RECEIVED JUL 2 5 198<i
CENTRAL OPERA SERVICE BULLETIN
VOLUME 25, NUMBER 3
INDEX
5^NDPREMlEPEr.
1
11
24
1 GANIZAHOKlS
21
29
33
37
37
39
40
47
48
50
V
1.'
58
71
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Sponsored by the Metropolitan Opera National Co
CENTRAL OPERA SERVICE COMMITTEE
Founder
MRS. AUGUST BELMONT
(1879-1979)
Honorary National Chairman
ROBERT L.B. TOBIN
National Chairman
MRS. MARGO H. BINDHARDT
National Vice Chairman
MRS. MARY H. DARRELL
1984 COS NATIONAL CONFERENCE:
Premiere Development of New Operas and Music Theater Works
Chicago, November 7, 8, 9, 1984
(see page 37 for details; members will be sent registration forms in late
August; non-members may request forms by writing or telephoning)
Next Issue:
Directory of Operas/Musicals for Young Audiences
Central Opera Service Bulletin •
Editor, MARIA F. RICH
Vol. 25, No. 3 •
Summer 1984
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
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ISSN 0008-9508
NEW OPERAS AND PREMIERES
The Arkansas Opera Theatre in Little Rock will give t h e premiere of
Elizabeth Larsen's newest opera, CLAIR DE LUNE, on February 22, 1985.
The title is t h e name of a plane, flown by t h e opera's heroine, a stunt
pilot in Paris in t h e 30's. Artistic director Ann Chotard will stage t h e
premiere production.
The premiere of Lee Hoiby's THE ITALIAN LESSON, planned and cancelled
as mentioned in earlier COS Bulletin issues, will now take place on
January 18, 1985, when the Baltimore Opera inaugurates its new series
of performances at t h e Friedberg Auditorium of t h e Peabody Conservatory
(see News from Companies). The story is based on writings by Ruth
Draper and tells of a day in t h e life of a wealthy New York matron.
The Baltimore Opera was able t o persuade t h e renowned actress Jean
Stapleton t o participate. The other two contemporary operas sharing t h e
triple-bill entitled "American Portraits" a r e Weisgall's The Stronger, with
Patricia Craig, and Pasatieri's La Divina.
William Neil, resident composer of t h e Lyric Opera of Chicago, is creating
a work based on Nelson Algren's novel THE DEVIL'S STOCKING.
The
Lyric Opera Center will offer a workshop staging with orchestra of t h e
first act of this work-in-progress.
Peter Westergaard, Director of t h e Princeton University Opera and the
June Opera Festival of New Jersey (see Vol. 24, No. 3), is writing a new
opera based on Shakespeare's THE TEMPEST.
A twenty-minute scene
will be premiered at t h e first June Festival on June 29 as part of a
program of operatic excerpts. For t h e complete schedule see Performance
Listing.
DREYFUS, a new two-act opera by Morris Moshe Cotel with a libretto
by Mordecai Newman, retells t h e famous/infamous story of the Dreyfus
Affaire, which took place in France in t h e 1880's. A full-length opera,
it will be premiered within t h e Brooklyn Philharmonic's "Meet t h e Moderns"
series, and will be staged a t t h e Playhouse of t h e Brooklyn Academy of
Music on January 17 and 18, 1985.
The Golden Fleece Ltd. in New York presented a triple-bill of new works,
all in their world premieres: THE CASK OF AMONTILLADO, with music
by Russell Currie and libretto by Carl Laanes, THE DIET, music by Elmer
Olenick, libretto by Carl Gersuny, and THE DRAGONFLY PARTITA, with
music by Lou Rogers and t h e poem/libretto by Robert Gresh. The first
of six performances took place on March 22; all were presented a t TOMI,
the Royal Park T h e a t r e . — In June, t h e same company performed at
New York's Mercer Street Theatre, premiering ADAM AND EVE III, with
music by Lor Crane and libretto by Seymour Reiter, together with LAST
LETTERS FROM STALINGRAD by Elias Tanenbaum.
The Bronx Arts Ensemble 'repeated Currie's version of the Edgar Allan
Poe story (see above) on April 29, coupled with a new work by the same
composer, commissioned by the performing group. A DREAM WITHIN A
DREAM has a libretto by Robert Kornfeld and is also based on a story
by Poe.
On March 11, the American-Israeli Opera Company gave the first
performance of Ron Weidberg/Irwin Donald Nier's DRACULA at New York's
Greenwich House Theater.
-1-
NEy
AMERICAN
OPERAS
NEW OPERAS AND PREMIERES
John Cage's latest music theatre piece could be heard at the Whitney
Museum Composers' Showcase on March 7. MUOYCE is based on the
work of James Joyce; the composer participated in the premiere by
"chanting" his music.
The Tri-Cities Opera in Binghamton, New York, is planning the world
premiere of Myron Fink's CHINCHILLA for the 1985-86 season. A comedy
set in New York City in 1928, it revolves around the sale and ownership
of four chinchilla coats. Donald Moreland is the librettist. Excerpts
have been presented by Tri-Cities Resident Artists in 1981 and by the
Opera America Showcase in 1982. Mr. Fink's earlier opera, Jeremiah,
was premiered by the Binghamton company in 1962 and restaged there in
1983.
BLAKE is the working title of a new opera by Leslie Adams, based on
a novel by Martin Delany and set in the time before the Civil War.
NEW
COMMISSIONS
The Des Moines Metro Opera has commissioned Lee Hoiby t o compose an
opera on Shakespeare's THE TEMPEST, for a premiere in summer 1986.
Mark Shulgasser is writing t h e l i b r e t t o for t h e full-length work. (See
also same t i t l e above.)
Charles Strouse, t h e composer of such Broadway hits as Annie, Bye, Bye,
Birdie, and Applause, and also t h e children's opera Nightingale, is currently
working on a new piece commissioned by t h e Music Society of t h e Midland
C e n t e r for t h e Performing A r t s . Writing his own l i b r e t t o , Mr. Strouse
will examine t h e similarities and differences b e t w e e n musical t h e a t e r and
opera today. The premiere is planned for June '85 in t h e Michigan city.
The Sesquicentennial celebration of t h e City of Rochester in New York
was t h e occasion for a commission of a new opera from composer Zelman
Bokser. SUSAN B. ANTHONY is t h e central figure; t h e Opera T h e a t r e
of Rochester plans t h e first performance for 1985.
A new work has been commissioned by t h e G r e a t e r Miami Opera for a
premiere in 1988. Neither t h e composer's name nor t h e subject matter
has as yet been disclosed.
MUSIC
THEATER
WORKS
On March 20, t h e Music T h e a t r e Group/Lenox Arts C e n t e r opened with
a new music t h e a t r e piece, THE GARDEN OF EARTHLY DELIGHTS, based
on the famous triptych painting by Hieronymus Bosch. Conceived by
Martha Clarke, who,.together with Tom Cole, wrote the book, the work
features music by Richard Peaslee. After a three-week run in New York,
the production will move to L'Espace Cardin at the Muse'e Beaubourg in
Paris. — Another new musical inspired by a famous painting is James
Lapine/Stephen Sondheim's Sunday in the Park with George (see Vol. 25,
No. 1), which made a successful transition from showcase workshop to
commercial Broadway theatre. The George in the story is painter Georges
Seurat, the painting his famous "A Sunday Afternoon on the Island of La
Grande Jatte", more simply referred to as "La Grande Jatte".
While the premiere of the complete Robert Wilson/Byrne/Glass the CIVIL
warS was cancelled by the Olympic Arts Committee (see also American
Premieres), there is one world premiere of an American multimedia music
theater piece that is included in the festivities. It is Morton Subotnick's
THE DOUBLE LIFE OF AMPHIBIANS, which will be given its first
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NEW OPERAS AND PREMIERES
performance in Los Angeles on June 20.
Mark Twain's Huckleberry Finn inspired author William Hauptman and
country/pop-music composer Roger Miller to create BIG RIVER. Robert
Brustein is planning a production by his American Repertory Theatre, but
not before the musical has gone through a workshop tryout. Des McAnuff
is to direct the show.
New York's Vineyard Theatre and Workshop Center has premiered Carol
Hall's WHOLLY COMMUNION on May 15, and Bob Merrill's WE'RE HOME
on May 23.
On May 6,
Stern-Wolfe
written for
mounted at
the Downtown Opera Players under Artistic Director Mimi
gave the premiere of Louis Calabro's THE PARADISA BIRD,
narrator, mime, strings, and flute. The performance was
the Theater for the New City in New York.
The Reverend Al Carmines, who has given his faithful New York audiences
some forty music theatre pieces written and produced by him, has added
a new work, EXHALATIONS, premiered at the Madison Avenue Baptist
Church on May 24.
As a result of her visit to Israel, Elizabeth Swados wrote JERUSALEM,
incorporating English poems by Yehuda Amichai. Scored for a cast of
twenty-two singers and five instrumentalists, the work first identifies the
various sections of the city, reflecting their different backgrounds and
cultures, then joining them into one whole through the stories of individual
characters. A series of first performances took place in New York at
La MaMa E.T.C. in late May.
The American Academy and Institute of Arts and Letters has given the
1984 Richard Rodgers Production Award of $65,000 to BROWNSTONE, a
musical by Andrew Cadiff, Peter Larson, and Josh Rubin. The grant will
be used towards performances by the Hudson Guild Theater in New York
from May 23 to June 17. - The AAIAL 1984 Development Grant in the
amount of $10,000 was awarded PAPUSHKO by Andrew Tierstein, a fantasy
about modern life in Brooklyn. The money will facilitate a staged reading
by the Musical Theater Project in New York.
Writer/lyricist Tony Mueller and composer Jack Gallup of Mankato State
University in Minnesota won the '84 ASCAP Musical Theatre Award for
GEORGIE DOWNS AND THE LORD OF LIGHTBOOTH. The annual prize
is administered by the American College Theatre Festival.
The story of Eli Whitney, inventor of the cotton gin, is at the heart of
ELI W. The Susan Hulsman Bingham musical was first shown at the
Shubert Theatre in New Haven on May 18 and 19.
On May 10, the Tyrone Guthrie Theater in Minneapolis opened a new
show, HANG ON TO ME, first announced as I Don't Think I'll Fall in
Love Today. It combines George and Ira Gershwin music and texts with
Maxim Gorky's story Summerfolk. It was conceived by Peter Sellers in
collaboration with author Maria Markoff-Belaev.
Composer/librettist Deborah Henson-Conant was one of three recipients
of the $5,000 Massachusetts Artists Fellowships, awarded to resident
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NEW OPERAS AND PREMIERES
composers by The Artists Foundation, Boston. Her winning entry was
made up of three songs from her cabaret-musical, THE LETTER.
Bob Telson's THE GOSPEL AT COLONUS, premiered at the Next Wave
Festival of the Brooklyn Academy of Music in November (see Vol. 25, No.
1), had its first performances by an opera company in May and June.
The Houston Grand Opera presented this music theater work, inspired by
the "American Black church experience and based on Sophocles' Oedipus
at Colonus", at its outdoor spring festival at Hermann Park. There is
never any admission charge at these performances.
COMPOSER/
LIBRETTIST
SHOWCASES
Following its first workshop showcase in New York and in Washington
last year, which presented two new music theatre pieces in 1983, the
National Institute for Music Theater scheduled a week of new events in
New York for May 11 through 19. The "Music Theater Celebration 84"
offered three new works-in-progress: DRAGONS, with music, book and
lyrics by Sheldon Harnick based on a play by Yevgeny Schwarz, and a
double-bill of THE SEDUCTION OF A LADY, a one-act, comic opera by
Richard Wargo based on a play by Neil Simon, together with THE SONGS
FROM BLANCO, with music by Skip Kennon and lyrics by Michael Korie.
An additional attraction was the Italian section of Philip Glass and Robert
Wilson's the CIVIL warS: a tree is best measured when it is down in a
concert presentation by the New York Opera Repertory Theatre. This
constituted the work's first American performance. All the above events
were held at the New York City Center on West 55 Street, and were
open and free to the public except for the performance of the Glass/Wilson
work, for which admission was charged. There were also four different
video/music theatre programs, which could be observed on individual
monitors in the Center's "Space", and one day was reserved for a symposium
discussing developments and trends in the presentation of new music
theatre works.
The American Music Theater Festival in Philadelphia (see Vol. 25, No. 1)
will offer, in its first season this summer, five contemporary pieces, two
in world premieres, one as a work-in-progress. Through the use of four
different theaters, the company will be able to present a total of seventyeight events between June 23 and July 15. (For details see Performance
Listing.) TRIO, with music and lyrics by Noa Ain and directed by Hilary
Blecher, combines chamber opera with serious and popular music; its first
performance is scheduled for June 28. THE EMPEROR JONES is a "music
theater dance work" by Coleridge Taylor Perkinson after O'Neill, and its
premiere production will feature the Alvin Ailey Dancers. It, too, opens
on June 28. X (The Life and Times of Malcolm X), with a book by
Thulani Davis-Jarman and Christopher Davis, and music by Anthony Davis,
will be seen as a work-in-progress on June 27, as staged by Rhoda Levine.
The other contemporary music theater works are SEEHEAR, music by Paul
Dresner and direction by George Coates, and MRS. FARMER'S DAUGHTER
(Frances Farmer), with music and lyrics by Jack Eric Williams. The one
old-time musical, which will be played throughout the three weeks in a
total of twenty-seven performances, is George and Ira Gershwin and
George Kaufman's Strike Up the Band, especially reconstructed by the
Festival's artistic director, Eric Salzman, and staged by Frank Corsaro.
A very ambitious program for an opening season.
June 3-17 are the dates of the 1984 National Opera/Music Theater
Conference of the O'Neill Theater Center in Waterford, Connecticut.
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NEW OPERAS AND PREMIERES
CAFE VIENNA, 1907, with music and libretto by Richard Pearson Thomas,
and GOOD FRIENDS, with music, book and lyrics by Gil Perlroth, will be
developed under the supervision and with the assistance of Music Director
Paulette Haupt-Nolen, writer Joe Masteroff, and other professionals; LISA
AND DAVID, with music by Richard Nelson and a libretto by John Driver,
based on T. I. Ruben's novel of the same title, will receive three staged
readings on June 14, 15, and 16, following a two-week rehearsal period.
The three works were chosen from more than 100 that were submitted
for consideration.
In its first season, Musical Theatre Works, which is devoted to tryouts
of new pieces (see New Companies), gave workshop readings of THE BOYS
IN THE LIVE COUNTRY BAND by Jeff Tambornino, Andy Badale and
Barbara Fried; DEAR by Rosalyn Drexler, nominated for the Blackburn
Award, was presented in a reading in October '83.
A new program instituted by the Guggenheim Museum offers showcase
presentations of new works to be performed in New York. The first such
session was held in the Museum's auditorium on May 6, in collaboration
with the New York City Opera.
It was devoted to Philip Glass's
AKHNATEN, with the composer and the libretto collaborator discussing
their work with conductor Christopher Keene. Two singers and an
accompanist demonstrated parts of the music. Mr. Glass referred to the
work as the third and final part of his trilogy of "portrait operas", the
others being Einstein on the Beach and Satyagraha (Ghandi) which will
reach the City Opera in 1985. Future sessions at the Guggenheim will
feature composer Charles Wuorinen in connection with a performance at
Symphony Space; another will have composer John Corigliano as its guest,
and there may also be one devoted to Dominick Argento and his new
opera, Casanova's Homecoming. The latter will be performed by the New
York City Opera in fall 1985, following its premiere in Minnesota.
The Civic Light Opera Company of Pittsburgh has announced that it will
"workshop" a new musical next season. The choice fell on the two-act
STAR OVER BROOKLYN, with music by Tim Simon and book and lyrics
by Dennis Shippy.
The 1984 Imagination Celebration at Kennedy Center in Washington, DC,
in April included new children's musicals. The First All Children's Theatre
of New York gave nine performances of THE TRIP, with music and lyrics
by Stephen Schwartz (Godspell) in an adaptation by Anthony Stein, with
a curtain raiser ballet, Clementina's Cactus.
Another New York group,
the Performing Arts Repertory Theater, offered three performances of
THE AMAZING EINSTEIN, A Biography from Boyhood to Fame, with music
by Thomas Tierney, book by Jules Tasca, and lyrics by Ted Drachman.
The Sarasota Opera's Apprentice Artists mounted their own production of
a new one-act opera for educational programs. It was A. Paul Johnson's
ANZOLLO AND VALERIA, performed February 17 and 18.
Three new short operas by Alan Rea are toured by his Sierra Chamber
Opera to schools in and around Fresno, California. The previously
announced Falstaff In and Out of Love was premiered last October, THE
WITCH'S BROOM, a one-act, forty-minute work with a libretto by William
Monson, was first performed on February 12, and the latest one-act, THE
PRINCE OF PATCHES, will be the touring vehicle next October.
-5-
NEW
CHILDREN'S
OPERAS
NEW OPERAS AND PREMIERES
Television's "Mister Roger's Neighborhood" continues to include new
children's operas by the program's host and originator. The latest was
performed on the program in May; its title is GRANDPARENTS, and it
tells the story of a little boy wishing for a grandfather, who appeared in
the person of baritone John Reardon.
The Kentucky Opera's education and touring ensemble has developed
OPERA GO ROUND, using two resident singers with an accompanist. The
36-minute program, written by the company's general director, Thomson
Smillie, is subtitled "Getting Ready for Opera", and, in addition to arias
and ensembles, the artists demonstrate quick costume changes, "compete
on high notes", and generally talk about living with opera. About ninety
performance/demonstrations were booked in April and May.
Similar to the school program introduced by the Metropolitan Opera Guild,
wherein professionals assist or advise grade students in developing their
own opera, Cincinnati Opera's young artist program ECCO! worked with
fifth and sixth grade students in its area. The result is THREE DAYS
TO PERFECTION, created by students at the Robert Lucas Intermediate
School in Sharonville, Ohio, as part of a six-week language arts project.
The story is based on the book Be a Perfect Person in Just Three Days
by Stephen Manes, and the author came from New York to attend the
opening performance in February.
ECCOI's stage director, Gordon
Ostrowski, and its musical coach, Henri Venanzi, lent their guidance to
the project.
Several new children's operas are being performed in England. Jeremy
James Taylor is presenting his CAPTAIN STIRRICK at his Children's Music
Theatre in London and also at the Edinburgh Festival. He also wrote
the libretto for THE TOWER OF BABEL, a church opera with music by
David Nield, which is scheduled for a premiere at the Edinburgh Festival
in August, featuring the 150-voice Scottish Children's Chorus. Other new
works premiered in Spring '84 are HELEN COME HOME and POWDER
MONKEYS, the latter a ballad opera set in 1815; it was premiered in
Cambridge. — The Buxton Festival announced a new operatic version
of ROBIN HOOD, a children's opera by Norman Kay. This summer's
Festival will bring the first performance.
NEW OPERAS
IN ACADEMIA
The third annual chamber opera contest sponsored by Brooklyn College
was won by Edward C. Garza and his A MARRIAGE PROPOSAL, for
which he wrote both the music and libretto, based on the Chekov story.
The one-act work calls for a cast of three - the young woman, her father,
and a suitor. It was premiered at the College on February 3 and given
five subsequent performances, together with two other new one-act operas:
THE FAREWELL SUPPER, music by Frederic Hart, libretto by Francis
Barnard based on Schnitzler's play Anatole, calling for a cast of four,
and THE LETTER, with music and libretto by Frances White. In addition,
the three productions were separated by SCENE CHANGES, written by
Scott Carr with music by William Boswell.
The Conservatory of Music together with the Theatre Arts Department
of Baldwin-Wallace College in Berea, Ohio, staged a double-bill of operatic
premieres accompanied by full orchestra. THE INTRUDER is a one-act
drama with music by James Feldman and a libretto by Gary Stolcals,
adapted from a play by Maeterlinck. It calls for a cast of three men
and three women, and has a playing time of about forty-five minutes.
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NEW OPERAS AND PREMIERES
The composer is a member of the school's music faculty, and a video tape
is available from him for interested producers. - The second work on the
program was the one-act, two-scene GENEVIEVE (Another Fourth of July),
with music and libretto by Earl George. This opera also features six
soloists, but, in addition, requires a chorus. The composer, a graduate
of the Ohio university, is now professor of music at Syracuse University.
The premiere performances of both operas took place on February 10.
Two new works added to the American operatic repertoire and premiered
this season are both based on historical figures from the locale of the
performing ensemble at the respective universities.
HIGH DOLLAR
WOMAN IN A LOW DOLLAR TOWN, with music by Charles Chapman and
libretto by Claude Kezer, was first performed by Southwestern Oklahoma
State University in Weatherford on October 5, 1983. The colorful central
character of the music-drama was an early pioneer in Oklahoma and,
incidentally, an aunt of the librettist. — The Brigham Young University
Music Theatre in Provo, Utah, was the other commissioning and producing
organization; the work is entitled EMMA, with music by Murray Boren and
a libretto by Eric Samuelsen. It tells the story of the widow of the
Mormon prophet Joseph Smith, who was killed by a mob in Illinois in
1844.
A "dissonant musical texture" seems well suited to the dramatic
conflict of Emma, who finally forgoes the journey to Utah. The first
performance took place on January 26.
May 3 marked the first staged performance with orchestra of Robert
Xavier Rodriguez' SUOR ISABELLA, a comic tale after Boccaccio's
Decameron, presented by the Opera Department of Boston University. It
had received a reading with piano at the University of Texas at Dallas
in 1981.
Carl Zytowski's THE PLAY OF THE THREE MARIES AT THE TOMB was
premiered at the University of California in Santa Barbara on April 22.
The work requires a cast of five, a women's chorus, and an accompaniment
of six instruments.
THE WOMAN AT THE WELL is a one-act chancel piece for church performance commissioned from Lee Scott (music) and Grace Hawthorne (libretto)
by Samford University in Birmingham. It will be premiered April 10, 1985.
This past spring, the Opera Department at the University of Montana in
Missoula gave the premiere of Donald Johnston's THE PRIVATE WORLD
OF PRIVATE DUBEK. It was performed with orchestral accompaniment.
Premieres that took place in early 1983 but have not yet been reported,
include Larry Austin's EUPHONIA at the Crane School of Music of SUNYPotsdam on May 1, and Jon Appleton's one-hour, multimedia piece THE
LAMENT OF KAMUELA, mixing electronic and live instruments, at Hopkins
Center of Dartmouth College in Hanover, New Hampshire, on August 10.
For its 90th anniversary celebration, the School of Music at the University
of Wisconsin at Madison commissioned composer Chester Biscardi and
librettist Henry Butler to create a new opera. The premiere of TIGHTROPE has been set for October 5, 1985, and will take place at the newly
renovated Music Hall. The work, with an original story by Butler, will
be ready for, tryouts at the university during summer '85. It will be
produced und*r the direction of Karlos Moser, who has headed the opera
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NEW OPERAS AND PREMIERES
department for the last twenty years. The composer, a graduate of the
university, is a recipient of the Prix de Rome; he is now teaching at
Sarah Lawrence College in Bronxville, New York.
Other new operas announced for premieres at universities for 1984-85
include MODESTA AVILA by George Siposs, at Orange Coast College in
Costa Mesa, California, in May '85, and MANTEL PIECE, by a student
composer at North Texas State University in Denton.
(See also In
Academia.)
Simon Sargon, who is head of the Opera Theater at Southern Methodist
University in Dallas, has composed a one-act opera called THIRST. It
will be given its first performance in November '84 on a triple-bill with
The Stoned Guest and archy and mehitabel.
FOREIGN
OPERAS
PREMIERED
IN U.S.A.
British composer Iain Hamilton's latest opera, RALEIGH'S DREAM, received
its world premiere a t Duke University in Durham, North Carolina, on June
3, and was repeated on June 4 . The o n e - a c t , ninety-minute work,
commissioned and presented as part of a British American Festival,
commemorated Sir Walter's landing in t h a t area 400 years a g o .
On August 1 1 , t h e Philadelphia Orchestra has scheduled what appears t o
be t h e world premiere of a section of an unknown opera by Sergei
Rachmaninoff. MONNA VANNA, not t o be confused with t h e opera of
the same t i t l e by F6vrier performed a t t h e Metropolitan Opera in 1914,
will be heard a t t h e Saratoga (NY) Festival in a "complete one a c t " in
concert under t h e baton of Igor Buketoff.
NEW
CANADIAN
OPERAS
Calgary-based composer Gregory Levin has been commissioned by Canadian
opera philanthropist Floyd Chalmers t o write an opera based on t h e story
of SITTING BULL. Mavor Moore will supply t h e l i b r e t t o .
The December premiere by t h e Banff C e n t r e ' s Music T h e a t r e Studio
Ensemble of a new opera by J . J . Taylor and S. Gibson, was presented
under t h e revised t i t l e of GHOST TOWN. It was originally announced as
Bankhead.
AMERICAN
OPERAS IN
EUROPE
June 19 is t h e d a t e set for t h e European premiere of Leonard Bernstein's
QUIET PLACE, t o b e presented a t La Scala, Milan, in a newly revised
t h r e e - a c t version (see Editions), which now incorporates his earlier Trouble
in Tahiti.
It will be seen in t h e Houston Grand Opera's production with
an American cast, conducted by John Mauceri and directed by librettist
Stephen Wadsworth.
A
Gian Carlo Menotti's THE BOY WHO GREW TOO FAST, commissioned
and first performed by OperaDelaware in 1982, is touring France in a
French translation. — AU SECOURS, AU SECOURS, LES GLOBOLINKS!
is the title under which Lausanne and Biel in Switzerland heard that
particular Menotti opera in May. October will bring a German-language
version.
The Abbey Opera in London will give the first British performance of
Robert Ward's THE CRUCIBLE in June at the Bloomsbury Theatre.
The opera house in Giessen, West Germany, announced the first European
production of Scott Joplin's ragtime work, TREEMONISHA, for April 1984.
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NEW OPERAS AND PREMIERES
Written in 1911 when it received a partial reading in New York, it was
not staged until 1972, when it was presented at the Atlanta Arts Center.
Contrary t o previous announcements, Robert Wilson's twelve-hour epic,
the CIVIL warS: a tree is best measured when it is down, will not be
offered during the Olympic Festival in Los Angeles this summer. The
cancellation is due to the high cost of producing the twelve-hour music
theatre piece. The last part, which was commissioned and premiered by
the Rome Opera and features music by Philip Glass, was presented in
concert for the first time in the United States by the New York Repertory
Opera on May 20. (Each of the five parts features music by a different
composer.) — Predating this performance was one produced jointly by
the Guthrie Theater and the Walker Arts Center in Minneapolis on April
26. It was made up of thirteen short sections of the CIVIL warS, identified
by the author as "Knee Plays", since they join the five acts and various
larger scenes. They can be presented together as one whole, playing
about two hours. They alternated between theatre - much of it in Kabuki
style - dance and opera; the music composed for the "Knee Plays" is by
David Byrne. — A slightly shortened version of the complete work is
under consideration for a New York production by the Brooklyn Academy
of Music.
Meredith Monk's THE GAMES, A Musical Theater Spectacle (see Vol. 25,
No. 1), created in collaboration with performance artist Ping Chong and
premiered last November at Peter Stein's Schaubiihne in West Berlin, will
receive its first American presentation at the Brooklyn Academy of Music.
The premiere date is October 9, 1984. It is described as a science fiction
Olympic game ritual, fusing music, dance, and theater. A national tour
of the BAM production is now being booked.
The Minnesota Opera's plans for 1984-85 include the American premiere
of Lars Johan Werle's ANIMALEN. The Swedish composer's opera, first
performed at GSteborg's Stora Teatren in May 1979, will be the company's
opening production at the Ordway Music Theater on January 11, 1985,
with repeats on the 12th, 25th and 27th. The "political, romantic comedy"
will be sung in an English translation under the title The Animal Congress,
with Philip Brunelle conducting and Grethe Holby in charge of the stage
direction. The costumes will be those designed for the original Swedish
production.
The New York Philharmonic's Horizons '84 Festival has scheduled the first
American performance of Oliver Knussen/Maurice Sendak's WHERE THE
WILD THINGS ARE for June 7. Karen Beardsley will recreate the role
of Max. This concert performance will share the program with a new
composition by George Crumb, and will be conducted by Zubin Mehta at
Avery Fisher Hall.
Boston Musica Viva joined the Center for Advanced Visual Studies at MIT
for the first American performance of ICARUS, an electronic, multimedia
piece with music by Paul Earls, libretto by Ian Strasfogel, and visual
effects including laser techniques by Otto Piene. The work was first
seen and heard in Linz, Austria, in 1982 (see Vol. 24, No. 3); the
performance in Cambridge took place on May 30.
Spring 1986 will bring Messiaen's latest opera SAINT FRANCOIS D'ASSISE
to Boston, when the Boston Symphony will present a major part of it in
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AMERICAN
PREMIERES
NEW OPERAS AND PREMIERES
its first U.S. performance under Music Director Seiji Ozawa.
The
Tanglewood Festival Chorus will participate in the ninety-minute concert
presentation. The opera was first staged in Paris in November 1983.
Future plans of the Lyric Opera of Chicago include the first American
performance of Luciano Berio's LA VERA STORIA in a joint production
planned with the Paris Ope>a National and the Royal Opera, Covent
Garden. The world premiere took place in March '82 at La Scala in Milan.
In spite of the overwhelming popularity of Verdi and his operas in this
country, the San Diego Opera's performance of OBERTO, Conte di San
Bonifaccio in March '85 will be the first major professional stage
production in the United States of the composer's first opera. It was
presented here for the first time by the Amato Opera in a staged version
with piano accompaniment in 1978. — That same company has now
scheduled the first American stage performance, again with piano, of
Verdi's ALZIRA. The only other time this opera was heard in the U.S.
was in a concert performance by the American Opera Society at Carnegie
Hall in 1968. The Amato Opera performance in spring '85 will offer, as
prologue to the two-act opera, the original drama by Voltaire on which
the opera's story is based. The play, Alzire, or the Americans, will be
performed in English.
The Opera Studio at the University of New Mexico in Albuquerque has
won the distinction of giving the first American performance of Hans
Kox's THE PICTURE OF DORIAN GRAY. Based on Oscar Wilde's story,
the work was premiered by the Netherlands Opera in March 1974. Marilyn
Tyler, director of the University Studio, plans her production of the threeact opera for March '85.
On April 27, the Camerata group of the Mannes College of Music revived
a 17th century opera at Christ Church United Methodist in New York.
The performance of Loreto Vittori's GALATEA constituted the American
premiere of the opera, first heard at the Palazzo Barberini in Rome in
1639.
The New York production under Artistic Director Paul Echols was
staged and costumed in period style.
The Waterloo Festival, in collaboration with the Wagner Society of New
York, will give the first known American performance of Gluck's IPHIGENIE
EN AULIS in the 1847 edition by Richard Wagner. Gerard Schwarz, music
director of the New Jersey festival, will conduct the work scheduled for
July 21.
NEW OPERAS
ABROAD
Following the first performance of Raleigh's Dream this summer (see
Foreign Operas in the U.S.), Iain Hamilton's next operatic work, SIR
LAUNCELOT, will be premiered in England at the Arundel Festival in
August 1985. The role of Guinivere was written for and will be created
by the Canadian soprano Lois McDonall.
Peter Maxwell Davies1 latest work, written for and premiered on March
20 by The Fires of London, is entitled THE NO. 11 BUS. It was staged
at Queen Elizabeth Hall with a cast of three singers, two dancers, and
one mime.
On March 20, THE BLACK MONK by Per Nordgren had its first performance
in Stockholm, where it was heard on a double-bill with Hasse's Der
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NEW OPERAS AND PREMIERES
verliebte Dichter. — After reporting on an Icelandic opera called The
Silk Drum premiered in 1982, we now find a new opera by the Finnish
composer, Paavo Heininen, entitled THE DAMASK DRUM. The latter had
its world premiere in Oslo staged by the visiting Finnish National Opera
on April 5. Ulf Soderblom was the conductor.
Miro Belamaric received the first prize in the Vienna Staatsoper
competition for his DON JUAN, REBEL OF ALL TIMES. It is the composer's
second opera and will be premiered in Vienna during the 1986-87 season.
— The Corinthian Summer Festival in Austria has scheduled Herbert
Lauermann's church opera, SIMON, for a premiere on August 6 at the
Ossiach Church in Villach. The Festival will also host a guest engagement
by the Munich Music Theater Ensemble, which will give the first
performance of a Wagner parody by Rosendorfer, DON TRISTANO E
DONNA ISOTTA, on August 9. — A children's opera for adult performers
by Meinhard Ruedenauer, MAGIC BEAR AND WISHING VOICE, first heard
at the Festival last summer, will again be staged this year at the Villach
Congress House on July 25.
WELTUNTERGANG (The End of the World), by Wilhelm Zobl with a libretto
by Peter Daniel Wolfkind, will receive its world premiere at the Theater
an der Wien on May 24 during the Vienna Festival Weeks. The same
theatre will host a guest engagement by the Klagenfurt Opera on June
19, when Dieter Kaufmann's VOLKSOPER will receive its premiere
performance. It is based on Gerd Jonke's tragedy, Im Inland und im
Ausland auch.
Of course, this Orwellian year had to be commemorated in opera, and it
was Mauricio Kagel who wrote a radio opera, premiered by the
Westdeutscher Rundfunk in a production staged by the composer. Entitled
...NACH EINER LEKTVRE VON ORWELL (...After Writings by Orwell),
this "1984" was premiered on May 11 in Bremen, and is planned for a
second production during the Steieriseher Herbst Festival in Graz in
September.
On March 17, 1984, the Landestheater in Linz, Austria, gave the world
premiere of yet another musical version of the Lorea story, IN SEINEM
GARTEN LIEBT DON PERLIMPLIN BELISA, with music by Balduin Sulzer.
Austrian composer Michael Horwath heard his opera LAMASABATHANI in
a premiere concert performance in Ulm, Germany, on November 13, 1983.
The libretto, with a biblical/philosophical theme, is by poet Hermann
Kuprian. — Wiesbaden hosted the stage premiere of Kirchner's PASSION
on December 30, 1983; Orff's Carmina burana shared the evening's program.
— On May 10, the Stadtische Biihnen in Freiburg mounted two one-act
operas in first performances. These were Wilhelm Motz's IN DEN SPUREN
EINER NEUEN ERDE, together with Roman Haubenstoek-Ramati's SPIEL.
In 1986-87, the Deutsche Oper, Berlin, will be celebrating its silver
anniversary. Composer Wolfgang Rihm {Jakob Lenz, etc.), who has been
named artistic advisor in musical matters to Director Gbtz Friedrich, has
been commissioned to write a new opera for the anniversary season. - The
same composer has also been commissioned to write a chamber opera for
a premiere in the same season, this time by the Frankfurt Opera. Planning
two world premieres for 1986-87, Frankfurt will also present Hans Zender's
STEPHEN CLIMAX, based on parts of James Joyce's Ulysses.
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NEW OPERAS AND PREMIERES
Aribert Reimann's DIE GESPENSTERSONATE, after the Strindberg play
(see Vol. 23, No. 3), has now been scheduled for a premiere during the
West Berlin Festwochen. Opening night will be on September 25 at the
Deutsche Oper, Berlin; participating artists will include Martha Modi, with
Caspar Richter conducting and Heinz Lukas-Kindermann directing. — The
Deutsche Oper am Rhein has announced the premiere of a new opera by
Alexander Gohr for next season. SEHT IHR DIE SONNE? (Do You See
the Sun?) will be performed in Duisburg on April 19, 1985, and given
subsequent performances in Diisseldorf.
The two smaller theaters of the Bayerische Staatsoper will host world
premieres for 1984-85. ROI BERENGER I is the title of Swiss composer
Heinrich Sutermeister's latest work. The first performance is scheduled
for July 22, 1985 at the Cuvillies Theater in Munich under the musical
direction of Wolfgang Sawallisch and stage direction of Jorge Lavelli.
The Theater im Marstall, which offers both classical and experimental
music theatre pieces, plans an "operaproject" by Lorenzo Ferrero with
libretto and staging by Peter Werhahn.
A working title has been
established temporarily as LA NOTTE, and the first performance is
contemplated for May 1985.
The Zurich Opera House will mount the premiere of Swiss composer Rudolf
Kelterborn's DER KIRSCHGARTEN, scheduled for December 4 of next
season.
Evelyn Lear will sing the central role, with Ralf Weikert
conducting and Nikolaus Lenhoff directing. — Next season, the opera
house in Geneva will present the first performance of Giralamo Arrigo's
LE RETOUR DE CASANOVA.
Other operas by the composer include
Addio Garibaldi and Orden.
The Dresden Festival in East Germany in June will feature a double-bill
of two comedies at the Meining Theater: DAS LAECHELN DES ANDEREN
by Nikiprowetzki and DER HALSABSCHNEIDER by Hocke. Another doublebill, this one at the small theatre of the Staatsoper, was premiered on
February 8: KONTRABASS by Gerhard Schedl and DIE TUER by Karlheinz
Sehrodl.
The 1983 Madrid Festival featured the world premiere of Luis de Pablo's
KIU, an adaptation of Alfonso Vallejo's play, El cero transparente. The
full-length opera, accompanied by the Madrid Symphony, was conducted
by Jos£ Ramdn Encinar.
