Summer, 1988 - CPANDA: Cultural Policy and the Arts National

Transcription

CENTRAL OPERA SERVICE BULLETIN
VOLUME 28. NUMBER 4
CONTENTS
i
2*
30
n
n
*
u
TION
IONS AND M M P
INTMENTS M O
INSIBE
SALUTES...
38
*»
*J
4*
fj
n
n
u
73
81
Sponsored by the Metropolitan Opera National Council
VOLUME 28, NUMBER
CONTENTS
I ,.
i
I
•'
'II
i!
i| '
••
'i '. ,i
i
11' !
'
i1 A N I Z A T I O N S
'• , I '
i i
"„
i
18
29
30
3 2
II
•; '
5 3
FORECAST
34
36
57
38
41
43
49
53
55
58
63
64
66
73
IISON CONT.
81
-89 SEASON
105
CENTRAL OPERA SERVICE BULLETIN
Volume 28, Number 4
Summer 1988
CONTENTS
New Operas and Premieres
News from Opera Companies
Conferences
Government & National Organizations
New and Renovated Theaters
Music Publishers
Forecast
Attention Composers
Archives
Education
Editions and Adaptations
Appointments and Resignations
COS Inside Information
COS Conference in Dallas
COS Salutes...
Winners
Career Guide Supplement
New English Opera Translations
Projected English Captions
Book Corner
Opera Has Lost...
Performance Listing, 1987-88 Season eont.
First Performance Listing, 1988-89 Season
1
18
29
30
32
33
34
36
37
38
41
43
49
53
55
58
63
64
66
73
81
105
CENTRAL OPERA SERVICE COMMITTEE
Founder
MRS. AUGUST BELMONT
(1879-1979)
Honorary National Chairman
ROBERT L.B. TOBIN
National Chairman
MRS. MARGO H. BINDHARDT
This issue:
COS Conference - Dallas, November 17-20
"Risks and Rewards"
(See page 49 for preliminary program)
COS and the Harris Poll
Next issue:
COS Opera Survey U.S.A. 1987-88
Central Opera Service Bulletin
*
Volume 28, Number 4
Editor:
Assistant Editors:
Editorial Assistants:
•
Summer 1988
MARIA F. RICH
CHERYL KEMPLER
JOHN W.N. FRANCIS
FRITZI BICKHARDT
NORMA LITTON
SUSAN FELIX
Copyright 1988 Central Opera Service. All rights reserved.
Permission to quote need not be requested, but source acknowledgment should be made.
The COS Bulletin is published quarterly for its members by Central Opera Service.
membership information see back cover.
For
Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera,
Lincoln Center, New York, NY 10023.
This issue: $4.00
ISSN 0008-9508
NEW OPERAS AND PREMIERES
It was almost twelve years ago that Philip Glass's Einstein on the Beach COMMISSIONS
was staged at the Metropolitan Opera House in its American premiere.
To be sure, it had only one performance, and that as a special attraction
on a Sunday night when the house is usually dark. The next time a Glass
opera comes to the Met, it will be in the limelight of a world premiere of
a work especially commissioned by the company from the composer. It
will also have the distinction of being the highest-paid commissioned
opera—$325,000. Great explorers will be the subjects of the new piece,
which will be entitled THE VOYAGE. Plans call for an unveiling in October 1992 to commemorate the 500th anniversary of Columbus' first landing
in the hemisphere—the discovery of America is dated October 12, 1492.
The composer, who will announce his librettist at a later date, intends
the story to be allegorical, and plans to mix history with fantasy. He
conceives the opera as being in three acts and as dealing with great
explorers at different periods in history. — Various other traditional opera
companies are staging Glass operas as well. Two premieres this summer
are being mounted by the opera companies in Houston (The Making of
the Representative from Planet Eight) and in Louisville (The Fall of the
House of Usher), the latter in a joint production with the American
Repertory Theater in Cambridge. Satyagraha was staged this season by
the Lyric Opera of Chicago and will appear in the same production at
the Seattle Opera this summer, and Akhnaten, first presented by the
Houston Grand Opera, was subsequently moved to the New York City
Opera. These and other performances, including some at European opera
houses, show that the composer's operas and music theater pieces are
being accepted as part of the contemporary repertoire by major opera
companies. (See also "American Operas Abroad").
