown State Univ. Dana School of Music, D. Vogel, Dir., Youngstown
11/22,23/82 HeUo Out There & The Four Note Opera
2/14/83 Opera Scenes
5/19-21/83 Cosi fan tutte Eng.
Youngstown Symphony Orchestra, J. Hynes, Mgr., Youngstown
3/11/83 La Traviata Goetz, Cortez, Rhodes; c: Leonard; d: Lloyd
OKLAHOMA
Cimarron Circuit Opera, D. Moore, Gen.Mgr., Norman
1982-83 tour: Rigoletto; Hansel and Gretel; Cosi fan tutte; Scenes
Oklahoma City Univ. Opera Wksp., C. Osterhaus, Dir., Oklahoma City
10/15,16,17/82 On the Town
11/19,20,21/82 Naughty Marietta
2/25,26,27/83 The Tales of Hoffmann
4/8,9,10/83 Purlie
Oklahoma State Univ. Opera Theatre, S. Van Eaton, Dir., Stilwater
10/29,30/82 Little Red Riding Hood
2/10,11/83 Opera Scenes
Southwestern Oklahoma State Univ. Opera Wksp, C. Chapman, Dir., Weatherford
10/21,22/82 Rigoletto
4/13,14,15,16/83 The Fantasticks
University of Oklahoma Music Theatre, J. Birkhead, Dir., Norman
10/22-24/82 The King and I 4 pfs.
2/4-8/83 La Penehole Eng. Valency; 4 pfs.
4/23-26/83 The Mikado 4 pfs.
University of Tulsa Opera Theatre, J. Auer, Dir., Tulsa
12/3,4,5/82 Amahl and the Night Visitors 4/83 Opera Scenes
OREGON
Eugene Opera, J. Toland, Gen.Mgr., Eugene Performing Arts Center
10/9/82 La Boheme Eng. Martin; Jaffe, England; Ford, N. Wilson; c: Bayles; d: Gillas;
ds: Williams/Freedman
12/31/82 Die Fledermaus Eng. Wolfe; Bauer, Hurwitz; Poole, Lash; c: Bayles; d: Gressler
5/7/83 Don Pasquale Eng. Martin
6/23-26/83 The Yeomen of the Guard
National Opera Ass'n Convention, Portland
11/11/82 The Face on the Barroom Floor dinner theatre/Portland Opera prod.; Sam's
Benjamin Ballou prem.; University of Washington at Seattle prod.
11/13/82 Zytowski's The Play of the Three Shepherds prem. & Thomas of Canterbury
University of California Santa Barbara prod.
University of Portland Opera Wksp., R. Doyle, Dir., Portland
12/82 The Fantasticks 4 pfs.
Willamette Univ. Opera Theatre, J. Viamonte, Dir., Salem
3/2,4,5,6/83 Gianni Schicchi Eng. Pitt & La Cantarina Eng. Heiden/Viamonte
PENNSYLVANIA
Academy of Vocal Arts, D. Yannopoulos, Dir., Philadelphia
1/25,26,28,29/83 Cosi fan tutte
2/22,23,25,26/83 Capriccio
3/22,23,25,26/83 Der Schauspieldirektor & Prima la musica, poi le parole
4/26,27,29,30/83 The Marriage of Figaro
5/17,18,20,21/83 The Magic Flute
Berks Grand Opera, A. Jurkiewicz, Art.Dir., Reading
11/6/82 Carmen Eng. Martin
4/16/83 Manon Lescaut
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Bucknell Univ. Opera Wksp., J. Kelly, Dir., Lewisburg
3/83 A Game of Chance <5c Scenes
Combs College & William Penn Opera Committee, Academy of Music, Philadelphia
10/24,26,29/82 Cascarino's William Penn prem.; Ferraro; Cheek; c: Macatsoris; d:
Yannopoulos; ds: Businger; w. Concerto Soloists of Philadelphia & Philadelphia Singers
Curtis Institute of Music Opera Dept., B. Goldovsky, Dir., Philadelphia
12/82 The Marriage of Figaro Eng.
Indiana Univ. of Pennsylvania Opera Wksp., J. Wildeboor, Dir., Indiana
10/28,29,30/82 The Mikado
2/3,4,5/83 My Fair Lady
4/21,22,23/83 The Magic Flute Eng. Martin
Opera Ebony, M. Poindexter, Mgr., Academy of Music, Philadelphia
5/5,7/83 Nabucco
Philadelphia College of Performing Arts Opera Wksp., K. Walker, Coord., Philadelphia
10/29-31 11/13/82 Don Pasquale d: Walker; 10/30 Eng.