In celebration of the centennial of Prague's National Theater and its
reopening after several years of renovation, the season included new
operas both at that house and at other Czech theaters. At the National
in Prague on March 9: Jan Fischer's COPERNICUS, opera in two parts,
twenty-three scenes, with a libretto by O. Danek; and Ivo Jirasek's
MASTER GERONIMUS, in prologue, epilogue, and ten scenes, with a
libretto by the composer based on the Hussite reformer's life; at the Tyl
Theater in Pilsen: Hja Hurnik's THE FISHERMAN IN THE NET, a comic
opera made up of three independent one-act works, The Door, The Fiddle,
and The Accordion; and finally at the Brno State Opera: Karel Horky's
ATLANTIDA, in four acts with libretto by E. Bezdekova based on a play
by V. Nezval.
October 1983, also brought a premiere to the opera stage in Bratislava.
It was Jan Cikker's ninth opera, THE SIEGE OF BYSTRICA, composed in
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NEW OPERAS AND PREMIERES
1980. It is based on a book by Kalman Mikszath, after which the composer
fashioned his own libretto. — The Czech television opera, PROMETHEUS'
TRANSFORMATION by Otmar Macha, received the "1983 Golden Prague"
award at the International Television Festival.
For the Kirov Opera's 200th anniversary, the company staged the premiere
of Andrei Petrov's MAYAKOVSKY, an opera combining folklore and
patriotic songs. It was first heard in Leningrad in May '84, and was
taken to Moscow the following month. — The Budapest State Opera
will reopen after extensive renovations next fall, in time to celebrate its
100th anniversary. The occasion will be marked by the premiere of Attila
Bozay's CSONGOR AND TUENDE, after a fairy tale by M. VorSsmarty.
The following year will bring the first performance of Sandor Szokolay's
latest work, THE MAN WHO MUST DIE, after a novel by Niko Kasantzakis.
The newest discovery in the musical field was of a totally unexpected
nature, bringing to light a heretofore unknown manuscript estimated to
be about 140 or 150 years old - that of Gaetano Donizetti's ELISABETH.
It was found by the musicologist and author Will Crutchfield, while he
was searching through dusty archives at the Royal Opera at Covent
Garden in pursuit of material for a book on 19th century opera. The
not-quite-complete manuscript contains several passages and pages which
have subsequently turned up in other Donizetti operas, a practice quite
common in those days, especially where the opera in question seemed to
have been shelved, at least temporarily. The first and third acts of this
three-act work to a French text were found almost completely intact, all
in the composer's own handwriting. The story first turned up in sketches
for an 1827 opera by Donizetti entitled Otto mesi in due ore, telling of
the heroine's eight-month march from Siberia to Moscow to obtain the
release of her imprisoned father, and the adventures and misfortunes that
befall her. It seems that the newly discovered manuscript carries a
working date of 1840. A number of Donizetti scholars have confirmed
the authenticity of the find.
DONIZETTI
DISCOVERY
The full title of Thea Musgrave's new opera, scheduled for a first
performance in Norfolk, Virginia, on March 1, 1985, is HARRIET TUBMAN:
The Woman Called Moses.
RECENT
CHANGES
The premiere of Conrad Susa's THE LOVE OF DON PERLIMPLIN, scheduled
for April by the San Francisco Opera Center, was cancelled. The
performances on August 2 through 5 at the PepsiCo Summerfare in
Purchase, New York, the organization that originally commissioned the
work, will now constitute the opera's world premiere.
The Opera Company of Boston postponed the U.S. premiere of Peter
Maxwell Davies' TAVERNER from the originally announced date of May
to October 12, 1984, with repeats on the 14th, 17th and 21st.
The first American performances of Richard Rodney Bennett's A PENNY
FOR A SONG, previously announced for June '84, were cancelled. Instead,
the Opera Theatre of Saint Louis will produce Benjamin Britten's Paul
Bunyan.
Thomas Pasatieri's THREE SISTERS, with a libretto by Kenward Elmslie
after Chekov, has not yet been premiered. The performance, planned for
Atlanta in 1982-83 was cancelled, as was the Atlanta Opera season.
[]
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NEWS FROM OPERA COMPANIES
NEW
COMPANIES
MUSICAL THEATRE WORKS is the latest ensemble founded to create
and develop new music theater pieces, and to offer workshops and showcase
readings for tryouts.
As a not-for-profit organization, the company
eliminates the pressures of critics and financial returns, and thus hopes
to give full freedom to creativity. Seminars, lectures and workshops by
leading composers, lyricists and performers will be part of the program
which offers enrollment to some one hundred students. Anthony Stimac,
an Off Broadway director, founded the company, located at 133 Second
Avenue in New York, and administers it under the guidance of a
professional advisory board. The first two works developed and presented
in a showcase reading are mentioned under Premieres - Showcases.
The purpose of the recently formed MONDO LIRICA OPERA is the
performance of little-known operas in concert in New York. Its first
endeavor was a joint presentation with the Bronx Arts Ensemble on
January 22 at Lincoln Center's Tully Hall. The opera was Leoncavallo's
La Boheme with Elaine Malbin, Marie Fuseo, and Abe Polakoff in leading
roles, conducted by Thomas Booth.
As its name implies, the CONCERT OPERA ASSOCIATION OF SAN
FRANCISCO is similarly pledged to opera in concert form. The company
was founded in California by tenor William Lewis, and gave its inaugural
performance in January; the opera was Lucrezia Borgia with Katherine
Cathcart in charge of the musical direction. The timing of the opening
of the company's second opera, Thomson's The Mother of Us All, for July
15 has been planned to coincide with the opening of the Democratic
Convention in that city. (The same opera, produced in May in Chicago,
was the occasion for a "Women's Night at the Opera", with such groups
as the Women's Bar Association, the League of Women Voters, Business
and Professional Women, etc., using the event as a fundraiser.)
Although company names can not be copyrighted, it has been the general
rule to avoid using a name under which another company is already known
- if for no other reason than to establish a new organization's individual
identity. However, this is not always the case and California now has
the LOS ANGELES METROPOLITAN OPERA COMPANY, which will give
its first production in August at the Shrine Auditorium. The opera is
Aida, featuring an international cast (see Performance Listing) under the
baton of Stefan Minde and the direction of Wolf Siegfried Wagner.
LINCOLN OPERA, with Norma Williams as General Manager and Steven
Gathman Music Director, will begin performing next season at Mayer
Kaplan Center in Skokie, Illinois. Three productions will be performed
with piano, first in Skokie and repeated at Dundee Church; in addition,
performances of Die Fledermaus are to have a reduced orchestra
accompaniment. The company's offices are located in Chicago.
Nearby Evanston, Illinois, is host to the WHIRLWIND PERFORMANCE
COMPANY, founded for the presentation of "multi-arts performances on
a chamber music scale". In its first season, the group presented a onehour version of The Nutcracker in December, L'Histoire du soldat in
March, and a "New Works Concert" in June. Karl Androes, Sally Braswell
and Eric Murphy are the founder/directors.
Bruce Kamsler, Director of the Chicago Opera Repertory Theatre,
announced the formation of the LYRIC OPERA THEATRE in San Francisco.
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NEWS FROM COMPANIES
He anticipates using a local cast of singers for the company's first
production, Handel's Giulio Cesare, in September.
The SINGERS THEATRE OF NEW YORK was created to give young singers
the opportunity of performing in public and gathering experience for a
professional career in music theater. In addition, apprentice singers are
offered instructions, including music and dramatic coaching.
THE NEW OPERA GROUP is a recently established ensemble performing
in Queens, New York, at Our Lady Queen of Martyrs Church. Three
Mozart operas in English make up the company's first season with Cosi
fan tutte in April, to be followed by The Marriage of Figaro and Don
Giovanni during the summer months.
LA GRAN SCENA OPERA COMPANY DI NEW YORK is the name of an
all-male ensemble, which dubbs itself as having "no shortage of divas".
Its program consists of original material of grand opera parodies, and
requires professional operatic voices. The touring troupe, which has been
compared to the Ballet Trocadero di Monte Carlo in spirit and quality,
performs at the Entermedia Theater and Actor's Playhouse when in New
York. Ira Siff is the Artistic Director.
A touring ensemble, the POTOMAC VALLEY OPERA, headquartered in
Arlington, Virginia, offers performances in concert with a narrator and
piano accompaniment. Richard Wilmer is the Artistic Director of the
company.
Judith M. Handy is Director of THE COMMUNITY PLAYERS OF SALISBURY, located in Fruitland, Maryland, which presents one operetta
annually. — Dr. Neal Tracy is Artistic Director of the BUCKS-MONT
OPERA COMPANY of Chalfont, Pennsylvania.
The VENTURA COUNTY CHORALE AND OPERA ASSOCIATION has been
performing in California as a choral group since 1970, and added opera
to its program beginning with the 1980-81 season. This year, Music
Director and Conductor Burns Taft scheduled Amahl and the Night Visitors,
a staged Die Fledermaus and a school tour of Trial by Jury, in addition
to two major choral concerts. Last year, a new group formed under the
name of Ventura County Opera, later renamed Opera California, which
scheduled and then cancelled performances. Hence the announcement in
these pages of what sounded like the demise of the Ventura County Opera.
Our apologies to the very healthy VCCOA.
Correction
After a truncated schedule last year, the NEW YORK CITY OPERA is
getting ready for the first complete season in its new summer-fall schedule.
Of the eighteen operas, a record number of eight will be new productions,
and there will be a total of 136 performances over a twenty-week period.
The New York/Lincoln Center season will open July 6 and run until
November 18. (Since the national operatic season is designated as
September 1 to August 31, the first part of the company's schedule
appears in the 1983-84 Summer Performance Listing, the second half under
the 1984-85 Season, both in this issue.) This year, performances in New
York are preceded by six guest appearances at Artpark Festival in
Lewiston, New York; next year the season will be further extended by a
return guest engagement to the Wolf Trap Festival in Virginia, where the
theatre stage, destroyed by fire two years ago, will again be available.
EXPANDED
SEASONS
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NEWS FROM COMPANIES
This season's program brings two novelties, both shared with the Houston
Grand Opera, Akhnaten and Sweeney Todd. It also includes The Rake's
Progress with designs by David Hockney based on the original Hogarth
etchings, and La Rondine, which was postponed from the 1983 season.
Twelve operas will be subtitled in English (see Vol. 25, No. 2 and listing
in this issue), the other six are sung in English; Carmen, set in the Spanish
Civil War by the production team of Frank Corsaro and Maurice Sendak,
will be televised on "Live from Lincoln Center". - In celebration of the
company's fortieth anniversary, tickets for opening night 1984, briefly
revert to their original opening night price of $2.40. An exhibition on
the State Theater's Promenade, and one at the Museum of the City of
New York, will also commemorate the occasion. (See Forecast for news
of the 1985 season.) - It has just been announced that a labor contract
between the NYCO and the American Guild of Musical Artists has been
agreed upon and was ratified by the performers. Although the terms
have not yet been made public, the contract sets a precedent by its
unusual length, covering a five-year period.
The Greater Miami Opera's AMERICAN MUSICAL THEATER season will
become a reality next fall. Between September 10 and November 22, the
company will present two musicals, Annie Get Your Gun and Carousel,
and also "A Musical Salute to Broadway". The latter will be performed
by the participants of the AMT's newly created Apprentice Program, open
to twenty-four gifted performers interested in a musical theater and/or
opera career. Apprentices must be between 21 and 28 years old and
have had some training or experience in performing. Twelve of the
twenty-four young artists will be able to extend their apprenticeships to
include the company's main season, which runs from January through April.
The addition of a composer-in-residence program is also projected by
AMT. — Future plans of the GREATER MIAMI OPERA call for the
lengthening of its main season from four to five productions by 1989.
Following a very favorable financial report for the 1983-84 season, Ardis
Krainik, General Manager of the. LYRIC OPERA OF CHICAGO, announced
plans for expansion of its 1985-86 season. For the first time, the company
will present a total of eight, rather than its current seven productions,
and performances will reach into January '86, whereas the seasons usually
end by mid-December (see Performance Listing and Forecast).
General Director Tito Capobianco and the Board of Directors of the
PITTSBURGH OPERA have devised a five-year plan which projects a
growth from the company's current $1.5 million budget to one totalling
over $4 million in 1988-89, the company's fiftieth anniversary season. At
that time, the schedule shall encompass twenty-one performances of seven
productions, as compared to the six operas offered now. A fundraising
drive has set the goal of $10 million for an endowment fund to be
completed by the anniversary season. — The company has further
announced plans for a new education program to train young American
artists. It will create the PITTSBURGH OPERA CENTER in collaboration
with Carnegie-Mellon University School of Music, based on the example
of the San Diego Opera Center. (See also In Academia).
THE WASHINGTON OPERA will increase the number of performances given
of each production at the Opera House as well as of those at the Terrace
Theater, resulting in a total of seventy-two performances next season.
Continuing its collaboration with L'Orehestre de Paris, Maestro Barenboim,
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NEWS FROM COMPANIES
and director/designer Ponnelle, the company will offer the second Mozart
opera jointly produced, he tiozze di Figaro. In a new venture, the
Washington Opera will undertake its first European visit by participating
in this year's Edinburgh Festival. (See also Festivals below.)
A basic change in the BALTIMORE OPERA'S program is affecting an
increase in the company's number of productions and performances. Next
season, three operas will be staged at the 2,300-seat Lyric Theater, with
each of two grand operas presented in three performances and Candide
in seven. In addition, the company will offer a Rossini opera and a
triple-bill of contemporary American works at the Friedberg Auditorium
of the Peabody Conservatory, where there will be a total of twenty
performances. It is especially interesting to note that a company, usually
presenting operas from the standard repertory, is now joining others in
including a production of contemporary pieces by American composers.
(For details see Performance Listing.) In former seasons, the Baltimore
Opera's schedule included four operas in a total of twelve performances.
As always, there will also be a gala concert, this year featuring Leontyne
Price. — While the company postponed its last production of the current
season - three performances of Manon - it added twenty-seven performances of Kismet with a cast featuring Eddie Bracken, Patrice Munsel,
John Reardon and David Eisler.
L'OPERA DE MONTREAL has received a special grant from the Provincial
Government for the addition of an opera workshop for professional training
of young artists. They will be recruited from auditions scheduled across
Canada. — Plans for the company's main season call for a fifth production
in 1986-87; there are four different operas in its current schedule.
Future plans of the MINNESOTA OPERA, which is moving into the Ordway
Music Theater/Performing Arts Center in St. Paul next winter, include a
three-subscription series utilizing the two different-size halls of the
Center. In later seasons, the company hopes to present traditional grand
opera in the fall while devoting the spring production to twentieth century
works, some established and some new music theater pieces. The summer
may bring operettas or musicals. (See also Vol. 25, No. 1). With the
opening of the Center planned for January '85, the company has scheduled
its first production there for January 11, the American premiere of Werle's
Animalen, and in spring, will stage the world premiere of Argento's
Casanova's Homecoming, a production which will subsequently be seen at
the New York City Opera. That season's standard opera, The Magic
Flute, will find the company back at the O'Shaughnessy Auditorium, also
in St. Paul.
Next season, the PIEDMONT OPERA in Winston-Salem will give three
productions, rather than .two, each in three performances.
The KENTUCKY OPERA will have the use of three different halls after
its move to the Center for the Performing Arts. The number of
performances will vary with each auditorium.
There will be two
performances of Turandot in the 2,400-seat Whitney Hall, three performances each of Les PScheurs de perles and L'ltaliana in Algeri in the
1,350-seat theater, and seven performances of Albert Herring to accommodate all listeners in the 620-seat Bomhard Theater.
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NEWS FROM COMPANIES
EDUCATIONAL
PROGRAMS
A t r u l y novel idea of a c t i v e l y involving s t u d e n t s in e d u c a t i o n a l school
o p e r a p r o g r a m s h a s b e e n d e v e l o p e d by t h e C H A R L O T T E O P E R A a n d i t s
subsidiary touring group, the North Carolina Opera. The opera company's
Docent Program, together with the Young Docent Program of the North
Carolina Opera, engages local college students to inform elementary school
audiences about the touring/educational programs of the NCO. The
students receive training from NCO staff members, from the college
faculty, and from internship departments of the elementary schools of
the designated area. They are then called College Docents and, thanks to
a special arrangement by the opera company with the respective colleges,
the students receive college credit for this work.
See also new educational programs planned by the Pittsburgh Opera and
L'Ope>a de Montreal above.
FESTIVALS
The City of Toronto must be the favorite place for festivals this season.
The Toronto International Festival in June, with well over 100 events
celebrating the 150th anniversary of the City (Vol. 25, No. 1), will be
followed in September by the SYMPOSIUM ON MUSIC THEATRE and
WORLD MUSIC DAYS, sponsored by the International Society for Contemporary Music (ISCM). The latest announcement tells of "BACH 300", a
music festival in honor of the composer's 300th birthday, scheduled for
March 8-24, 1985, featuring many internationally renowned artists and
using a variety of performance facilities in and around Toronto.
Last summer's visit to the Edinburgh Festival by the Opera Theatre of
Saint Louis, will be followed this year by THE WASHINGTON OPERA.
The company will take a double-bill of Menotti's The Telephone/The
Medium in a new production, with the composer staging both works. The
orchestra will be made up of musicians from the Scottish Chamber
Orchestra. The first of four performances is scheduled for August 12,
the Festival's opening night.
Lack of sufficient funding caused the OLYMPICS ARTS FESTIVAL to
cancel the much advertised American premiere performance of Wilson's
complete work, the CIVIL wars. (For first performances of sections of
the work, see American Premieres.) However, opera will be represented
by three productions brought by the Royal Opera, Covent Garden, from
London. A total of 145 performing companies from all over the world
will give more than 400 performances during the Festival.
Another casualty of a grant expected but not received is opera at the
STRATFORD SUMMER MUSIC FESTIVAL in Ontario. The previously
announced double-bill of La Serva padrona/Bastien and Basttenne was
abandoned when the Ontario Arts Council reduced its funding.
The MAINE OPERA ASSOCIATION of Portland has temporarily suspended
performances, at least for this summer. The company previously produced
three operas in July and August.
The KITCHENER INTERNATIONAL SUMMER FESTIVAL and its Artistic
Director Raffi Armenian announced plans for a complete "Ring Cycle"
production in the Ontario city. The Performing Arts Center in the Square,
completed two years ago, was constructed with a view towards a possible
"Ring" production. However, no date has as yet been set.
-18-
NEWS FROM COMPANIES
Before opening its New York season at Lincoln Center (see Performance
Listing), the NEW YORK CITY OPERA will give three performances each
of The Barber of Seville and Madama Butterfly at Artpark, t h e summer
festival in Lewiston, New York. The dates are from June 27 to July 1.
Next summer the company will return to the Wolf Trap Festival in Vienna,
Virginia.
After two years of reorganizing its educational touring program, the
MICHIGAN OPERA resumed these activities by performing Copland's The
Tender Land in various communities throughout t h e s t a t e . The company
also offers for booking an "Opera-in-Residence" program, particularly
created for high schools and academic institutions, and, for school
audiences, The Musicians of Bremen and a revue "Music Tells It Like It Is".
TOURING
Thanks to a grant from an Indiana corporation, the WHITEWATER OPERA
of Richmond will be able t o take its production of The Barber of Seville
to several midwest cities and towns, and thus extend its own sphere of
influence while also extending t h e length of contracts with its performers.
Due to financial restrictions abroad, the PITTSBURGH CHAMBER OPERA
had to postpone its projected tour of Hansel and Gretel, but hopes to
make up for it next winter.
An era is coming to an end with the cessation of the GOLDOVSKY OPERA
THEATER. Begun thirty-eight years ago as an extension of the opera
department at the New England Conservatory of Music, which, at that
time, was under the joint directorship of Boris Goldovsky and Sarah
Caldwell, the Goldovsky Opera Theater soon became the most sought
after American touring company in the country, with its ability t o perform
in smaller cities and in smaller halls than the Met. Opera in t h e United
States was in its infancy, compared to the last twenty years, and the
Maestro became a pioneering and influential artistic force with his new
ideas in stage technique, his imaginative and at that time often daring
programming, and last but certainly not least, his unfailing ear and eye,
that picked the promising young talent from among hundreds of singers
and turned them into the stars of tomorrow. Many of today's successful
American singers were first discovered by Goldovsky and received their
first training experience with his company. At the same time he created
new audiences, preparing t h e way for the emergence of regional companies.
Such resident companies, staffed with young American singers, have
increased manyfold, and t h e call for guest appearances by a similar-size
touring company has diminished, resulting in ever greater curtailment of
the GOT tours.
American singers, producers, directors - and we at
Central Opera Service, where Boris Goldovsky himself was one of the
founding members - will look back gratefully and with nostalgia at the
era of t h e Goldovsky Opera T h e a t e r .
THE METROPOLITAN OPERA announced that it expects t o finish the
season with a deficit of about $2-$4 million. This is the first time since
1976 that t h e company will finish a season with some uncovered expenses,
a situation that was customary in past decades but that the present
management had been able to reverse. The deficit is, at least in part,
due t o t h e fact that money constituting t h e Centennial Fund pledges has
been coming in more slowly than expected, t h a t expenses were higher
because of t h e centennial festivities, and that t h e r e had been a drop in
box office receipts and in receipts from booking special a t t r a c t i o n s ,
-19-
FINANCES
NEWS FROM COMPANIES
including the ballet season. Management expressed the hope that a closer
watch over expenses, and tightening of some departments, together with
vigorous fundraising methods will again bring the budget under control.
— Fundraising events include the annual Met Raffle, with more and
larger prizes than ever before, the Met by Mail, which features some
items especially designed for the Centennial, and the latest addition of
memorabilia for the opera devotee and voice afficionado, a record series,
"One Hundred Years of Great Artists at the Met". Each album, covering
a specific period, will contain two records with over two hours of music,
featuring major artists who have performed at the Met. The first album
is entitled "The Johnson Years: 1935-1950", and includes twenty-seven
operatic selections. A total of seven volumes with fourteen discs is
envisioned, the next two to be devoted to "The Gatti-Casazza Years"
and "The Bing Years", respectively. Each set is specially priced at $19.95
plus $2.50 for shipping and handling for subscribers to the series, with a
cancellation clause as part of that enrollment. Inquiries and orders should
be addressed to the Metropolitan Opera Guild, 1865 Broadway, New York,
NY 10023, or by telephone (800) 223-7585. — The company's eleventh
recording of its Historic Broadcast Series is devoted to the February 1,
1947 performance of Rom6o et Juliette, starring Bidu Sayao and Jussi
Bjoerling, also featuring John Brownlee and Nicola Moscona. As always,
the sound-restored recordings are handsomely boxed and include the
libretto and an illustrated booklet; the text is by Robert Tuggle. The
album was produced by Dorle Soria and David Hamilton and is a premium
for contributors of $125 or more to the Metropolitan Opera Fund, Box
930, New York, NY 10023. — As we go to press, we learn that the Met,
in cooperation with Pioneer Video, will market "Live from the Met"
performances on laser video discs. The first two releases are the 1983
Don Carlo and the 1982 Lucia di Lammermoor; both will be subtitled in
English and will come boxed with program and libretto. The suggested
retail price will be $49.95.
THE SAN FRANCISCO OPERA finds itself in a similar financial predicament, namely a rising deficit, in this case amounting to $1.4 million after
the '83 fall season. In order to economize, the company froze all
administrative salaries and reduced the number of productions in its
summer festival season from five to four. In the hope of covering the
left-over debit, the Paul and Phyllis Wattis Foundation has pledged a
$500,000 grant, to be matched two-for-one with new money, with
contributions to come primarily from the Association's board of directors
and other major contributors.
SUPPORT
GROUPS
AND
FUNDRAISING
The Opera Guild of the OPERA THEATRE OF SAINT LOUIS has arranged
eight different events under the title of "Opera To Go". Participation
is restricted to Guild members, and each program carries its own price
of admission. An attractive small booklet describes each entertainment,
consisting, in most cases, of social affairs featuring music and food, not
necessarily in that order of importance. The names of all participants
will be entered automatically in a raffle drawing - the more events they
subscribe to, the more often their name is entered - with a first prize
consisting of a trip to New York. The monies raised will be used to
help match the company's 1984 NEA Challenge Grant.
The NEW YORK CITY OPERA GUILD reports a good steady income from
the thrift shop it opened in 1978, which recently moved to larger quarters
at 220 East 23 Street, near Gramercy Park.
-20-
NEWS FROM COMPANIES
We have reported on the formation of new special committees and
fundraising groups in the past, and here are some new additions. The
LOS ANGELES OPERA THEATER recently founded "The President's Club"
with membership dues of $500, of which $250 is tax-deductible. Privileges
for members include priority seats for the premiere performance of each
production, a preceding gala dinner and post-performance champagne
reception, and valet parking.
The AUSTRALIAN OPERA has added an Australian Opera National Council
to "support, foster further development, and act as an advisory body to
the company's board and management". Australia's former GovernorGeneral has accepted the Presidency of the AONC.
"Friends in Perpetuity" is a new program initiated by the GREATER
MIAMI OPERA to supplement its Endowment Fund. Donors who designate
"a significant portion of their estate" as bequests to the opera company
will become members of the Friends and be so honored.
Frequently, it is easier to solicit gifts for specific purposes, particularly
if a project can be found to match a donor's special interest. This
occurred on a large scale with Merrill Lynch Pierce Fenner and Smith's
underwriting of part of the Met's tour costs - the investment firm has
branch offices in every tour city; and it happened on a smaller scale
with another company where individual contributors gave "towards artists'
support", by underwriting the casting of certain roles.
One of the grants made by the Fan and Samuel Fox Foundation to the
NEW YORK CITY OPERA was designated for a five production operetta
season. Building repertory towards that goal, General Director Beverly
Sills staged The Student Prince and The Merry Widow last season, and
is adding Sweeney Todd and The Mikado this year. The fifth operetta to
be produced in 1985 is yet to be announced.
Another fundraising idea, one with guaranteed universal appeal, is the
collection of recipes and the publication of cookbooks. Several new ones
have been concocted recently, all featuring favorite gourmet dishes of
favorite opera stars: "Bravo, Chef!" ($18.95, Dallas Opera), "Cooking with
Santa Fe Opera" ($21.95, Award Winner '83), and "The Hollywood Bowl
Cookbook" ($12). The New York City Opera, which published its first
cookbook in 1973, is now soliciting recipes for "NYCO Cookbook IP, and
Dolly Murphy is soliciting recipes for a "Villa Pace Cookbook" which is
to benefit Rosa Ponselle's former residence to-be-turned-museum (Greenspring Valley Road, Stevenson, Maryland 21153).
Special dinners or suppers can range from the $1,000 gala supper, which
included the ticket for the Met's "Centennial Celebration", staged in May
to pay tribute to all non-Met artists and ensembles that have performed
at the opera house throughout its 100-year history, all the way to a "beer
and wurst" party by the Sarasota Opera. The latter will be held following
a production of Fidelio, to attract new young audiences to the Florida
company's first "Under 40" performance, offered at half-price tickets.
The Met's gala night was held under the biggest tent ever created for
Lincoln Center, covering an area of 150 by 200 feet and incorporating
the center fountain. The tent as well as food and wines were donated.
— A much smaller new tent on the grounds of the Blank Performing Arts
Center will shelter diners attending performances of the Des Moines Metro
-21-
NEWS FROM COMPANIES
Opera, and picnic baskets may be brought to or purchased at the Opera
Theatre of Saint Louis and the June Opera Festival of New Jersey events
for outdoor consumption before performances or during intermission - a
la Glyndebourne.
Other food related ideas include the straight sale or auction sale of
special donated dinners. The former was offered as "Dinner About Town",
starting with hors d'oeuvres at the first restaurant and finishing at a
disco as the sixth and last stop that same night; the latter may be raffled
or auctioned dinners at famous restaurants or at a prominent person's
home, or a catered dinner by a professional caterer, a gourmet cook, or
a famous person at your own home. At its recent telephone auction, the
New York Philharmonic sold not only dinners but also participation at
cooking classes which turned out t o be a very popular item, but the first
prize for originality must go to the Des Moines Metro Festival which
received donations for every pound of weight lost by its 350-pound
manager! This may well start a health-kick trend of donations for weight
loss competitions, or auctions of registration fees for Weightwatchers,
Smokenders, or health farms.
PROMOTION &
PUBLIC
RELATIONS
When Glynn Ross took over the management of the ARIZONA OPERA at
the beginning of this season, he found the company had a carry-over
deficit of $250,000.
Embarking on a lively fundraising campaign, his
slogan was " There's Life After Debt".
While on the subject of slogans, the BALTIMORE OPERA ran a competition
for the best and most effective phrase t o use on bumper stickers. The
winning entry was "Baltimore Opera - Music to My Eyes".
When the BALTIMORE OPERA decided to give twenty-seven performances
of Kismet this spring, it arranged with Baltimore's Morris Mechanic
Theatre for a joint promotion and subscription campaign. — Another
case of joining opera and t h e a t r e companies for promotional purposes is
the publication of a dual newsletter by the GREATER MIAMI OPERA
and the Coconut Grove Playhouse (see Newsletters below).
In the last issue of the COS Bulletin we listed a number of opera companies
that produce newsletters as a public relations tool t o communicate
regularly with their subscribers and supporters, and called on companies
not included to forward copies of their publications. The response has
been most rewarding and we are happy to add the following to the
previous eleven listed: BRAVO - Your Opera Newsletter from Calgary
Opera, CURTAIN CALL (jointly by Greater Miami Opera and Coconut
Grove Playhouse), DES MOINES METRO OPERA NEWSLETTER, ENCORE
(Novato Lyric Opera, Calif.), ENTR' ACTE - Behind the Scenes With the
Cincinnati Opera Guild, FAN FARE (Baltimore Opera), KENTUCKY OPERA
NEWS and TEMPO, LIME LIGHT (Pennsylvania Opera Theater), LOS
ANGELES OPERA THEATER NEWS, THE OPERA CUES (Arkansas Opera
Theatre), OPERA ILLINOIS NEWS (Opera Theater of Illinois), OPERA
PROMPTER (Charlotte Opera), RECITATIVE (Saint Louis Opera Guild),
RENAISSANCE MAGAZINE (Pittsburgh Opera), SANTA FE OPERA MAGAZINE, and SING! (Colorado Opera Festival).
Although the METROPOLITAN OPERA HOUSE has hosted a great variety
of events, this summer it will, for the first time, convert its stage into
an ice skating rink. From July 24 t o 29 t h e r e will be seven performances
-22-
NEWS FROM COMPANIES
by the John Curry Skating Company accompanied by an orchestra in the
pit. - In a joint announcement, the METROPOLITAN OPERA and TEXACO,
INC. reported a greatly expanded stereo coverage of the radio network,
effective at the beginning of next season's broadcasts. Both FM and AM
stations will receive an improved stereo signal via satellite technology,
with the Mutual Broadcasting System supplying satellite dishes to those
stations able to broadcast in stereo.
The TEXAS OPERA THEATER was joined by the HOUSTON THEATRE
WITH THE DEAF in developing a n e w way of p r e s e n t i n g opera t o deaf
a u d i e n c e s . On March 18, a performance of Madama Butterfly
marked
the first time t h a t t h e method known a s "shadowing" was used in o p e r a .
A c t o r s dressed in black and using stylized movements performed alongside
the singers in t h e major roles, communicating in sign language and through
facial expressions. Only a small c a s t was needed for e f f e c t i v e shadowing.
These e x p e r i e n c e d a c t o r s used American sign language which is c o n c e p t u a l ,
r a t h e r than signed English which is a literal word for word translation.
PROGRAMS
FOR THE
HANDICAPPED
In its forthcoming season, the NEW YORK CITY OPERA will include one
performance of The Mikado as a signed presentation. With twelve of its
eighteen productions featuring projected English captions, deaf or hearingimpaired people will, for t h e first time, find a great choice of accessible
opera performances.
The Opera T h e a t r e of Syracuse has changed its name t o SYRACUSE
OPERA COMPANY, and as such was honored by t h e mayor of t h e city,
who proclaimed January 23-29 as Syracuse Opera Company Week.
The former Pacific Lyric T h e a t r e in San Diego has been reorganized and
emerged as t h e PACIFIC CHAMBER OPERA, with Dr. Waiter Teutsch as
Music Director and Paul S. Wyke as President.
The new address for t h e TOLEDO OPERA COMPANY is Cannon Space,
1700 Reynolds Road, Toledo, Ohio 43615; t h e new telephone number is
(419) 531-5511. — The FARGO-MOORHEAD CIVIC OPERA has moved
its offices t o 429 East Main, West Fargo, North Dakota 58078; t h e new
telephone number is (701) 282-3703.
Mail for L'OPERA DE MONTREAL should be addressed t o 11577 rue S t .
Catherine Est, Montreal, PQ, H2L 2G8; telephone: (514) 521-5577; and
for t h e EDMONTON OPERA t o 8540 Sixty-ninth Avenue, Edmonton, Alberta
T6E 0R6; t h e new telephone number is (403) 468-4241.
[]
-23-
CHANGES OF
NAMES OR
ADDRESSES
FORECAST
Since many of the inquiries received pertain to
operas will be performed, and since operas
Performance Listing can so be retrieved, we
format of Forecast, namely one by opera title
when and where specific
once listed in the COS
are testing here a new
rather than by company.
Most of the performance information for the coming season, as it has
been received to date, may be found under First Performance Listing,
1984-85 Season, and is not repeated below. Only incomplete schedules
are included in the Forecast announcements, as well as available
information on seasons beyond the immediate future.
Aida Canadian Opera Company, Toronto 1/86
L'Ope>a de Montreal 85-86
Amahl and the Night Visitors Opera Ensemble of New York 12/84
University of Wisconsin, Eau Claire 12/84
Louisiana Tech University, Ruston 12/84
Anna Bolena Lyric Opera of Chicago (Sutherland, Baltsa; Merritt, Plishka;
e: Bonynge; d: Mansouri; ds: Pascoe/Stennett; co-prod. Toronto,
San Francisco, Houston, Michigan) fall 85
Un Ballo in maschera Vancouver Opera (Maxwell; O'Neill) 10/84
II Barbiere di Siviglia L'Opgra de Montreal (Hamari; G. Quilico) 9/84
The Bartered Bride Memphis Opera 84-85
The Beggar's Opera Opera Ensemble of New York 5/85
Opera Theatre of Saint Louis tour 84-85
Black River (Susa, rev.vers.) Minnesota Opera, St. Paul 85-86
La Boheme L'Opdra de Montreal 2/85
Candide Civic Light Opera, Pittsburgh 6/85
University of Nevada, Las Vegas 3/85
I Capuleti ed i Montecchi Lyric Opera of Chicago (Troyanos, Gasdia;
O'Neill; c: Renzetti; d: Chazalettes; ds: Santicchi) fall 85
Casanova's Homecoming (Argento) New York City Opera (Minnesota prod.;
c: Keene) 85
Cavalleria nisticana L'Ope'ra de Montreal (w. Suor Angelica) 85-86
Oklahoma Christian College, Oklahoma City 2/85
The Crucible Humboldt State University, Arcata, California 4/85
Don Giovanni Los Angeles Opera Theater 11/85
Don Pasquale Opera Ensemble of New York 2/85
L'Ope'ra de Montreal 85-86
Don Quichotte New York City Opera (Ramey) fall 85
The Dybbulc (Tomkins) Nassau Lyric Opera, New York 10/84
L'Elisir d'amore San Diego Opera (O'Neill) 2/86
Die EntfUhrung aus dem Serail New York City Opera (Mills, Rolandi; c:
Gerard Schwarz; d: Corsaro; ds: Sendak) fall 85
Opera Theatre of Saint Louis (Eng. Porter) spring 86
Eugene Onegin Vancouver Opera 84-85
Houston Grand Opera 84-85
San Diego Opera (d: Copley) 85-86
The Face on the Barroom Floor Four Corners Opera, Durango, CO 6/85
Faust Baton Rouge Opera, Louisiana 4/86
Lyric Opera of Chicago (Ramey) fall 87
Fiorello Civic Light Opera, Pittsburgh, 7/85
Die Fledermaus James Madison University, Harrisonburg, Virginia 11/84
Der fliegende Hollander Houston Grand Opera 84-85
A Funny Thing Happened on the Way to the Forum Civic Light Opera,
Pittsburgh, 7/85
Ball State University, Muncie, Indiana 7/85
-24-
FORECAST
George M Civic Light Opera, Pittsburgh, 7/85
Gianni Schicchi Four Corners Opera, Durango, CO (w. n Tabarro) 6/85
The Gondoliers Murray State University, Murray, Kentucky 4/85
Grease Civic Light Opera, Pittsburgh 8/85
H.M.S. Pinafore East Carolina University, Greenville, NC 2/85
Hamlet (Thomas) Canadian Opera Company, Toronto 10/85
Idomeneo Opera Theatre of Saint Louis, spring 85
Khovanshchina (Moussorgsky) San Francisco Opera, fall 85
Kiss Me Kate Ball State University, Muncie, Indiana 4/85
Humboldt State University, Arcata, California 3/85
Lakm£ Baton Rouge Opera, Louisiana 2/86
Lizzie Borden (Beeson) New York City Opera (J. Davidson) 85
Lucia di Lammermoor Memphis Opera 84-85
Canadian Opera Company, Toronto 5/86
Los Angeles Opera Theater 3/86
Die lustige Witwe New York City Opera 85
Madama Butterfly Houston Grand Opera (Ken Russell/Spoleto prod.) 84-85
Memphis Opera 84-85
San Francisco Opera fall 85
Lyric Opera of Chicago (Tomowa-Sintow; Dvorsky/Mauro, Stilwell; c:
Gomez-Martinez; d: Prince) fall 85
Canadian Opera Company, Toronto 10/85
Man of La Mancha Civic Light Opera, Pittsburgh 7/85
Die Meistersinger von Niirnberg Lyric Opera of Chicago (Popp; Johns, van
Dam, Kuebler; c: Janowski; d: Merrill; Met prod.) fall 85
The Mikado Opera Theatre of Saint Louis 12/84
Manhattan Savoyards 84-85 tour
Southwest Texas State University, San Marcos 11/84
New York City Opera 85
The Music Man Cornell College, Mount Vernon, Iowa 1/85
Le Nozze di Figaro University of Hawaii, Honolulu 11/84
Oklahoma! Oklahoma Christian College, Oklahoma City 11/84
Orlando (Handel) San Francisco Opera (Home; d: Copley; co-prod, w. Lyric
Opera of Chicago) fall 85
Otello Lyric Opera of Chicago (M.Price; Domingo/Johns, Milnes; c: Bartoletti; d: Madau Diaz; ds: Pizzi) opening night 85
Philadelphia Orchestra (Atlantov; concert pfs.) 85-86
San Diego Opera (Tokody; Giacomini, Carroli) 1/86
Pagliacci Metropolitan Opera (McCracken) 85-86
Pelleas et Meiisande Philadelphia Orchestra (c: D. Russell Davis; concert
pfs.) 85-86
La Perichole University of Nevada, Las Vegas 11/84
The Play of Daniel Dominican College, San Rafael 12/84
Muhlenberg College, Allentown, Pennsylvania 2/85
Porgy and Bess University of Wisconsin, Madison 2/85
I Puritani Vancouver Opera 1/85
The Rake's Progress Los Angeles Opera Theater 10/85
The Rape of Lucretia Four Corners Opera, Durango, Colorado 6/85
Rigoletto Orlando Opera, Florida 84-85
Queens Opera, New York 3/85
Der Ring des Nibelungen (three complete cycles) San Francisco Opera
Summer Festival '85 (c: de Waart; d: Lehnhoff; ds: Conklin) 6/2-8,
7-13, 12-19/85
La Rondine Lyric Opera of Chicago (Cotrubas, Langton; McCauley,
Desderi; c: Bartoletti; d: Chazalettes; ds: Santicchi; w. Eng.
captions) fall 85
(continued on page 32)
-25-
GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS
NEA
Continuing its original stance on support of the arts, the Reagan
Administration and the Office of Management and Budget have requested
$143.88 million be appropriated for the National Endowment for the Arts
for FY'85. This is $18.2 million lower than the FY'84 appropriation
passed by Congress. The House Interior Appropriations Subcommittee,
which recommends allocations for NEA and NEH, held its hearings in April,
when Chairman Hodsoll supported the OMB request while committee
members and representatives of the arts constituency made a strong case
for increases in NEA appropriation for FY'85.