The Metropolitan Opera has also announced a date for the premiere of
John Corigliano's A FIGARO FOR ANTONIA. Commissioned originally for
the company's centennial in 1983, it is now scheduled to open December
19, 1991, the year which marks the 200th anniversary of Mozart's death.
Composer William Albright has received his second Guggenheim Fellowship,
this one toward work on an opera, THE MAGIC CITY, which he is writing
together with librettist George Garrett. Mr. Albright is professor of
composition at the University of Michigan in Ann Arbor. He is also the
composer of The Seven Deadly Sins, which has had several performances.
The new opera commissioned from Gian Carlo Menotti for the 1988 Olympics in Seoul (see Vol. 28, No. 1) will be entitled THE MARRIAGE. The
premiere date is September 16, 1988. Menotti's next project is a new
children's opera for the 1989 Spoleto Festival U.S.A., possibly as a companion piece to Amahl and the Night Visitors.
Following the successful collaboration between Opera/Columbus and
Thomas Pasatieri on the premiere of his Three Sisters (1986), the company
has ordered another opera from the composer, this one for a premiere in
1989.
Kenneth Elmslie will again be the librettist.
Composer Greg Pliska and librettist David Ives are the latest beneficiaries
of the Pennsylvania Opera Theater's Composer-Librettist Residency program. They hpve chosen Frances Hodgson Burnett's THE SECRET GARDEN
as the basic story for their opera, and according to the program's
terms, they will have the advice and assistance of a stage director and
conductor, in this case Bliss Hebert and Barbara Silverstein respectively.
—1 —
There will be opportunities to try out scenes with some of the company's
young artists as work on the opera progresses.
AMERICAN
OPERA
PREMIERES
Robert Xavier Rodriguez, among the most prolific opera composers of
the last few seasons, has completed BACKSTAGE AT THE MAJESTIC on
commission for the San Antonio Festival. It tells the story of the San
Antonio theatre, first built for vaudeville and later transformed into a
movie theater for silent films and then for talkies. The premiere took
place on June 4 and was conducted by the festival's artistic director
Daniel Lipton.
The premiere of the Hemphill/Harrison blues operetta ANCHORMAN, written last year to commemorate the 20th anniversary of the New York
Negro Ensemble Company (see Vol. 27, No. 3), was rescheduled for February
11, when it was performed by the American Folk Theater in New York.
Ulysses Kay and Donald Dorr have collaborated on FREDERICK DOUGLASS,
an opera dealing with the imposing figure of the black leader. Written
under an NEA and Rockefeller Foundation commission, the three-act work
is scheduled for a world premiere by the New Jersey State Opera on
October 7, 1989, in Newark, with Simon Estes in the title role. The
work will be published by Carl Fischer. Another opera with the same
subject and title, this one by Dorothy Rudd Moore, was premiered by
Opera Ebony in New York in June 1985.
Anthony Davis's new opera UNDER THE DOUBLE MOON (see Vol. 28, No.
1) will be premiered by the Opera Theatre of Saint Louis next year. The
date of the first performance is June 10.
A sociopolitical theme runs through THE CELL, an opera by W. Newell
Hendricks with a libretto by Karen S. Henry. First previewed as a workin-progress in 1986, the one-act three-character opera has now been premiered by the Boston Theater Group on June 3 at the Walsh Theatre of
Suffolk University in Boston, accompanied by ten instrumentalists. The
production was assisted by grants from the National Endowment for the
Arts, the Massachusetts Council on the Arts, the New England Foundation
for the Arts, and the Boston Arts Lottery Council. This is the composer's
second opera; his first, entitled Cain, was completed in 1980.
Alva Henderson's sixth opera was written on a commission from Opera
San Jose for a premiere in 1988-89. WEST OF WASHINGTON SQUARE has
a libretto by Janet Lewis based on two O. Henry short stories, "The Last
Leaf" and "Mulberry Street." It will open November 26 and play six performances at the Montgomery Theater. The first part of the work, "The
Last Leaf," was workshopped at San Jose State University in 1979. Mr.