11/17 12/10-12,20,21/82 Opera Scenes
2/11-13/83 The Secret of Susanna & Scenes
Pittsburgh Chamber Opera Theatre, M. Miller-Posvar, Art.Dir., touring company of Pittsburg Opera
11/28,29 12/4,5/82 Hansel and Gretel
12/11,12/82 Amahl and the Night Visitors
2/1-10/83 Cos! fan tutte
Pittsburgh Public Theatre, B. Shaktman, Art.Dir., Pittsburgh
9/1-10/24/82 Damashek's Tom Jones
12/16/82-1/30/83 Damashek's Quilters
RHODE ISLAND
Providence Opera Theatre, W. Noll, Gen.Dir., Ocean State Pfg. Arts Center
10/22,23/82 Lucia di Lammermoor Ringo; Morales, Cunningham; c: Peress; d: Oliver
3/11,12/83 Tosca
4/15,16/83 Carmen
SOUTH CAROLINA
Bob Jones Univ. Opera Ass'n, E. Gustafson, Dir., Greenville
3/22,24,26/83 Tosea Telep-Ehrlich; Gibbs, Flagello
Charleston Opera, H. Dukes, Pres., Charleston
10/29,30,31 11/5,6/82 Gypsy
2/25,27 3/5,6/83 Die Fledermaus
4/8,10,15,16/83 Hansel and Gretel
TENNESSEE
Carson-Newman College Lyric Theatre, T. Teague, Dir., Jefferson City
10/21,22,23/82 Oklahoma!
Spring '83 Elijah stgd. pfs.
Chattanooga Opera, R. Austin, Art.Dir., Chattanooga
10/7,9/82 La Traviata P. Hunter; Farina, C. Smith; c: Austin
4/21,23/83 The Ballad of Baby Doe
Maryville College Opera Wksp., K. Skinner, Dir., Maryville
10/19,21/82 Gallantry & Hin und zuriick & A Hand of Bridge w.p.
2/18,19,23,24,25,26/83 Fiddler on the Roof
4/12,14/83 Stop the World, I Want to Get Off
Opera Memphis/Southern Opera Theatre, A.A. Randolph, Exec.Dir., tour
11/29-12/17/82 Larsen's Silver Fox 15 pfs.
1/10-5/1/83 The Pirates of Penzance 48 pfs.
American Opera Series: 9/82 Face on the Barroom Floor 8 pfs.; 10/82 Titus' Rosina 4 pfs.
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Opera Memphis, A. A. Randolph, Exec.Dir., Memphis
10/16/82 Renata Scotto in Concert
11/18,20/82 Susannah P.Myers; Vining, M.Talley, Dooley; c: Hess; d: Bakman; ds: Wong
2/24,26/83 Carmen Senn, Williams; Gibbs
4/15,17/83 The Abduction from the Seraglio Eng. dialogue Atherton; Pruett, Bradley;
Atherton
Playhouse on the Square, J. Nichols, Exec.Dir., Memphis
9/1-10/23/82 Chicago
12/10/82-1/15/83 Cabaret
5/17-7/4/83 1776
University of Tennessee Opera Theatre, D. Pennebaker, Dir., Chattanooga
1/21,23/83 Summer and Smoke
3/24,25/83 The Pirates of Penzance
TEXAS
Baylor Univ. Opera Theatre, J. McFadden, Mus.Oir., Waco
10/18,19/82 The Telephone <5c Gianni Schicchi Eng. Grossman
2/25,26,27,28/83 The Magic Flute Eng. Martin
Dallas Theatre Center, P. Baker, Art.Dir., Dallas
3/29-5/7/83 The Threepenny Opera
Hardin-Simmons Univ. Opera Theatre, J. Middleton, Dir., Abilene
2/83 Something's Afoot
Houston Grand Opera, D. Gockley, Gen.Dir., Houston (see also Vol. 24, No. 1)
11/10/82 Kiri Te Kanawa in Concert
1/22,26,27/83 The Daughter of the Regiment Mills, Krueger; Cameron, Sullivan; e:
France; d: Gately
2/27/83 Leontyne Price in Concert
3/26,30,31/83 The Merry Widow Putnam, Holliday; Freeman, Trussel; c: France; d:
Gately
5/4,5,7/83 Sugar Babies Miller; Rooney; National Company prod.