A five-year plan of the NEA, devised from separate reports by the
Endowment's different program directors, included a review of the various
disciplines. It is interesting to note that it was the Opera-Musical Theater
Program that registered the largest growth during the last year, compared
to all other areas. The report also bore out the fact that private support
for the arts has lagged since federal grants to the arts were reduced.
The NEA's OPERA-MUSICAL THEATER PROGRAM is testing possibilities
of assistance in bringing small opera or music theater productions to
foreign countries. This could be a cooperative venture together with the
ARTS AMERICA program of the United States Information Agency. Former
Program Director Ann Darling was soliciting suggestions for not too costly
productions ($75,000-$100,000 range, involving not more than fifteen
persons travelling, including staff) of representative American works. If
sufficient interest is expressed by the USIA offices and the embassies
abroad, a formal program could be developed.
CANADA
COUNCIL
In February, the CANADA COUNCIL presented a brief on proposed changes
in tax laws affecting artists. The paper, outlining six major points for
revisions, was prepared by CC with the assistance of Touche Ross <5c Co.
for the Parliamentary Committee on Communications and Culture. Further
information or copies of the 27-page booklet, "The Canadian Artist and
the Income Tax Act", are available from Helen Murphy, Head of the
Communications Service of the Canada Council in Ottawa.
In its latest round of grants, the CANADA COUNCIL included awards to
L'Ope>a de Montreal and the Advanced Training Opera Centre in
Vancouver, British Columbia.
STATE
ARTS
AGENCIES
The NEW YORK STATE COUNCIL ON THE ARTS, the best endowed state
arts agency in the country, has experienced a cut of $2 million, and
announced some reduction in staff and a streamlining of its operation.
Whereas in the past two persons evaluated each application, one for
fiscal/financial viability, the other for artistic and program values,
henceforth there will be only one staff expert handling each case. In
order to ease some of the work load, a new ruling permits organizations
that have received Council support for the last three years to apply for
two-year grants, rather than for the previously limited period of one
year. — In order to raise more money, the Council proposed a tie-in with
the new New York State sports lottery, and/or inclusion of the Council
on the state tax form as a voluntary donation check-off. — A new
program, "Musical Instrument Revolving Fund", was established to facilitate
the leasing of instruments or the arranging of low-interest loans for the
purchase of musical instruments.
-26-
GOVERNMENT AND NATIONAL ORGANIZATIONS
The NATIONAL MUSIC COUNCIL, r e p r e s e n t i n g over fifty American music
organizations, is the U.S. representative within the International Music
Council. It is through NMC, with the assistance of the American Music
Center, that American music and musicians a r e included at the IMC
Congress and its competition. At its annual meeting on May 31 in New
York, the subject of electronically produced music was discussed. As an
organization embodying both classical and popular music, NMC honored
Virgil Thomson and Lionel Hampton at its annual Awards Luncheon the
following day.
NMC
"Music Theater Celebration 84" was the title of the nine-day showcase
arranged by the NATIONAL INSTITUTE FOR MUSIC THEATER at the New
York City Center for Music and Drama, May 11-20. Details about the
program and the new works can be found under "New Operas and Premieres
- Showcases". — At NIMT's annual awards presentation in March, two
composers were honored for their respective works heard in 1983: William
Mayer for A Death in the Family, and Philip Glass for Satyagraha. - The
singers receiving special awards at the same occasion are listed under
"Winners", but mention should be made here of three Special Project
Grants to opera companies: to the Arizona Opera for the continuation of
its educational program for elementary schools; t o the Lyric Opera of
Chicago for support of its composer-in-residence program; and to Boston
Musica Viva for support of the premiere production of Icarus, a multimedia theater piece.
NIMT
With the appointment of Ben Krywosz as Project Director for "Opera for
the 80's and Beyond" (see Vol. 25, No. 1), OPERA AMERICA has begun
to outline some of t h e steps for awarding grants under this new program.
Under Phase 1, there will be a number of pre-commissioning grants to
opera companies: "Exploration Fellowships" for travel of company administrators to increase exposure to contemporary art and/or meet with
artists, "Team Building Grants" for short residencies by a team of creative
artists for possible collaboration on a new piece, and "Development Grants"
for nurturing a new piece up to the point when a work-in-progress reading
may be undertaken. The subsequent Phase 2 grants will be for the actual
commissioning and production of a work.
OPERA
AMERICA
The VOLUNTEER LAWYERS FOR THE ARTS, in collaboration with four
Borough Arts Councils in New York City, offers several evening workshops
for a r t i s t s and a r t s organizations b e t w e e n April and November of this
year. Subjects to be covered include tax questions, contracts, copyright
laws, incorporation rights, legal responsibilities, and any other questions
raised by the participants. There is no charge for admittance; further
information is available from VLA, 1560 Broadway, New York, NY 10036.
VLA
ARTS INTERNATIONAL was created "for domestic and international
corporations wanting to know about the arts and artists on five continents
in the interest of international friendship, and also by way of promoting
their corporations' public reputation". The new organization is based at
Bacon House Mews in Washington, DC, (1801 "F" Street, N.W., 20006),
chaired by Alistair Cooke and administered by executive director Pamela
D. Walker. It will maintain a computerized data bank that is to include
such diverse information as a cowboy museum in Oklahoma City, a training
school for the art of the Maoris in Rotorua, New Zealand, and the type
of dancing that is indigenous to the Andes. A quarterly newsletter will
disburse newly collected information.
AI
-27-
GOVERNMENT AND NATIONAL ORGANIZATIONS
TCG
The THEATRE COMMUNICATIONS GROUP announced that the previously
mentioned computer software package for the performing arts is ready
and is now being tested by three performing organizations. Known as
the Arts Income Management System or AIMS, it was developed by
consultant Charles Ziff and the Minicomputer Concepts Inc., utilizing the
Pick Operating System. Each of the three arts organizations, the Phoenix
Symphony, the Pittsburgh Public Theater, and the South Coast Repertory
Theater in California, use different hardware equipment to test the
system's optimum capability. Ultimate, Microdata, and ADDS are the
three computers currently in use.
For change of address of the COLLEGE MUSIC SOCIETY, and news from
the NATIONAL FOUNDATION FOR ADVANCEMENT IN THE ARTS see In
Academia.
CONFERENCES
5/6-13/84
5/15/84
6/5-9/84
6/6-8/84
6/6-9/84
6/12-16/84
6/22-26/84
6/27-7/1/84
7/1-7/84
7/8-14/84
8/12-15/84
8/12-9/1/84
9/21-22/84
9/23-10/3/84
11/7-10/84
11/14-17/84
11/18-20/84
2/3-5/85
3/7-9/85
National Music Week, Sixty-First Annual Observance,
National Federation of Music Clubs (next: 5/5-12/85)
Business Committee for the Arts, Annual Meeting and
Awards Program, Atlanta, Georgia
American Symphony Orchestra League <5c Association of
Canadian Orchestras, Annual Convention, Toronto,
Ont.
National Assembly of Local Arts Agencies, Sixth Annual
Convention, Charleston, South Carolina
Association of Professional Vocal Ensembles, Annual Conference
Young Concert Artists National Symposium and Festival,
University of Maryland, College Park
National Association of Music Merchants Annual Meeting,
Chicago, Illinois
Theatre Communications Group, Amherst, Massachusetts
New Music America Festival '84, Real Art Ways, Hartford,
Connecticut
International Society for Music Education, Sixteenth
World Congress, Eugene, Oregon
American Theatre Association, Annual Convention, San
Francisco
"Management Development for Arts Administrators", Banff
Centre School of Management, Alberta, Canada
International Society for Contemporary Music (ISCM),
Symposium on Music Theatre, Toronto
World Music Days Festival (ISCM), Toronto 9/23-27;
Montreal 9/28-10/3
Central Opera Service, Annual National Convention,
Marriott Hotel, Chicago, Illinois
National Opera Association, Annual National Conference,
Dallas, Texas
60th Anniversary Meeting, National Schools of Music,
Washington, DC
Opera America, Annual Conference, Washington, DC
Central Opera Service, Regional Conference, Virginia
Opera Ass'n (Musgrave's Harriet Tubman: The Woman
Called Moses prem.), Norfolk
-28-
IN ACADEMIA
CARNEGIE-MELLON UNIVERSITY, together with the Pittsburgh Opera,
will develop the Pittsburgh Opera Center for specialized advanced training
for young artists in this field. It will be modelled after the San Diego
Opera Center, created by Tito Capobianco while head of the San Diego
Opera. That Center, in turn, was developed following a 1980 COS
Conference devoted to the exploration of joint academic and opera
company projects. Since Mr. Capobianco has become General Director
of the Pittsburgh Opera, he has been instrumental in establishing a dialogue
between one of the local academic institutions and his professional
company. The Opera Center will be under the overall direction of the
University's President, Richard M. Cyert, and administered by Akram
Midani, Dean of the College of Fine Arts, and Harry Franklin, Head of
the Music Department. In addition to training potential opera singers,
the Center will offer instruction to conductors, directors, coach/accompanists, and technical theater personnel who show great promise of
a professional career.
The Virginia Opera Association has developed a new program for advanced
young opera students in collaboration with the Music Department of the
VIRGINIA COMMONWEALTH UNIVERSITY in Richmond. This joint effort
is the direct result of a most generous and unusual gift from the Central
Fidelity Bank in Richmond to the Virginia Opera, which performs in
Norfolk and more recently also in Richmond. The gift consisted of two
theatres in Richmond. (See also Renovated Theaters.)
A novel and many-sided beneficial program with inherent college credit
for the participating students was developed between the CHARLOTTE
OPERA and local academic institutions. For a description see News from
Companies/Educational Programs.
Following last year's Southwestern Chamber Opera Festival (see Vol. 25,
No. 1) will be the MIDWEST CHAMBER OPERA FESTIVAL, hosted by
Ohio State University in Columbus. It will be headed by three artistic
directors, or 'clinicians', who need no introduction to opera connoisseurs:
Boris Goldovsky, Colin Graham, and Richard Owens. The dates are
February 7, 8, and 9, 1985. Albert Herring will be produced by Ohio
State on the 8th, and other academic opera workshops are invited to
participate by bringing one or more short operas for performance during
the Festival. A total of four one-act works can be accommodated. Information and suggestions as to the works and type of productions offered
should be sent to Roger L. Stephens, Director Opera/Music Theater, Ohio
State University School of Music, 1866 College Road, Columbus, OH 43210.
An application fee of $175 covers a part of the cost of participating in
the festival, including a skeleton professional union stage crew.
The Stephen Austin State University in Texas has established its first
summer opera workshop, the NACOGDOCHES REPERTORY OPERA. The
dates are July 6 to August 10, with the last ten days to be devoted, to
the production of two major or three shorter operas plus some evenings
of scenes.
The Opera Theater at the UNIVERSITY OF NORTHERN COLORADO in
Greeley will inaugurate a Summer Apprentice Program under the guidance
of its director, Carl Gerbrandt. June 18 to August 10 are the dates of
the eight-week program designed for advanced students in opera and
musical theatre.
-29-
IN ACADEMIA
The Franklin Center of the Performing Arts in Franklin, North Carolina,
will be the site of the first summer training courses for singers and
pianists, held under the auspices of the MUSICIANS CLUB OF AMERICA,
William Woodruff, Artistic Director. (See also Addenda to Career Guide.)
Professor Dennis Wakeling has established a- student composer workshop
at NORTH TEXAS STATE UNIVERSITY in Denton. The first opera
composed within this new program, Mantel Piece, will receive its first
performance next season. - In another recent development, the Opera
Department is investigating the possibilities of a program whereby its
students can participate in the professional performances of the Fort
Worth Opera and receive academic credit for this work.
The previously reported collaboration between the Opera Department of
the CLEVELAND INSTITUTE OF MUSIC and the Drama Department of
CASE WESTERN RESERVE UNIVERSITY resulted in an unusual and
interesting program combination. Students of the respective departments
performed, in English, first the Prologue to Ariadne auf Naxos, followed
after intermission by Moliere's Le Bourgeois Gentilhomme.
The Case Western Reserve University in Cleveland also established the
MANDEL CENTER FOR NON-PROFIT ORGANIZATIONS, that will offer
continuing education for administrators, staff members and volunteers of
not-for-profit institutions. The Center will open in summer 1985, and
will add a master's degree program in social administration the following
year.
The move of the
Side to the West
on March 5, the
telephone number
0210.
MANNES COLLEGE OF MUSIC from New York's East
Side (Vol. 24, No. 3), culminated in opening festivities
official date of the school's change of address and
to 150 West 85 Street, New York, NY 10024, (212) 580-
A substantial gift from an alumnus with interest in the arts will endow
a chair at COLUMBIA UNIVERSITY'S School of Law, to be devoted to
intellectual properties and activities related to the arts. This gift, in
turn spurred further fundraising efforts for the creation of a broadly
based arts advocacy program at the school to include seminars, lectures,
research, and publications.
ARTS
MANAGEMENT
COURSES
AND
SEMINARS
The arts administration program of SUNY-BINGHAMTON with a master's
degree in business administration, has just completed its tenth year. One
of the earliest and most successful programs, it has recently published a
"Resume Book" of its 1984 graduates with impressive credits not only in
education but also in practical experience. The book further includes a
sizeable list of professional arts organizations that have employed or are
currently employing graduates of the program.
For the first time in April, the management seminars at SUNY-STONY
BROOK offered a two-day course in "Brochure Basics" and "Newsletter
Design and Layout".
For the last two years, the Confederation College of Applied Arts and
Technology in Thunder Bay, Ontario, has offered a PERFORMING ARTS
MANAGEMENT PROGRAM. The College also maintains a placement service
for its graduates.
-30-
IN ACADEMIA
The Volunteer Consulting Group, Inc., at 24 West 40 S t r e e t , New York,
is offering a fifteen-session NON-PROFIT LEADERSHIP SEMINAR SERIES
in New York in May. Each session carries i t s own fee and thus registration
may be s e l e c t i v e . It may become an annual event with leaders from t h e
c o r p o r a t e , a r t s , and philanthropic communities participating.
Due t o t h e g r e a t abundance in administrative seminars, a number t h a t
increases continuously, we include below a selective listing of a few
offered this summer:
"Oregon Institute for A r t s Administration" Ashland, OR 6/11-25/84
"Managing t h e Arts" - School of Business Administration, University of
North Carolina a t Chapel Hill 6/17-29/84
"Financial Management: Innovations for t h e 80s, A National Training
Conference for Nonprofit Organizations" - C e n t e r for Responsive
Governance, Washington, DC 6/27-29/84
"Presenting t h e Arts" - ACUCAA, Durham, NC 7/8-13/84
"Introduction t o Arts Management" - Division of Continuing Education,
University of Massachusetts a t Amherst 7/11-13/84
"Marketing for Nonprofit Organizations" - C e n t e r for Responsive G o v e r nance (Washington), Dallas 7/11-13/84
"Institute in A r t s Administration" - Sangamon S t a t e University, Springfield,
IL 7/16-27/84
"Fundamentals of Management" - Wharton University of Pennsylvania,
Philadelphia; two-day seminars: Dallas 5/10,11; New York City
5/17,18; Philadelphia 6/7,8; Boston 7/19,20
"Management Development for A r t s Administrators" (structured especially
for administrators with a t least five years of experience) - The
Banff C e n t r e , School of Management, Banff, Alberta 8/12-9/1/84
"Courses 1 - 5", t h r e e - t o five-day seminars in San Francisco, Chicago,
Washington, DC, Boston, Dallas, Denver, Indianapolis, Minneapolis
- The Fund Raising School, San Rafael, CA (write for dates)
The national office of t h e COLLEGE MUSIC SOCIETY has moved. Its
new address is 1444 Fifteenth S t r e e t , Boulder, CO 80302; t h e telephone
number (303) 449—1611.
ADDRESS
CHANGE
T h e NATIONAL FOUNDATION F O R ADVANCEMENT IN THE A R T S h a s
published its first Scholarship List, reflecting the 452 ARTS (Arts
Recognition and Talent Search) awards in music, dance, theater, visual
arts, and writing for 1984. These exceptionally talented high school
graduates shared a total of $169,500 in cash prizes. In addition, fifty-two
of them were nominated as possible Presidential Scholars. Approximately
twenty will be given this honor and, after a formal presentation ceremony
at the White House, they will be invited to perform at the Kennedy
Center on June 20. - The Foundation announced some new rules for the
1984-85 program: the registration deadline is May 15, with a late
registration extended to October 1, 1984; the registration fee has been
reduced to $20, with an additional $10 charge for late registrants. Further
information may be obtained by calling ARTS at (609) 734-1090 or by
writing ARTS, P.O. Box 2876, Princeton, NJ 08541. - In another program,
the National Foundation established a series of grants to arts organizations,
dedicated to the advancement of young aspiring artists. These were made
primarily in the fields of ballet and theatre. - Cooperative programs with
music and/or art schools resulted in a great number of Foundationsupported scholarships for young artists.
ARTS
-31-
IN ACADEMIA
TEACHERS'
GUIDE
A VIDEODISC MUSIC SERIES for classroom or individual teaching has
been created by the University of Delaware, Office of Computer-Based
Instruction, in collaboration with its Music Department. Four two-sided
videodiscs contain performances of classical music of the 18th and 19th
centuries. Incorporated into the discs a r e slides highlighting historic events
and showing musical scores. Audio channels make it possible t o select
vocal music in the original language or in English, and microcomputers
facilitate selection of certain portions for teachers to devise their own
program. The musical selections on the discs have been performed by
university orchestras, t h e operatic ones - at this time limited t o scenes
from La Bohkme - by the Metropolitan Opera. For information on
availability contact Fred Hofstetter at the University's Office of Computer-Based Instruction, Main and Academy Streets, Newark, Delaware
19711. — This is the same department that developed the GUIDO
instructional system t o teach music fundamentals and aural skills at college
and university levels with the use of microcomputers. The Westminster
Choir College at Princeton is the latest school t o establish a laboratory
using this system.
[]
Forecast (cont. from page 25)
Salome Canadian Opera Company, Toronto 1/86
L'Opera de Montreal 84-85
Samson (Handel) Lyric Opera of Chicago (Anderson; Vickers, Plishka; c:
Rudel; d: Elliot; ds: Stennett/Short; co-prod, w. Met & Covent
Garden) fall 85
Satyagraha (Glass) New York City Opera (c: Keene) 85
The Student Prince Orlando Opera, Florida 84-85
New York City Opera 85
Suor Angelica L'Ope'ra de Montreal 85-86
Southwest Texas State University, San Marcos 3/85
Sweeney Todd Ball State University, Muncie, Indiana 1/85
New York City Opera 85
Tosca Queens Opera, New York 10/84
Palm Beach opera, Florida 84-85
La Traviata L'Ope'ra de Montreal 84-85
Houston Grand Opera 84-85
Kansas State University, Manhattan, Kansas 2/85
Florida Atlantic University, Boca Raton 2/85
Baton Rouge Opera, Louisiana 11/85
Lyric Opera of Chicago (Malfitano; Araiza, Elvira; c: Bartoletti; d:
D.Alden; ds: Pizzi) fall 85
Canadian Opera Company, Toronto 5/86
Tristan und Isolde L'Ope'ra de Montreal 85-86
Troubled Island (Still) Nassau Lyric Opera, New York 1/85
n Trovatore Palm Beach Opera, Florida 84-85
The Tsar's Bride (Rimsky-Korsakov) The Washington Opera (c: Rostropovich; d: G. Vishnevskaya) 86-87
Vanessa Saskatoon Opera, Saskatchewan 1/85
Zapata (Balada) Pittsburgh Opera (prem.) 85-86
Die Zauberfldte Houston Grand Opera 84-85
Orlando Opera, Florida 84-85
DeKalb College, Clarkston, Georgia 11/84
Don't forget to check the detailed FIRST PERFORMANCE LISTING 198485 SEASON at the end of the BULLETIN.
-32-
NEW AND RENOVATED THEATERS
Two cities currently exploring the planning and design of new arts centers
are Birmingham and Fort Worth. Both have engaged the services of
Russell Johnson and Artec Consultants, with the Alabama project being in
a more advanced state. The BIRMINGHAM CONVENTION CENTER is
tentatively scheduled for a 1989 opening; FORT WORTH is looking at
plans that would replace or add to the presently used arts facility, the
Tarrant County Convention Center.
The City of Pittsburgh has raised the funds for the conversion of the
Stanley Theatre into the PITTSBURGH CENTER FOR THE PERFORMING
ARTS. While the Pittsburgh Symphony will continue using Heinz Hall,
successfully converted into a concert auditorium some years ago, the
$18 million renovation of the Stanley Theatre will offer a new home to
the Pittsburgh Opera, Pittsburgh Ballet, the Civic Light Opera, and any
visiting performing organization that may benefit from a 2,800-seat, fully
equipped theatre. The orchestra pit will accommodate about eighty
musicians. Completion is anticipated for spring 1986, and the opera
company plans to open its 1986-87 season with Aida in the new house.
The new Filene Center Theater of the WOLF TRAP FARM PARK FOR
THE PERFORMING ARTS in Virginia is scheduled to reopen on July 30
with a concert by the National Symphony with Plaeido Domingo as soloist.
Rebuilt at a cost of $18 million after the original design of the theater
that burned down in 1982, the new structure will facilitate a return of
full-scale opera productions to Wolf Trap in 1985, when the New York
City Opera is scheduled to bring some of its repertoire to the park. This
summer, opera will again be relegated to performances at The Barns,
where the resident company is planning an imaginative program of three
major chamber operas and two short works (see Performance Listing).
The Aspen Music Festival has announced the reopening of the recently
renovated WHEELER OPERA HOUSE, a lovely small theater dating back
to the gold rush days. I t had been in use in the Festival's early years and,
in fact, twenty-two years ago it presented The Pearl Fishers
led by
a young aspiring conductor, James Levine.
January '85 will bring the opening of the ORDWAY THEATRE CENTER
FOR THE PERFORMING ARTS in St. Paul. With its two different-size
halls, both suitable for operatic performances, it will be the new permanent
home of the Minnesota Opera (see News from Companies).
The Central Fidelity Bank of Richmond, Virginia, has made a most unusual
and generous gift of two theatres in its city to the Virginia Opera
Association of Norfolk and Richmond (see Vol. 25, No. 1). Built as a
vaudeville playhouse in 1911, the EMPIRE THEATER had undergone many
changes but was restored to its original form and reopened as a 927-seat
auditorium with a concert by the Richmond Symphony in 1977. The newly
renovated REGENCY THEATER seats 238 and adjoins the Empire Theater
forming a new arts complex. The bank, which had purchased the two
houses and financed their restoration, now donated them to the Virginia
Opera. In addition to serving the company as a local residence for its
performances, the theatres were also the indirect cause of the creation of
a new cooperative venture between the opera company and the Music
Department of the Virginia Commonwealth University. A program for
advanced opera students will be administered jointly and will offer
performance opportunities on a professional level at the new theaters.
-33-
NEW THEATERS
The Toussaint Group Inc., a Multimedia Communications Corporation in
New York City, bought the site of the Renaissance Ballroom and Lafayette
Theatre in Harlem to establish the TOUSSAINT RENAISSANCE MULTIMEDIA ARTS CENTRE. Located on Adam Clayton Powell Jr. Boulevard
and 138 Street, the new Centre will be designed by James Robinson
Associates and is estimated to cost $14.5 million. It will house three
theatres of different sizes and with different equipment, television and
recording studios, a computer center, a restaurant, and book and record
stores.
AT COLLEGES The BMCC PERFORMING ARTS CENTER will open soon at the Borough
AND
of Manhattan Community College on Chamber S t r e e t in New York's Tribeea
UNIVERSITIES a r e a . William Spencer Reilly, executive director of t h e C e n t e r , announced
plans for t h e formation of a resident symphony orchestra; he also hopes
to a t t r a c t a professional opera company as well as dance and t h e a t r e
groups interested in performing for new young audiences, which he expects
t o draw from t h e r e c e n t residents of this downtown a r e a .
Other academic institutions with new performing a r t s facilities include
Western Michigan University in Kalamazoo, where t h e DOROTHY U.
DALTON CENTER FOR THE PERFORMING ARTS opened last season. It
is shared by t h e University's School of Music and Department of Dance,
which have a joint enrollment of 3,500 s t u d e n t s .
The University of Wisconsin in Madison is currently renovating i t s MUSIC
HALL, which was declared a landmark on t h e University's campus.
Reopening is projected for 1985, when t h e School of Music will c e l e b r a t e
its ninetieth anniversary.
FOREIGN
THEATERS
Now that Prague's NATIONAL THEATER (Narodni Divadlo) reopened last
October after a six-year renovation and modernization, the Czech Cultural
Ministry announced the closing of the beautiful baroque TYL THEATER
for refurbishing and renovating, which is expected t o take four years.
It was in this theater that Mozart's Don Giovanni
was premiered in
1787, and the t h e a t e r ' s reopening may well coincide with t h e 200th
anniversary of that memorable d a t e .
September '84 will mark t h e reopening of t h e renovated BUDAPEST STATE
OPERA, an event that will also celebrate the t h e a t r e ' s 100th anniversary.
Two new works by Hungarian composers a r e planned for premieres during
that season (see New Operas and Premieres Abroad).
Plans for t h e building of a new opera house in EGYPT were announced.
The construction site is a fairground with a view of t h e Nile; t h e t h e a t r e
is t o be a gift from Japan t o the people of Egypt.
[]
-34-
ATTENTION COMPOSERS AND LBRETTETS
The sixtieth annual JOHN SIMON GUGGENHEIM MEMORIAL FOUNDATION
Awards, totalling $5.5 million, were distributed among 283 artists, scholars
and scientists. The following composers residing in the New York/New
Jersey/Connecticut tri-state area were included in this year's fellowship
list: William Fink - for music composition and writing for musical theater;
Samuel Adler, Dr. Matthew Greenbaum, and Aaron Jay Kernis - for music
composition.
The Artists Foundation, Inc., has awarded three composers residing in
Massachusetts $5,000 Fellowship Grants. They are Samuel Headrick,
Deborah Henson-Conant, and James Johnson. Ms. Henson-Conant received
her award for excerpts from a cabaret musical, the others for electronic,
and orchestral compositions, respectively. Massachusetts resident composers are eligible to apply at the Foundation, 110 Broad Street, Boston,
Massachusetts 02110.
The second ROLF LIEBERMANN COMPETITION FOR OPERA COMPOSERS
is now open and carries a deadline of February 1, 1986. The winner of
the first competition was Konrad Boehmer, his opera a two-act work, Dr.
Faustus, the cash prize about $30,000 and a future premiere in Hamburg.
For requirements and application forms for the 1986 competition write
Korber Stiftung, P.O. Box 800660, D-2050 Hamburg 80, Germany.
Ben Krywosz, Opera America's new director of the Opera for the 80's
and Beyond project, has organized three composer/librettist conferences.
The first will be held in September in New York, to coincide with the
New Dramatists meeting, to be followed in November in San Francisco,
coinciding with the Bay Area Playwrights Festival, and finally, the third,
in January '85 in Minneapolis, at the time of the Playwrights Center and
Composers Forum there. Further information may be obtained from Opera
America, 633 E Street NW, Washington, DC 20004. (See Vol. 25, No. 1
for more information on Opera for the 80's and Beyond.)
A new international competition for a major work is administered by the
School of Music of the University of Louisville in Kentucky. Open to
outstanding composers from any country, the GRAWEMEYER AWARD
carries a cash prize of $150,000, to be paid in five annual installments.
Operas, ballets, choral, orchestral or chamber music pieces, major solo
instrumental compositions, etc., may be submitted for consideration. One
of the requirements for the submitted work is that it be premiered in
1983 or 1984. While the primary judgement will be based on the particular
work, the composer's total achievements will also be considered.
Applications must be sponsored by a professional music organization or
individual; a $30 fee must accompany the required material: a professionallevel cassette recording of the work, three copies of the score, a
composer's biography and photograph, reviews and programs, and the
completed application form.
Inquiries should be addressed to the
Grawemeyer Music Award Committee at the University in Kentucky, 40292.
The Hartt School of Music at the University of Hartford and the Hartford
Arts Center, in collaboration with Real Art Ways, Box 3313, Hartford,
Connecticut 06103, will host the annual NEW MUSIC AMERICA FESTIVAL
'84, this year scheduled for July 1 through 7. The Festival, founded by
The Kitchen Center in New York in 1978, will present seventeen concerts
with music by over fifty composers, and end-to-end music-making
throughout the city in theatres, concert halls, and indoor and outdoor
-35-
ATTENTION COMPOSERS/LIBRETTISTS
spaces. The Festival will also include discussion groups and workshops on
such subjects as video, radio, and electronic/computer music. Over one
hundred composers are expected to attend. The opening of the Festival
is scheduled to take place on the ride from New York to Hartford, where
composers will travel together on a special Amtrak train. Nineteen dollars
buys a ticket for this special train; $30 a Festival Pass to all events.
The International Society for Contemporary Music will hold an INTERNATIONAL SYMPOSIUM ON MUSIC THEATRE in Toronto on September
21 and 22, hosted by the Canadian Section of ISCM. Panel discussions
will be devoted to "The Role of the Director", "Music Theatre and the
Media", "Drama and Music", and "The Role of the Producer".
The
Symposium will also usher in the WORLD MUSIC DAYS FESTIVAL, held
under the ISCM auspices, September 23 through 27 in Toronto, and
September 28 through October 3 in Montreal. Further information is
available from ISCM, 1104-135 Marlee, Toronto, Ontario M6B 4C6.
Similar to the Lyric Center for American Artists composer-in-residence
program in Chicago, the MIDWEST OPERA THEATRE of the Minnesota
Opera also has a composer in residence. He is Stephen Houtz, and one of
his duties is to work with local school children, guiding them in writing
and producing their own opera. - Likewise, Henri Venanzi, composer and
coach at ECCO! of the Cincinnati Opera, worked with fifth and sixth
graders of a local school while they created a new operatic work.
The San Diego Symphony Orchestra announced the appointment of Bernard
Rands, subsequent recipient of the 1984 Pulitzer Prize in Music, as its
composer-in-residence. — The Berkshire Music Festival at Tanglewood
chose John Harbison as its resident composer for the 1984 summer session.
— The Minnesota Orchestra recently added two composers in residence,
both well known for their operatic compositions: Stephen Paulus and Libby
Larsen. All have been engaged under the new MEET THE COMPOSER
program, founded and announced here two years ago. It places young
composers with major orchestras for the benefit and enlightenment of the
audience, the composers, and the orchestra musicians. John Duffy, founder
and director of Meet the Composer, began the program ten years ago with
a total budget of $66,000; it is now over $1 million.
The new AMERICAN MUSICAL THEATER of the Greater Miami Opera,
presenting its opening season this fall, is also planning to establish a
composer-in-residence program especially directed toward the songwriter/musical theatre musician.
A new program for writers/librettists is planned for next fall. The BMILEHMAN ENGEL MUSICAL THEATRE WORKSHOP will offer lectures and
workshop sessions with established writers and composers. Applications
must be accompanied by samples of writings and should be addressed to
Allan Becker, BMI, 320 West 57 Street, New York, New York 10019.
Susan H. Schulman, Artistic Director of the Pittsburgh Civic Light Opera,
is the Director of the new workshop.
The deadline for submitting new scores to the AFTER DINNER OPERA
COMPANY, Richard Flusser director, for showcase presentations during
the 1984-85 season, has been announced as July 1.
(continued on page 46)
-36-
COS INSIDE INFORMATION
Subjects for COS National Conferences are always chosen in response to
pertinent and newsworthy developments. In the past, we have examined
new production methods, opera administration and board of directors
functions (separately and as interaction), funding problems and solutions,
career development, training and professional opportunities for young
singers and, at a later meeting, the same for stage directors. The last
Conference discussed Style in Opera Production.
For the meeting scheduled for November 7, 8, and 9, 1984, in Chicago,
we shall turn our attention to the composer/librettist's interaction with
producers, and follow the Premiere Development of New Opera/Music
Theater Works. Workshop readings and/or showcases have been created
as tryouts in response to the high cost of producing a new work and the
obvious risks involved, combined with the frequent need for correcting
and rewriting after the premiere production. This recent phenomena,
consisting either of an adjunct apprentice-workshop attached to an opera
company, or of an organization especially created for showcasing, assists
in developing new operas and musicals. Several works have been helped
over the birth-pangs, resulting in full premiere productions; others have
been showcased several times without progressing further. Still others
have ultimately turned up as commercial Broadway productions. And,
finally, there have been those works, frequently commissioned ones, that
have had a full production premiere, no doubt thoroughly rehearsed, but
without the benefit of the earlier tryouts. In those cases, rewriting has
occurred after the first production.
It is particularly appropriate to discuss this subject in Chicago, since our
host company, the Lyric Opera of Chicago, with General Director Ardis
Krainik, is the first American opera company to sponsor its own eomposerin-residence, William Neil.
The company's Lyric Opera Center for
American Artists, under Music Director Lee Schaenen, is assisting him in
the development of his first operatic composition.
For the Conference, Central Opera Service is assembling a most
distinguished array of experts to examine the pros and cons of the various
methods. How and why are certain pieces chosen for showcasing? Is
showcasing an artificial atmosphere and hence not as valid as a
performance before a paying audience? Has showcasing, often of brief
scenes with only indicated staging, been successful for opera producers
to choose works for premiere productions, and what operas or musicals
have travelled that route? What methods do composers and librettists
prefer and which do they feel are most productive? How are these
showcases financed and how does the financing relate to the final
production?
These and many other questions will be examined and aired by experts
who will participate in the Conference, all offering their special knowledge
and experience. The list is too long for inclusion here, and each person
too important in his or her own way to be singled out over the others.
They will include presidents, general and artistic directors of major
performing organizations - some with workshops, some without, leading,
established and young, promising composers and librettists of operas and
of music theatre works, performing musicians, and administrators. We
shall hear from representatives of foundations and other support
institutions, from directors of national organizations that have organized
or participated in showcases, such as the National Institute for Music
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1984
NATIONAL
CONFERENCE
COS INSIDE INFORMATION
Theater, Opera America, Meet the Composer, and yet others deeply
involved in the process such as sponsoring foundations, the American
Music Center, AGMA, and ASCAP.
In addition, a panel of heads of opera/music departments at leading
universities will speak on the opportunities for young opera composers at
academic institutions.
We look forward to a large attendance of involved participants, ready to
question the speakers and panelists. We may well make history in Chicago
- we want you to be a part of it!
The Conference will open on Wednesday, November 7, with an afternoon
reception, generously hosted by Miss Krainik and the Lyric Opera of
Chicago at the Tower Club in the Opera House. There will be some
exciting performances by the company during the period of the Conference:
The Abduction from the Seraglio with Ruth Welting and Francisco Araiza
on November 7, a new production of Carmen with Placido Domingo on
November 9, and Emani with Luciano Pavarotti on November 10. The
Marriott Hotel will be Conference headquarters. Registration information
will be mailed to COS members at the end of August; because of the
shortage of opera tickets as well as of hotel rooms, be sure to return
your reservation and ticket order promptly.