Henderson's association with Irene Dalis, Opera San Josefs artistic director
and former Metropolitan Opera mezzo, goes back to 1972 when she created
the title role in his first major opera, Medea, in the world premiere in
San Diego.
Philip Hagemann offered a Shaw Trilogy at New York's Haft Auditorium
at the Fashion Institute in April. The Music Cure and The Six of Calais
were joined by PASSION, POISON AND PETRIFICATION, the last-named
in a world premiere. The same Shaw play was previously turned into an
opera by Bruce Taub and premiered in 1976.
-2-
Originally planned for a premiere in 1976 during the American Bicentennial
(see Vol. 16, No. 3), Kenton Coe and Ann Howard Bailey's RACHEL is
now scheduled for a first performance by the Knoxville Opera in April
1989.
Written with commissioning grants from the Tennessee Arts Commission and the NEA, the opera's premiere will be assisted by an AT&T
grant. The production will open in Knoxville, with a subsequent performance in Nashville. The central characters are Rachel and Andrew Jackson, who will be portrayed by mezzo Stella Zambalis and bass-baritone
John Stephens. David Morelock will be the stage director.
Elizabeth Swados's latest work, ESTHER: A VAUDEVILLE MEGILLAH, had
its premiere on February 28 at New York's 92nd Street YMHA, as performed
by the Mosaic Theater and directed by the composer. It is based on
texts by Eli Wiesel on the Megillah heroine.
The Spoleto Festival U.S.A. in Charleston, SC, has presented the world
premiere of Robert Convery's sixteen-minute, four-character opera THE
BLANKET. The first performance, on May 31, was conducted by the
Festival's music director Spiro Argiris. — The premiere of Telson/Breuer's
THE WARRIOR ANT, also scheduled by the Festival for May 31, has previously been announced (see Vol. 28, No. 1). This full-length work will
eventually form one section of a twelve-part epic.
Michael Sahl and Howard Pflanzer have collaborated on a new opera,
DREAM BEACH, scored for ensemble and two soloists—a woman on the
beach and a man on a train, and their subsequent encounter. The threeact opera was given a concert performance on March 20 in New York at
the Green Auditorium of the Jewish Association for Services to the Aged.
Dino Constantinides' ANTIGONE, of which scenes were workshopped by
the Pennsylvania Opera Theater in Philadelphia in 1984, will receive a
premiere production by the Baton Rouge Opera in April '89. A reading
of selected scenes was also included in an American Symphony Orchestra
concert in 1984 and again this year at Louisiana State University's
Contemporary Music Festival.
After several readings of single acts or scenes, the complete three-act
opera PLUMP JACK by Gordon Getty is scheduled for a premiere by the
Marin Opera in Larkspur, California, in December '88.
On March 12 Chicago's Opera Factory gave the world premiere of THE
MAGIC CUP, an opera in three acts based on a Gaelic legend. It has a
book and libretto by Andrew Greeley and music by Edward McKenna.
The New Opera Theatre, a new company founded in Louisiana, gave the
premiere of an experimental opera entitled "s" at its inaugural concert
last April. The work is by Brian Morgan, artistic director of the new
ensemble.
Toronto's Opera Atelier has scheduled what seems to be the first known
performance of Jean-Philippe Rameau's opera-ballet MYRTHIS. Although
included in a list of the composer's works, there is no indication that it
has previously been performed. This one-act ballet, also known as Nel6e
et Myrtis, is a part of Rameau's ballet Les Beaux Jours de Vamour (1756).
In February, Musical Theatre Works in New York staged two new pieces MUSIC THEATER
in short runs. . . .AFTER THESE MESSAGES, a take-off on Madison
WORKS
-3-
Avenue and the advertising business, has music by Ralph Affoumado and
book and lyrics by Alice Whitfield, David Curtis, and James Hammerstein,
and ALIAS JIMMY VALENTINE is by composer John Haber and lyricist
Hal Hackaday (recently known for his Teddy and Alice).