6/17,18,19m,20,22,23,24/83 Trouble in Tahiti & Bernstein's A Quiet Place prem.
Previously announced Lohengrin cancelled
Lamar Univ. Opera Theatre, J. Truncate, Dir., Beaumont
2/4,5,6/83 The Medium <5c Amelia al ballo
8/83 Opera Scenes
Midwestern State Univ. Opera Wksp., R. Hansen, Dir., Wichita Falls
11/11,12/82 Bastien und Bastienne <5c The Old Maid and the Thief
4/7,8,9,10/83 Company
San Antonio Symphony/Grand Opera, L. Smith, Mus.Dir., San Antonio
1/27,29/83 II Tabarro & Gianni Schicchi Galvany; D. Bailey, Rhodes <5c Galvani, Gutknecht; D.R. Smith
2/25,27/83 Don Pasquale
4/8,10/83 Eugene Onegin Sundine; Cross
Southern Methodist Univ. Music Theatre, J. Burrows, Dir., Dallas
11/82 The Magic Flute
Spring '83 The Rake's Progress
Southwestern Baptist Theological Seminary Opera Wksp., S. Gray, Dir., Ft. Worth
4/18,19/83 Noye's Fludde
Stephen F. Austin State Univ. Opera Wksp., D. Jones, Dir., Nacogdoches
3/23-26/83 I/Elisir d'amore Eng. Martin
Tarleton State Univ. Opera Wksp., J. Kavanaugh, Dir., Stephensville
2/25/83 Anything Goes
Texas Christian Univ. Opera Wksp., A. Hopkin, Dir., Ft. Worth
3/25,27/83 Gianni Schicchi & Suor Angelica
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Texas Tech Univ. Music Theatre, J. Gillas, Dir., Lubbock
10/28,29,30/82 La Traviata Eng. Machlis
Theatre Three, J. Alder, Prod.Dir., Dallas
9/24-11/6/82 Sweeney Todd d: Eddleman
7/8-8/21/83 Tomfoolery
Trinity Univ. Dept. of Music, Stravinsky Centennial Music Festival, San Antonio
11/12-14/82 inch L'Histoire du soldat; Les Noces; guest speaker: Craft
University of Texas Opera Theatre, W. Ducloux, Dir., Austin
10/21-24/82 Don Giovanni Eng. Martin
11/11-14/82 The Yeomen of the Guard
3/4-6/83 A Masked Ball Eng. Fuchs
UTAH
Btigham Young Univ. Music Theatre, C. Robison, Dir., Provo
12/9-11/82 Amahl and the Night Visitors
2/18,19,23,25,26/83 The Consul
Pioneer Memorial Theatre, K. Engar, Exec.Dir., Salt Lake City
9/29-10/16/82 Kismet d: Martin
2/16-3/5/83 Fanny d: Engar
5/11-28/83 South Pacific d: Hewett
VIRGINIA
James Madison Univ. Opera Wksp., J. Little, Dir., Harrisonburg
12/3,4,9,10/82 La Cantarina Eng. Geiringer & Benjamin's The Prima Donna
2/22-27/83 The Marriage of Figaro Eng. Dent
Southwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke
9/82 Falstaff 3 pfs.
5/83 Madama Butterfly 3 pfs.
WASHINGTON
Civic Light Opera, A. Ford, Art.Dir., Seattle
10/8-31/82 Kiss Me Kate
2/18-3/13/83 The Most Happy Fella
4/22-5/15/83 Flower Drum Song
Seattle Opera, G. Ross, Gen.Dir., Seattle (see also Vol. 24, No. 1)
12/13,14,17,18,19/82 Amahl and the Night Visitors c: Mitchell; d: Ross
Seattle Pacific College Opera Wksp., W. Saba, Dir., Seattle
University of Washington Opera Theatre, R. Rosinbum & R. Feist, Dirs., Seattle
11/12/82 Sams' Benjamin Ballou prem.; at NOA Convention, Portland
ll/17,19,20,21m/82 The Marriage of Figaro Eng. Martin; c: Feist; d: Rosinbum; ds:
F orrester/Dahlstrom
2/83 tba
5/83 Lakml
WEST VIRGINIA
West Virginia Univ. Opera Theatre, J. Benner, Dir., Morgantown
11/3-5/82 4/83 Opera Scenes w.p.