COS SALUTES...
...the VILLAGE LIGHT OPERA GROUP on the celebration of its golden
anniversary, and the BLUE HILL TROUPE on sixty years of performances
...the NEW YORK CITY OPERA, the MISSISSIPPI OPERA, and OPERA
DELAWARE, all celebrating their fortieth anniversaries, and the NYCO
GUILD its twenty-fifth
...the ASPEN MUSIC FESTIVAL, which will observe its thirty-fifth
anniversary season this summer, and the INDIANA UNIVERSITY OPERA
THEATER preparing for 1984-85, its thirty-fifth anniversary season
...the LYRIC OPERA
occasion COS hopes to
in November, and THE
Opera's thirty-year-old
OF CHICAGO on its thirtieth anniversary, an
help celebrate at its National Conference there
MEROLA OPERA PROGRAM, the San Francisco
training program
...the OPERA COMPANY OF BOSTON and the SKYLIGHT COMIC OPERA
LTD., in Milwaukee, on the occasion of their twenty-fifth anniversary
seasons
...the CHICAGO OPERA THEATER, OPERA EBONY, ARTPARK in
Lewiston, and the GLIMMERGLASS OPERA in Cooperstown, New York,
on the occasion of their tenth anniversary seasons
...soprano ROBERTA PETERS and bass JEROME HINES, who were awarded
the Company Medal by the Metropolitan Opera for thirty-three years of
service and 350 performances, and thirty-seven years of service and 570
performances, respectively
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COS SALUTES
...RISE STEVENS, Executive Director of the MONC Regional Auditions,
Advisor to the Metropolitan Opera Young Artists Development Program,
and former internationally renowned mezzo-soprano, upon receiving an
honorary degree of Doctor of Music (her eleventh) from the Cleveland
Institute of Music
...composer VIRGIL THOMSON and bandleader/composer LIONEL HAMPTON
on being the honorees at the third annual awards luncheon of the National
Music Council in New York in May
...composer ELIE SIEGMEISTER on his seventy-fifth birthday
...TITO CAPOBIANCO, who was awarded the rank of "Officier dans l'Ordre
des Arts et des Lettres" by the French government
...author and radio producer GEORGE JELLINEK, Music Director of the
WQXR radio station in New York since 1968, on receiving an honorary
degree of Doctor of Music from Long Island University
...composer/lyricist STEPHEN SONDHEIM on being chosen by the Arts and
Business Council as the honoree for the Arnold Gingrich Award
...designer ROBERT ISRAEL, who created scenery and costumes for several
American opera productions, most recently for Glass's Akhnaten (Houston
and New York City Opera) and for the 1985-86 Ring des Nibelungen
(Seattle), on being awarded a Guggenheim Fellowship
...the following individuals and institutions honored by NIMT's 1984 National
Music Theater Awards: the METROPOLITAN OPERA ASSOCIATION (award
accepted by General Manager Anthony A. Bliss), for the dedication which
has kept the Met alive and well for 100 years; - GLYNN ROSS, for his
vision and determination to promote all of America's opera companies,
large and small; - RUTH SICKAFUS, for her fourteen years of faithful
service as the Administrator of the Institute; - composer WILLIAM MAYER,
with the New Works Award, for his opera A Death in the Family premiered
by the Minnesota Opera in 1983 (four guest artists performed excerpts
of the work); - and composer PHILIP GLASS for Satyagraha, a work in
musical theatre. (Singers' awards listed under Winners.)
... ROGER L. STEVENS, recipient of the Richard L. Coe Award for "his
life achievements in the theatre...whose stamp upon theatre in America,
and the arts in general, is indelible"
...WILLIAM WEAVER, author, lecturer, and musicologist, who was awarded
the 1984 PEN translation prize for his English version of Eco's The Name
of the Rose, and Fallaci's A Man
...LEONARD FLEISCHER, Senior Advisor of the Arts Program at Exxon
Corporation, for the award presented to him by Meet the Composer, Inc.,
for his initiating the imaginative orchestra residency program for composers
...the CHILDREN'S FREE OPERA OF NEW YORK, part of the St. Luke's
Chamber Ensemble, on receiving the 1984 Business Committee for the
Arts Award, and on being chosen for television coverage by PBS/NET
(Les Bavards), by CBS-TV (Lo Speziale), and by NBC-TV(an interview with
its artistic director, Michael Feldman)
[]
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APPOINTMENTS AND RESIGNATIONS
Government Agencies
ANN FARRIS DARLING and ADRIAN GNAM have
announced their resignations from the positions
of Director of the National Endowment for the
Arts' Opera-Music Theater Program and the
NEA's Music Program, respectively. Ann Darling
left the Endowment at the end of May to become
Producer of all arts programs at the 1986
Vancouver Centennial EXPO in Canada (see also
Festvials). — Adrian Gnam, who has been with
NEA since 1976, plans to return to a full-time
conducting career.
Center as Head Librarian. ELLEN SCHANTZ's
new title is Library Reference Assistant; SUSAN
WILLNER is the new Cataloger.
Arts Centers
NATHAN LOWENTHAL, Deputy Mayor of the
City of New York for the last four and a half
years, was appointed President of Lincoln Center
for the Performing Arts. It is the position
vacated a year ago by John Mazzola and, in the
interim, briefly occupied by Glenn W. Ferguson.
Mr. Lowenthal, who began in this leading administrative job in the arts in March, brings with
him a strong commitment to the performing arts
and to Lincoln Center in particular, as well as
proven administrative abilities. He is a lawyer
by profession, and enjoys a reputation as a hard
worker and troubleshooter. His previous positions, which included that of Housing Commissioner, give him a wide knowledge of real estate
in New York, and great experience in labor laws
and negotiations. He will be working closely
with Lincoln Center's Chairman, Martin E. Segal.
The distinguished Canadian mezzo-soprano MAUREEN FORRESTER was named Chairman of the
Canada Council, succeeding Mavor Moore, whose
resignation had been previously announced.
GILLES LEFEBVRE, former Assistant Deputy
Minister, External Affairs, for International Cultural Relations, is the Canada Council's new
Associate Director. The Music Section continues under the directorship of FRANZ KRAEMER,
with YVONNE GOUDREAU in charge of grants
to opera companies, and JOHN BROTMAN as
Music Grants Coordinator of the CC's touring Prospects for a national theatre company were
office.
discussed in Vol. 25, No. 1; now PETER SELLARS
has been named Artistic Director and Chief
ADRIENNE HIRSCH exchanged her locale as Operating Officer for plays jointly produced by
Executive Director of the Arizona Commission the Kennedy Center and the American National
on the Arts, for the same position with the Theatre Academy. The first production of the
Illinois Arts Council. — The Tennessee Arts talented and controversial young director will
Commission in Nashville has chosen BENNETT take place next spring; he will relinquish his
TARLETON for its new Executive Director. He position as Artistic Director of the Boston
had been the Director of Dance St. Louis and Shakespeare Company.
of the Alliance for Arts Education.
RICHARD D. SNYDER left the Iowa Arts Center
National Arts Organizations
in Ames to accept the post of Executive Director
The Business Committee for the Arts reelected of the Ordway Music Theatre in St. Paul. The
RALPH P. DAVIDSON of Time Inc., Chairman $42 million arts complex will open in January '85.
for a second term. Other officers elected are
RAWLEIGH WARNER, Jr., Vice Chairman; JU- The Friends of the Kennedy Center for the
DITH A. JEDLICKA, President;
JEANNE R. Performing Arts elected ANNETTE (Mrs. TheoKERR, Vice President; WINTON M. BLOUNT, dore) STRAUSS of Dallas, National Chairman,
Secretary; and WILLIAM RUDER, Treasurer.
MICHAEL MORRELL, Vice Chairman, ALEXANDRA ARMSTRONG, Treasurer, and JOY CARThe Public Broadcasting Service has chosen TER SUNDLUM, Secretary - all of Washington,
BRUCE L. CHRISTENSEN for its new President. DC.
DEAN BOAL, who joined National Public Radio The Pioneer Memorial Theatre in Salt Lake City
in 1982 as Music Coordinator, was named Direc- has appointed CHARLES MOREY its first Artistor of NPR's Department of Arts and Perfor- tic Director.
mance Programs.
Arts Festivals and Other Institutions
Opera America has engaged BEN KRYWOSZ as Beginning in June, ANN FARRIS DARLING,
Project Director for "Opera for the 80's and Be- former Program Director of NEA's Opera-Music
yond" (see Vol. 25, No. 1). A stage director and Theater Division, became Producer of the artistic
former administrator of various operatic pro- events at the World Exposition Festival, EXPO
grams, he will continue as Associate Director of '86, Vancouver's Centennial celebration (see Vol.
the Minnesota Opera Summer Institute.
25, No. 1). Her previous positions included those
of Director of Opera America, of the Central
EERO RICHMOND has joined the American Music City Opera, head of Theatre Production for Expo
-40-
'67 in Montreal, and administrator with several the new Staff Manager of the AT&T Foundation,
American and Canadian opera companies. Her which is planning to make its first arts grants
first position was with the Vancouver Interna- this year.
tional Festival in the early 1960's.
At the thirty-third annual meeting of the European Society of Music Festivals, held in Spain
in 1983, HENRY SIEGWART of Geneva was
appointed Director; TASSILO NEKOLA of Salzburg was reelected President, and MASSIMO
BOGIANCKINO of the Paris Opera and OTHMAR
FRIES of the Lucerne Festival were named Vice
Presidents. The next meeting of the forty-threemember organization is scheduled for this year
in Jerusalem.
Beginning in summer 1985, the Saratoga Performing Arts Festival will include some operatic music, if only in concert form. This return to
opera is prompted by its next Director of
Classical Music Programs, DENNIS RUSSELL
DAVIES. The conductor will remain Music
Director of the Stuttgart Opera, where he has
introduced a number of new works. For his first
season at the upstate New York festival in 1985,
he plans to include an opera concert with the
resident Philadelphia Orchestra, featuring Act
II of Philip Glass's Afchnaten and Act III of
Tristan und Isolde.
PIERRE BOULEZ was named Music Director of
the three-day Ojai Music Festival in California
for 1984. It will be devoted to 20th century
music.
GERARD SCHWARZ, who will make his New
York City Opera debut this season, was eonfirmed as Music Director of the Mostly Mozart
Festival in New York.
The Berkshire Music Festival in Tanglewood
named JOHN HARBISON Composer-in-Residence
for 1984.
LORIN MOORE, formerly Administrative Director of the Edmonton Opera, has accepted the
post of Administrator of Edmonton's Bach Tercentenary Festival, March and April, 1985.
The well-known public relations firm, Rogers <Sc
Cowan, Inc., has opened a Corporate Cultural
Affairs Department for the purpose of selecting
worthy projects in the arts for possible corporate support. ELIZABETH WEIL, formerly the
Director of both the NEA's Challenge Grant and
Advancement programs, was engaged as Vice
President for Corporate Cultural Affairs, located
in the company's Washington offices.
Music Publishers
JEROME BUNKE, Executive Director of the
Concert Artists Guild for the last eight years,
was elected President of Boosey & Hawkes, Inc.
He assumed his new position at the West 57
Street office of the music publisher on May 1.
G. Schirmer, Inc. announced the appointment of
JOHN A. SANTUCCIO as President, effective
March 1. He had been with the Eastman School
of Music for the last nine years. ERIC A.
GORDON is the new Publicity Director for G.
Schirmer and Associated Music Publishers. - The
music publisher's periodical, The Musical Quarterly, will now be in the hands of composer
ERIC SALZMAN, its new Editor.
Opera Companies
The Metropolitan Opera has announced the
retirement of its President of the last seven
years. FRANK E. TAPLIN will step down at
the end of this season from a post he filled
more actively than any Met Opera president
before him. He was the first to maintain an
office in the opera house, and while it was a
modest place, it was one of the busiest. Under
his guidance the marketing and fundraising activities of the company were put on a businesslike basis, and it was also under his guidance
that the Centennial Endowment Fund was
launched so successfully. He will remain with
the company as a Managing Director. As the
new President, the Board elected BRUCE CRAWFORD of New York City, who had become a
board member in 1976, member of the Executive
Committee the following year, and a Vice
President of the Association in 1981. An
advertising executive, he is President of Batten,
Barton, Durstine, & Osborn, Inc. Reelected
officers include WILLIAM ROCKEFELLER,
Chairman of the Board, JAMES S. MARCUS,
Chairman of the Executive Committee, J. WILLIAM FISHER, MRS. ALEXANDER M. LAUGHLIN, LAURENCE D. LOVETT, and MRS. STEPHEN
E. O'NEIL, Vice Presidents, and PETER E.
ALTON, Secretary. MICHAEL V. FORRESTAL
is the new Treasurer.
This is also the time when new officers are
installed at the Metropolitan Opera National
Council, where the president's term is limited
to three years. In this office, MRS. GILBERT
(LOUISE) HUMPHREY was succeeded by JOHN
T. LAWRENCE, Jr., of Cincinnati, Ohio. MRS.
GEORGE (ELLIE) CAULKINS, Jr. of Denver is
Another former Director of an NEA program has a new Vice President; the other two Vice
joined the corporate world to assist in arts Presidents, JAMES P. GILLIS and O. DELTON
support from that sector. ESTHER NOVAK is HARRISON, Jr., were reelected, as were JOHN
-41-
L. FOX, Treasurer, and WILLIAM W. BLAND, RUIGOMEZ, from Acting Business Manager to
Secretary.
MITCHELL L. LATHROP of San Tour Director, and the addition of STEVEN
Diego became Chairman of the Executive Com- BRONFENBRENNER, formerly with the Tucson
mittee, and DENNIS D. McCRARY of New York Symphony, as Director of Finance and OperaCity, Chairman of the Administrative Committee. tions, and of GARY REDDING as his assistant.
- Continuing in top management positions are
On May 16, the Lyric Opera of Chicago had its Opera Guild Director MRS. ARTURO DI FILIPPI,
annual full board meeting and grand supper to Director of Development BRUCE G. HEARD, and
elect and install its new and reelected officers. Marketing Director RICHARD FALLON.
WILLIAM B. GRAHAM, an honorary life board
member of the company, was named President, As of August 1, JONATHAN FRIEND, currently
to succeed ANGELO R. ARENA. The other Company Manager at the Metropolitan Opera,
officers confirmed for 1984 are J. W. Van will become an Artistic Administrator of the
GORKOM as Chairman, ARCHIE R. BOE as company. He will assume most of the duties
Chairman of the Executive Committee, JAMES now carried by JOAN INGPEN, who will function
J. BRICE, LESTER CROWN, and JOHN D. GRAY as liaison officer and talent scout for the
as Executive Vice Presidents, ANTHONY ANTO- company in Europe. RAYMOND P. QUINN will
NIOU, MRS. THOMAS B. BURKE, JAMES L. be added to the rehearsal department, to which
DUTT, WILLIAM S. NORTH, JOHN SEABURY, Mr. Friend had been attached as Company
MRS. EDWARD BYRON SMITH, and DANIEL J. Manager.
TERRA as Vice Presidents, LEE A. FREEMAN,
Sr., as Secretary and General Counsel, and PAUL The Orlando Opera has named RICHARD OWENS,
C. WILSON as Treasurer.
founder/director of the American Institute of
Musical Studies in Graz and Dallas, as its new
New officers were elected to the Dallas Opera General Director. Mr. Owens will continue as
board of directors; KIRTMAN C. ANTON is Presi- Director of AIMS during the summer months.
dent, with WILLIAM W. WINSPEAR, immediate
past President, named Chairman of the Board. ANNE ATHERTON RANDOLPH has left Opera
The following all carry the title of Vice Presi- Memphis to join the Central City Opera in
dent with each in charge of a special department Colorado as its General Director. She will
or committee: LARRY W. SISSON, finance com- combine both the managerial and the artistic
mittee; Dr. LAWRENCE WILSEY, planning com- administration under the directorship, as she has
mittee; FRANK PITTS, advisory committee; Dr. worked as production/stage director as well as
ANTHONY COPP, development committee. MRS. as administrative head of opera companies.
DAVID DONOSKY is Secretary. The finance and Artistic Director John Moriarty and Administradevelopment committees have announced that tor J. Glen Arko continue with the Colorado
they have been able to balance the 1983-84 festival in their positions. — CAREY WONG,
record budget of $4.85 million.
Associate Administrator in Memphis and former
Production Director and Designer with the PortFollowing his retirement as General Manager of land Opera, also left the Tennessee company.
the Greater Miami Opera, effective as of He was named Resident Designer of the Arkansas
January 1, 1986 (see Vol. 25, No. 1), ROBERT Opera Theatre in Little Rock for the next three
HERMAN will become an officer of the Associa- years, and will spend the rest of the time as
tion, joining the Board of Directors as Vice freelance designer and consultant. He has again
President for Advocacy and Development. He established his studio and residence in Portland,
will hold this new office for five years, through Oregon.
May 1990. - At the same time the: Board also
announced the selection of ROBERT M. HEUER, The Opera Theatre of Saint Louis has created
currently Assistant General Manager, as succes- a new position, that of Executive Director in
sor to Mr. Herman. Mr. Heuer's new contract charge of business and development departments,
as General Manager extends'from January 1986 and engaged CHARLES MacKAY to fill it.
through June 1987; beginning in June '85, his Former Director of Development and Finance at
title will change from Assistant General Manager the Spoleto Festival and previously with the
to General Manager-Designate. He had' been Santa Fe Opera, he will work closely with
with the Michigan Opera before joining the General Director Richard Gaddes.
Another
Florida company in 1979. •: Other changes in change will bring a promotion for MARK
staff positions include WILLIE ANTHONY WA- TIARKS, from Artistic Administrator to ComTERS, whose title and responsibilities were pany Manager, where he will implement new
changed from Music Director to Artistic Direc- programs, develop national and international
tor, JOHN (Jeep) JEFFRIES, from Technical tours, and be in charge of the NEA Challenge
Director to Production Director, CHRISTOPHER Grant Project.
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The Palm Beach Opera has appointed ANTON
GUADAGNO, guest conductor with many major
opera companies, as Artistic Director and Principal Conductor, succeeding PAUL CSONKA, founder of the organization.
assumed by MONTINE CLAPPER with the Central City Opera in Colorado. — DORIS ROEMER
is the new Director of Development with the
Utah Opera in Salt Lake City, where Glade
Peterson is General Director.
JACQUES LANGEVIN, who was Music Director Symphony Orchestras
of the Canadian Ministry of Cultural Affairs, is Following the announcement of Edo de Waart's
now General Manager of L'Ope'ra de Montreal. acceptance of the post as Music Director of the
Netherlands Opera and his leaving the San
This season's last production of Norma by the Francisco Symphony (see Vol. 25, No. 1), came
Vancouver Opera in Canada, also marked the the notice of the choice of his successor. He
last official function of IRVING GUTTMAN as is American-born HERBERT BLOMSTEDT, Music
the company's Artistic Consultant. He first Director of the renowned Dresden Staatskapelle,
directed opera there in 1959; in 1963 he also a position in which he intends to continue in
staged a production of Norma that featured Joan addition to the San Francisco appointment. For
Sutherland in the role for the first time. As his first California season in 1985-86, he is
previously mentioned, the next season will be committed to spend ten weeks conducting the
under the artistic management of Brian Me Mas- orchestra, and Mo. de Waart will be in charge
ter.
for five weeks. — Mo. Blomstedt will test the
California climate this summer when he directs
VICTORIA BOND assumed the position of Music the Institute of Orchestral Conducting and SymDirector of New York's Bel Canto Opera at the phonic Performance at Loma Linda University in
Riverside (6/18-7/5/84).
beginning~5f the 1983-84 season.
LEE SCHAENEN resigned as Artistic Director of
Opera/Columbus, Ohio, where he had served
since the company's founding two years ago.
His primary and permanent position is that of
Music Director of the Lyric Opera Center for
American Artists in Chicago.
ANDRE PREVIN, Music Director of the Pittsburgh Symphony since 1976, has accepted the
same position with the Los Angeles Philharmonic
beginning with the 1986-87 season, after his
current contract in Pittsburgh expires. He will
succeed Carlo Maria Giulini, who announced his
resignation due to ill health (see Vol. 25, No.
1). In Los Angeles, Mo. Previn will be working
again with Ernst Fleischmann, Managing Director
of the orchestra, who was Manager of the London
Symphony when the conductor was that orchestra's Music Director.
The Chicago Opera Theater has engaged MARC
A. SCORCA as Managing Director. He comes
to Chicago from the New York City Opera,
where he had been Director of Special Events.
In his new post, he will work directly under the
company's founder and Artistic Director, Alan
Stone.
It has just been announced that LORIN MAAZEL,
who has left his post with the Vienna State
The Tri-Cities Opera in Binghamton, New York, Opera (see Music Abroad), was named Music
named JILL (Gillian) PORTER Administrative Consultant of the Pittsburgh Symphony, a posiDirector. She had served as Vice-President of tion newly created for him. While he will be
the company's Board of Directors.
conducting some of the orchestra's concerts in
Pittsburgh - his former hometown - and on tour,
One of New York's leading experimental music he let it be known that he will not be available
theatre stages, The Kitchen, named STUART as future Music Director, since he no longer
HODES Executive Director. The organization is intends to accept any permanent positions.
currently working with an $800,000 budget.
CLAUDIO ABBADO, who will replace Mo. Maazel
Beginning on March 1, STEVEN JORDAN replaced as Music Director of the Vienna Staatsoper (see
Russell Walton as Company Administrator at the Music Abroad), has requested he be relieved of
San Francisco Opera Center.
his duties as Principal Guest Conductor of the
Chicago Symphony Orchestra at the end of the
PATRICIA L. FLEISCHER, former Director of 1984-85 season. His affiliation as Music Director
Development with the San Francisco Opera, has of La Scala ends this summer, but he will remain
joined the staff of the Washington Opera as Music Director of the London Symphony OrchesDirector of Development and Marketing. — The tra. He will continue to make some guest
San Diego Opera has signed RANDALL L. VOIT appearances with the Chicago orchestra.
as Director of Marketing and Public Relations,
a post he held previously with the Louisville Another major change in conductorial positions
Symphony. — The same job and title have been concerns DAVID ZINMAN, who, after ten years
-43-
in upstate New York, will move from Music Music Director and Conductor.
Director of the Rochester Philharmonic to Music
Director of the Baltimore Symphony Orchestra. The position of Executive Director for the
The 1985-86 season will be his first as head of Baltimore Symphony Orchestra went to JOHN
the Maryland orchestra, where he succeeds GIDWITZ as successor to JOSEPH LEAVITT, who
Sergiu Comissiona and, most recently, Acting in turn was named Executive Vice President and
Music Director Joseph Silverstein. CATHERINE Manager of the Fort Lauderdale Symphony.
COMET was named Associate Conductor of the — Mr. Gidwitz's previous job as manager of the
orchestra.
San Francisco Symphony has gone to his former
assistant, DEBORAH BORDA.
JORGE MESTER, Music Director of the Aspen
Music Festival and Chairman of Conducting DAVID M. WAX, formerly with the Sacramento
Studies at the Juilliard School, has accepted a Symphony, is now General Manager of the
three-year contract as Conductor of the Pasa- Minnesota Orchestral Association, and JUDITH
dena Symphony beginning with the 1984-85 sea- PEMBER is the new Executive Director of the
son. His previous conductorial positions include Berkeley Symphony Orchestra. — MARIE J.
twelve years with the Louisville Orchestra; he O'CONNOR was appointed Managing Director of
conducted opera at the New York City Opera the Hartford Symphony Orchestra.
and will lead some performances in Stuttgart
next season. He will continue in his current ROBERT C. JONES became the Executive Dipositions.
rector of the Indianapolis Symphony. — The Des
Moines Symphony Association engaged PATRICIA
The Spokane Symphony Orchestra signed com- MINOT as General Manager of the orchestra,
poser/conductor GUNTHER SCHULLER as Artis- and the Alabama Symphony placed ED WOLFF
tic Advisor and Principal Conductor for 1984-85. into the same position with its orchestra.
In Canada, the Vancouver Symphony chose RU- Academia
DOLF BARSHAI, founder and conductor of the ROBERT WASHBURN has been named Dean of
Moscow Chamber Orchestra and currently Music the Crane School of Music at SUNY-Potsdam,
Director of the Bournemouth Symphony in En- New York. His predecessor, Robert W. Thayer,
gland, successor to Music Director KAZUYOSHI is now at Bowling Green State University, as
AKIYAMA. The change-over will become effec- previously announced. — The new Dean of the
tive in summer '85.
University of Cincinnati College-Conservatory of
Music, JOSEPH W. POLISI, is completing his first
MICHAEL GIELEN will not renew his current year in that post. — The California Institute of
Cincinnati Symphony contract, which ends after the Arts in Valencia has appointed FRANS VAN
the 1985-86 season. The following year he will ROSSUM Dean of the School of Music, where
not further extend his engagement with the he replaces Nicholas M. England.
Frankfurt Opera, but will become Music Director
of the German Southwest Radio Orchestra in The internationally renowned Heldentenor JESS
Baden-Baden. (See also Music Abroad.)
THOMAS is the new Director of Opera at the
San Francisco State University.
Other Music Directorships to become vacant
include that of the Buffalo Philharmonic, which The famous Metropolitan Opera bass ITALO
JULIUS RUDEL will leave after the completion TAJO has resigned from his position as head of
of his contract at the end of the 1984-85 season. the Opera Theatre at the College-Conservatory
He plans to devote his full time to guest of Music at the University of Cincinnati. He
conducting. — NEVILLE MARRINER announced will remain on the faculty as J.R. Corbett
that he will not seek a renewal of his contract Distinguished Professor in Opera through the
as Music Director of the Minnesota Orchestra next season, at which time he plans to retire
when his contract expires in summer "86. — Music from this teaching position. SUELLEN CHILDS
Director and Conductor VINCENT DE FRANK, was named Head of CCM's Division of Opera/Muwho founded the Memphis Symphony Orchestra sical Theatre.
32 years ago, will be retiring at the end of the
current season. — LARRY NEWLAND will leave Conductor MILTON KATIMS will not renew his
the position of Assistant Conductor of the New contract as Artistic Director of the University
York Philharmonic in September '84.
of Houston School of Music this summer. He
plans to resume his conducting career.
The Charleston Symphony in South Carolina
signed DAVID STAHL as its new permanent MIMI STERN-WOLFE, who has been Artistic and
conductor. — In fall 1983, GERHARD SAMUELS Music Director at the Third Street Music School
joined the Cincinnati Chamber Orchestra as its Settlement and its subsidiary performing en-44-
sembles for many years, has resigned from this
position. While no successor has been announced,
BETH FLUSSER may be contacted for performance information. — One of Ms. Stern-Wolfe's
ensembles, The Downtown Opera Players, has
moved with her and has given a music theater
premiere at the Theatre for the New City on
Second Avenue in New York.
extends through 1988. Mo. Abbado's engagement as Principal Conductor/Music Director at
the Milan opera house expires at the end of the
1985-86 season.
For the first time, avant-garde composer LUCIANO BERIO is in charge of this year's Maggio
Musicale Fiorentino. Opera will be represented
by Rigoletto and two versions of Monteverdi's
Former Metropolitan Opera soprano ANNA Orfeo, one with old instruments and in as
MOFFO was named Adjunct Professor of Music authentic a setting as can be recreated today,
at New York University School of Education. the other with modern instruments.
— Soprano LORNA HAYWOOD joined the voice
faculty of the University of Michigan in Ann LORD HAREWOOD, who has been Managing
Arbor. — Wichita State University engaged Director of the English National Opera for twelve
THOMAS ALLEN as Assistant Professor of Voice years, announced his resignation effective at the
and Opera; he previously taught in Tucson and end of the 1984-85 season. A member of the
at Colorado State University.
English Royal Family and technically seventh in
line for the English throne, Lord Harewood's
The Department of Music at the University of interest in and dedication to opera reaches back
South Florida in Tampa has added two new into his childhood and youth. His first profesmembers to its voice faculty: WARREN JAWOR- sional affiliation was with the publisher of
SKI, formerly with the University of Miami and Kobb6, which he revised and edited in 1950 for
the Northern Indiana Opera Association, and the first time. Another revision by him was
WILLIAM McDONALD, who will also teach in published in the 1970's, and, after his retirement
from ENO next year, he may undertake yet a
the University's opera workshop.
third revision. He was part of the Covent Garden
administration from 1953 to 1960, succeeded
Music Abroad
The Vienna State Opera announced that, after Rudolf Bing as head of the Edinburgh Festival
the end of LORIN MAAZEL's term as General- in 1961, where he remained for five years, and,
musikdirektor, the post of Generalintendant will in 1972, assumed the duties of managing director
go to CLAUS HELMUT DRESE, head of the of ENO, then still Sadler's Wells Opera at the
Zurich Opera House for one more year. He in Coliseum. In 1950, he founded the English
turn - and in agreement with the Austrian magazine Opera and remained as editor, then
officials - named CLAUDIO ABBADO as Music co-editor with Harold Rosenthal, for two years.
Director to succeed Mo. Maazel. Mo. Maazel In 1976, he was the honored guest and speaker
handed in his resignation, which was accepted. at the COS National Conference in Boston, on
His original contract ran until 1986. (See also the occasion of the American Bicentennial. He
Appointments - Symphony Orchestras.) For the is currently in the United States accompanying
interim period, Egon Seefehlner was brought back ENO on its first American tour.
to the Staatsoper as administrator - he had
preceded Mo. Maazel and had retired from the IVAN FISCHER was named Music Director of the
job two years ago. Mo. Abbado, who will begin Kent Opera in England, and PETER KNAPP will
his Viennese contract in 1986, will retain his become Director of Opera at London's Royal
position with the London Symphony Orchestra Academy of Music, as of September '84.
but discontinue his formal affiliation with the
Chicago Symphony and with La Scala, Milan. The Finnish National Opera will be administered
He has agreed not to conduct opera anywhere by three directors: composer and conductor
but in Vienna during the five-year term of his ILKKA KUUSISTO as General Director, baritone
contract with the Staatsoper. Two new produc- JORMA HYNNINEN as Administrator, and PAAVO
tions and an additional twenty-five performances SUOKKO, formerly of the Savonlinna Festival.
will be the minimum of his activities in his new
post. Mr. Drese was administrator of German Beginning in summer '84, KURT HORRES will
opera houses before assuming the leadership of be the Staatsopernintendant for the Hamburg
the Zurich Opera nine years ago.
Opera, a job previously held by Christoph von
Dohnanyi. — The former Generalmusikdirektor of
The Teatro alia Scala in Milan announced the the Karlsruhe Badisches Staatstheater, CHRISappointment of Maestro RICCARDO MUTI to TOF PRICK, joined the Deutsche Oper, Berlin,
Music Director, effective as of October 1986. as its Principal Conductor. His successor in
He will continue as Music Director of the Karlsruhe is JOSE MARIA COLLADO of ValenPhiladelphia Orchestra, honoring a contract that cia.
-45-
HANS WALLAT, currently General Music Director in Dortmund, will assume the newly created
post of "Staatskapellmeister" at the Hamburg
Opera after the 1984-85 season. His successor
in Dortmund will be the current Music Director
of Kiel, KLAUS WEISE, who is also taking
Generalintendant HORST FECHNER with him
from Kiel to Dortmund. His replacement in Kiel
will be VOLKMAR CLAUSS.
SIR GEORG SOLTI will not be returning to the
1984 Bayreuth Festival as conductor of the Ring,
which he had premiered the previous summer in
collaboration with Sir Peter Hall. Peter Schneider will be this year's conductor.
Due to ill health, HORST SEEGER, Generalintendant of the Dresdner Staatsoper for many years,
has resigned effective at the end of this season.
His successor is SIEGFRIED KOEHLER, President
of the East German Association of Composers
and Musicologists.
MICHAEL GIELEN, General Music Director at
the Frankfurt Opera announced that he will not
seek renewal of his contract after the 1986-87
season. His plans for this last year at the opera Beginning with the 1985-86 season, the opera
house include a new production of the complete house in Bremen will have a new General
Ring des Nibelungen with Ruth Berghaus as stage Director in the person of TOBIAS RICHTER.
director. Relinquishing the conductorship of the
Cincinnati Symphony in 1985-86 frees him to KENNETH SCHERMERHORN, conductor of the
accept the post of Music Director of the Sudwest American Ballet Orchestra and formerly Music
Deutsches Rundfunkorchester in Baden-Baden, Director in Milwaukee, has accepted the musical
known for its facility with contemporary scores. leadership of the Hong Kong Philharmonic.
[]
COMPOSERS SOCETES
The KURT WEILL FOUNDATION announced two
exhibits on two continents relating to the
composer. One is material from the Weill-Lenya
Archive deposited at the Yale University Library,
where the exhibit may be viewed during the
summer months. The other will be mounted by
the Teatro Goldoni in Venice for the month of
September, and will display artist Arbit Blatas's
"Impressions of The Threepenny Opera".
The musical manuscripts of thirty-six film scores
and fourteen other orchestral pieces by the late
BERNARD HERRMANN will form the Herrmann
Archives at the library of the University of
California in Santa Barbara.
[]
Attention Composers (cont. from page 36)
A new software program for music-printing has been devised by Passport
Design and is available from PD, 625 Miramontes St., #103, Half Moon
Bay, California 94019. Called POLYWRITER, it is devised for use with
the Apple or a compatible computer, and requires a Soundehaser basic
system, which is a synthesizer also manufactured by Passport. The
Polywriter provides printouts in several formats: single treble or bass
line, piano score, choral score, treble or bass elef with piano, or full
orchestral score. It can handle all note divisions, accidentals and markings,
time signatures up to fifteen beats per measure, and up or down
transpositions. The retail price of the software, without computer or
synthesizer, is $595.00
Be sure to check other sections of the COS Bulletin, such as New
Companies, for new groups devoted to workshop presentations, Premieres
and New Operas - Showcase Productions, and News from National
Organizations for new works-in-progress programs.
[]
-46-
EDITIONS
When the Lyric Opera of Chicago performs
Verdi's ERNANI next season, it will be the first
time anywhere that the recently completed
critical edition by Claudio Gallico and Philip
Gossett will be used. It is part of the University
of Chicago Press's project, "The Works of
Giuseppe Verdi", that will eventually encompass
new editions of thirty-one of the composer's
operas and five non-operatic scores, all in
historically edited versions.
second revised version of Henze's KO'NIG HIRSCH
for May '85. It was premiered in 1956, and
performed in its first revised edition in 1962;
the Santa Fe Opera gave the American premiere
in 1965.
Antonio Bibalo's MISS JULIE, first heard in
Denmark in 1975, has been reorchestrated by
the composer, and returned in this new version
on March 18, 1984, to the Deutsche Oper, Berlin.
It seems that the performance of Gluck's IPHI- The San Francisco Opera's performances of
GENIE EN AULIDE at the Waterloo Festival thisBellini's LA SONNAMBULA will return the score
summer will mark the first time that the 1847 to its original version of casting a coloratura
Richard Wagner edition will be heard in the mezzo-soprano in the title role. It will be taken
United States. Gerard Schwarz, music director by Frederica von Stade.
of the New Jersey festival, will conduct the
performances which are cosponsored by the The August 17 and 18 performances of Mozart's
Richard Wagner Society of New York.
WOMENEO by the Mostly Mozart Festival at
Avery Fisher Hall will use the version edited by
When Leonard Bernstein's A QUIET PLACE Richard Strauss.
reappears in Washington and Milan later this
year, it will have undergone a transformation Mozart's Der Schauspieldirektor underwent conconsiderably greater than originally expected. siderable changes at the hands of Professor Roy
The one-act work was conceived as a sequel to Lazarus for performances by his opera workshop
Trouble in Tahiti, and was premiered on a double- at Bowling Green State University in Ohio last
bill with the 1952 opera in Houston last season. November. It resulted in OPERA GNUS, repreThe new version will be a three-act opera with senting a musical and textual adaptation of the
a slightly modified Trouble in Tahiti as the original.
second act.
The first staged production of Monteverdi's IL
In 1979, Gian Carlo Menotti's JUANA, LA LOCA RITORNO D'ULISSE IN PATRIA in the Hans
premiered in San Diego under its full title, but Werner Henze edition will be mounted in Salzburg
when the work appeared at the New York City at the 1985 Festival.
Opera only two months later it had shed its first
name, reducing the title to La Loca. Now the In 1937, Alexander Tcherepnin completed and
composer has made some major revisions in the orchestrated Mussorgsky's THE MARRIAGE, left
score, restored the full title, and staged it at as an unfinished one-act piano score by the
the Spoleto Festival here and abroad. It was Russian composer. The opera company in Oberconducted by Herbert Gietzen. At the same hausen, Germany, now has the Tcherepnin/Mustime, the composer announced plans for editing sorgsky version in its repertoire.
and revising many of his works, which he hopes
will then be republished in their new versions. Handel's GIULIO CESARE, in the Charles Mackerras edition with an English text by Brian
London's "Opera Factory" gave the first perfor- Troxell, is available from Oxford University
mance of Michael Tippett's THE KNOT GARDEN Press. This version was first used by the English
in Meirion Bowen's revised orchestration, which National Opera in London and by the San
reduces the instrumentalists to twenty-two. The Francisco Opera in its summer season in 1982.
London Sinfonietta accompanied the opera.