The latest Martha Clarke multi-arts work, incorporating dance, theater,
opera, music, and art, with music by Richard Peaslee, had its first performance at the Spoleto Festival U.S.A. in Charleston, SC. MIRACOLO
D'AMORE, based on writings by Dante and Italo Calvino, is written in
Italian; the sets and costumes were conceived by Robert Israel. The
premiere took place on May 26 after previews on May 20-24. The
production, shared by Joseph Papp's New York Shakespeare Festival,
subsequently moved to his Public Theatre in New York.
The Music-Theatre Group/Lenox Arts Center announced the first performance of JUAN DARIEN, "a Carnival/Mass with giant puppets." Created
by composer Elliot Goldenthal, who chose Horacio Quiroga's allegorical
story based on folk tales and arranged the text in collaboration with
director Julie Taymor, the work is set in a South American jungle and
employs film sequences. The performances were staged at St. Clement's
in Manhattan, March 1-19. — The Group's summer season in Stockbridge,
MA, will consist of two plays and two music theater pieces. Of the
latter, each to be given fifteen performances, the first is called OUT OF
ORDER (MAGIC IN DISTRESS), a one-man show written and acted by
illusionist Ben Robinson with music by Mark Bennett; the second is THE
GRIFFIN AND THE MINOR CANON, based on a short story by Frank
Stockton, with music by Mary Rodgers (composer of Once upon a Mattress
and daughter of Richard Rodgers), book by Wendy Kesselman, and lyrics
by Marshall Barer; Andre Ernotte collaborates with the creators as stage
director. Playwrights Horizons, the co-producer of The Griffin and the
Minor Canon, will perform the work in New York City next winter.
Three new one-act music theater works commissioned by the SpanishEnglish Ensemble Theatre/Teatro DUO of New York were premiered there
in February as a triple bill. WISHING YOU WELL was created by composer
Sergio Garcia-Marruz and librettist Eduardo Machado, WHEN GALAXY 6
AND THE BRONX COLLIDE by composer Fernando Rivas and librettist
Magdalia Cruz, and PENGUINS by composer Jeffrey Roy and lyricist Ana
Maria Simo. — In April the company also premiered STUDIO: A DANCE
OPERA, for which David Welch wrote the music and Michael Alasa the
lyrics. Serge Diaghilev and his Ballets Russes are the subjects, and among
the dramatis personae are Nijinsky, Romola de Pulszky, and Misia Sert.
It ran for three weeks. — A fictional encounter between a Cuban singer,
Rita Montaner, and the legendary blues singer Bessie Smith, is the idea
behind RITA AND BESSIE, a new music theater piece combining, or rather
contrasting, the two musical styles. Written by Manuel Martin, Jr., with
music by Tania Leon, it was performed by the DUO company from June 2
to July 2. Bessie Smith is also the subject of a jazz/avant-garde opera
premiered in Hamburg in June (see "Foreign Operas").
A continuing dialogue between the First Baptist Church and the Jewish
Center in Princeton has resulted in the creation of LUCINDA by Hanna
Fox and Malcolm Dodds, which had its first complete workshop production
in February at the Princeton Jewish Center. The subject is a young
couple in love, the boy black and the girl Jewish, and how they deal
with their respective family crises.
-4-
The 1930s film provoked the writing of the music theater spoof REEFER
MADNESS, with music by Russell Warner and book and lyrics by John
Mangano. It was premiered in New York on April 14 by the Theater for
the New City.
Herschel Garfein is the author of SUENOS, a play with music for countertenor Drew Minter. After a reading in February, the premiere was staged
jointly by Boston Musica Viva and Mabou Mines in April.
INTAR Hispanic American Arts Center's contributions to the First New
York International Festival of the Arts are the premieres of two one-act
music theater pieces. ALMA has a book and lyrics by Ana Maria Simo
inspired by works of Quevedo, and WELCOME BACK TO SALAMANCA
has a book and lyrics by Migdalia Cruz based on writings by Cervantes;
Fernando Rivas wrote the music for both. The premieres are scheduled
for June 15 at the INTAR Theater where 28 performances of the double
bill are planned.