3/9-12/83 The Marriage of Figaro w.o.
WISCONSIN
Madison Civic Opera, R. Johnson, Mus.Dir., Madison
3/18,20/83 The Bartered Bride Eng.; Gutknecht; D. Nelson, Voketaitis; d: A. Johnson
Skylight Comic Opera Community/Education Prog, (see also Vol. 24, No. 1)
1982-83 tour: Marriage by Lanternlight; Cox and Box
Theatre X, K. McCain, Mng.Dir., Milwaukee
10/22-24/82 Hindemith's Baden Baden Learning Play (Lehrstiick) c: Foss
Wisconsin Opera Theatre of the Florentine Opera, J. Gage, Gen.Mgr., Milwaukee
10/7-10/82 La Cenerentola Eng.; w. Youth Orchestra; at Pabst Theatre
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PUERTO RICO
Opera de Camera, L. Pereira, Gen.Dir., Rio Piedras
8/30-9/13/82 5/83 La Serva padrona 9 pfs.
12/25,26/82 1/1,2,6/83 Amahl and the Night Visitors
8/83 Bastien und Bastienne 6c Arlecchino & David and Goliath
CANADA
Banff Centre School of Fine Arts Music Theatre Studio Ensemble, M. Bawtree, Dir.
11/22,23/82 Hudd's Beautiful Dreamer N. Am.prem.; d: C. Smith; ds: Porteous; also
tour
12/9,10/82 The Shivaree
4/7,8,9/83 Oliver's Artists and Admirers prem.; c: Bedford; d: Graham; ds: Jampolis
Carnaval Souvenir de Chicoutimi, R. Mimeault, Dir., Chicoutimi
2/3-13/83 La belle Helene
Comus Music Theatre, B. Bridgman, Art.Dir., Toronto
5/83 Schafer's Ra prem.; 29 pfs.
Cosmopolitan Opera, M. Strano, Pres., Toronto
9/12,24/83 Madama Butterfly Castaneda, Sadegur; Strano, Ingram; c: Shookhoff; d: Aster
12/10,11/82 n Trovatore Castaneda, Richardson; Strano; c: de Clara; d: Thomas
Hamilton Philharmonic Orchestra, H. Robertson, GeiuMgr., Hamilton
2/9,10/83 Carmen eonc.pf.
2/12/83 Die Fledermaus eonc.pf.
McGill Univ. Opera Studio, E. Delia Pergola, Dir., Montreal
11/21/82 1/30 4/10/83 Opera Scenes w.p.
3/9,10,12,13/83 Les Contes d'Hoffmann w.o.
Montreal Symphony Orchestra, C. Dutoit, Mus.Dir., Place des Arts, Montreal
5/83 Samson et Dalila excerpts in concert; Norman; McCracken, Quilico; also 5/21
at Carnegie Hall
National Arts Centre, D. MacSween, Gen.Dir., Ottawa
11/10-14/82 The Mikado Stratford Festival prod.
Opera in Concert, S. Hamilton, Prod., Toronto
10/23,24/82 Vanessa Jean/Blaser, Loeb/James; Silva-Marin/Evans, Cameron/Katz
12/4,5/82 The Gypsy Baron Tomlin/Roslak, Maltese/MacPhail; Stilwell/McLean
2/5,6/83 Rameau's Hippolyte et Aricie Patenaude/Browning, Dorenfeld/Smith; DuBois/
McLean
4/9,10/83 Samson et Dalila Forrester; Jones/Shust, Barcza/Baerg
Opera Hamilton, S. Thomas, Art.Dir., Hamilton
9/16,18/82 Madama Butterfly Pellegrini, Malakova; Bartolini, Elvira; c: Guadagno;
5/12,14/83 Aida Gessendorf, Paunova; de Marseille, Garrard; c: Woitaeh; d: Thomas
Pacific Opera Ass'n, C. More, Gen.Mgr., Victoria
9/16,18,21,23,25/82 Die Fledermaus Noye; Margison, Evans; c: Vernon; d: Leyshon; ds:
Simon
12/17,18/82 Cinderella in Salerno (La Cenerentola) adapt. Walker/Beaumont; Pacific
Opera Children's Chorus
2/17,19,21,24,26/83 Tosea Stevenson; Cole, Turgeon; c: Vernon; ds: Fellows
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New Operas and Premieres - CPANDA: Cultural Policy and the Arts

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