— The same group also performed Cavalli's LA Gotz Friedrich combined the 1858 and 1874
CALISTO in a new realization by Paul Daniel. versions of Offenbach's ORPHEE AUX ENFERS,
supplied a German updated and somewhat politiThe WUrttembergische Staatstheater in Stuttgart cally colored text, and performed this new
[]
has announced the first performance of the version in Berlin last December.
-47-
ENGLISH CAPTIONS FOR PROJECTION
Several more companies have announced that they are creating their own
titles, using the slide-projection method. The Pittsburgh Opera is naming
its system "Optrans", and its own first set of English slides, with text
by Tim Shaindlin, are ready for Verdi's La Battaglia di Legnano. The
company hopes to rent slides for Don Giovanni and La Traviata, and
either to produce or rent slides for Manon, Madama Butterfly and Adriana
Lecouvreur.
Francis Rizzo, Dramaturg of the Washington Opera, is writing the text
for his company's English captions to be projected from slides at the
Opera House of the Kennedy Center. The system will be essayed with
La Boheme and Le Nozze di Figaro in 1984-85, and, if successful, will
be used for all foreign operas of the 1985-86 season. The Washington
Opera is using the Canadian Opera Company's trademark name, "Surtitles".
The Portland Opera has joined the above group and has created its own
slides with new English text by Samantha McDermott for Lucia di
Lammermoor. The company has added a new term, "Supertext", for its
system. The 229 slides with text plus 120 blanks may be rented at a cost
of $2,000.
Lisi Oliver and Nancy Hodes have created the English captions for the
Opera Company of Boston. Three different sets of slides are available
at present - one for all musical numbers in Der Freischiitz, together with
a script of the English dialogue as it was performed in Boston, and two
versions of Madama Butterfly, one of the original 1904 edition, the other
of the uncut standard version.
A test run of eaptioned performances of Adriana Lecouvreur and Die
Walkiire was so successful that the Australian Opera will "surtitle" all
foreign language performances in its upcoming season (see listing below).
An audience survey showed that 86 percent of the ticket buyers found
the new system "increased their understanding and enjoyment", 69 percent
preferred it over sung translations.
The Lyric Opera of Chicago will use projected English captions for the
first time in its production of La Rondine during the 1985-86 season.
— The New Orleans Opera also intends to test English titles with one of
its productions next year.
The Houston Grand Opera is the first American company to have perfected
computerized English titles for video-type projection at live opera
performances, a method that allows for greater flexibility than the
originally developed slide projection. The company uses a character
generator, a computer for storage of the script, and a projector and
fader, the latter for smoother appearance and disappearance of the script
on the above-proscenium screen. While this method is ultimately less
expensive and less cumbersome than the originally developed titles on
photographic slides, it requires much more expensive equipment ($78,000
in HGO's case, for which the company received various grants). Titles
are cued by a member of the musical staff, as is the case with the slide
projection (see Vol. 25, No. 1). The new computerized method has been
developed by the Houston Grand Opera's technical director, Drew
Landmesser; the company's artistic administrator, Scott Heumann, is the
scriptwriter. (See Caption Listing for available opera titles.) — The
Tulsa Opera will try both the computer/videotape (for Tosca) and the
-48-
ENGLISH CAPTIONS
slide method (for Carmen) next season.
The desperate need for a unified name becomes ever more apparent as
new companies join the group. The Cincinnati Opera, which rents the
New York City Opera's "Subtitles" is presenting them under its own name
of "SurCaps". By our count, this is the eighth term for one and the
same method and program. We greatly urge all companies to agree to
use one and the same name, and if English Captions appeals, we will
make no claim to any exclusivity, copyright or trademark.
When the Metropolitan Opera's La Forza del desttno was shown live via
satellite in various European countries in March, it was the first televised
opera from the United States to carry subtitles in the respective languages,
such as Hungarian, German, etc.
ENGLISH OPERA CAPTIONS FOR PROJECTION
(cont. from Vol. 25, No. 1)
The numbers following the semi-colon indicate month/year when the material becomes
available, the name in ( ) is that of the translator-scriptwriter. Numbers appearing in ( )
are the number of text slides <5c number of blank slides.
BEETHOVEN: Fidelio Houston Grand Opera (computer); 4/84 (Heumann)
Australian Opera (slides); 11/84
DONIZETTI: Lucia di Lammermoor Portland Opera (229&120 slides); 3/84 (McDermott)
GOUNOD: Faust Canadian Opera Co. (slides); 11/84 (Leberg)
MOZART: Le Nozze di Figaro The Washington Opera (slides); 12/84 (Rizzo)
OFFENBACH: Les Contes d'Hoffmann Australian Opera (slides); 11/84
PUCCINI: La Boheme Washington Opera (slides); 11/84 (Rizzo)
Madama Butterfly Houston Grand Opera (computer); 2/85 (Heumann)
Opera Company of Boston (553&148 slides for 1904 ed.);
4/84 (Oliver & Hodes)
Opera Company of Boston (476&130 slides for 1907 ed.);
4/84 (Oliver & Hodes)
San Francisco Opera (slides); 10/85 (Sherk & Zambello)
Tosca Canadian Opera Co. (slides); 9/84 (Leberg)
Houston Grand Opera (computer); 4/84 (Heumann)
ROSSINI: n Barbiere di Siviglia Canadian Opera Co.* (slides); 10/84 (Leberg)
TCHAIKOVSKY: Eugene Onegin Houston Grand Opera (computer); 5/85 (Heumann)
VERDI: Aida Australian Opera (slides); 11/84
La Battaglia di Legnano Pittsburgh Opera (total 800 slides); 9/84 (Shaindlin)
Nabucco Australian Opera (slides); 11/84
Rigoletto New York City Opera National Touring Co.(slides); 6/84 (Friedman)
Simon Boccanegra Houston Grand Opera (computer); 3/84 (Heumann)
La Traviata Houston Grand Opera (computer); 84-85 (Heumann)
Australian Opera (slides); 11/84
n Trovatore Canadian Opera Co. (slides); 9/84 (Leberg)
WAGNER: Der fliegende Hollander Houston Grand Opera (computer); 11/84 (Heumann)
Die Meistersinger Canadian Opera Co. (slides); 3/85 (Leberg)
Das Rheingold Australian Opera (slides); 11/84
Die WalkUre Australian Opera (slides); 7/84
WEBER: Der Freischlltz Opera Company of Boston (329&96, musical numbers only; plus
script for English dialogue); 1/84 (Oliver & Hodes)
The latest listing (1983-84) of performed ENGLISH TRANSLATIONS will appear in the
Fall issue.
[]
-49-
CAREER GUIDE ADDENDA
A new ADDENDA to the CAREER GUIDE FOR THE YOUNG AMERICAN SINGER has just been
completed, and includes the latest changes in dates and addresses, and additional new entries.
Send $2 for your copy; or $7.50 for the original Guide with the Addenda. (Page numbers below
refer to the original publication.)
receive cash prizes, recitals, and participation
Competitions
A pilot program to be added under "Grants for in the company's productions. There are no age
American Singers" (insert page 2) is offered for restrictions. Application deadline is September
the first time by the MUSICIANS EMERGENCY 30, and the finals are in November.
FUND INC., 16 East 64 Street, New York, NY
10021. Promising young opera singers between The Y.W.C.A. STUDIO CLUB AUDITIONS (insert
the ages of 25 and 30 may apply for financial page 13), attention Mrs. Lynn Jenkins, President,
assistance for lessons, travel, sustenance, and 610 Lexington Avenue, New York, NY 10022
any other approved purposes beginning in May (212) 755-4500, sponsors the Annual Singers'
'84 when the first applicants were invited to Competition open to vocalists between the ages
audition. If successful, the program will rotate of 17 and 35. Auditions are held September to
March, the finals in May. Cash prizes: $1,000,
between singers and various instrumentalists.
$700, and a New York solo recital.
The INTERNATIONAL AMERICAN MUSIC COMPETITION (page 6 and Amendment), originally A major change in the rules of the OPERA
co-sponsored by the Rockefeller Foundation and COMPANY OF PHILADELPHIA/LUCIANO PAVAthe Kennedy Center, later by the Rockefeller ROTTI INTERNATIONAL COMPETITION (insert
Foundation and Carnegie Hall, will eventually page 15 & Amendment) allows singers to apply
be sponsored by Carnegie Hall alone. A change directly. For its first competition, singers were
in schedule from annual to biennial will affect admitted only upon recommendation. Age limit
the audition dates, with the competition open is 33 for women and 35 for men (as of October
to pianists in 1985, to singers in 1987, and 1984), and applicants must "not as yet have made
violinists in 1989. Thus, singers will be able to a major debut with a major international opera
compete only every six, rather than every three company". Send application with resume to the
years. Cash value of the prizes will be raised Opera Company, of Philadelphia, 1500 Walnut
from about $50,000 to $75,000, and the no-limit Street, Suite 1300, Philadelphia, PA 19102.
rules regarding nationality or age will be conThe RUDOLF KRUGER YOUNG AMERICAN
tinued.
ARTIST AWARD (insert page 16), Fort Worth
The MUSICIANS CLUB OF AMERICA (insert page Opera, 3505 West Lancaster, Fort Worth, TX
7), William Woodruff, Art.Dir., P.O. Box 6956, 76107 is held annually. The first was in 1984.
Lakeland, FL 33807, announces its first "Compe- Prizes: cash stipend, public recital, and perfortition for Vocalists and Pianists" for 1984-85. mance with the opera company. For further
Regional auditions are scheduled for Los Angeles details write above.
(10/26), Chicago (11/3), New York (11/10), and
Lakeland, FL (11/17). The finals will be held The INTERNATIONAL TCHAIKOVSKY COMPEin Lakeland in January '85. Regional cash prizes TITION (page 22) will be open for singers in
Deadline for applications is January 15,
will be given in the amounts from $200 to $500, 1986.
and the Finals grand prize is $1,000 plus a New 1986. Address and age limit restrictions remain
York recital. In addition, $500 scholarships will as before.
be available to some runners-up attending the
first summer training courses of the MCA Apprentice Programs
Franklin Center for the Performing Arts at The GREATER MIAMI OPERA (insert page 26)
is offering a new Apprenticeship Program for
Franklin, NC, in 1985.
performers between 21 and 28 years old with
The EAST <5c WEST ARTISTS AUDITIONS (page some training or experience and a strong career
11) requires that applicants have had at least potential in musical theater. The company's new
one reviewed solo recital in a major New York fall season, The American Musical Theater (see
City hall. The 1985 deadline for applications News from Companies), will accept a total of
is February 1. The prize is a solo recital at twenty-four apprentices, twelve of whom may
extend their training and working period through
Carnegie Recital Hall in April '85.
the opera season ending in April.
Auditions
for apprentices are held in March and April in
The QUEENS OPERA ASS'N (insert page 13) 313 Miami, Chicago, and New York. Apprenticeships
Bay 14 St., Brooklyn, NY 11214 will offer its in production, stage management, stage direcfirst vocal competition this fall. Winners will
-50-
tion, and music coaching will also be available. professionals from the field and the courses will
be under the supervision of Richard Owens, who
The SARASOTA OPERA APPRENTICE PRO- so successfully manages his AMERICAN INSTIGRAM (insert page 26), 61 N. Pineapple Ave., TUTE FOR MUSICAL STUDIES in Graz, Austria.
Sarasota, FL 33577, accepts promising young The AIMS term this year, incorporating as always
opera singers for the length of its season, the Summer Vocal Institute, runs from July 3 to
January 11 to March 10, 1985. Travel and August 24.
housing will be provided and the apprentices
willbe paid a small stipend. The program is Nick Rossi of La Guardia Community College,
under the artistic direction of Victor de Renzi. NY, offers participation in the FIRENZE LIRICA
STUDIO in Italy this summer. The Studio group
The Pittsburgh Opera, in collaboration with will be presenting the first European stage
Carnegie-Mellon University, is creating the performance of Castelnuovo-Tedesco's The ImPITTSBURGH OPERA CENTER for the training portance of Being Earnest in Florence. For
and apprenticeships of talented, career-oriented details contact Mr. Rossi, 96 Schermerhorn
singers and other operatic artists. (See In Street, Brooklyn, NY 11201.
Academia.)
A three-week INTERNATIONAL SINGERS
For Canadians Only
WORKSHOP was held in Bregenz, Austria, from
A new workshop of L'OPERA DE MONTREAL March 19 to April 6, 1984. It was under the
will accept young Canadian artists for profes- directorship of Werner Marihart and accepted
sional training.
They will be recruited in both apprentices and experienced singers.
auditions held in various Canadian cities across
the country. For information write Op6ra de The VINDEHOLME MUSIC CENTRE is a new
Montreal, Yvonne Goudreau, Director, Training training school for young opera singers, located
Program, 1157 rue St. Catherine, Montreal, PQ at a castle outside of Copenhagen. Particular
H2L 2G8.
emphasis is placed on dramatic instructions.
Masterclasses are offered by Andre Orlowitz and
The VANCOUVER OPERA GUILD will offer Karina Ekstrdm from July 28 to August 11.
Career Development Grants in October '84. The Address inquiries to VMC, Vindeholmvej 13,
monies are to help people working in opera or Vindeholme Strand, DK-4900 Nakskov, Denmark.
preparing for a career in opera to improve their
skills, and are available to singers, designers, August 26 to September 8 are the dates for the
etc. The age limit is 20-35, the deadline MUSICAL SUMMER ACADEMY in Lenk, SwitzerSeptember 15. For application forms write Mrs. land, with courses in chamber music and opera
R. Kana, 6005 Collingwood, Vancouver, BC, V6N singing. Mo. Walter Taussig is in charge of the
1T4 (604) 263-8987.
latter. Address inquiries to Sekretariat Verkehrsbiiro, CHH-3775 Lenk, Switzerland.
For Study Abroad
Artists manager Ann Summers of Toronto and
Italy has established a RESOURCE CENTER FOR
CAREER PERFORMING ARTISTS, which opened
in Spring with a seminar and masterclass in
Toronto, and will travel to Italy this summer.
The complete program abroad consists of a twoweek sightseeing tour through Italy (August 16September 2) followed by a three-week seminar
with instructions and auditions in Aquila. The
total cost is $3,750. The "Exploration Tour"
may also be booked without the additional
courses and residency at a cost of $2,500
including round trip air fare from Toronto. The
reverse is also possible and the Center accepts
students for the three-week seminar only; special
arrangements for auditors are also offered.
(Application deadline is July 5; for details write
Ann Summers International, Box 188, Station A,
Toronto, Ont.) Instructors and lecturers are
A new ACADEMIE DE MUSIQUE has been founded in Lausanne with its first summer Masterclasses offered August 15-30. Frederic Sichler
and Marcello Viotti share the artistic direction,
and Swiss tenor Hugues Cu6nod is in charge of
vocal instruction. For more information write
to the Acad6mie de Musique, case postale 248,
CH-1000 Lausanne 6, Switzerland.
This year, the famous MOZARTEUM in Salzburg
conducts its summer sessions from July 16 to
August 25. June 1 is the application deadline;
write to International Summer Academy, Mirabellplatz 1, A-5020 Salzburg, Austria. The
masterclasses are in the hands of world famous
singers such as Arroyo, Grlimmer, Hesse, Jurinac,
Ludwig, Schwarzkopf, Stader, Singher, etc.
Due to the death of Tito Gobbi, the 1984 opera
studio at Villa Schifanoia has been cancelled.D
-51-
WINNERS
The Finals Concert of the Metropolitan Opera
National Council Regional Auditions was held on
April 1, 1984 in the opera house before a record
audience. The eleven winners, all recipients of
$5,000 awards, were accompanied in arias, duets
and ensembles by the Metropolitan Opera Orchestra conducted by William Vendice and Richard Woitach.
Miss Rise Stevens, Executive
Director of the program, opened the proceedings,
together with Laurence Lovett, the program's
Chairman. Of eight sopranos in the semi-finals,
five were chosen for the finals: ELAINE ARANDES DE CELIS (26-years-old, from Puerto Rico),
THERESA YVONNE HAMM (20, from Rome, GA),
CYNTHIA LAWRENCE (23, from Boulder, CO),
LISA SAFFER (23, from Boston, MA), and NOVA
THOMAS (29, from Lilesville, NC); of eight
mezzos in the semi-finals only one made it to
the finals: EMILY MANHART (24, from Columbus, OH); of six tenors an unusually high number
of four won places in the finals: PHILIP BOLOGNA (31, from Silver Spring, MD), RICHARD
CROFT (30, from New York City), MARCUS
HADDOCK (26, from Boston), and JONATHAN
WELCH (33, from Santee, CA), and, finally, one
baritone out of four: GERALD DOLTER (28,
from Phoenix, AZ).
The 1984 recipients of the special career development awards from the National Institute for
Music Theater were honored at the February
Awards Festivities at the Kennedy Center.
Soprano KAAREN ERICKSON received the Gold
Medal, soprano MARGARET VAZQUEZ the Silver
Medal, and bass ANDREW WENTZEL the Bronze.
The other finalists, all $5,000 grantees, were
soprano KAY PASCHAL and tenors WALTER
MacNEIL and CRIS GROENENDAAL. For the
$1,000 Encouragement Awards the following
singers were chosen: soprano SANDRA MOON,
mezzo-soprano ALTEOUISE DE VAUGHN, baritones MERWIN FOARD and JAMES MacGUIRE,
and bass DORCEAL DUCKENS.
Mezzo-soprano LAURA BROOKS RICE is the
latest winner of the San Francisco Opera
Schwabacher Debut Recital. She is also a former
Adler Fellow. — The 1984 Concert Artists Guild
Auditions chose soprano CAROL SMITH as winner in the vocal category.
The first winner of the Rudolf Kruger Young
American Artist Award is soprano DENISE COFFEY. This new annual award is given by the
Fort Worth Opera in honor of its Artistic
Director of 28 years, who retired last season.
In addition to a cash prize and solo recital, Miss
Coffey was also engaged to sing Oscar in Un
Ballo in maschera.
American mezzo-soprano JUDITH MALAFRONTE
won the Giuseppe Borgatti prize at the s'Hertogenbosch Vocal Competition in Holland.
Five singers have been chosen to participate in
Cincinnati Opera's 1984 Young American Artists
Program: soprano VIRGINIA BOOMER, mezzo
KATHLEEN MURPHY, tenor PETER CODY, baritone MICHAEL WILLSON, and bass STEPHAN
SZKAFAROWSKY. Besides their involvement in
the main summer season, they will be presented in August in three evenings of short operas.
Canadian Prizes, Canadian Winners
At the 1983 competition of the Orehestre Symphonique de Montreal, mezzo-soprano SANDRA
GRAHAM from Ottawa won the Pauline Donaldo
Opera Guild Prize of $1,500. Other winners in
the vocal part of the contest included mezzo
SONIA RACINE from Quebec and soprano SUSAN
ANN SEREDA from Edmonton.
The CBC National Auditions '83 selected contralto JENNIFER JESTLEY as a winner, and the Du
Maurier Search for Stars awarded the title of
"Classical Vocalist" to soprano BRENDA BERGE
and to tenor MICHAEL SHUST.
[]
NEWS FROM PUBLISHERS
ALEXANDER BROUDE, Inc. has moved to 575
Eighth Avenue, New York, New York 10018. The
telephone number remains (212) 586-1674.
The vocal score for Maria Golovin by Menotti
has been published by BELWIN MILLS, including
English and Italian texts.
THEODORE PRESSER has acquired and will Wilfred Josephs' Rebecca, the three-act opera
represent the catalogue of the Edward B. Marks based on the du Maurier novel and premiered
Music Corporation of New York, which includes by Opera North in Leeds last October, has been
such contemporary composers as Roger Sessions, published by NOVELLO, available in the U.S.
Norman Dello Joio, and William Boleom.
through Theodore Presser.
Q
-52-
OBITUARIES
Union leader MAX ARONS, American, 79 years old, in West Palm Beach,
Florida 3/26/84. He was president of Local 802, the New York chapter
of the American Federation of Musicians, from 1965 to 1982, and it was
during these years and under his aegis that orchestra musicians reached
year-round contracts, including health and pension benefits, and great
increases in salaries. He was a lawyer by profession, and practiced law
for seven years before assuming an official post with Local 802 in 1935.
Theatre critic BROOKS ATKINSON, American, 89 years old, in Huntsville,
Alabama. He was a major force in the American theatre, and set the
standards for theatre criticism as drama critic of The New York Times
for over thirty years. He joined the paper in this capacity in 1925, and
remained there until 1960, interrupting his reviewing only to become
foreign correspondent during the war years. As such, he won a Pulitzer
Prize in 1947. He received many honors during his lifetime, and also had
a Broadway theatre named after him.
Soprano FIDELA CAMPINA, Spanish, 89 years old, in Buenos Aires
12/27/83. She made her debut in Madrid in 1913 and sang at major
Italian opera houses during the 1930's. The years 1937-39 found her
singing with various American opera companies, among them the Cincinnati
Opera, where she performed leading roles of the dramatic Italian repertory.
She was also a frequent guest at the Teatro Col6n.
Baritone, director and teacher TITO GOBBI, Italian, 68 years old, in Rome
3/5/84. The world renowned singer was as esteemed for his full and
resonant voice as he was for his superlative acting and character
portrayals. He made his debut at the Teatro Adriano in Rome as the
elder Germont in 1937, and was soon singing leading roles in the major
opera houses of the world. His Metropolitan Opera debut occurred in
1956 in one of his most famous roles, Scarpia in Tosca, a role that also
marked his farewell appearance with the company in 1976. He was equally
at home in dramatic roles as he was in the buffo repertoire, in Italian
opera as he was in German (Wozzeck) or Mozart (Don Giovanni). In the
1970's, he turned more and more to directing opera, often while also
performing in the same production, which he did at the Lyric Opera of
Chicago, the Metropolitan Opera, and other major international houses
here and abroad. Due to his teaching abilities, his summer courses at
the Villa Schifanoia were in great demand, and he also directed and
taught at schools and conservatories, including masterclasses at the
Juilliard School in New York. He was esteemed and beloved not only by
a vast admiring public, but, thanks to his generous and forthright nature,
he was equally popular among his operatic colleagues.
Conductor C. WILLIAM HARWOOD, American, 36 years old, in Little
Rock, Arkansas 4/26/84. His exceptional gifts were evident while he
studied at Yale, where he conducted several ambitious operatic and
symphonic programs. He completed his studies at the Hochsehule fiir
Musik in Berlin, then became Music Director of the Texas Opera Theater
in Houston. His special interest in new works brought him to the Opera
Theatre of Saint Louis for two premieres, Paulus's A Village Singer and
The Postman Always Rings Twice, and to Santa Fe for Roehberg's The
Confidence Man. He conducted the standard repertoire with several
American regional opera companies, notably the Kentucky Opera, for
several years. In 1981, he received the Leopold Stokowski Memorial
Conducting Award and made his New York debut leading the American
-53-
OBITUARIES
Symphony Orchestra. Last year he conducted Porgy and Bess at Radio
City Music Hall in New York, and he was scheduled to make his New
York City Opera debut this season. Yale University established a Harwood
Fund for gifted young conductors in his memory.
Conductor and musician IMOGEN CLARE HOLST, British, 76 years old,
in Aldeburgh, England 3/9/84. For thirteen years she was musical assistant
to Benjamin Britten, and from 1953 to 1977 was Artistic Director of the
Aldeburgh Festival. She also edited and revised various compositions by
her father, Gustav Hoist, including some of his operas, and wrote a
comprehensive biography about him.
Composer ZDENEK LISKA, Czech, 61 years old, in Prague 7/13/83. He
received several decorations for his compositions for stage, film, and
television.
Composer and director LIVIO LUZZATO, Italian, 86 years old, in Milan
3/15/83. His compositions included two operas, Judith (1932) and Berasbea
(1950), both performed in Italy. He staged opera at many Italian theatres
and was, for many years, resident stage director at the Teatro San Carlo
in Naples.
Educator and producer MARTHA DICK McCLUNG, American, in Birmingham, Alabama in early 1984. She was founder, director, and the moving
force behind the Birmingham Civic Opera Association, and also taught at
Birmingham-Southern College.
For several years she served on the
Professional Committee of Central Opera Service with ever renewed
enthusiasm, and with dedication to her colleagues, to young artists, and
to the art form itself. She will be remembered with affection and
gratitude.
Tenor GIOVANNI MANURITA, Italian, 88 years old, in Rome 2/22/84. He
made his debut in 1922 and sang the leading lyric tenor parts, first at
Italian opera houses, later on most major European stages. During the
1930-31 season he also performed in Chicago. In subsequent years he
turned to the heavier dramatic Italian roles.
Translator, conductor, coach, and educator THOMAS MARTIN, Austrian/American, 74 years old, in New York 5/14/84. The operatic translations
which he and his wife Ruth began in the 1940's, and which they so
successfully continued to write, made his name famous with opera singers,
producers, and audiences alike. He leaves a legacy of almost fifty English
translations, eminently singable and written in a contemporary language
without ever reverting to slang, or - in comedy - to cheap slapstick
humor. The tremendous growth of opera in the United States, the great
popularity it achieved during the last years, is due, to a great extent, to
the availability of the popular English versions of better- and lesserknown works, which allow the audience (and the performers) a familiarity
with these operas, which was not available before. Born in Vienna to a
father who himself was named Kammersanger in Vienna, Thomas Martin
left Austria due to the Nazi takeover and came to New York, where he
joined the Metropolitan Opera as assistant chorus master, and later became
assistant conductor (1958-65). His affiliation with the New York City
Opera extended over almost his entire life in the United States. He made
his conducting debut there in 1945, was Musical Administrator for many
years, and founded and directed the company's Educational Department.
-54-
OBITUARIES
At the time of his death he had just conducted several performances of
Der Wildschiitz, in his own translation, with the Bel Canto Opera, New
York, and prepared Mechem's Tartuffe for performances by his Reimann
Opera Studio of New York University, which he had founded two years
before. The numerous singers who have studied with him and gone on
to international careers are a living memorial to his abilities as a musician,
an understanding teacher, and a beloved colleague.
Singer MABEL MERCER, British/American, 84 years old, in Pittsfield,
Massachusetts 4/20/84. She was one of the most admired entertainers
on the international scene. She developed her very own style of song
presentation, and numerous popular artists learned from her and today
proclaim their great debt to the shy little singer who became a world
celebrity. In 1977 she gave a concert at Carnegie hall, and her last
performance was a benefit concert in November '83. She was the recipient
of many honors, among them the 1983 Presidential Medal of Freedom.
Musical comedy star ETHEL MERMAN (Zimmerman), American, 76 years
old, in New York 2/15/84. Her first success on Broadway came in 1930,
when she was given a chance to perform in Gershwin's Girl Crazy, with
Ginger Rogers receiving top billing, but Merman stopping the show each
time with "I Got Rhythm". Merman starred in some twenty-five Broadway
shows, and made fourteen movies. Among her most famous roles were
those in Gypsy, Annie Get Your Gun, and Call Me Madam. A 1982
Carnegie hall benefit concert marked her last public appearance.
Singer and author DORIS HODGKINS MONTEUX, American, 89 years old,
in Hancock, Maine 3/13/84. She studied singing at the New England
Conservatory of Music and, while performing with the Boston Symphony,
she met Pierre Monteux. They were married in 1927. In 1941 she helped
him create the School for Conductors and Orchestra Players in Hancock,
Maine, where many of today's internationally active conductors studied
with the French Maestro. After his death in 1964, she established the
Pierre Monteux Memorial Foundation, which continued the sponsorship of
the school. In the 1960's she wrote two books of memoirs, "Everyone is
Someone" and "It's All in the Music".
Baritone KARI NURMELA, Finnish, 50 years old,, in Warsaw, Poland
1/21/84. After a debut in Helsinki as Count de Luna in 1961, he quickly
embarked on an international career, singing in German, French, and
Italian opera houses, and embracing the repertoire of these countries.
He appeared as guest artist with the Seattle and the Washington Opera
companies, and later also in England at festivals and at Covent Garden.
Beginning in 1970, he became a resident member of the Zurich Opera and
made his home in that city. He also performed in last year's Savonlinna
Festival in his native Finland.
Soprano MARGHERITA PERRAS, Greek/Swiss, 76 years old, in Zurich
2/2/84. A lyric coloratura soprano, she made her debut in Berlin in 1927
under Bruno Walter, and sang the major roles of her "Fach" there until
1935, then moved to Vienna and continued to be in great demand until
her departure in 1939. During those years she also performed at Covent
Garden and Glyndebourne, and at the Teatro Col6n and in Rio de Janeiro.
Festival appearances included Salzburg and Florence. During the war,
she moved to Zurich, where she married and made her permanent home.
She gave some concerts and returned briefly to the operatic stage in
-55-
OBITUARIES
Vienna in the 1940's.
Violinist and impresario MAX POLLIKOFF, American, 80 years old, in
New York 5/13/84. In addition to pursuing a career as an instrumentalist,
he created, in 1954, the concert series "Music in Our Times", dedicated
to performances of contemporary music. Approximately 250 composers
had their works heard, among them some with new and avant-garde operas
(e.g. Harold Schramm and Richard Maxfield). The concert series, performed
at Kaufmann Auditorium at the 92nd Street Y and at Town Hall in Nev.'
York, ran for twenty years.
Psychologist DR. RITA GILLIS RUDEL, American, in New York 5/21/84.
Wife of conductor Julius Rudel (Music Director of the Buffalo Philharmonic
and former Artistic Director of the New York City Opera), she was
clinical professor of psychology and head of neuropsychology at Presbyterian Hospital. She was a leader in the field of child neurology, developed
special test methods, and wrote extensively on that subject.
Composer VACLAV TROJAN, Czech, 76 years old, in Prague 7/5/83. A
celebrated Czech composer, he recently completed a ballet on A
Midsummer Night's Dream, commissioned by the National Opera in Prague
for its centennial. His opera Kolotoc (The Roundabout) was premiered
in Ostrava in 1960.
Composer CLAUDE VIVIER, Canadian, 34 years old, in Paris 3/7/83.
Recognized by his peers and his teachers as "one of the most gifted
composers of this generation", his music received a fair amount of
performances, particularly throughout the Province of Quebec. His opera
Kopernikus was premiered in Montreal in 1980; the following season he
was named Composer of the Year by the Canadian Music Council.
Stage director WOLF VOLKER, German, 87 years old, near Hamburg 1/84.
He staged opera in Berlin in the 1930's, including a number of world
premieres. He returned to Berlin in 1954, and was active as a stage
director in most major opera houses in Germany until several years ago.
Stage and costume designer GEORGES WAKHEVITCH, Russian/French, 76
years old, in Paris 2/11/84. This internationally famous designer worked
in many media. In addition to his work for major theatre and opera
companies, he also designed sets for some fifty films and for many
television shows. His operatic activities began in 1948 at Covent Garden,
and eventually brought him to all stages of major opera houses and
festivals. His first commission for the Met was for costume designs for
Karajan's new Die Walkure, with set designs by Schneider-Siemssen (1967),
and an order for additional costume designs for the complete remaining
Ring.
Philanthropist and publisher LILA ACHESON WALLACE (Mrs. DeWitt
Wallace), Canadian/American, 94 years old, in Mount Kisco, New York
5/8/84. Together witlr her husband, she founded The Reader's Digest in
1922, and kept an active interest in the publication throughout her life.
When the magazine began to earn large sums of money for her, she started
to support chosen programs and soon her strong interest in specific areas
and her good taste led her to create or assist some outstanding programs.
In addition to giving several new productions to the Metropolitan Opera,
she benefitted other arts organizations including the Juilliard School (her
-56-
OBITUARIES
total donations amounted to about $8 million), where one of her favorite
programs was the newly created, specialized dual training for conductor/pianists. She was instrumental in the restoration and upkeep of
Giverny, Claude Monet's home and gardens, which served as a model for
all his waterlily paintings, and the restoration and upkeep of Boscobel,
the 18th century mansion on the Hudson that has become the model for
Americana furnishings and crafts.
Anyone visiting the Metropolitan
Museum in New York will find the most beautiful fresh flower arrangements
there in all seasons, established in perpetuity, thanks to Mrs. Wallace's
generosity.
Conductor FRITZ ZWEIG, German/American, 90 years old, in Hollywood
2/28/84. He began his conducting career in Mannheim, and moved on to
Berlin and the famous Kroll Oper (Otto Klemperer), where he conducted
between 1923 and 1931. He led the first German performance of Janaeek's
From the House of the Dead only six months after the world premiere in
Brno. After Hitler came to power in Germany, he went to the United
States where he conducted community orchestras and eventually worked
in the film industry, arranging and conducting musical scores.
[]
-57-
PERFORMANCE LISTING 198J-84 (CONT.)
All performances are staged with orchestra unless marked "conc.pf." or "w.p." (with piano)
— * following a title indicates a new production; a f indicates performances shown with
projected English captions. — Performances and news items once listed will not be relisted
at the time of performance.
A single date appearing for a listing of several performances
indicates the opening night.
ALABAMA
Birmingham Civic Opera, D. Grimsley, Art.Dir. (see also Vol. 25, No. 2)
1983-84 tour to schools: La Serva padrona
Mobile Opera, K. Willson, Gen.Mgr. (see also Vol. 25, No. 2)
4/84 tour to schools: The Face on the Barroom Floor
Opera Workshop, H. Bargetzi, Dir., Huntsville
11/83 La Boheme
University of Alabama Opera Theatre, D. Fiest, Dir., University
1983-84 The Old Maid and the Thief; Scenes
ARIZONA
University of Arizona Opera Theater, L. Day, Dir., Tucson (see also Vol. 25, No. 2)
4/13-15/84 The Tales of Hoffmann Eng. Martin
6/28-30/84 Die Fledermaus Eng. Martin
ARKANSAS
Hendrix College Opera Wksp., Conway
5/26/84 Happy End
CALIFORNIA
American-Victorian Museum & Victor Herbert Foundation, Nevada City
1/84 Herbert's Madeleine c: Kanouse
American Youth Symphony, M. Mehta, Mus.Dir., Wadsworth Theatre, Los Angeles
4/29/84 incl. Tamkin's The Dybbuck scenes; conc.pf.
California State Univ. Opera Wksp., M. Kurkjian, Dir., Fullerton (see also Vol. 25, No. 2)
4/27-29 5/3-5/84 Working
California State Univ. Opera Theatre, T. Acord, Dir., Hayward
2/23-25/84 Scenes
5/17-19/84 The Jumping Frog of Calaveras County & The Old Maid and the Thief w.p.
Camellia Symphony Orchestra, D. Kingman, Mus.Dir., Sacramento
3/9,10,17,18m/84 Mavra Eng. Craft & El Amor brujo
Chapman College Opera Wksp., N. Bromleigh, Gen.Dir., Orange
3/16,17/84 Cosa fan tutte
Citrus College Theatre Dept., Haugh Performing Arts Center, Azuza
3/9-11,16-18/84 Funny Girl
City Opera of Nevada City & Foothill Theatre Co., Nevada City
3/22-4/14/84 The Mikado 11 pfs.
Claremont College Music Dept., Pomona
2/29 3/1-3/84 WeiU's Street Scene
Desert Opera Theatre, A. Backey, Gen.Dir., Palmdale (see also Vol. 25, No. 2)
3/30,31 4/lm,6,7,8m/84 The Pirates of Penzance
El Camino College Opera Wksp., B. Ferguson, Dir., Torrance
5/11,12,18,19/84 Man of La Mancha
Gilbert and Sullivan Society of San Jose, (see also Vol. 25, No. 2)
5/12,13,18,19,20,24,25,26/84 The Pirates of Penzance
Guild Opera Co., M. Milenski, Dir., Los Angeles
3/12-23/84 The Barber of Seville at Pasadena Civic Aud.; also 4/2-6 at Long Beach
Convention Center
Harlequin Opera, S. Rohr, Mus.Dir., Santa Monica
4/21/84 The Telephone & D. Trovatore stgd. scenes
Hollywood Sinfonietta, R. Haugland, Mus.Dir., Los Angeles
2/7/84 The Barber of Seville Rogers, Stahl; Criste, B. Johnson, Lindley; c: Haugland;
d: Thomas; also 2/10 Rolling Hills; 2/12 in South Pasadena; 2/19 in Victorville
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1983-84 Season
Intergenerational Ensemble, W. Feuerstein & E. Martinez, Dirs., Unitarian Community
Church, Santa Monica
4/27,28,29m/84 Hansel and Gretel
Long Beach Opera, M. Milenski, Gen.Dir., Long Beach (see also Vol. 25, No. 2)
1/27,29,31/84 Don Carlo
3/21-4/6/84 The Barber of Seville 15 pfs.
1983-84 tour: The Perfect Wife 25 pfs.
Mark Taper Forum, G. Davidson, Art.Dir., Los Angeles
1-2/84 Damashek's Quitters
North Beach Grand Opera & Fort Mason Center, San Francisco
2/19,26/84 Aida
Opera Guild of the Desert & Los Angeles Chamber Orchestra, Palm Springs
3/5/84 La Boheme New York City Opera National Co. prod.
4/5/84 Boris Goldovsky and Four Stars in Staged Highlights
Pacific Chamber Opera, W. Teutsch, Mus.Dir., Old Town Opera House, San Diego
11/19,20,26,27 12/3,4/83 Hansel and Gretel Eng.; e: Teutsch; d: Hildenbrand; w.p.
4/25,27,29 5/2,4,6/84 Cambiale di matrimonio Eng. Reims & Rita Eng. Mead; w.p.