In June the Manhattan Theater Club, performing on Stage 1 of the New
York City Center, staged an assemblage of vignettes and songs collected
under the title URBAN BLIGHT. Original music and lyrics are by David
Shire, Richard Moltby, and Edward Kleban. Writings by David Mamet,
Terrence McNally, Arthur Miller, Wendy Wasserstein, and August Wilson
are included.
Bertolt Brecht's theoretical writings and critical essays on theater are
at the heart of a new music theater piece premiered on March 19 at the
Ohio Theater in New York City. Otrabanda Company, The Talking Band,
and Via Theater collaborated on the production of NO PLAYS NO POETRY
BUT PHILOSOPHICAL REFLECTIONS PRACTICAL INSTRUCTIONS PROVOCATIVE PRESCRIPTIONS OPINIONS AND POINTERS FROM A NOTED
CRITIC AND PLAYWRIGHT, with music by Neal Kirkwood and Harry
Mann. The production was directed by Anne Bogart.
FLY AWAY ALL is the new title for a one-act "expressionistic sound
collage of voice and electronics" that was originally named Electricity.
Brenda Hutchinson is responsible for the music and Theodore Shank for
the concept and the writing. It was first workshopped in January and
February by the Minnesota Opera's New Music-Theater Ensemble in St.
Paul, and was premiered there in a full production in May.
Cy Coleman, who wrote such hits as Sweet Charity, On the 20th Century,
and Barnum, had his latest musical, LET 'EM ROT, premiered by the
Coconut Grove Playhouse in Miami on February 19. A humorous tale of
matrimonial trials set in an alimony jail, it has a book by A.E. Hotchner.
The production was directed by Frank Corsaro, with set and costume
designs by David Jenkins and Richard Sehurkamp respectively.
Another premiere at the Coconut Grove Playhouse was WAITING FOR
YOU by Leslie Eberhard and David Levy, who also created Hey Ma...Kaye
Ballard and Sally Blane—Girl Detective.
Waiting for You opened April
15 and played until July 2, featuring Roz Ryan, directed by Philip Astor,
and conducted by Ray Cousins.
Bob Telson and Lee Breuer's THE GOSPEL AT COLON US, first presented
at Brooklyn Academy of Music's 1983 Next Wave Festival in a production
-5-
MUSICALS
later brought to Houston Grand Opera's Spring Festival, has now landed
on Broadway at the Lunt-Fontanne Theatre. The premiere staging, which
won an Off-Broadway "Obie Award," wove in and out of nonprofit and
commercial theater; it was videotaped and seen on "Great Performances"
in 1985 and mounted at the American Music Theater Festival in Philadelphia in 1986, while Washington audiences could see it at the Arena Stage
Theatre during the 1984-85 season.
WHITE LINEN, a new musical of the old West by Stephen Metcalfe, is
scheduled for performances at the Old Globe Festival Theater in San
Diego during August.
The indefatigable Andrew Lloyd Webber, whose Phantom of the Opera is
the hottest ticket on Broadway and whose Cats is still running on the
Great White Way, is already working on a new musical, this one again
with the lead written for his wife, Sarah Brightman. ASPECTS OF LOVE
is the title of the latest work; many of his earlier creations are presented
by American opera companies and workshops (Jesus Christ Superstar,
Evita, etc.).
CANADIAN
A "hot jazz and mellow swing" score by John Roby accompanies GIRLS
OPERA AND
IN THE GANG. The book and lyrics are by Raymond Storey after a real
MUSIC THEATER character, Edwin Boyd, who robbed his first bank in 1949 and later
PREMIERES
founded the notorious Boyd Gang. The first performance took place on
February 4 in Ottawa, staged by the National Arts Centre Theatre Company
in collaboration with Toronto's Factory Theatre.
Michel Lemieux, Canada's creator of performance art, premiered his second
work during the Olympic Games in Calgary. Entitled MUTATIONS, it
combines live performance by Lemieux, two dancers, and an intrumental
ensemble with taped music and video images. After guest appearances
across Canada, including one at the Opera House of the National Arts
Centre in Ottawa on March 11, he is taking his multi-media piece to
major cities in Europe. His first in-performance work was Solide Salad
which won him several awards.
Next fall the Banff Centre's Music Theatre program plans workshop presentations of TORNRAK by John Metcalf. It is based on a real-life incident
in which a young Inuit girl was brought to Britain, exploited as a curiosity,
and finally put to death, allegedly for sheep-stealing. The fully staged
premiere will be mounted by the Welsh National Opera (see Vol. 28, No.
1). The North American premiere is scheduled for February 1990 at
Banff. — The Centre's March Minifest, staged by the Music Theatre program, presented Jonathan Dean's GOD'S DICE, Lothar Klein's TALE OF
A FATHER AND SON, and Quentin Doolittle's BOILER ROOM SUITE, in
addition to Les Mamelles de Tir4sias and a Sondheim revue.
Two new experimental music theatre pieces were premiered at the DuMaurier Theatre Centre, a part of Toronto's Harbourfront performing arts
facilities. Both are by Marcel Deschenes and Alain Thibault, and were
presented last fall as a double bill. LUX encompasses music, theater,
painting, sculpture, and cinema, combined with computer-programmed
images, electro-acoustic music, and three-dimensional sets. A "MIDI
Videotizer" was invented for OUT to control 32 video monitors which
alternated with live music and one soprano voice.
-6-
Conductor/composer Raffi Armenian, music director of the KitchenerWaterloo Symphony and this year a faculty member of the Conservatoire
de musique a Montreal, is working on his first opera. Based on the
Stefan Zweig novel BEWARE OF PITY, the opera has a libretto by William
Mandel. Premiere date and place are yet to be determined.
FIRE IN THE FUTURE, with text by Joan Schenkar and music by Chris
WORKSHOPS
Drobny, was first taken through readings by the Minnesota Opera last AND READINGS
season. In February it was further workshopped by the New Dramatists
in New York.
Composer Hayden Wayne, recipient of a 1987 NIMT grant, has created
NEON, A Street Opera, which had a three-performance trial run in November at the Nola Studios in New York. Described as the'&tre noir, it is set
in the streets of Manhattan and calls for a cast of 15 with piano, saxophone, and synthesizer accompaniment. — Another 1987 NIMT grantee is
composer Thomas Megan, who received assistance toward the completion
of a new musical, A VISION, based on the life and works of W.B. Yeats.
Staged readings were offered in February by the Boston Music Project
at Suffolk University.
Lee Goldstein, composer-in-residence with Lyric Opera of Chicago, has
completed the first phase of work on his new opera, THE FAN, after
Goldoni. It was scheduled for a workshop performance on June 10 at
Chicago's Civic Theatre before an invited audience.
The John Drew Theater of Guild Hall in East Hampton, NY, was the scene
for a tryout of the first act of TIBETAN DREAMS by composer Stephen
Dickman and novelist/librettist Gary Glickman. It received a staged
reading on April 16 on a program together with two other compositions
by Mr. Dickman, who conducted.
Scenes from three new works were tried in a readers' workshop by New
York's National Music Theater Network. They included excerpts from
Noel Tipton's musical RAINBOW DANCING and Lori McKelvey's opera
TREASURES at the Donnell Library on April 25, and SCALAWAG by
Michael Silversher (music) and Moss Hall (book and lyrics) in a reading
at the Edison Theatre on May 24. Scalawag is based on the life of playwright Wilson Mizner.
Leonard Lehrman and Joel Shatzky are the composer and librettist of
two new pieces to be workshopped this summer. The first, a musical
titled SUPERSPY: THE SECRET MUSICAL, received a reading in March
at the First Street Playhouse in Ithaca, NY. In line with recent spy
stories, this concerns a mission too secret for the spy to know what the
mission is. The other is a one-act opera, THE BIRTHDAY OF THE BANK,
after Chekhov's short play The Jubilee, which will receive a staged reading at the Lake George Opera Festival in August. It is written so that
it can be performed in either English or Russian.
On February 4 McNeese State University in Lake Charles, LA, premiered
NEW OPERAS
THE HOLLOW, a one-act, four-scene opera based on the Hawthorne short AND MUSICALS
story "The Hollow of the Three Hills." The 75-minute musical drama has
IN ACADEME
a libretto by Dr. Susan Kelso set to music by composer/pianist Keith
Gates. Grants from municipal, state, and federal arts agencies as well
as from private foundations helped to complete the work and realize the
-7-
premiere production. Five performances were given on successive evenings
by the university's Musical Theatre Department under the direction of
Michele K. Martin, who also created one of the principal roles.