Pacific Music Ass'n & HoUywood-Wilshire Symphony, W. Unterberg, Dir., Los Angeles
5/12/84 Macbeth Wald; Winthrop, Farrar; at Fairfax Auditorium
Riverside City College Opera Wksp., D. Sausser, Chmn., Riverside
3/16-25/84 Show Boat 9 pfs.
5/11-20/84 The Sound of Music 9 pfs.
San Francisco Opera Orchestra, War Memorial Opera House, San Francisco
6/29/84 Rysanek in Concert; c: de Waart
San Francisco Symphony, E. de Waart, Mus.Dir., San Francisco
4/18-23/84 Parsifal Act III eonc.pfs.; Kollo, Lloyd
Stanford Savoyards, R. Taylor, Dir., Stanford Univ. (see also Vol. 25, No. 2)
4/13-22/84 The Mikado 6 pfs.
Stanford Univ. Opera Theatre, A. Toth, Dir., Stanford
5/4,5,10,11,12/84 Mechem's Tartuffe
University of California Opera Wksp!, P. Odegard, Chmn., Irvine
4/26,28/84 Trouble in Tahiti & L'Histoire du soldat
University of California Opera Dept., C. Zytowski, Dir., Santa Barbara
4/22,29/84 Zytowski's The Play of the Three Maries at the Tomb prem.
5/18,19/84 Lo frate 'nnamorato Eng. Zytowski
University of Southern California Opera Wksp., N. Limonick, Dir., Los Angeles
3/16-19/84 Tartuffe at L.A. Trade Tech College
Ventura College Opera Wksp., Ventura
11/8/83-2/2/84 Trial by Jury 16 pfs. w.p.; w. Ventura County Master Chorale
5/25-6/1/84 A Funny Thing Happened on the Way to the Forum 5 pfs. w.o.
Ventura County Master Chorale and Opera, B. Taft, Mus.Dir., Ventura
11/19/83 5/12/84 Choral Concerts
12/10/83 Amahl and the Night Visitors
4/7/84 Die Fledermaus Eng.; Romano, de la Rosa; Guarnieri, Seherzer; c: Taft; d: Moya;
ds: McEnroe; at Oxnard Aud.
1983-84 tour: Trial by Jury 16 pfs. in schools; w. Ventura College
Voices/SF, D. Ahlstrom, Art.Dir., San Francisco
3/84 Chauls' Alice in Wonderland <5c Ahlstrom's The Secret Box with the Big Brass
Combination Lock
West Coast Opera, J. Lombardo, Dir., San Gabriel
5/4,5/84 Cavalleria rusticana & Pagliacci at Wilshire Ebell Theatre, Los Angeles
Whittier-La Mirada Civic Light Opera, (see also Vol. 25, No. 2)
3/23-4/8/84 Kismet c: Ritschel; d: G. Davis
COLORADO
Alliance Francaise de Denver, The Changing Scene, Denver
1/19-22/84 Satie's La Piege de Meduse (The Sting of the Jellyfish) Fr/Eng. Sanidas
University of Denver Lamont Opera Theatre, R. Worstell, Dir., Denver
11/16/83 Dido and Aeneas Britten vers.
3/2,3,4/84 Susannah
5/16/84 Scenes w.p.
5/22/84 Signor Deluso
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1983-84 Season
CONNECTICUT
Connecticut Opera, G. Osborne, Gen.Dir., Hartford (see also Vol. 25, No. 2)
6/9/84 Carmen eonc.pf.; Dunn; Lewis, Merrill; e/narr: Borge; at Civic Center
Hartt School of Music Opera Theater, A. Bishop, Dir., West Hartford (see also Vol. 25, No. 2)
4/5-8/84 The Marriage of Figaro Eng.; c: Klippstatter; d: Bishop (replaces A Midsummer
Night's Dream)
Stamford State Opera, G. Consiglio, Art.Dir. (see also Vol. 25, No. 2)
6/2/84 Reinhardt's The Spring Maid 1910 musical; benefit garden concert
DISTRICT OF COLUMBIA
Kennedy Center Imagination Celebration, Children's Arts Festival, Washington (4/14-28/84)
4/18-23/84 Schwartz's The Trip & Clementina's Cactus (ballet) 9 pfs.; First All Children's
Theatre prod.
4/19,21/84 Tierney/Drachman/Tasca's The Amazing Einstein 3 pfs.; Performing Arts
Repertory Theatre prod.
4/26,28/84 Prokofiev's Cinderella Metropolitan Opera Ballet
Opera SW, E. Roberts, Art.Dir., Westminster United Presbyterian Church, Washington (see
also Vol. 25, No. 2)
10/83 The Last Lover & A Soldier's Tale 4 pfs.
5/10-12,17-19/84 Orpheus and Euridice Eng. Roca
FLORIDA
Florida Atlantic Univ. Opera Theater, R. Wright, Dir., Boca Raton
4/15/84 Faust
Florida Lyric Opera, R. Maresca, Gen.Mgr., Largo
11/6/83 1/29 2/4,17/84 Madama Butterfly tour w.o./w.p.
12/2/83 La Traviata
12/83 Amahl and the Night Visitors 8 pfs. w.p.
1/19/84 Pagliacci w.p.
1983-84 tour: Twelve Opera Concerts
Gold Coast Opera Theatre, War Memorial Auditorium, Ft. Lauderdale
4/6/84 Madama Butterfly also 4/8 in Pompano Beach
Pensacola Chamber Opera, H. Gruber, Mgr., Pensacola (see also Vol. 25, No. 2)
5/11,12/84 The Pirates of Penzance
Sarasota Opera Apprentice Artists Program, W. Gillespie, Mng.Dir., Sarasota
1-2/84 Johnson's Anzollo and Valeria prem. 2/16; 13 Recitals; 5 Informances
University of Miami Opera Wksp., F. Summers, Dir., Coral Gables
11/18-20/83 La Divina & Scenes
3/30,31/84 Scenes
4/19,20,21/84 Doctor Miracle & Amelia Goes to the Ball
HAWAII
University of Hawaii Opera Wksp., J. Mount, Dir., Honolulu
11/20,21/83 Scenes
4/28,29/84 Captain Lovelock & Gallantry & The Stoned Guest
7/84 The Most Happy Fella 14 pfs.
ILLINOIS
Illinois State Univ. Opera Wksp., E. Schaible-Vaeano, Dir., Normal
11/19 12/3/84 Scenes
4/5,6,7/84 Fiddler on the Roof
4/12,13,14/84 Albert Herring
Light Opera Works, B. McDonough, Mng.Dir., Evanston (see also Vol. 25, No. 2)
6/21-24/84 La Vie parisienne
Lithuanian Opera Co., V. Radzius, Gen.Mgr., Chicago
5/5,6m/84 Faust Pakalniskis, Momkus; Rowader, Vaznelis, Brazis; c: Kaminskas; d: C.
Smith; w.p.
Lyric Opera Center for American Artists, L. Schaenen, Mus.Dir., Chicago
6/14/84 Neil's The Devil's Stockings excerpts, work-in-progress reading; Cowan, Doss,
Hartfield; c: Neil; d: Galati; w.o.
Southern Illinois Univ. Opera Wksp., L. Stripling, Dir., Edwardsville
3/2,3/84 Down in the Valley
Whirlwind Performance Co., K. Androes, S. Braswell, & E. Murphy, Co-Dirs., Evanston
3/18/84 L'Histoire du soldat Carroll, Greenman, Stauber; c: Arnold; d: Flores
6/84 "New Works Concert"
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1983-84 Season
INDIANA
Indiana Univ. School of Music - Studio Opera, Bloomington (see also Vol. 24, No. 3)
4/12,13/84 de Banfield's Alissa & Gazzaniga's Don Giovanni c: Bowden/Eddins; d:
Shur/Kyle; ds: Zoeller
4/20/84 Mussorgsky's The Marriage c: Lasswell; d: Raven-Adkins
IOWA
Luther College Opera Wksp., D. Greedy, Dir., Decorah
4/27,28 5/1/84 Die Fledermaus Eng. Martin
KENTUCKY
Opera-Go-Round, Touring co. of Kentucky Opera, T. Smillie, Gen.Dir., Louisville
3-5/84 "Getting Ready for Opera" 90 pfs.; c: Berger; d: Holden
Stage One: Louisville Children's Theatre, M. Gardner, Gen.Mgr. (see also Vol. 25, No. 2)
3-4/84 Goldberg/Palas' Mother Goose
University of Louisville Opera Theatre, R. Holden, Dir., Louisville
2/2,4/84 Monteverdi's Orfeo
Western Kentucky Univ. Opera Theatre, V. Hale, Dir., Bowling Green
2/84 Oliver 4 pfs.
4/84 Scenes
LOUISIANA
Louisiana State Univ. Opera Theater, R. Aslanian, Dir., Baton Rouge
11/4-7/83 The Threepenny Opera
1/27,28/84 Scenes
4/10,12/84 Carmen
1983-84 tour to schools: The Boor
New Orleans Opera, A. Cosenza, Gen.Dir. (see also Vol. 24, No. 3)
3/30,31 4/1/84 Don Pasquale
Northeastern Louisiana Univ. Opera Wksp., S. Hickman, Dir., Monroe
2/84 Gianni Schicchi & Suor Angelica 2 pfs.
Southeastern Louisiana Univ. Opera Wksp., S. Schrock, Dir., Hammond
12/1,2/83 Amahl and the Night Visitors
4/5,6/84 A Little Night Music
MAINE
University of Maine Opera Theatre, L. Hallman, Dir., Orono
2/13,15,17,18/84 Gianni Schicchi & Trial by Jury
University of Southern Maine Opera Wksp., R. Russell, Dir., Gorham
11/11/83 Dido and Aeneas
3/2/84 Candide
MARYLAND
Baltimore Opera, J. Holbrook, Gen.Mgr. (see also Vol. 24, No. 3)
4/26-5/19/84 Kismet* 27 pfs.; Munsel, Gondek; Reardon, Bracken, Eisler; c: Everly; d:
Lehmeyer (replaces Manon)
Towson State Univ. Opera Wksp., P. Frankel & S. Thompson, Dirs., Baltimore
12/2,3/83 Scenes
4/27-29/84 Codl fan tutte Eng. Martin
MASSACHUSETTS
Boston Musica Viva & MIT Center for Advanced Visual Studies, Cambridge
5/30/84 Strasfogel/Earls' Icarus Am.prem.; art.dir: O. Piene
Boston Univ. Opera Theater, J. Haber, Dir., Boston
11/15,16 12/13,14/83 Scenes
3/29,31/84 Cavalli's L'Egisto Leppard ed.; Eng. Dunn; c: W. Wilson; d: J. Haber
5/3,4/84 Rodriguez' Suor Isabella prem.
Merrimack Regional Theatre, D. Schay, Mng.Dir., Lowell
3-4/84 Schwartz's Working d: Rose
Opera Company of Boston, S. Caldwell, Art.Dir. (see also Vol. 25, No. 2)
5/18,20/84 The Barber of Seville (replaces Davies' Taverner postponed to 11/84)
6/1,3,5/84 Don Giovanni
Opera Theater of Boston & New England Conservatories, J. Moriarty, Dir., Boston
11/4/83 Dr. Miracle & Island of Tulipatan
1/27,28/84 Dr. Miracle & L'Enfant et les sortileges
4/12-15/84 Coin fan tutte Eng. Porter
-61-
1983-84 Season
Salem State College, Music Dept., Salem
4/8/84 Down in the Valley
MICHIGAN
Lyric Opera of Northern Michigan, J. Thompson, Mgr., Interlochen
10/83 La Boheme
12/83 tour: Amahl and the Night Visitors
4/84 The Barber of Seville B. Rinaldi; Patterson
Michigan Opera Theatre Opera-in-Residence, D. DiChiera, Gen.Dir., Detroit
2-3/84 tour: Balkin's The Musicians of Bremen; The Tender Land
Michigan State Univ. Opera Theater, H. Jennings, Dir., East Lansing
10/27/83 Scenes
2/18,19/84 A Hand of Bridge & Signor Deluso
5/19,20/84 Gianni Schicchi Eng. Grossman
Olivet College Opera Wksp., K. Kleszynski, Dir., Olivet
4/13/84 The Four Note Opera & A Hand of Bridge <5c Britten's Abraham and Isaac
Opera Company of Greater Lansing, W. Madison, Adm., East Lansing (see also Vol. 25, No. 2)
4/84 Carmen Curry
University of Michigan Opera Theatre, G. Meier, Mus.Dir., Ann Arbor (see also Vol. 25, No. 2)
3/22-25/84 Hansel and Gretel c: Meier; d: Lessenger
MINNESOTA
Clara Barton School & Midwest Opera Theater of Minnesota Opera, E. Corn, Gen.Dir.,
St. Paul
3/7 4/12/84 The Secret of the Magic Ring student developed
Guthrie Theatre, L. Ciueli, Art.Dir., Minneapolis
5/10/84 Gershwin/Gorky/Sellars 1 Hang on to Me (formerly I Don't Think I'll Fall in Love
Today) prem. (opening)
Guthrie Theatre & Walker Arts Center, Minneapolis
4/26/84 Byrne's "Knee Plays" of the CIVIL warS: a tree is best measured when it is down
MISSISSIPPI
University of Southern Mississippi Opera Theatre, P. Hays, Dir., Hattiesburg
4/84 Albert Herring 2 pfs.
MISSOURI
Opera Theatre of Saint Louis, R. Gaddes, Gen.Dir. (see also Vol. 25, No. 2)
6/14,16,20,22/84 Britten's Paul Bunyan (replaces Am.prem. of Bennett's A Penny for a
Song)
Opera Theatre of Saint Louis Touring Ensemble, R. Gaddes, Gen.Dir.
Spring '84 tour: The Old Maid and the Thief
University of Missouri Opera Wksp., H. Morrison, Dir., Columbia
10/24-29/83 No! No! Nanette! 6 pfs.
2/24,25/84 The Mikado
4/9,10/84 Scenes
6/29-7/28/84 George M 9 pfs.
MONTANA
University of Montana Opera Theatre, E. England, Dir., Missoula
11/83 Scenes
2/84 The Stoned Guest & Down in the Valley
4/84 Johnston's The Private World of Private Dubek prem.
5/84 The Marriage of Figaro
NEBRASKA
Omaha Magic Theatre, J. Schmidman, Art.Dir., Omaha (see also Vol. 25, No. 2)
2-4/84 tour: de Pury's Kegger; Herrick/de Pury's Theatre Collage
NEVADA
University of Nevada Opera Theatre, C. Kimball, Dir., Las Vegas
11/4-6/83 The Magic Flute Eng. Martin
3/30-4/2/84 Iolanthe
NEW HAMPSHIRE
Hanover Opera Workshop, R. Morton, Dir., Hanover
3/31/84 Andrea Chenier w.p.
4/1/84 Samson and Dalila w.p.
4/2/84 I Due Foscari w.p.
-62-
1983-84 Season
NEW YORK
Delaware Valley Arts Alliance, £ . DeGaetani, Exec.Dir., Narrowsburg
3/30,31/84 The Marriage of Figaro
6/14-17/84 The Pajama Game 4 pfs.
8/15-18/84 The Mikado 4 pfs.
Portledge School at C.W. Post College, Greenvale
5/19,20m,20/84 Caggiano's The Ring
Tri-Cities Opera at the Opera Center, Binghamton (see also Vol. 24, No. 3)
6/8,9,10/84 n Trittico
Village Players, Piccolo Productions, Capitol Theatre, Port Chester
4/7,14,21,28/84 Cribari/Winslow's Rapunzel prem.
NEW YORK CITY
After Dinner Opera, R. Flusser, Art.Die, Meet the Composer Wlcsp. Readings, Lincoln
Center (see also Vol. 25, No. 2)
4/2/84 Hoiby's Something New for the Zoo Cusack, Mercer-White; Gilmore; c: Strasser
American-Israeli Opera Co., Greenwich House Theatre
3/11,16,17,18,19/84 Weidberg/Nier's Dracula prem.
American Symphony Orchestra, Louisiana Chorale & Collegiate Chorale, Tully Hall
1/7/84 Constantinides' Antigone scenes; conc.pf.
Amor Artis Chorale and Orchestra, J. Somary, Mus.Dir., Tully Hall
6/13/84 Handel's Acis and Galatea eonc.pf.; Gubrud; Hirst, Ostendorf
Blue Hill Troupe, C. D. Walker, Mus.Dir., Hunter College Playhouse
4/16-21/84 The Pirates of Penzance d: Ostwald; 7 pfs.
Bronx Arts Ensemble, Bronx Community College, Bronx
4/29/84 Curries' The Cask of Amontillado & Curries' A Dream Within a Dream
Brooklyn College Conservatory of Music Opera Wksp., W. Boswell, Dir., Brooklyn
2/3,4,5m,10,ll,12m/84 Hart's Farewell Supper prem. & White's The Letter prem. &
Garza's Marriage Proposal prem. (winner Brooklyn College Contest) <5c Boswell's Scene
Changes c: Boswell, d: Carr
Center for Contemporary Opera, R. Marshall, Dir., Universalist Church
2/26/84 Vocal Competition Finals Concert
4/8/84 Mayer's Brief Candle <5c The Crucible excerpts <5c Susannah excerpts
5/6/84 Barab's Philip Marshall
6/10/84 The Face on the Barroom Floor in "Cabaret Birthday Party"
Center Stage Community Playhouse, Bronx
6/23/84 Sendak/King's Really Rosie
Chamber Opera Theatre of New York, T. Motyka, Gen.Dir.
2/26/84 W.S. Gilbert/Bellini Pretty Druidess (one-act parody of Norma); "Forum" at
Marymount Manhattan
3/21,22,27,29,30/84 Curlew River Velis; c: Evans; d: Motyka; ds: Montresor; at Madison
Avenue Presbyterian Church
Chelsea Concerts, P. Dvarackas, Art.Coord., Church of the Holy Apostles
5/18/84 "Theatrical Excursions of Weill, Barber, and Creston" incl: Hand of Bridge
Lavanne; Kunii
6/8,15/84 La Serva padrona Shibata; Kunii; c: P. Echols
Children's Free Opera/St. Luke's Chamber Ensemble, M. Feldman, Mus.Dir., Town Hall
3/26,27 4/9,13/84 Haydn's Lo Speziale 8 pfs.
Composer's Showcase, Whitney Museum
3/6/84 The Cradle Will Rock d: Houseman; Acting Company prod.
3/7/84 Cage's Muoyce prem.
Downtown Opera Players, M. Stern-Wolfe, Dir., Theatre for the New City
5/6/84 Calabro's The Paradisa Bird prem.
Festival Ensemble Society, Schlesinger Intermediate School, Jamaica
5/20/84 La Traviata conc.pf.
French Institute/Alliance Francaise/Maison Francaise of Columbia Univ., St. Vincent de
Paul Church
4/17/84 de Troyes's Le Roman de Perceval, le Gallois w. Ensemble Perceval
Golden Fleece Ltd., L. Rodgers, Art.Dir., TOMI Park Royale Theatre
3/22,23,24m,24,25m,25/84 Olenick's The Diet prem. <Sc Rodgers' The Dragonfly Partita
prem. 6c Curries' The Cask of Amontillado prem.
6/7-10/84 Crane's Adam and Eve in & Tanenbaum's Last Letters from Stalingrad 6 pfs.
at Mercer St. Theatre
-63-
1983-84 Season
Goliard Chamber Orchestra & Astoria Chorale, M. Fardink, Mus.Dir., Merkin Hall
5/19/84 Purcell's King Arthur Misslin; Earl-Brown, Blanton, Allen; narr: L. Nelson
Guggenheim Museum & New York City Opera, Guggenheim Museum Auditorium
5/6,7/84 Glass's Akhnaten preview excerpts; Glass, Keene, Senn
Harmonia Opera Co., A. Iinuma, Dir., Hunter Playhouse
3/25,31/84 Madama Butterfly Iinuma, Yun; Hamrick, Powell; c: Walser; d: C. Smith; ds:
Olson
Henry Street Settlement Music School, Opera Production Group
6/9,11/84 Rigoletto also 6/10m in Eng.
Hudson Guild Theater
6/8/84 Larson/Rubin's Brownstone prem.
La MaMa E.T.C., E. Stewart, Dir.
5/20-27/84 Swadow's Jerusalem prem.
Light Opera of Manhattan, W. Mount-Burke, Prod.Dir. (see also Vol. 25, No. 2)
4/25-5/5/84 The Mikado
5/9-6/3/84 Friml's The Vagabond King (replaces New Moon)
6/6-17/84 H.M.S. Pinafore
6/20-7/1/84 Ruddigore
7/4-15/84 The Pirates of Penzance
7/18-8/5/84 The Merry Widow
8/8-26/84 Rose Marie
Manhattan Savoyards/Opera Northeast, Queens College (see also Vol. 25, No. 2)
3/3/84 The Barber of Seville w. Queens Symphony Light Opera Festival
5/6/84 Patience c: Katz; w. Queens Symphony
Manhattan School of Music Brownlee Opera Theater, J. Crosby, Pres.
11/10,12/83 4/26/84 Scenes
3/29,31 4/lm/84 Gianni Schicchi Eng. Grossman & Amelia Goes to the Ball Eng. Mead;
c: Gilbert; d: Galterio; ds: M.W. Klein/Feldman
Mannes College of Music Camerata Group, P. Echols, Art.Dir.
4/25/84 Scenes by Opera Dept.
4/27,28 5/4,5/84 Vittori's Galatea Am.prem.; M. Hernandez, E. Simon; Kunii, Collis; c/d:
P. Echols; ds: Warshaw/Powell/Eddy; at Christ Church United Methodist
Metropolitan Opera Gala Centennial Concert, A.A. Bliss, Gen.Mgr., Lincoln Center (see
also Vol. 24, No. 3 & Vol. 25, No. 2)
5/13/84 "In Concert at the Met: A Century of the Performing Arts"
Music Theater Celebration '84, National Institute for Music Theatre, 55th Street Theatre
5/11,13,16,17,19,20/84 Wargo's The Seduction of a Lady & Kennon's Songs from Blanco
works-in-progress
5/12,15,16,18,19,20/84 Harnick's Dragons work-in-progress
5/14-20/84 Video Programs and Panels #1-5
5/18/84 Alliances Colloquium w. Theatre Communications Group
5/20/84 Glass's the CIVIL warS: a tree is best measured when it is down Am.prem.
Italian section; conc.pfs.; New York Opera Repertory Theatre prod.
Music Theatre Group/Lenox Arts Center, L. Austin, Gen.Mgr. (see also Vol. 25, No. 2)
3/20-4/17/84 Peaslee/Clarke/Cole's The Garden of Earthly Delights prem.
Musical Theatre Works, A. Stimac, Dir.
10/83 Tambornino/Badale/Fried's The Boys in the Live Country Band wksp.prod.
10/83 Drexler's Dear reading
New Amsterdam Theatre Co., B. Tynes, Art.Dir., Town Hall (see also Vol. 25, No. 2)
4/15/84 Kern's Roberta conc.pf.
New Federal Theatre, W. King, Dir.
2-3/84 T. Butler's Selma d: Roquemore
New Opera Group, Our Lady Queen of the Martyrs, Queens
1983-84: CoA fan tutte; Le Nozze di Figaro; Don Giovanni
New York Opera Repertory Theatre, L.G. Gore, Dir.
5/20/84 Glass's the CIVIL warS: a tree is best measured when it is down conc.pf.;
Am.prem. Italian section
5/31 6/2/84 Ward's Abelard and Heloise conc.pfs.
New York Philharmonic Horizons '84, J. Druckman, Art.Dir., Avery Fisher Hall (5/30-6/8/84)
6/7/84 incl. Knussen's Where the Wild Things Are Am.prem.; conc.pf.; K. Beardsley,
Wheeler; c: Mehta
6/8/84 incl. Birtwistle's Down by the Greenwood Side conc.pf.; Belling; c: Newland
-64-
1983-84 Season
New York University, Reimann Opera Studio
3/8-12,15-19/84 Happy End
6/11-30/84 Mechem's Tartuffe d: R. Crittenden
Opera Stage, Holy Name Auditorium, Brooklyn (see also Vol. 25, No. 2)
4/1,5,8/84 The Barber of Seville
5/24,26m,27m/84 Tosca
Parnassus Ensemble, A. Korf, Mus.Dir., Merkin Hall
2/19/84 Renard <5c "Works by Stravinsky" Hoffmeister, Perry, Evitts, Bell
Queens Opera, J. Messina, Dir., St. John's Univ. Aud., Queens (revised listing)
10/83 Die Fledermaus Eng. Martin
11/16,30/83 Madama Butterfly
3/23/84 La Traviata
4/29/84 Cavalleria rusticana conc.pf.; Miller, Keske, Jay; Spinetti; c: Hess
8/84 La Boheme park cone. w.o.
Regina Opera Theatre, M.L. Cantoni, Pres., Regina Hall, Brooklyn (see also Vol. 25, No. 2)
6/2,3,9,10/84 Cavalleria rusticana & Pagliacci c: Guzman; d: Simone; w.o.
Richmond Theatre Collection, Faith United Methodist Church, Staten Island
3/16,18/84 n Tabarro <5c Gianni Schicehi
Seaview Playwrights Theatre, Staten Island
2-3/84 The Threepenny Opera (opening 2/17)
Theatre Opera Music Institute, J. Silver, Gen.Mgr., Park Royal Theatre
5/10-13/84 The Old Maid and the Thief <3c The Medium
Third Street Music Settlement Music Downtown & Meet the Composer, B. Flusser, Conc.Dir.
5/6/84 Ernest's Opera of the Worms <Jc Concert Selections
Vienna Choir Boys, Avery Fisher Hall
3/25/84 Concert, inch Abu Hassan
Viennese Operetta Co. of New York, L. Albright, Exec.Dir.
1/19,20,21/84 Lehar's The Land of Smiles at Hunter Playhouse
11/11/83 2/24 4/27 5/14 6/15/84 Scenes from Austrian operettas in concert at various
locations; inch Two Hearts in Three-Quarter Time
Vineyard Theatre Works-in-Progress, J. LoSchiavo, Art.Dir.
5/15/84 Hall's Wholly Communion prem. reading
5/23,24/84 Merrill's We're Home prem. reading
WNET-Great Performances
3/19/84 L'Histoire du soldat Eng. Ardoin; narr: Gregory; animation: Blechman; Los
Angeles Chamber Orch; c: Schwarz
4/16/84 Down in the Valley
YM-YWHA, Riverdale
2/26/84 Carmen
York Theatre Co., J.H. Walker, Prod.Dir., Church of the Heavenly Rest
5/84 Katsaros' Elizabeth and Essex Lear; Parlato; c: Katsaros
NORTH CAROLINA
North Carolina School of the Arts Opera Wksp., N. Johnson, Dir., Winston-Salem
2/3,4,5/84 Dialogues of the Carmelites Eng. Machlis
5/11,12/84 Scenes
University of North Carolina Opera Theatre, A. Knutsen, Dir., Greensboro
11/83 West Side Story
4/84 The Medium & The Spanish Hour
OHIO
Academic Program for the Talented & ECCO!, Lucas Intermediate School, Sharonville
2/16,17/84 student developed Three Days to Perfection
Baldwin-Wallace College Conservatory of Music, S. Ginn-Paster, Dir., Berea
2/10,11,17,18/84 Feldman's The Intruder prem. 6c George's Genevieve (Another Fourth
of July) prem.; c: Raleigh; d: B. Owens
Bowling Green State Univ. Opera Theater, R. Lazarus, Dir., Bowling Green
11/9-11/83 Trouble in Tahiti & Opera Gnus (Impresario)
2/2,3,4,10/84 The Barber of Seville Eng. Martin
4/29/84 Scenes w.p.
Cleveland Institute of Music Opera Dept., A. Foldi, Dir., & Case Western Reserve Univ.
Theatre Dept.
4/11,13,15m/84 Ariadne auf Naxos (prologue only) <3c Le Bourgeois Gentilhomme
5/11,12,13/84 Hin und zuriick Eng.; Hindemith Festival
-65-
1983-84 Season
John Carroll Univ., Cleveland on Stage
2/17/84 The Cradle Will Rock
University of Toledo Opera Theater, T. East, Dir., Toledo
4/12-14/84 Gallantry & Slow Dusk w.o.
OKLAHOMA
Oklahoma Christian College Opera Wksp., S. Smith, Dir., Oklahoma City
11/3,4,5/83 The Sound of Music
1/27,28/84 Dialogues of the Carmelites Eng. Machlis
Southwestern Oklahoma State Univ. Opera Wksp., C. Chapman, Dir., Weatherford
10/5,6,7,8,29 11/2,19/83 Chapman's High Dollar Woman in a Low Dollar Town prem.
4/16,17/84 Scenes
University of Tulsa Opera Wksp., J. Auer, Dir., Tulsa
2/3,5/84 Gallantry & The Apothecary Eng. Sherman; w.o.
4/13,14/84 G&S Scenes w.p.
OREGON
Rogue Valley Opera, T. Owens, Pres., Ashland
5/4,5,6,12,13/84 The Merry Widow Eng. Hassall
PENNSYLVANIA
Mercyhurst College D'Angelo School of Music Opera Wksp., J. Chiarelli, Dir., Erie
11/13,15/83 The Play of Daniel
SOUTH CAROLINA
Converse College Opera Wksp., R. Magoulas, Dir., Spartanburg
12/1,2/83 Scenes
2/27/84 A Game of Chance <3c Williamson's The Happy Prince
4/27/84 The Magic Flute
TENNESSEE
East Tennessee State Univ. Opera Theatre, R. La Pella, Dir., Johnson City
11/16-19/83 Guys and Dolls
12/7/83 4/27/84 Scenes
3/11,12/84 Sunday Excursion <5c Sweet Betsy from Pike
Nashville Symphony, K. Schermerhorn, Mus.Dir., Nashville
5/3,5,7/84 La Traviata Lamy; Leech, Justus; stgd.
TEXAS
East Texas State Univ. Opera Ensemble, P. Detels, Dir., Commerce
11/18,19/83 2/19/84 Scenes
3/2,3/84 II Ritorno d'Ulisse in patria
Houston Grand Opera Spring Festival, D. Gockley, Gen.Dir., Miller Theatre/Hermann Park
(see also Vol. 24, No. 3)
5/21-6/2/84 Telson's The Gospel at Colonus Telson Band; d: Breuer; 10 pfs.
6/14-30/84 Sweeney Todd Castle, Merrill; Nolen, Roy, Busse; c: DeMain; d: Prince; ds:
E/F. Lee; 15 pfs.
Houston Opera Studio, C. Floyd, Dir., Houston
3/2/84 "Lovers and Liars" Scenes
5/11,13/84 La Calisto
Huntsville Community Choral Society, H. Rex, Mus.Dir., Huntsville
5/9-12/84 The Gondoliers
Southern Methodist Univ. Opera Theatre, S. Sargon, Dir., Dallas
12/10,11/83 Suor Angelica <3c scenes from The Magic Flute
4/28,29/84 La Cambiale di matrimonio Eng. Schick/Sargon
Texas A&l Univ. Opera Wksp., R. Scott, Dir., Kingsville
10/11-14/83 H.M.S. Pinafore 4 pfs. w.p.
4/13,15/84 The Tales of Hoffmann Eng. Scott; w.o.
Texas Christian Univ. Opera Wksp., A. Hopkin, Dir., Ft. Worth
11/17,19/83 Down in the Valley
Texas Opera Theater, M.J. Weaver, Gen.Dir., touring company of Houston Grand, Houston
Spring '84 tour: "Champagne and Gershwin"
VERMONT
Opera North, D. Strohmier, Dir., Norwich
12/9,10,11/83 Amahl and the Night Visitors 5 pfs.; w.p.
12/28,29,30/83 Hansel and Gretel w.p.
2/23,24 4/11,12,13/84 Scenes w.p.
-66-
1983-84 Season
VIRGINIA
Virginia Opera Theater, P. Mark, Gen.Dir., touring co. of Virginia Opera, Norfolk
1983-84 tour: The Old Maid and the Thief
WEST VIRGINIA
Highland Arts Unlimited, D. Stephen, Pres., Keyser
3/4,7,8,12/84 The Four-Note Opera
Oglebay Institute, F. Popper, Dir., Wheeling
7/28-8/16/84 Summer Opera Workshop
West Virginia Opera Theater, D. Riggio, Art.Dir., Charleston
3/84 Madama Butterfly
WISCONSIN
Florentine Opera of Milwaukee, J. Gage, Gen.Mgr. (see also Vol. 24, No. 3)
1983-84 tour: Everything You Know About Opera - But Never Knew You Knew
WYOMING
Cheyenne Symphony Orchestra, E. Rahn, Art.Dir., Cheyenne
3/17/84 The Barber of Seville Eng.; Treadway; L. Cooper, G. Wilson, McKee, Roy; stgd.
CANADA
Canada Opera Piccola, P. Alarie, Art.Dir., Victoria and tour
1984 Le Pauvre matelot; Angelique
Canadian Children's Opera Chorus, D. Holman, Mus.Dir., Harbourfront, Toronto
6/2,3,4/84 Williamson's Julius Caesar Jones Can.prem.; 5 pfs.; e: Holman; d: Schweitzer
Conservatoire de Musique a Quebec, Quebec
3/24,26/84 The Old Maid and the Thief <Jc C o * fan tutte scenes
Edmonton Opera, On Tour Ensemble, J. Boyles, Gen.Mgr., Edmonton
Spring '84: La Cenerentola; Die Fledermaus; The Gondoliers abbrv. vers.
Kingston Symphony Orchestra, B. Jackson, Mus.Dir., Kingston
11/83 Fidelio eonc.pf.; D. Jeans
Kitchener Symphony "Octoberfest", R. Armenian, Mus.Dir., Centre in the Square, Kitchener
10/83 The Gypsy Baron S. Wolf, Tomlin, Howe; Chambers, Gable, Baerg, Stark; c:
Armenian; d: Leberg; ds: Schlogl
L'Ensemble Cantabile de Montreal, B. La Plante, Dir., Montreal and tour
1983-84 Le Medecin malgrg lui
National Arts Centre, D. MacSween, Gen.Dir., Ottawa
4/6/84 Opera Highlights; Christos; Farina; c: Mannino
5/31 6/1,2,3/84 Lieber/Stoller's Duddy d: Macdonald
Royal City Musical Productions, P. McLeod, Dir., Guelph
11/83 The Sound of Music c: C. Wilson; d/cgr: McLeod
Scarborough Fanfare '84, Toronto
5/84 La Serva padrona & La Cambiale di matrimonio Pocket Opera of L'Aquila tour;
c: Antonellini
Soctet6 lyrique d'Aubigny, Salle Albert-Rousseau de Sainte-Foy, Quebec
2/4,5,8,10/84 La Veuve joyeuse (Die lustige Witwe)
Studio de Musique Ancienne de Montreal, C. Kackson & R. Poirier, Art.Dirs., Montreal
9/83 Purcell's King Arthur eonc.pf.
2/16/84 Monteverdi's Q Combattimento di Tancredi e Clorinda <Sc Vespro della Beata
Vergine eonc.pf.
Toronto City Opera/Toronto Opera Repertoire, G. Macini, Dir., Central Tech Theatre
2/8,12,18,24/84 Lucia di Lammermoor
2/10,15,19,25/84 Cavalleria rusticana & The Impresario
2/11,17,22,26/84 La Traviata
Toronto Symphony Orchestra, A. Davis, Mus.Dir., Thomson Hall, Toronto
11/17,19/83 Der Rosenkavalier conc.pfs.; Gessendorf, Clarey, Hendricks; Best, Cole,
Hammond-Stroud
University de Montreal, M. Forget, Dir., Montreal
2/12,13/84 The Old Maid and the Thief & Coil fan tutte scenes
3/25,26,28/84 La Boheme
University de Quebec a Montreal, Montreal
2/16-20/84 Amelia Goes to the Ball <Sc Le Pauvre matelot
University Laval Music Department, Montreal
1983-84 L'Incoronazione di Poppea
Winnipeg Symphony Orchestra, K. Koizuma, Mus.Dir., Winnipeg
11/83 La Voix humaine Patenaude-Yarnell; c: Brott
-67-
PERFORMANCE LISTING, SUMMER 1984 (CONT.)
ALABAMA
Troy State Univ. Opera Wksp., M. Collier, Oir., Troy
7/20,21/84 Annie Get Your Gun
ALASKA
Fairbanks Summer Arts Festival, Univ. of Alaska, Fairbanks
7/23-8/4/84 inel: opera workshop
ARIZONA
Flagstaff Festival (7/20-8/5/84)
CALIFORNIA
CabriUo Music Festival, D.R. Davies, Mus.Dir., Aptos (8/16-28/84)
Carmel Bach Festival, S. Salgo, Mus.Dir., Carmel (7/16-8/5/84)
7/20,27 8/3/84 Haydn's Orlando Paladino conc.pfs.
Los Angeles Metropolitan Opera Co., Shrine Auditorium, Los Angeles
8/24,26/84 Aida Arroyo, Cariaga; McCracken, Hines, Ludgin; e: Minde; d: W.S. Wagner
Music from Bear Valley, J. Gosling, Art.Dir., Bear Valley (7/28-8/12/84)
8/9,11/84 Don Giovanni c: T. Conlin; d: Buekbee
Olympic Arts Festival, R.J. Fitzpatrick, Dir., Los Angeles
6/20/84 Subotnick's The Double Life of Amphibians prem.
7/9,13,17,21/84 Turandot Gwyneth Jones, Mitchell; Domingo; e: Davis; d: Proektor; Royal
Opera prod.
7/11,16,19/84 Peter Grimes Harper; Viekers, G. Evans; c: Davis; d: Moshinsky; Royal
Opera prod.
7/12,14,18,20/84 Die Zauberfldte Donath, Del Re; Burrows, Allen, R. Lloyd; e: Davis;
d: Everding; Royal Opera prod.
7/25/84 A Salute to the American Musical Theatre Los Angeles Philharmonic & Chorale;
c: J. Green; at Hollywood Bowl
Pocket Opera "Offenbachanalia", D. Pippin, Art.Dir, Herbst Theatre, San Francisco
7/21,26 8/3,12/84 La belle Helene
7/22,28 8/2,10/84 La Vie parisienne
7/27 8/5,11/84 La Pe>ichole
7/29 8/4,9/84 The Bridge of Sighs
Redlands Bowl Summer Music Festival, C. Halsey, Pres., Redlands (6/19-8/24/84)
7/10/84 "An Evening of Opera"; Villa; accomp: Fetta
7/27,28,29/84 Mame d: Hughes
8/24/84 The Magic Flute c: Fetta; Opera Theatre of Inland Empire prod.
Stern Grove Music Festival, San Francisco
6/17-8/19/84 incl. Of Thee I Sing; Iolanthe
COLORADO
Aspen Music Festival, J. Mester, Mus.Dir., G. Hardy, Dir. (6/29-8/26/84)
8/84 The Marriage of Figaro; Paul Bunyan d: Perlman; at Wheeler Opera House
Colorado Music Festival, G. Bernstein, Mus.Dir., Boulder
6/21-7/27/84 Vienna: Turn of the Century Festival; also in Ft. Collins & Estes Park
Colorado Opera Festival Company Singers, D. Jenkins, Gen.Mgr., Colorado Springs (see
also Vol. 25, No. 2)
6/28,29/84 Die Kluge & Miss Havesham's Wedding Night & Levy's Escorial
Four Corners Opera, R. Gregori, Gen.Dir., Ft. Lewis College, Durango
6/22,24/84 Madama Butterfly Turano, Myrick; Gibbs, Gregori; c: Takeda; d: Tavernia;
ds: Bennett/Malabar
6/24-30/84 The Face on the Barroom Floor 6 pfs. w.p.
6/29,30/84 Don Pasquale Eng.; Pierson; Ganz, Adams, Gregori; c: Houchins; d: Owens;
ds: Lehmeyer/Malabar
CONNECTICUT
Connecticut Festival of American Music Theater, Stamford
7/84 Musicals, conc.pfs. & selections, National Chorale; c: M. Josman
National Opera/Music Theater Conference, P. Haupt-Nolen, ArtJMr., O'Neill Theater Center,
Waterford
6/3-17/84 Thomas' Cafe Vienna, 1907; Perlroth's Good Friends prem. readings
6/14,15,16/84 Nelson's Lisa and David prem. stgd. reading
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Summer '84
New Music America Festival, Real Art Ways & Hartt School of Music, West Hartford
7/1-7/84 Seventeen concerts of new music by 50 composers
DISTRICT OF COLUMBIA
Kennedy Center for the Performing Arts, R. Stevens, Chmn., Washington
7/20-28/84 Bernstein's A Quiet Place (incl. Trouble in Tahiti) Houston Grand Opera
prod.; at Opera House
7/31-8/5/84 Zarzuela Company at Opera House
FLORIDA
Pensacola Jr. College Summer Opera, S. Kennedy, Dir., Pensacola
7/17-22/84 Die Fledermaus Eng. Martin; 4 pfs.
GEORGIA
DeKalb College Music Theatre, J. Bradford, Dir., Clarkston
7/25,26 8/5,6,7/84 Oklahoma!
ILLINOIS
Grant Park Concerts, S. Ovitsky, Gen.Mgr., Chicago
6/23-8/26/84 incl. Of Thee I Sing conc.pfs.
8/19/84 Turandot conc.pf.
Lyric Opera of Chicago &: Poplar Creek Music Theatre, Poplar Creek Theatre, Chicago
8/13/84 Pavarotti in Concert c: E. Buckley
Midland Repertory Players Opera in the Barn, K. Shanahan, Dir., Alton
6/28-7/11/84 The Elixir of Love Eng.; Langley; SilverbUrg; c: Shanahan; d: Pfeiffer
8/16-19/84 n Trovatore Eng.
Ravinia Festival, J. Levine, Mus.Dir., Chicago Symphony in Residence, Highland Park (6/199/9/84)
7/8/84 Carolina burana Anderson; Creech, Weigl
7/14/84 Roberta Peters in Concert
7/15/84 Berlioz' Romgo et Juliette Carlson; Creech, Cheek
University of Illinois Opera Theatre, D. Lloyd, Dir., Urbana
7/84 The Mikado 8 pfs.
INDIANA
Ball State Univ. Opera Theatre, P. Ewart, Dir, Muncie
7/7,8,9/84 Oliver
7/21,22,23/84 Snoopy
8/4,5,6/84 Dames at Sea
LOUISIANA
World Festival of Theatre for Young People, World's Fair, New Orleans
6-7/84 The 500 Hats of Bartholomew Cubbins Minneapolis Children's Theatre prod.; Haku
Mele - Weaver of Poems Honolulu Theatre for Youth prod.; First Lady New York
PART prod.; Bananas Mississippi Sheffield Ensemble Theatre prod.
MARYLAND
Prince George's Civic Opera, D. Biondi, Dir., Largo (see also Vol. 25, No. 2)
6/8,10/84 The Beggar's Opera Winter, Kingston; Myering, Troup, King; e: Abell; d: Biondi
MASSACHUSETTS
Berkshire Music Festival, S. Ozawa, Mus.Dir., Boston Symphony in Residence, Tanglewood
(7/1-9/2/84)
8/2,4/84 Beatrice et Benedict von Stade, McNair, Taylor; Rendall, Parsons, Tajo,
Ostendorf; c: Ozawa; d: Kneuss; ds: Deegan/Conley
Cedardell Opera Wksp., B. Goldovsky, Art.Dir., Southeastern Massachusetts Univ., North
Dartmouth (7/84)
MICHIGAN
Ann Arbor Summer Festival, S. Bates, Mgr., Power Center for Performing Arts, (6/307/24/84)
7/21m,21,22m,22/84 Cimarosa's The Secret Marriage Univ. of Michigan Opera Theatre
7/24/84 The Tender Land c: Jaeger; w. Northwood Orchestra & Chorus
Interlochen Arts Festival/National Music Camp, E. Downing, Dir., Interlochen
6/24-8/19/84 incl: Wonderful Town; Patience
Matrix: Midland Festival, G.R. Ryan, Gen.Mgr., Detroit Symphony in Residence (5/306/17/84)
Meadowbrook Festival, S. Hyke, Act.Art.Dir., Detroit Symphony in Residence, Rochester
(6/21-9/15/84)
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Summer '84
MINNESOTA
Opera St. Paul, E. Forner, Mus.Dir., St. Paul
6/1,3/84 n Matrimonio segreto
8/3,5,10,12/84 Mechem's Tartuffe
MISSISSIPPI
University of Mississippi Opera Theatre, L. Fox, Dir., University
6/21,22,23/84 Annie
7/24,26,28,31 8/2,4/84 The Robber Bridegroom
MISSOURI
Springfield Regional Opera Company, D. Crosby, Gen.Mgr., Springfield (see also Vol. 25,
No. 2)
6/21,22,23,24/84 The Merry Widow
7/26,27,28,29/84 Die Fledermaus
NEW HAMPSHIRE
Monadnock Music Festival, J. Bolle, Dir., Peterborough/Jaffrey
7/21-8/31/84 incl: Co* fan tutte; The Rake's Progress conc.pfs.
NEW JERSEY
Fairlawn Summer Festival, Fair Lawn (7/1-9/2/84)
June Opera Festival of New Jersey, P. Westergaard, Art.Dir., Kirby Arts Center,
Lawrenceville
6/15,17,22,24,27,30/84 The Marriage of Figaro Eng.; w. New Jersey Symphony
6/20/84 Vocal Concert w.p.
6/23/84 Operatic and Symphonic Concert; c: Pratt
6/29/84 Westergaard's The Tempest excerpts; pretn. reading w.o.; c: Pratt
Waterloo Festival, G. Schwarz, Mus.Dir., Stanhope (6/29-8/5/84)
7/21/84 Gluck's Iphigenie en Aulide Am.prem. 1847 Wagner ed.; Marc, Ka. Ciesinski;
Stamm, N. Bailey, Diaz; e: Schwarz
8/11/84 Italian American Festival New Jersey State Opera; c: Silipigni
NEW MEXICO
Music at Angel Fire, L. Altman, Art.Dir., R. Cameron-Wolfe, Exec.Dir., Angel Fire
7/3-28/84 Thirty Concerts incl. E. Lear; also tour
NEW YORK
C.W. Post College Summer Opera, S. Goldberg, Dir., Greenvale
6/17,19/84 Suor Angelica & Riders to the Sea w.p.
6/21/84 Lecture and Scenes w.p.; at Roslyn H.S.
6/23,24/84 Coil fan tutte w.p.
6/29 7/1/84 Die Fledermaus scenes w.p.
7/27/84 La Traviata conc.pf. w.p.
Caramoor Music Festival, J. Nelson, Mus.Dir., M. Sweeley, Exec. Dir., Katonah (6/308/26/84)
Glimmerglass Opera Theater, P. Kellogg, Gen.Mgr., 10th Anniversary Season (revised
listing), Cooperstown
6/30 7/lm,3,5,7,8m,10/84 The Student Prince J. Guyer, M. Hunter; H. Danner, B. Steele;
c: Schneider; d: D. Danner; ds: Beck/Kendrick
7/20,22m,24,26,28/84 Ariadne auf Naxos Eng. Holliday; Casella, Robin, S. Smith; Sylvester,
Steele, Massey; c: Schneider; d: Holliday; ds: Beck/Lengson
8/10,12m,14,16,18,19m/84 Carmen Eng.; W. White, Chalker; Evanko, D. Arnold; c:
Schneider; d: Gateley; ds: Beck/Lengson
Interarts Colony '84, Palenville (7/1-9/1/84)
Lake Placid Sinfonietta, C. Ebert, Mus.Dir., Lake Placid (7/15-8/18/84)
7/15/84 Opera Gala w. Lake George Opera Ensemble
Niagara Univ. Music Dept., Niagara
6/13-17/84 Strouse's Nightingale at Artpark, Lewiston
PepsiCo Summerfare, B. Jones, Art.Dir., at SUNY-Purchase (7/13-8/12/84)
7/13,14,15/84 La Tempesta - A Zarzuela
7/14/84 Noye's Fludde outdoor spectacle
8/2-5/84 Susa's The Love of Don Perlimplin prem. (San Francisco prem. cancelled)
Pine Orchard Artists Festival, J. Pouhe, Art.Dir., Palenville
7/7-9/22/84 incl: Don Giovanni; The Merry Widow; "An American Cabaret"
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Summer '84
Saratoga Music Festival, H. Chesbrough, Art.Dir., Philadelphia Symphony in Residence
(6/30-8/26/84)
7/3-21/84 New York City Ballet
8/11/84 Rachmaninoff Program, inch Monna Vanna prem.; conc.pf.; Troyanos; Milnes,
Alexander; c: Buketoff
8/15/84 "Glorious Broadway" Shearer; Reardon; c: Allers
8/16/84 Carmina burana & Scenes Blegen; Freeman, J. Patrick; e: MeElheran
NEW YORK CITY
Emille Opera Co., E.H. Paik, Art.Dir., Tully Hall
6/16/84 The Magic Flute Korean vers.; conc.pf.; Hong, Lee; Kang; c: Lim
La Guardia Community College Music Theatre, N. Rossi, Prod., Long Island City
8/8,10,12m/84 Handel's Itneneo M. Anderson, Yakes; Rhodes, Orcutt; e: D. Pasquale; d:
Fauntleroy; ds: Gotz
Manhattan School of Music, J. Crosby, Pres.
6/19-29/84 Summer Vocal Institute; dirs: Hoswell, Raskin, Faull, Grubb, Galterio
New York City Opera, B. Sills, Gen.Dir., New York State Theatre, (see also 1984-85 Listing)
6/27-7/1/84 Performances at Artpark, Lewiston, NY (see Vol. 25, No. 2)
7/6,12,29m 8/4m,8,18m,28/84 n Barbiere di Siviglia*t Forst/Ziegler/Mentzer/Marsee,
Shaulis; Reed/Cousins, Burchinal/Stone/Dickson, Sullivan, Dansby/Dworchak; c: Keene;
d: T. Robertson; ds: Evans/Dolan
7/7m,15,28 8/7/84 The Magic Flute Eng. Porter
7/7,15m,28m 8/3,9,18,22,31/84 La Bohemet
7/8m,14 8/5,10,15,26m/84 Madama Butterflyt
7/8,13,29/84 Turandott Kelm
7/14m,25,31 8/ll,19m,25/84 La Traviatat Christos; Grayson; d: Corsaro
7/18,19,20,21m,21,22m,22/84 Candide d: Prince
7/27 8/5m,llm,14,25m/84 Cavalleria rusticana & Pagliaccit R. Freni/Sundine/Meyerson;
Calleo/Theyard/Trussel, Dansby <3c Lamy/Haddon/Christos; Theyard/West, Burchinal/
Justus, McFarland/Dickson; c: Weise; d: Corsaro; ds: Evans
8/4,12m,17,26,30/84 Carmen*t Vergara/Marsee, Telese/Christos/Walker; Trussel/Busse,
Diaz/Reeve; c: Keene; d: Corsaro; ds: Colavecchia/Hite (set at time of Spanish Civil
War)
8/19,24/84 La Rondine*t Rolandi, C. Peterson; McCauley, Eisler, Wexler; d: G. Davidson;
ds: Funieello/Kirkpatriek
8/23,29/84 Rigoletto*t Spacagna/Mills/Woods, Marsee; Hadley/Grayson, Ellis/Burchinal/Justus, Langan/Dupont; c: Flint; d: Corsaro; ds: Evans/Varona
Roster - sops: Austin, Christman, Christos, Craig, Elliott, Erickson, Fernandez, Guyer,
Haddon, Holleque, Hynes, Jonason, Kelm, Knighton, Lamy, Mills, Munro, Orloff, Peterson,
Rolandi, South, Spacagna, Sparrow, Sundine, Telese, Thomas, Vanderlinde, Walker, Wolf,
Woods; mezzos: Bonazzi, Castle, Clement, Costa-Greenspon, Darr, Davidson, DeVaughn,
Eckhart, Elias, Evans, Forst, R. Freni, Iauco, Marsee, Mentzer, Meyerson, Rose,
Schoenfeld, Senn, Shaulis, Vergara, Ziegler; tens: Austin, Calleo, Clark, Cousins, Eisler,
Garrison, Gray, Grayson, Green, Groenendaal, Hadley, Hardesty, Harrold, Lankston, Leech,
W. MacNeil, McCauley, Reed, Robson, Serbo, Siena, Theyard, Trussel, West; bars &
basses: Bassett, Billings, Brubaker, Burehinal, Cossa, Dansby, Dickson, Dupont, Dworchak,
Ellis, Elvira, Fazah, Galbraith, Gill, Hale, Jamerson, Javore, Justus, Langan, Ledbetter,
Lightfoot, Link, McFarland, J. McKee, R. McKee, Nolen, Parker, Pauley, Ramey, Reeve,
Saxson, Stone, Wexler, Wildermann, Yule; conds: Bergeson, Ferden, Flint, Gemignani,
Keene, Pallo, Stahl, Weise.
New York Grand Opera, V. La Selva, Art.Dir., Central Park Band Shell
7/12/84 La Fanciulla del West
7/19/84 Madama Butterfly
7/26/84 Le Villi & Gianni Schicchi
NORTH CAROLINA
British American Festival, Duke University, Durham
6/3,4/84 Hamilton's Raleigh's Dream prem.; Harsanyi; Lowe, Roloff, Kendel; c: Smith
Eastern Music Festival, S. Morgenstern, MusJtfr., Greensboro
6/23-8/4/84 Symphony and Chamber Music Concerts, Children's Concerts, Competitions,
etc.
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Summer '84
University of North Carolina Opera Wksp., A. Knutsen, Dir., Greensboro
6/15,15,19,23,26,29/84 My Fair Lady
6/8,9,22,28,30/84 Babes in Arms
OHIO
Cincinnati Opera Young American Artists Program, J. de Blasis, Gen.Dir., Cincinnati
8/2,3,4/84 Barber's A Hand of Bridge <5c Blacher's Abstrakte Oper No. 1 & Bock's
Passionella (Act III of The Apple Tree)
Ohio Light Opera, F. Knorr, Prod., College of Wooster, Wooster (revised listing)
6/12,16m,20,24m,28,30 7/6,17,28 8/9/84 La Perichole
6/13,15,21,23m,26 7/4m,8m,13,21m 8/4,12/84 The Pirates of Penzance
6/14,16,22 7/3,28m 8/12m/84 H.MJS. Pinafore
6/17m,19,23,27,30m 7/5,7,15m,25 8/3,8m/84 The Mikado
6/29 7/lm,7m,ll,14,19 8/lm,5,7/84 Iolanthe
7/10,12,14m,18,22m,28 8/10/84 German's Merrie England
7/20,21,24,26 8/l,5m,llm/84 The Yeomen of the Guard
7/27,29m,31 8/2,4m,8,11/84 Cox and Box & Trial by Jury
PENNSYLVANIA
American Music Theatre Festival, M. Samoff, Gen.Dir., E. Salzman, Art.Dir., Philadelphia
6/23-7/15m/84 Gershwin's Strike Up the Band reconstructed by Salzman; d: Corsaro; 27
pfs.; at Walnut Street Theatre
6/27,29,30 7/1,4/84 Davis's X (The Life and Times of Malcolm X) work-in-progress; d:
Levine; at Trocadero Theatre
6/28-7/15m/84 Perkinson's The Emperor Jones prem.; C. Little; Alvin Ailey Dance Co.;
d: McKayle; 21 pfs. at Port of History Museum Theatre
6/28,29,30m,30 7/l,3,4,5,6,7m,7,8/84 Ain's Trio prem.; d: Blecher; ds: Lin; at City Center
(previews 6/5-17 at St. Ann's, Brooklyn, NY
7/5,6,7m,7,8m,8,9/84 William's Mrs. Farmer's Daughter d: Ferencz; at Trocadero Theater
7/12,13,14,15m/84 Dresner's Seehear d: Coates; prod: Kirck; at Troeadero Theater
7/13,14/84 Video and Music Theater
Mann Music Center, H. Martin, Exec.Dir., Philadelphia Orchestra in Residence (6/18-8/3/84)
6/25/84 Birgit Nilsson in Concert; c: Levine
7/19/84 Roberta Peters in Concert; c: Lewis
Opera Ebony/Philadelphia, B. Matthews, Art.Dir., Fleischer Auditorium, Philadelphia
6/16,17m/84 Penn's The Hermit of Hawaii c: M. Steele
8/25/84 "A Salute to Broadway" at Robin Hood Dell East
TENNESSEE
Seewanee Summer Music Center, M. McCrory, Art.Dir., Seewanee (6/23-7/29/84)
TEXAS
Houston Symphony Summer Festival, S. Comissiona, Mus.Dir., Houston
7/10-28/84 incl: Carmen; Porgy and Bess
Nacogdoches Repertory Opera Summer Wksp., Stephen Austin State Univ., Nacodoches (8/110/84)
San Antonio Festival, P. Bakardjiev, Gen.Dir. (see also Vol. 25, No. 2)
5/18/84 Opening Concert; c: Lopez-Cobos
5/18,19m,19/84 Joseph and the Amazing Technicolor Dreamcoat national company tour
6/1,2/84 Tamayo's Antalogia de la Zarzuela
6/4,5/84 The Sound of Music child performers; at Beethoven Hall
also: Concerts, plays, ballets
VERMONT
Opera North, D. Strohmier, Dir., L. Burkot, Mus.Dir., Norwich
6/28,30 7/1/84 Cos! fan tutte Eng. Martin
7/21,22,24,25,28,29/84 Kiss Me Kate
8/3,4,7,8,10,11/84 The Mikado
VIRGINIA
Wolf Trap Company, R. Brunyate, Art.Dir., The Barns, Vienna
7/13,14/84 The Coronation of Poppea c: France; d: Brunyate
7/20,21/84 Albert Herring c: Woitach; d: Ostwald
7/28m/84 The Bear d: Brunyate; 2 pfs. at Children's Theatre-in-the-Woods
8/3,4,5m/84 A Little Night Music c: France; d: Kalustian
8/4/84 Rita d: Brunyate; 2 pfs. at Children's Theatre-in-the-Woods
-72-
Summer '84
Wolf Trap Farm Park for the Performing Arts, E. Mattos, Exec.Dir., Vienna (7/30-9/1/84)
7/30/84 Gala Opening Concert, Domingo; National Symphony
8/12/84 "An Afternoon of Opera" Wolf Trap Company
8/14-19/84 Oklahoma! 8 pfs.
8/22/84 "An Evening of Opera" Scotto; Alexander, Quilico; c: Queler
WYOMING
Grand Teton Music Festival, L. Tung, Mus.Dir., Jackson Hole (7/15-8/25/84)
CANADA
Canada Opera Piceola Advanced Training Center, P. Alarie, Art.Dir., Victoria
6-8/84 Albert Herring; Don Procopio; Signor Bruschino; Abu Hassan; Trouble in Tahiti
Courtney Music Centre, Summer Music from Courtney, Courtney
8/13,15,17,19/84 The Marriage of Figaro c: Goldsehmidt; d: Glassco
Shaw Festival 1984, C. Newton, Art.Dir., Niagara-on-the-Lake
7-8/84 Roberta
Stratford Festival, J. Hirsch, Art.Dir., Stratford
7/84 Iolanthe d: Macdonald
Toronto International Festival, (see also Vol. 25, No. 2), Toronto
6/6,8/84 La Rappresentazione di anima e di corpo
Victoria International Festival, J.J. Johannesen, Art.Dir., Victoria (7/14-8/23/84)
7/14,16/84 Albert Herring Canada Opera Piceola prod.
8/18,20/84 Abu Hassan & Die schdne Galatea Canada Opera Piceola & Festival Orchestra
-73-
FIRST PERFORMANCE LISTING 1984-65 SEASON
ALABAMA
Samford Univ. Opera Wksp., G.W. Bugg, Dir., Birmingham
10/11,12/84 Susannah
11/28 12/2,5/84 The Night of the Star
4/10,11,14/85 Scott's The Woman at the Well prem.
ARKANSAS
Arkansas Opera Theatre, A. Chotard, Art.Dir., Arkansas Arts Center, Little Rock
9/7,9/84 The Abduction from the Seraglio
11/23,25/84 La Boheme
12/16/84 "Sing We Noel" carol singing at St. Mark's Episcopal Church
2/22,24/85 Larsen's Clair de Lune prem.
5/18/85 Iolanthe at Festival on the Green, the Castle House
CALIFORNIA
Five Penny Opera/Orange Coast College, C. Chardonnay, Dir., Costa Mesa
11/7,9,10,14,16,17/84 Manon
12/3-9/84 Hansel and Gretel
3/20,22,23,27,29,30/85 Manon Lescaut
Lamplighters/Opera West Foundation, G. Russak, Art.Adm., San Francisco
9/22,28,29,30m 10/5,6,12,13,14m,19,20,26,27,28m/84 Patience
12/7,8,9m/84 The Gala
3/9,15,16,17,22,23,29,30,31 4/12,13,18,19,20/85 The Sorcerer
6/15,21,22,23,28,29 7/12,13,14,19,20,26,27,28/85 H.M.S. Pinafore
Long Beach Opera, M. Milenski, Gen.Dir., Center Theatre, Long Beach
11/13,15,17,21,24/84 Coronation of Poppea
2/14,16/85 Eugene Onegin
4/11,13,17,19,21/85 The Grand Duchess of Gerolstein
Los Angeles Opera Theater, J. Dordick, Art.Dir., Wilshire Ebell Theatre, Los Angeles
10/13,16,18,20/84 Der Rosenkavalier Eng.; Faix-Brown, Gamberoni, Quittmeyer; Stamm,
Garrett; c: Holt; d: Freedman; ds: Romero/Feldman
11/10,13,15,17/84 Madama Butterfly D.Stevenson, Christin; Schwisow, Immel; c: Holt; d:
Farrar; ds: Beck/Feldman
Lyric Opera Theatre, B. Kamsler, Dir., San Francisco
9/7,12,14,16/84 Giulio Cesare
Novato Lyric Opera, A. Secrist, Gen.Dir., Novato
12/84 La Cenerentola 6 pfs.
2/85 Fifth Anniversary Gala
4/85 The Abduction from the Seraglio 6 pfs.
Pacific Chamber Opera, W. Teutsch, Mus.Dir., San Diego
11/14/84 I Quattro rusteghi Eng. Dent; 6 pfs. w.p.
4/17/85 Gazzaniga's Don Giovanni Eng.; 6 pfs. w.o.
San Diego Opera, I. Campbell, Gen.Dir., San Diego
9/28,30m 10/3,7/84 Peter Grimes* Craig; Cassilly, Frank, Sylvester; c: Lockhart; d:
Gregson
10/12,14m,17,20/84 La Traviata Plowright, Shaulis; Cupido, Schmorr; c: Fulton; d: Walsh
10/26,28m,31 11/3/84 Hansel and Gretel* Norden, Burton, Forrester, R.M. Freni; Workman;
c: Keltner; d: Donnell
2/3,5,8,10m/85 The Merry Widow Barstow, Munro, Bybee, Tabaehnik; Garrison, Hall,
Trussel; c: Bergeson; d: Helpmann
2/23,26 3/l,3m/85 La Boheme Munro, Neblett; Hall, Ionita, Burchinal, Foss; c: Stapleton;
d: Levine
3/9,12,15,17m/85 Verdi's Oberto Am.prof .prem.; Gettler, Kaszar, Marsee; Gulyas, Ramey;
c: Bakels; d: Melano
San Francisco Children's Opera, N. Gingold, Dir., Herbst Theatre, San Francisco
11/17/84 Cinderella
12/15/84 Santa Claus' Beard
2/9/85 Sinbad the Sailor
3/2/85 The Emperor's New Clothes
4/27/85 Wolferl (The Young Mozart)
5/18/85 Puss in Boots
-74-
1984-85 Season
San Francisco Opera, T. McEwen, Gen.Dir., War Memorial Opera House, San Francisco
9/7,12,15,19,22,26,30m/84 Ernani Caballe", Zajio; Pavarotti, Milnes, Plishka; c- Gardellid: Joel
9/8,11,14,17,20,23111,27/84 Carmen Nafe\ Erickson; Ciannella, Diaz; c: Navarro; d:
Ponnelle/Calabria; ds: Ponnelle
9/18,21,25,29 10/4,7m,12/84 La Sonnambula von Stade, Parrish; D. O'Neill, Ramey, c:
Reseigno; d: Macdonald; ds: Deho/Sormani
10/2,5,9,13,17,21m,27/84 L'Elisir d'amore Ferrarini, Swenson; Lima, Del Carlo, Duesing;
c: Agler; d: Seiutti; ds: Darling
10/6,10,14m,16,19,24,30 11/2/84 Madama Butterfly Mitchell, Brooks-Rice; Cortez, Krause,
Thomas; c: Meltzer; d: Farruggio; ds: Businger; also 12/lm,6 stud.pfs.t; Hartliep,
Bruno; MacNeil, Busterud; c: Johnson
10/18,23,26 ll/l,4m,7,10/84 Elektra Martin, Neblett, Crespin; Bailey, Wimberger; c: Tate;
d: Resnik; ds: Siercke/Blatas
10/25,28m,31 11/3,6,9,13/84 Anna Bolena Sutherland, Budai; Blake, Langan; c: Bonynge;
d: Mansouri; ds: Pascoe/Stennett; co-prod. Canadian 6c Michigan opera cos.
ll/llm,14,18m,24,27,30/84 Khovanshchina Shostakovich ed.; Dernesch, Gustafson; Salminen, Bailey, Lewis, Howell; c: Albrecht; d: Frisell; cgr: Sulich; ds: Benois
11/17,20,23,29 12/2m,5,8/84 Rigoletto Hendricks, Richards; Raffanti, Wixell, Patterson;
c: Adler; d: Ponnelle/R. Thompson; ds: Ponnelle
11/21,25m,28 12/1,4,7,9m/84 Don Giovanni Cook, Lorengar, Zimmermann; Brendel, K.
Lewis, Fissore, Will, Salminen; c: Chung; d: Copley; ds: Businger
Sierra Chamber Opera, A. Rea, Gen.Dir., Fresno
1984-85 tour: Rea's The Prince of Patches prem; 75 pfs.; Pergolesi's n Maestro di
Musica Eng. Guarnieri; 20 pfs.
CONNECTICUT
Opera Express, T. Hicklin, Mng.Dir., touring company of Connecticut Opera
1984-85 tour: The Barber of Seville Eng.; Madama Butterfly; Amahl and the Night
Visitors; "A Grand Night for Singing"
Stamford State Opera, G. Consiglio, Art.Dir., Stamford
9/15/84 La Boheme
12/15/84 Die Fledermaus
3/9/85 La Traviata
DELAWARE
OperaDelaware, E. Kjellmark, Pres., Grand Opera House, Wilmington
12/1,7,8/84 Aida Eng. Lawton; c: Lawton; d: Kimball; w. Wilmington Ballet
3/1,2/85 Don Pasquale c: Caraher; d: Driver
4/27 5/3,4/85 The Magic Flute c: Kozinski; d: Muni
DISTRICT OF COLUMBIA
Washington Opera, M. Feinstein, Gen.Dir., Kennedy Center, Washington
10/27 11/2,7,12,18m,20/84 La Bohemet Greenawald, J. Hall; Hadley, G. Quilico,
Halfvarson, Glassman; c: Mauceri; d: Menotti; ds: Brown; at Opera House
ll/5,10,13,16,21,25m/84 The Merry Widow* Eng.; M.J. Johnson; Stilwell, Kuebler, Adams;
c: Kellogg; ds: Brown; at Opera House
ll/9,llm,14,17,19,24/84 Le Nozze di Figaro*t Valente, McLaughlin, Mentzer, Pelle;
Desderi, Gronroos, Fiorito; c: Barenboim; d/ds: Ponnelle; at Opera House; L'Orchestre
de Paris eo-prod.
12/1,3,5,8,10,12,14,16m,18,22,25,28,30m/84 La Sonnambula* J. Hall, Siedentop, Christin;
Aler, J. Wells; c: De Rugeriis; at Terrace Theatre
12/4,7,9m,ll, 15,17,19,21,23m,26,29/84 l/l,4,6m/85 The Medium & The Telephone B. Evans,
Pelle, Woods, Hocher, Weyman; Turnage, F. Menotti, Fiorito; d: Menotti; at Terrace
Theatre
12/31/84 l/2,5,7,9,12,14,16,18,20m,22,26,28,30 2/l,3m/85 L'ltaliana in Algeri* Woods,
Christin; Loup, Fiorito, Dupont; c: J. Reseigno; d: Major; ds: Brown; at Terrace Theatre
l/8,ll,13m,15,19,21,23,25,27m,29 2/2/85 The Rake's Progress Greenawald/S. Peterson;
Hadley, Dansby; c: McGegan; d: Macdonald; ds: Brown; at Terrace Theatre
FLORIDA
Floria Lyric Opera, R. Maresca, Gen.Mgr., Largo
10/84 3/85 The Barber of Seville 2 pfs. w.o./w.p.
12/84 Amahl and the Night Visitors 10 pfs. w.p.
3/85 Cavalleria rusticana & Pagliacci w.o.
-75-
1984-85 Season
Greater Miami Opera, American Musical Theater, R. Herman, Gen.Mgr., Gusman Cultural
Center, Miami
10/11-14,16-21/84 Annie Get Your Gun 12 pfs.
11/1-4,6-11/84 Carousel 12 pfs.
11/15-20/84 "Salute to Broadway" 6 pfs.
Greater Miami Opera, R. Herman, Gen.Mgr., Dade County Aud./Miami Beach Theatre for
Performing Arts, Miami
1/14,16,19/85 La Gioconda Telep-Ehrlich, Ka. Ciesinski; Cianella, Fitch, Burchinal; c:
Waters; d: Hebert; ds: Klein; also 1/15,20m Eng. Natl. Series: Miller; Partamian, Fitch
2/11,13/85 L'ltaliana in Algeria S. Daniel, Gambulos; Kays, Jamerson, Kendall; c: E.
Buckley; ds: O'Hearn; also 2/12,17m Eng. Natl. Series: White; Glassman; c: Waters
3/11,13/85 Madama Butterfly Sook Lee, Hegierski; Lima, Frank, Monk; c: R. Buckley;
d: Hebert; ds: Klein; also 3/12,17m Eng. Natl. Series: Kim; Serbo, Brandstetter; c: Waters
4/15,17/85 Ernani Cruz-Romo; Pavarotti, Milnes, Morris; c: E. Buckley; d: Frisell; ds:
Benois/Caine; also 4/16,21m Eng. Natl. Series: Knighton; L. Alexander; c: Waters
Opera-a-la-Carte, A. Smith, Gen.Mgr., Civic Auditorium, Jacksonville
12/1,2/84 La Traviata
2/16,17/85 Hansel and Gretel Eng. Baehe
5/18,19/85 Tosca
Sarasota Opera, W. Gillespie, Mng.Dir., V. de Renzi, Art.Dir., Sarasota Theatre of the
Arts, Sarasota
2/9,14,17m,22,27/85 Fidelio also 3/6 w. "under 40's half-price evening" beer <5c wurst party
2/16,21,24m,26 3/1,9/85 Lucia di Lammermoor
2/23,28 3/3m,8/85 The Abduction from the Seraglio Eng. Porter
3/2,5,7,10m/85 The Rake's Progress S. Stravinsky, Mus.Adv.
3/4/85 Principal Artists in Concert
3/7m,8m/85 Scenes, Apprentice Program
HAWAII
University of Hawaii Opera Wksp., J. Mount, Dir., Honolulu
11/84 The Marriage of Figaro Eng.; 2 pfs.
ILLINOIS
Chicago Gilbert and Sullivan Series, K. Blank, Exec.Dir., Dearborn Park Theatre
10/19-11/11/84 The Gondoliers
12/4-23/84 Hansel and Gretel
1/25-2/17/85 Iolanthe
3/15-31/85 The Merry Widow
4/26-5/19/85 The Pirates of Penzance
6/14-7/7/85 H.MJ5. Pinafore
8/2-25/85 The Mikado
Chicago Symphony Orchestra, G. Solti, Mus.Dir., Chicago
11/1,2,4/84 Boris Godunov cone.pfs.; orig.vers.; Valentini-Terrani; Raimondi, Langridge,
Kopcak, Ramey, Welker, Shirley-Quirk; c: Abbado
4/25,26,27/85 Falstaff conc.pfs.; Ricciarelli, Battle, A. Murray, Ludwig; Sarabia, Brendel,
Hadley, Zednik, Haugland; c: Solti
Illinois State Univ. Opera Wksp., C. Sehaible-Vacano, Dir., Normal
11/84 4/85 Scenes w.p.
10/25-28/84 The Medium & The Telephone w.o.
3/28,29,30/85 Show Boat w.o.
Light Opera Works, E. Dubinsky & B. McDonough, Co-Mng.Dirs., Evanston
9/6-9/84 The Merry Widow
12/28-31/84 Utopia Ltd.
Lincoln Opera, N. Williams, Gen.Mgr., S. Gathman, Mus.Dir., Mayer Kaplan Center, Skokie
10/13,14/84 La Traviata conc.pfs. w.p.
12/31/84 Die Fledermaus stgd. w.p.
1/20,26,27 2/4/85 Cavalleria rusticana & Pagliacci conc.pfs. w.p.
6/26,27/85 La Boheme conc.pfs. w.p.
Opera Theater of Illinois, N. Hotchkiss, Gen.Mgr., Hinsdale
4/85 Rigoletto
6/85 Le Comte Ory
-76-
1984-85 Season
Lyric Opera of Chicago, A.Krainik, Gen.Mgr., Chicago
9/21,24,29 10/3,6,9,12,15/84 Eugene Onegin* M.Freni, Kraft, Walker; Dvorsky, Brendel,
Ghiaurov; c: Bartoletti; d/ds: Samaritani; Florence Teatro Comunale prod.
9/28 10/1,4,10,13,16,20/84 Arabella* Te Kanawa, B.Daniels, Langton, Dunn; Greer, Wixell,
Kunde; c: Pritehard; d: Decker; ds: L.Rice; Royal Opera, Covent Garden prod.
10/19,23,26,29,31 11/3,7/84 Die EntfUhrung aus dem Serail* Welting, Resick; Araiza, D.
Gordon, Moll; c: Leitner; d: Dexter; ds: Herbert; Metropolitan Opera prod.
10/24,27,30 11/2,5,10,13/84 Ernani* Bumbry; Pavarotti, Cappuecilli, Ghiaurov; c: Renzetti; d: Melano; ds: Benois/Caine; co-prod, w. Dallas & Miami opera companies
11/9,12,15,21,25m,27,30 12/5,8,13/84 Carmen Nafe/Berganza, Studer; Domingo/Frusoni,
Devlin, Andreolli; c: Plasson; d/ds: Ponnelle; San Francisco Opera prod.