By chance, in Dallas, Texas, and in Evanston, Illinois, two completely
different operatic treatments of Henry James' THE ASPERN PAPERS will
be premiered on the same day—November 19, 1988. The premiere by the
Dallas Opera, previously announced (see Vol. 28, No. 1), will be of Dominick
Argento's opera, while the one at Northwestern University will feature
the music of Philip Hagemann. Mr. Hagemann, a Northwestern alumnus,
is now Music Director of the Rockland County Choral Society in New
York; his other operas include three one-act works recently presented as
A Shaw Trilogy (see "American Opera Premieres"). He has established a
Hagemann Prize in Opera at Northwestern, and last year's winning entry
was Michael Dilthey's PINDERBLOCK, workshopped by Chicago Opera
Theater last season and premiered at the University on May 10, 1988 (see
Vol. 28, No. 1).
Simon Sargon, director of the Opera Theater at Southern Methodist University in Dallas, is currently working on a full-length biblical opera about
KING SAUL. He is also writing his own libretto.
The Opera Theater of Boston University premiered A NOBLE AND SENTIMENTAL DEATH, a one-act opera with libretto and music by David
Hoffman. The performance occurred on April 29 and was staged as part
of a double bill with Trouble in Tahiti.
Project Theatre, a part of the University of Michigan School of Music,
is giving the premiere of WOLF, written by UM English professor Nicholas
Delbanco with music by David Gregory. A monodrama for male actor/singer
who "tries to outwit time by denying it," the one-acter was performed
in March on a double bill with Previn/Stoppard's Every Good Boy Deserves
Favour.
Scott Huston's one-act THE BLIND GIRL, composed in 1983 (see Vol. 24,
No. 3) has had its first performance at the University of Cincinnati
College-Conservatory, where it could also be seen in February on a local
cable television channel.
As part of a program of scenes from American operas given on March
30, the University of North Carolina at Chapel Hill presented the first
staged excerpts from Roger Hannay's THE JOURNEY OF EDITH WHARTON.
The opera, written in 1982 and based on the play E by Russell Graves,
had previously only been heard in concert excerpts. Also on the program
at Chapel Hill was Act 1 of Ward's The Lady from Colorado in a newly
revised edition.
The musical Guitar Man by Brad Hall and Paul Barosse, tried out at
Columbia College's Music Theater Workshop as part of its New Musicals
Project (see Vol. 28, No. 1), is now DR. GUITAR AND THE HITMAN. A
second new work, Kingsley Day and Phillip LaZebnik's AZTEC HUMAN
SACRIFICE, was given a staged reading by the Chicago school on April 18.
O. Henry's THE LAST LEAF has received its third operatic treatment,
this time by M.C. Warwick. The one-act opera was premiered with piano
accompaniment at the University of Houston Opera on April 27. Other
composers who have dealt with the same story are Alva Henderson (San
Jose University, 1979) and Susan Hulsman Bingham (Trinity Church-on-theGreen, New Haven, 1984). — M.C. Warwick's next premiere, also at the
University of Houston, will be of TWINS, another one-act opera for which
she wrote both the music and the libretto. The first performance is
scheduled for April 28, 1989.
A would-be prima donna is the protagonist of the one-act I CAN SING
THAT BETTER, with music and text by Charles Moore. It is scored for
a soprano as the ambitious housewife and a prerecorded voice tape simulating a radio broadcast. It was premiered in April with a two-piano
accompaniment at DePaul University in Chicago on a triple bill with
Rorem's Three Sisters Who Are Not Sisters and Telemann's Pimpinone.
The Cleveland Opera has commissioned composer David Gooding and lyricist
Paul Lee to create an opera suitable for touring and in-school performances. The story, chosen in collaboration with the company's General
Director David Bamberger, is Washington Irving's THE LEGEND OF SLEEPY
HOLLOW. A fall premiere is projected by Cleveland Opera on Tour, the
company's educational arm, and will be accompanied by a synthesizer
simulating an orchestra. It can also be performed with piano accompaniment, and after the premiere will be available to other opera companies.