11/19,24,28 12/3,7,11,14/84 Die Frau ohne Sehatten* Marton, Zschau, Dunn; Johns,
Nimsgern, Versalle, Devlin, Voketaitis, Sullivan; c: Janowski; d: Corsaro; ds: Chase
11/23,26 12/1,4,6,10,12,15/84 n Barbiere di Siviglia Kuhlmann, Carron; Araiza, Raftery,
Bruscantini, Siepi; c: Bartoletti; d: Sciutti; ds: P.Hall
11/7-9/84 Central Opera Service National Conference
Southern Illinois Univ-/Marjorie Lawrence Opera Theatre, M. Blum, Dir., Carbondale
10/14/84 n Tabarro & Gianni Schicchi
11/29-12/9/84 The Pirates of Penzance 8 pfs.
2/27-3/3/85 The Barber of Seville
4/28/85 Semele
1984-85 tour to schools: The Face on the Barroom Floor w.p.
University of Illinois Opera Theatre, D. Lloyd, Dir., Krannert Center, Urbana
i 9/13-16/84 The Mikado
10/25-28/84 The Tales of Hoffmann Eng. Martin
11/29-12/2/84 Barab's Only a Miracle <5c Amahl and the Night Visitors
2/28-3/3/85 Postcard from Morocco
3/23,24/85 "Best of Broadway"
4/25-28/85 Die Fledermaus Eng.
INDIANA
Butler Univ. Opera Theater, J. Wiley, Dir., Indianapolis
2/19-28/85 No! No! Nanette! 6 pfs.
4/20,21,22/85 Le Roi d'Ys
Indiana Univ. Opera Theater, C. Webb, Dean, School of Music, Bloomington
9/22,29 10/6,13/84 Orpheus in the Underworld Eng.
10/20,26,27 11/3/84 Cost fan tutte Eng.
11/10,17 12/1,8/84 The Bewitched Child & The Spanish Hour Eng.
1/26 2/2,9/85 Handel's Tamerlane Eng.
2/16,23 3/1,2/85 La Boheme Eng.
3/30 4/6,13,20/85 Pizzetti's Murder in the Cathedral Eng.
Indianapolis Opera, R. Driver, Art.Dir., Murat Theatre, Indianapolis
11/16,18/84 Aida E. Davis, Munzer; Algie; c: Caraher; d: Ventura; at Clowes Hall; coprod. Syracuse Opera <5c Fort Worth Opera
2/22,24/85 The Marriage of Figaro Eng.; Vanelli; Davies, Orth; c: Caraher
4/12,14/85 The Mikado Reed, Lowery; c: Caraher
Michiana Opera Guild, T. Zoss, Prod., South Bend
10/84-2/85 tour to schools: Hansel and Gretel Eng. Suderman; w.p.
3/2/85 The Barber of Seville w.o.
Whitewater Opera Co., C. Combopiano, Dir., Richmond
10/12,13/84 Hello, Dolly! Brinkerhoff
2/15,16/85 Madama Butterfly Eng.
4/26,27/85 Die Fledermaus Eng.; w. Indianapolis Ballet Theatre
KENTUCKY
Kentucky Opera, T. Smillie, GeiuDir., Kentucky Center for the Arts, Louisville
10/25,27/84 Turandot Kelm, E.Davis; McCracken, Samuelsen, Everette, Perry, Lowerey;
d: Hebert; ds: A.C.Klein; Houston <5c Miami opera cos. prod.; at Whitney Hall
12/8,12,14/84 The Italian Girl in Algiers* Terzian, E.Davis, Shaulis; Cortez, Havranek,
J.Davies, Samuelsen; d: Muni; ds: Romero; at Macauley Theatre
1/25,26,28,30 2/1,2,4/85 Albert Herring* Oates, Bober, Fortunato, Schuster-Craig; Ballam,
Everette, Perry, Karousatos; c: Bernhardt; d: Muni; ds: Beecroft; at Bomhard Theatre
3/16,20,22/85 The Pearl Fishers K.Hunt; Cortez, Everette, Samuelsen; c: L.L.Smith; d:
Uzan; ds: Papandreas/MeCown; Ft. Worth Opera prod.; at Macauley Theatre
-77-
1984-85 Season
LOUISIANA
Baton Rouge Opera, D. Ardoyno, Gen.Mgr., D. Dorr, Art.Dir., H. Holt, Mus.Dir., Baton Rouge
10/24,26/84 Still's Minette Fontaine prem.
2/2,6/85 Carmen Eng.
3/27,29/85 Madame Butterfly Eng.
New Orleans Opera, A. Cosenza, Gen.Dir., New Orleans
10/2,4,6/84 Aida Stapp, Paunova; Murgu, A. Smith, Wildermann; c: Coppola; d: Hebert
10/23,25,27/84 Carmen Vergara, Cummings; Trussel, Long; c: Marty; d: Auerbaeh
11/13,15,17/84 La Traviata Soviero; W. MacNeil, C. MacNeil; c: Coppola; d: Uzan
12/4,6,7,8/84 Hansel and Gretel Eng.; Mills, Munzer, Meyerson; Laciura, Embree; c:
Fulton; d: Morelock
Shreveport Opera, R. Murray, Gen.Dir., Civic Theatre, Shreveport
10/13/84 The Student Prince
12/14/84 3/16/85 "Classic Highlights"
2/23/85 The Magic Flute
5/11/85 La Boheme
5/26m/85 Sherrill Milnes in Recital
MARYLAND
Baltimore Opera, J. Holbrook, Gen.Mgr., Baltimore
ll/8,9,10,llm,15,16,17,18m/84 Candide C. Nail, J. Stapleton; G. Wilson; c: Manahan; at
Lyric Opera House
12/27/84-1/13/85 La Cenerentola Eng.; Senn, Helton; Merritt, Parker; c: DeMain; d:
Lehmeyer; 10 pfs. at Friedberg Hall, Peabody Conservatory
1/18-2/3/85 "American Portraits": Pasatieri's La Divina & Weisgall's The Stronger &
Hoiby's The Italian Lesson prem.; P. Craig, J. Stapleton; c: Mollicone; d: G. Freedman;
10 pfs. at Friedberg Hall, Peabody Conservatory
2/14,16,18/85 Madama Butterfly Eng.; Arroyo, Kim; Bartolini, Massey; c: Coppola; d:
Hebert; at Lyric Opera House
3/21,23,25/85 Rigoletto Welting; Long, Leech; c: Boncompagni; d: Bishop; at Lyric Opera
House
4/23/85 Leontyne Price in Concert
MASSACHUSETTS
Boston Concert Opera, D. Stockton, Art.Dir., Jordan Hall, Boston
10/27,28/84 La Rondine conc.pfs.
1/25,27/85 I Capuleti ed i Montecchi conc.pfs.
3/29,31/85 Katya Kabanova conc.pfs.
Opera Company of Boston, S. Caldwell, Art.Dir., Boston
10/12,14,17,21/84 Davies' Taverner Am.prem.; rescheduled from 5/84
11/30 12/2,5,9/84 Les Contes d'Hoffmann Welting, Wallis; Fowler, Diaz; c/d: Caldwell
Opera New England, C. Brooks, Mgr., touring co. of Opera Company of Boston
1984-85 tour: Tosca 15 pfs.; Daughter of the Regiment 8 pfs.; Daughter of the Double
Duke of Dingle 16 pfs.
MICHIGAN
Comic Opera Guild, T. Petiet, Mng.Dir., Ann Arbor
12/84 Babes in Toyland 4 pfs.
3/85 The Brigands Eng. Gilbert; 4 pfs.
Michigan Opera Theatre, D. DiChiera, Gen.Dir., Music Hall Center, Detroit
10/12-20/84 The Merry Widow C. Laine; Raines; c: Dankworth; ds: Carcano/Tessier;
Spoleto Festival Italy prod.; 12 pfs.
11/2-10/84 The Magic Flute Balthrop; Hines; ds: Conklin; Opera Theatre of Saint Louis
prod.
11/16-12/1/84 Sweeney Todd ds: Tilford/Blair
4/18-20/85 Aida* Mitchell, Berini; McCracken, Dietsch; c: Kellogg; at Masonic Temple
Theatre
Opera Grand Rapids, R. Peterson, GenJMr., De Vos Hall, Grand Rapids
10/24,26/84 Madama Butterfly Eng. Gutman
3/27,29/85 The Magic Flute Eng. Porter
MINNESOTA
Duluth-Superior Symphony, T. Virkhaus, Mus.Dir., Duluth Auditorium
9/20,22/84 Tosca stgd.
-78-
1984-85 Season
Minnesota Opera, E. Corn, Gen.Dir., Ordway Music Theater, St. Paul
l/10,12,25,27m/85 Werle's Animalen (The Animal Congress) Am.prem.; Eng; Sven-Bertil
Taube; c: Brunelle; d: Holby; orig. Swedish costumes
2/19,22,23/85 The Magic Flute Eng.; at O'Shaughnessy Auditorium
4/12,14m, 16,18,20/85 Argento's Casanova's Homecoming prem.; T. Nolen; c: Keene; d:
Corsaro; ds: Colaveeehia/L. Brown; w. St. Paul Chamber Orch.
MISSISSIPPI
Mississippi Opera, F. Choset, Art.Dir./Gen.Mgr., Jackson
10/11/84 La Boheme S. Lee, Alvarez; DiPaolo, Cimino, Anderson, Stapp, Tajo; c: Choset;
d: Igesz
2/16/85 Salome Farley, Meyerson, Hegierski; Powers, Neill, Hensel; c: Choset; d: Igesz
NEBRASKA
University of Nebraska Music Theatre, G. Tallman, Dir., Lincoln
10/25,27,28/84 The Bartered Bride
2/2,3/85 Viennese Opera Scenes
4/11,13,14/85 Albert Herring
NEW YORK
Opera Theatre of Rochester, R. Rosenberg, Art.Dir., Eastman Theatre, Rochester
9/20,22/84 Otello
11/17,18/84 Bokser's The Woman Who Dared, Susan B. Anthony prem.
1/11,12/85 La Pe>ichole Eng. Marshall
5/31 6/1/85 The Marriage of Figaro
Syracuse Opera, R. Driver, Gen.Dir. r 10th Anniversary Season, Crouse-Hinds Concert Theatre
9/28,30/84 Aida joint prod. w. Fort Worth Opera & Indianapolis Opera
11/30 12/2,5,7,9/84 Don Pasquale at Carrier Theater
2/8,10/85 The Marriage of Figaro
4/26,28/85 The Mikado
Tri-Cities Opera, C. Savoca & P. Hibbitt, Co-Dirs., Binghamton
10/27,28 11/2,3/84 La Traviata
1/26,27 2/1,2/85 The Marriage of Figaro
4/27,28 5/3,4/85 Lucia di Lammermoor
NEW YORK CITY
Amato Opera Theatre, A. Amato, Dir.
9/15,16,22,23,29,30 10/6,7,13,14/84 Cavalleria rusticana <5c Pagliacci
10/27,28 11/3,4,10,11,30 12/1,2/84 Tosca
12/14,15,16,29,30,31/84 1/5,6,12,13/85 The Magic Flute Eng.
3/2,3,9,10,16,17,22,23,30,31/85 Faust
4/20,21,27,28 5/4,5,11,12/85 Verdi's Alzira Am.stg.prem. w.p. 3c Voltaire's "Alzire, ou
les Ame'ricains" Eng.
Brooklyn Philharmonic Symphony Orchestra, L. Foss, Mus.Adv., Brooklyn Academy of Music
1/17,19/85 Cotel's Dreyfus prem.
Clarion Concerts, N. Jenkins, Mus.Dir.
2/11/85 Handel's Agrippina
Handel Opera Festival, Carnegie Hall & Columbia Artists Mgmt., M. Epstein, Consult.
11/25/84 Orlando conc.pf.; Home, Masterson, M. Martin, Watkins; R. Lloyd; c: Mackerras
1/27/85 Ariodante conc.pf.; Troyanos, Anderson, Gale; Kavrakos, Rosenshein, J. Bowman;
c: Leppard
2/23/85 Semele conc.pf.; Battle, Home, McNair; Blake, Ramey, Gall; c: Nelson
4/28/85 Alessandro conc.pf.; Taylor, Putnam, Rolandi; Atherton, Jacobs, Albert; c: S.
Simon
Juilliard School, American Opera Center, E. Gastelli, Adm., Lincoln Center
12/5,7,9/84 n Tabarro <Sc Suor Angelica & Gianni Schicchi c: La Selva; d: Lucas; ds: Beck
2/20,22,24/85 Postcard from Morocco c: Braunstein; d: Ostwald; ds: Morgan
4/24,26,28/85 Handel's Xerxes c: Fuller; d: Ayrton;
Metropolitan Opera - see next page
New York Philharmonic, Z. Mehta, Mus.Dir., Avery Fisher Hall, Lincoln Center,
12/6,7,8,11/84 Wozzeck excerpts; C. Farley; c: Mehta; for 100th anniversary of Berg's
birth
1/31 2/2,5/85 Die WalkUre Act I; Marton; Hofmann, Talvela; c: Mehta
3/14,15,16,19/85 Lulu excerpts; Battle; W. Klemperer; c: Leinsdorf; for 100th anniversary
of Berg's birth
5/9,10,11,14/85 Boris Godunov excerpts; Salminen; c: Mehta
-79-
1984-85 Season
Metropolitan Opera, A.A. Bliss, Gen.Mgr., Lincoln Center,
9/24#,27 10/2,6m,10,13,20m/84 2/11,16m,20/85 Lohengrin
9/25,28 10/l,5,9,13m,17,22,27 11/1/84 1/11,17,23,26m,31/85 Les Contes d'Hoffmann
9/26,29m 10/4,8,12,16,20/84 2/13,16,19,23m/85 Eugene Onegin
9/29 10/3,6,11,15,19,24,27m/84 4/3,6m,12,15,20/85 Rigoletto
10/18,23,26,30 11/2,8,12,17m,21,24/84 1/7,12m,16,19/85 La Clemenza di Tito* Troyanos,
Scotto, Robinson, Murray; Riegel, Cheek; c: Levine; d/ds: Ponnelle
10/25,31 11/3,7,10,13/84 2/4,9m,14,18/85 La Boheme c: Domingo
10/29 ll/3m,6,10m,15,19,22,27,30 12/6/84 2/27 3/2m,5,8/85 Manon Lescaut
U/5,9,14,17,20,24m,28 12/lm,4,8,13,11864 n Barbiere di Siviglia
ll/23#,26,29 12/3,7,12,15,18,22,26,29ffl/84 1/1,4/85 Simon Boccanegra* Tomowa-Sintow;
Moldoveanu, Milnes, Plishka; c: Lawne; d: Dexter; ds: Herbert
12/1,5,8,11,15m,20/84 Elektra
12/10,14,19,22m,27,29/84 1/2,5,8,10/84=-CoA fan tutte
12/21,24,28/84 1/3/85 Aida
12/31/84 l/5m,9,12,15,18,24,28 2/1/85 Ariadne auf Naxos
l/14,19m,22,26,30 2/2,5,8/85 Wozzeck
1/21,25,29 2/2m,7/85 OteUo
2/6#,9,12,15,21,23,25 3/1,7,9,15,18,23m,28,30 4/4/85 Porgy and Bess* Bumbry, Merritt,
Quivar; Williams, Estes, Baker, Hubbard; e: Levine; d: Merrill; ds: O'Hearn
2/22,26 3/2,6,12,16m,21,25/85 Die Meistersinger von NUrnberg
2/28 3/4,9m,13,16,19,22,26,29/85 Ernani
3/10/85 M. Freni <3c L. Pavarotti in Concert; c: Levine
3/ll#,14,20,23,27,30m 4/2,5,10,13,184*5 Tosca* Behrens; Domingo, MaoNeil, Tajo; c:
Sinopoli; d/ds: Zeffirelli
4/1,6,9,13m,16,19/85 Lulu
4/8,ll,17,20m/85 Parsifal
# Benefit Performances
„•
Roster - sops: Alexander, Amara, Andrade, Barnett, Baskerville, Battle, Behrens, Blegen,
Bradley, Brandson, Bumbry, Bureau, Caballe', Card, Coss, Cotrubas, Craig, Devia, Di
Franco, Freni, Glennon, Griffel, Haggander, Higareda, Hong, Kovacs, Kubiak, Lear,
Lorange, Malfitano, Maliponte, Martadfc Marton, Meier, Merritt, Migenes-Johnson, Millo,
Mitchell, Moldoveanu, Montgomery, Neblett, Norden, Norman, Peters, L. Price, M. Price,
Riceiarelli, G. Robinson, Rogers, Rolandi, Rom, Rysanek, Scotto, Stapp, Tomowa-Sintow,
Tyler, Upshaw, Vaness, Vinzing, Wobtefka, Zoghby; mezzos: Beer, Berini, Boozer, Bybee,
Casei, Catania, Chookasian, Ciurca, Conrad, Cornell, Cossotto, Dubinbaum, Dunn, Elias,
Ewing, Godfrey, Green, Hamari, Harris, Johnson, Jones, Kesling, Kraft, Ludwig, Murray,
Nadler, Quivar, Troyanos; tens: Ahlstedt, Alexander, Anthony, Atherton, Best, Booth,
Cassilly, Castel, Cianella, Creech, Croft, Di Giuseppe, Domingo, J. Frank, P. Frank,
Gedda, Gilmore, Goldberg, Gonzalez. Jenkins, Kraus, Laciura, Langridge, Lewis, Mauro,
McCracken, Moldoveanu, Montana, Nagy, Pavarotti, Popov, Raffanti, Raitzin, Redmann,
Rendall, Riegel, Shicoff, Sooter, Stelnbach, Thacker, Ulfung, Velis, Vickers; bars: Arnold,
Baker, Boesch, Braun, Carlson, Christopher, Clark, Dara, Darrenkamp, Dickson, Duesing,
Ellis, Elvira, Fredricks, Glossop, Hartman, Holloway, Hubbard, MacNeil, Mclntyre,
Manuguerra, Meredith, Milnes, Nentwig, Nucci, Osborne, Protti, Quilico, Raff ell,
Schexnayder, Sereni, Smart, Strummer, Thompson, Weller, Williams; basses: Andersson,
Berberian, Bernard, Bertolino, Cheek, Cook, Courtney, Dobriansky, Estes, Feller, Flagello,
Fleck, Foldi, Furlanetto, Haugland, Hoelle, Howell, Kavrakos, Kopchak, Macurdy, Malas,
Mazura, Moll, Montarsolo, Morris, Mosley, Plishka, Robbins, Tajo, Vernon, Vinco; conds:
Davis, Domingo, Fulton, Jarvi, Kohn, Levine, Rudel, Santi, Sinopoli, Tate, Tennstedt,
Varviso, Vendice.
New York City Opera, B. Sills, Gen.Dir., New York State Theater (see also Summer '84)
9/lm,16,22 10/5/84 La Rondine*t (cast see Summer '84)
9/1,20,29m 10/20,28m 11/2,10/84 Cavalleria rusticanat & Pagliaccit
9/2m 10/7,19,27 ll/3m,8/84 La Traviatat
9/2,16m,22m 10/6m,17 ll/3,llm/84 Rigolettot
9/6,7,8m,8,9m,9/84 The Mikado* Hynes/Peterson, Bonazzi/Shaulis; Wildermann, Reed,
Billings, R. McKee/J. McKee; c: Stahl; d: Mansouri; ds: Bosquet/Bernard; cgr: T. Gilbert
9/13,19,25,30/84 The Rake's Progress* Mills, J. Davidson; Hadley, Burchinal; c: Keene;
d: Cox; ds: Hockney
-80-
1984-85 Season
New York City Opera, cont.
'
9/14,18,27/84 Madama Butterflyt
9/15m,21,30m 10/16,31/84 n Barbiere di Siviglia*t (cast see Summer '84)
9/15,23m,29/84 Turandott
9/23,26 10/6,21 ll/4m,10m/84 Carmen*t (cast see Summer '84)
9/28 10/7m,18,27m,30/84 Lakme"*t Rolandi, Marsee; McCauley, Dworehak; c: Pallo; d:
Melano; ds: Grossi; Lyric Opera of Chicago prod.
10/11,12,13m,13,14m,14 11/14,15,16,17m,17,18m,18/84 Sweeney Todd* Elias/Bonazzi/
Castle, Munro; Nolen, Groenendaal; c: Gemignani; d: Prince; ds: E. Lee/F. Lee; joint
prod. w. Houston Grand Opera
10/20m,26 11/6,11/84 The Magic Flute Eng. Porter
10/21m,24,28 11/1/84 Mefistofelet Ramey
11/4,7,9,13/84 Glass's Akhnaten* C. Robson; c: Keene; d: D. Freeman; ds: Israel/Riddell;
joint Am.prem. prod. w. Houston Grand Opera
See Summer Performance Listing for Roster of Artists
New York City Opera National Touring Co., B. Sills, Gen.Dir.,
2/19-4/1/85 tour: Rigolettof 30 pfs.
Next Wave Festival, H. Lichtenstein, Pres., Brooklyn Academy of Music (10/9-12/23/84)
10/9-14/84 Chong/Monk's The Games Am.prem.
10/25-27/84 Reich's Desert Music c: Tilson Thomas
12/11-23/84 Einstein on the Beach
Opera Orchestra of New York, E. Queler, Mus.Dir., Carnegie Hall,
10/14/84 Glinka's Ivan Susanin (A Life for the Tsar) Markova, Wenkel; Talvela; c:
Queler; conc.pf.; 10/11 at Lehman College: Gelb, Nodov; Thomson; 10/29 in Philadelphia
11/20/84 GuiUaume Tell Evstatieva; Bonisolli, Cappuccilli, Roloff; c: Queler; conc.pf.;
also 11/10 at Lehman College: Millo; Morales
4/14/85 Lalo's Le Roi d'Ys Hendricks, Ciurca; Raffalli; c: Queler; conc.pf.; also 4/11
at Lehman College: M. Boucher
NORTH CAROLINA
Charlotte Opera Ass'n, B. Chalmers, Gen.Dir., Charlotte
11/15,17/84 n Trovatore R. Palmer, K. Carlson; West, Cowan; c: Driehuys; d: Boerlage
2/7,9/85 Samson et Dalila Clarey; Lakes; c: Rosekrans; d: Symcox
3/28,30/85 The Mikado Burton; Ingram, R. McKee; d: D. Danner
Piedmont Opera Theatre, N. Johnson, Gen.Dir., Piedmont
9/21,23m,25/84 Carmen Eckhart, Jennings; C. Sullivan, Powers; c: Johnson; d: Missimi;
ds: Jasien/Mess
12/14,15m,16/84 Amahl and the Night Visitors Nickel; T. Hunter; c: Johnson; d: Missimi;
ds: Wade
3/22,24m,26/85 The Barber of Seville Eng.; Larmore; Bortnick, Cimino, Davies, Fiorito;
c: Johnson; d: Gately; ds: Shortt/Mess
University of North Carolina Opera Wksp., J. Diuard, Dir., Charlotte
2/14-16/85 Argento's The Shoemaker's Holiday
NORTH DAKOTA
Fargo-Moorhead Civic Opera, D. Martin, Art.Dir., West Fargo
10/28/84 Verdi Requiem
1/10,11,12/85 Hansel and Gretel Eng. D. Martin
4/11,12,13/85 Carmen Eng. D. Martin
OHIO
Cincinnati Opera, J. de Blasis, Gen.Dir., Cincinnati (Summer '85 to be announced)
11/14,16/84 Eugene Onegin Eng.
4/17,19/85 Leoncavallo's Zaza
Cleveland Opera, D. Bamberger, Art.Dir., State Theatre, Cleveland
11/16,18m/84 Die Fledermaus Holleque; Roe, Javore, W. Klemperer; c: Allers
2/22,24/85 Aidat c: Guadagno; cgr: Nahat
3/15,17m/85 The Elixir of Love "Wild West" setting; c: Page; d: de Blasis
Cleveland Orchestra, C. von Dohnanyi, Mus.Dir., Cleveland
5/85 Renard Kelley, English, Patrick, Fissore; Cleveland Ballet; also 5/17 in New York
City
Dayton Opera, D. DiChiera, ArtJMr., D. Hanthorn, Mng.Dir., Dayton
12/14,15/84 The Magic Flute Eng.; Opera Theatre of Saint Louis prod.
3/22,23/85 Tosca
5/10,11/85 The Merry Widow Eng.; Spoleto Festival Italy prod.
-81-
1984-85 Season
Ohio State Univ. Opera/Music Theatre, R.L. Stephens, Dir., Columbus
10/25-27/84 Guys and Dolls
2/7,8,9/85 Midwest Chamber Opera Festival, B. Goldovsky, C. Graham, & R. Owens,
Dirs.; incl. Albert Herring
5/9,11/85 Dialogues of the Carmelites
Opera at the Amphitheatre/American Opera Auditions, Blue Ash
8/31-9/2/84 Cimarosa's Italian Girl in London & Martinu's Comedy on the Bridge
OKLAHOMA
Tulsa Opera, E. Purrington, Gen.Dir., Tulsa
11/3,8,10/84 Carment Cossotto, Sighele; Luehetti, Arnold; c: Stahl; dtfi Uzan; ds:
Quaranta/Hall; Dallas Opera prod.
3/2,7,9/85 Toseat Sass; Carroli; e: Bonavera; d: Gately; ds: Jampolis; HoMton Grand
Opera prod.
4/27 5/2,4/85 The Merry Widow Eng.; Masterson, Mentzer; Jobin, Brecknoafc; e: Stahl;
d: Mansouri; Canadian Opera Co. prod. w. Tulsa Ballet
OREGON
Portland Opera, R. Bailey, Exec.Dir., Portland
9/29 10/3,6/84 II Barbiere di Siviglia c: Woitach; d: Schifter
11/10,14,17/84 Carmen c: Pallo; d: Hicks
3/2,6,9/85 Un Ballo in maschera Decker; c: Coppola; d: Guttman
4/20,24,27/85 Martha c: Mollicone; d: Bentley
PENNSYLVANIA
Opera Company of Philadelphia, M. Everitt, Gen.Dir., Philadelphia
10/16,19/84 La Boheme Guimaraes, M.J.Johnson; Gulyas, Sioli, Polgar; c: Rig«sci; prod.d:
Menotti; ds: Colavecchia
11/6,9/84 Macbeth* Stapp; Bruson, Savastano; c: Masini; ds: Colavecchia
1/21,25/85 n Barbiere di Siviglia c: Korn; d: Corsaro; ds: Colavecchia
2/26 3/1/85 La Damnation de Faust* Denize; Morris; c: Baudo; ds: Colavecchia; also
taped for television
4/23,26/85 Manon Lescaut d: Uzan
Philadelphia Orchestra, R. Muti, Mus.Dir., Academy of Music, Philadelphia
10/84 Orfeo ed Euridice conc.pfs.; Baltsa, M. Marshall, Auger; c: Muti; aim 10/16 at
Carnegie Hall
Pittsburgh Opera, T. Capobianco, Gen.Dir., Pittsburgh
9/20,22/84 La Battaglia de Legnano*t Anderson; Scano, Brocheler, R. Cross; mrAleantara;
d: Capobianco; ds: Conklin
11/8,10/84 Don Giovanni S. Murphy, I. Galgani, Morgan; Diaz, Lopardo, Cross; c: E.
Mueller; d: Lesenger
12/6,8/84 Manon Rolandi; B. Reed, Cossa, Castel; d: Denda
1/17,19/85 Madama Butterfly Watanabe, Lerner; Frusoni, Justus; c: Coppola; d: Aragon
2/14,16/85 La Traviata Plowright; Greer, Monk; c: Rigacci; d: Capobianco
4/18,20/85 Adriana Lecouvreur Scotto, S. Silva; Giacomini, Burchinal; c: Veltri; d: Melano
PUERTO RICO
Pro Arte Music Ensemble, San Juan
10/3/84 La Favorita Podles
SOUTH CAROLINA
Bob Jones Univ. Opera, D. Gustafson, Dir., Greenville
3/26,28,30/85 The Elixir of Love Eng. Martin
TEXAS
Baylor Univ. Opera Theater, D. Scott, Dir., Waco
9/24-29/84 Fiddler on the Roof
1/31-2/3/85 The Ballad of Baby Doe
Fall '84 tour: Babar the Elephant
Dallas Opera, P. Karayanis, Gen.Dir., Music Hall, Dallas
11/1,4,7,10/84 La Traviata Chiara; Kraus, Pons; c: Rescigno
11/15,18,21,24/84 Siegfried* Lindholm, Decker; Neumann, Probst, Wildermann; c: Klobucar;
d/ds: Oswald
11/29 12/2,5,8/84 Cosl fan tutte* Yakar, Hamari, Sciutti; Melbye, Capecehi; e: Rescigno;
d: Mansouri
12/13,16,19,22/84 n Trovatore Evstatieva, Berini; Giacomini, Manuguerra; c: Rescigno
-82-
1984-85 Season
Fort Worth Opera, D. Bowes, Gen.Dir., Fort Worth
11/16,18m/84 Die Fledermaus Eng.; Huffstodt, S. Peterson; Britton, J. Evans; c: Haile
1/13,15/85 Manon Lescaut Soviero; Busse, Embree; c: Fulton; d: Uzan
3/1,3/85 Paulus' The Postman Always Rings Twice* rev.vers.; Telese; M. Myers, Green,
Karousatos; c: Flint; d: Takazauckas
4/26,28/85 Aida*t Fernandez, Richards; Fruzoni, A. Smith, Stephens; c: Rigacei; d:
S.Ventura; co-prod, w. Syracuse <5c Indianapolis opera cos.
Houston Grand Opera, D. Gockley, Gen.Dir., Jones Hall, Houston
9/9/84 Nicolai Ghiaurov in Concert; c: Vladimir Ghiaurov
10/12,14m,16,17,19/84 Glass's Akhnaten Am.prem.; Senn; Robson, Austin; c: DeMain; d:
D. Freeman; ds: Israel/Riddell; co-prod. New York City Opera
ll/23,25m,27,30/84 Der fliegende Hollfindert L.E. Gray; Schunk, Morris, Rydl, Thomsen;
c: Rudel; d: Pountney; ds: Lazaridis/Reid/Chelton; co-prod. English National Opera
1/18,20m,22,25/85 Madama Butterflyt Plowright, Bunnell; Leech, Noble, Billings; c:
Foster; d: Russell; ds: Macdonald/Myers; Spoleto Festival prod.; 1904 ed.; also 1/19,23
w. alt. cast
2/22,24m,26 3/1/85 The Magic Flute Eng. Porter; Mills, Cummings; Hadley, Titus, Langan,
Cole, Stenborg; c: DeMain; d: Corsaro; ds: Sendak/Jampolis; also 2/23,27 w. alt. cast
3/22,24m,26,29/85 Eugene Onegint M. Freni, Wenkel, Decker; Dvorsky, Brendel, Langan;
e: Commissiona; d: Menotti; ds: Samaritani; Florence Teatro Comunale prod.
4/14/85 Leontyne Price in Concert; c: DeMain
4/26,28m,30 5/3/85 La Traviatat Barstow; Araiza, Zaneanaro, Parcher, Thomsen; c:
DeMain; d: Copley; ds: Walker/Stennett/Barrett; also 4/27 5/1 w. alt. cast
5/12/85 Kiri Te Kanawa in Concert; c: Montgomery
Midwestern State Univ. Music Theatre Wksp., R. Hansen, Dir., Wichita Falls
10/19-21/84 Susannah
12/13/84 Le pauvre matelot & The Stronger
3/1-3,7-10/85 Company 7 pfs.
4/25/85 Scenes
North Texas State Univ. Opera Theatre, D. Wakeling, Dir., Denton
11/84 The Love of Three Oranges Eng. Ducloux
12/84 3/85 Scenes
Southern Methodist Univ. Opera Theatre, S. Sargon, Dir., Dallas
11/10,11/84 The Stoned Guest <Sc archy and mehitabel & Sargon's Thirst prem.
Texas Opera Theater, M.J. Weaver, Gen.Mgr., Houston
1984-85 tour: The Barber of Seville; La Traviata
UTAH
Brigham Young Univ. Music Theater, C. Robison, Art .Dir., Provo
11/1,2,7,9,10/84 The Crucible
12/7/84 Scenes
Salt Lake Opera Theatre, R. Zabriskie, Gen.Dir., Kingsbury Hall, Salt Lake City
9/28,29 10/1/84 Cavalleria msticana & Pagliacci
3/85 La Boheme
Utah Opera, G. Peterson, Gen.Dir., Salt Lake City
10/11,13,15,17/84 Faust O'Neill; Cameron; c: D. Lipton; d: Tavernia
12/7,8111,8/84 Amahl and the Night Visitors
1/24,26,28,30/85 D. Trovatore R. Matthews, Munzer;
5/9,11,13,15/85 The Merry Widow Eng.; R. Peters
VERMONT
Opera North, D. Strohmier, Dir., L. Burkot, Mus.Dir., Norwich
12/27,28,29/84 Hansel and Gretel
VIRGINIA
Virginia Opera, P. Mark, Gen.Dir., Norfolk
10/26,28,31 11/2,4/84 The Marriage of Figaro Eng.; Blackwell, Philobosian, Friede; Holt,
Madden; c: Mark; d: Bishop; Lake George Opera prod.; also 11/9 in Richmond
11/30 12/2,5,7,9/84 Amahl and the Night Visitors Lerner; Dixon; c: Mark; d: Menotti;
ds: Hernick
1/25,27,30 2/1,3/85 Madama Butterfly Newman; Schwisow, Serrano; c: Mark; d: Farrar;
ds: Coberg; also 2/8 in Richmond
3/1,3,6,8,10/85 Musgrave's Harriet Tubman: The Woman Called Moses* prem.; Blackwell,
Devaughn; Holt; c: Mark; d: Davidson; also 3/15 in Richmond
3/7-9/85 Central Opera Service Regional Conference
-83-
1984-85 Season
WASHINGTON
Seattle Opera, S. Jenkins, Gen.Dir., Seattle
9/22,23*,25,28*,29/84 The Ballad of Baby Doe Cummings, James, Decker; Devlin, Hines;
c: Patterson; d: Bakman; ds: Dahlstrom; *Silver Series
ll/3,4*,7,9*,10/84 Tannhausert Bureau, Cariaga; Sooter/Coehran, Duesing/Reardon; c:
H.Michael; d/ds: Darling; *Silver Series w. alt. east
2/16,17*,20,22*.23/85 L'Elisir d'amoret Gamberoni; DiPaolo, Loup; c: Kellogg; d: Schifter;
ds: Sormani; *Silver Series
3/23,24*,26,29,30*/85 La Boheme Haddon, M.J. Johnson; Shicoff, Duesing, Parce, Briggs;
c: Patterson; d: Haber; *Silver Series
5/4,5*,8,10*.11/85 Jenufa Eng. Graff <5c Jones; Haddon/Erickson, Cariaga/C. James,
Decker; Jenkins/Lakes, Kazaras/Fay; c: Belohlavek; d: Wadsworth; ds: Lynch; *SiIver
Series w. alt. cast
University of Washington Opera Wksp., R. Feist & V. Liotta, Co-Dirs., Seattle
11/15,16,17,18/84 La Rondine Eng.
2/28 3/1,2,3/85 Handel's Acis and Galatea
5/16,17,18,19/85 Cendrillon Eng.
CANADA
Calgary Opera, B. Hanson, Gen.Mgr., Calgary
10/11,13,15/84 Don Pasquale Casella; Dubois, Flagello, Schexnayder; c: Speers; d: Cotton
1/17,19,21/85 Cavalleria rusticana & Pagliacci Bogardus; Grice, Monk <5c Thomson;
deMarseille, Monk; c: Quayle; d: S. Thomas
3/21,23,25/85 Otello Owen; Johns, Opthof; c: Matheson; d: Symcox
Canadian Opera, L. Mansouri, Gen.Dir., O'Keefe Centre, Toronto
9/29 10/2,5,8,11,14,17/84 D. Trovatoref Castro-Alberti, Budai; Mauro, Moldoveanu, Monk;
e: Kellogg; d: Mansouri
10/13,16,18,20,22,24,26,28/84 Toscat Arroyo/Meier; Lamberti/Ortiz, Opthof; c: Peloso;
d: Ewers
1/19,23,25,28,31 2/2,3,5,8,9/85 Candide Ringo; Dubois/Eisler; c: Kunzel; d/prod: Prince
1/26,29 2/1,4,7,10/85 Faustt Knighton, Stubbs; McCauley, Langan/Diaz, Laperriere; c:
Giovaninetti; d: Mansouri
4/10,12,13,14,16,18,19,20/85 The Barber of SevUlet Powell/Stubbs; Baerg, DuBois, Wells;
c: Mannino
5/21,24,27,30 6/2/85 Die Meistersinger von NUrnbergt Haggander; Vogel, Johns, Korn,
Reardon; e: Otvos; d: Mansouri
6/5,7,9,11,13,15/85 The Rake's Progress Cuccaro; J. Stewart; Monk; c: Tabachnik; d:
Leberg; ds: Hockney
Kitchener-Waterloo Symphony "Octoberfest", R. Armenian, Mus.Dir., Kitchener
10/9,10,12,13,14/84 The Grand Duchess of Gerolstein Eng. Himelstein; d: Leberg
National Arts Centre Orchestra Pops Series, J. Kieser, Mgr., Ottawa
5/10,11/85 "An Evening of Gilbert and Sullivan" c: Allers
Royal-City-Musical-Productions, P. McLeod, Dir., Guelph, Ontario
11/84 Brigadoon
-84-
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