Robert Chauls of Alice in Wonderland fame and Joseph Robinette, most
recently of Charlotte's Web acclaim, are joining forces for the first time.
Their new venture will be THE TRIAL OF GOLDILOCKS, to be premiered
in November. The fairytale is told as seen first by Goldilocks and then
by the three bears—a children's Rashomon.
One of Canada's leading composers, Harry Somers, has collaborated with
Tim Wynne-Jones, author of children's books, on A MIDWINTER NIGHT'S
DREAM, written for the Canadian Children's Opera Chorus. This is the
fourth opera commissioned and premiered by CCOC, which celebrated its
twentieth anniversary this season. The premiere was given on May 17
at Toronto's Harbourfront, with children and adult soloists (including
MONC Regional Auditions winner Ben Heppner) and 50 members of the
Children's Chorus dressed as little Eskimos. Accompanied by two pianos,
the premiere and eight subsequent performances were conducted by
CCOC's Music Director John Tuttle and staged and designed by Thomas
Schweitzer. (The performance listing in Vol. 28, No. 1 identified the work
erroneously as A Midsummer Night's Dream.)
The Children's Downtown Musical Theatre in New York has created its
own urban musical, CITYSCAPES, under the supervision of its director
Mimi Stern-Wolfe. Addressing problems confronting city children from
the Depression era to the present, it was produced by Downtown Music
Productions' performing ensemble.
Charles Strouse's CHARLOTTE'S WEB, based on the children's classic by
E.B. White and previewed in excerpts by OperaDelaware during the Operafor-Youth Conference in Wilmington, is now scheduled for a premiere
production by the same company for February '89.
Composer Claude White has been commissioned by the Opera Theatre of
Saint Louis to write an opera for young audiences, suitable for touring
to schools.
-9-
YOUNG
PEOPLE'S
OPERAS
The Virginia Opera, which traveled with a specially prepared opera potpourri called BUFFA! to some 75 area schools this spring, is creating a
new version of the Alice stories, this one ALICE THROUGH THE OPERA
GLASS, for next season. Michael Ehrman and Paul Dorgan, members of
the company's artistic staff, are collaborating on the new piece.
In February the Penny Bridge Players of Brooklyn premiered ALI BABA,
written especially for the company by John Benedict (book) and Harlan
James (music). This is Mr. Benedict's second children's musical based on
a subject out of the Arabian Nights. Sim Sallah Bim, with music by Don
Cherry, was premiered last year.
The Imagination Celebration in Bronx schools included an opera-creation
program in May assisted by staff members from the Education Department
of the Metropolitan Opera Guild. The resulting work was DIFFICULT
DECISIONS, written and performed by second-graders at P.S. 205 under
the supervision of their esthetics teacher Joy De Ciario.
BRUMBUBU is the title of a new opera that entertained children on
several afternoons during November and December at the Zurich Opera.
— The latest Czech addition to the operatic literature for children is
Zamecnik's PYTLIK, THE BEETLE.
CHRISTMAS
OPERA
WELCOME, JESUS! with music by J. David Jackson and a libretto by
Joan Drew Ritchings was premiered on January 15 at the Rye Presbyterian
Church. The performance was realized with the aid of grants from Meet
the Composer, the New York State Arts Council, and several foundations.
AMERICAN
PREMIERES
In the last issue (Vol. 28, No. 1) we reported on an American work having
its world premiere in Frankfurt, Germany, in December '87. John Cage's
EUROPERAS I &. II will now receive its U.S. premiere, in the Frankfurt
production, at the PepsiCo Summerfare in Purchase, NY, in celebration
of Mr. Cage's recent 75th birthday. Three performances on July 14, 16,
and 17 are scheduled. They will be preceded by performances at the
Holland Festival in Amsterdam in late June. The score is available through
C.F. Peters. — West Berlin's Grips Theater will bring LINE ONE, a musical
with book and lyrics by Volker Ludwig and music by Birger Heymann, to
the Purchase festival this summer for its first U.S. hearing.
On May 3, 1989, the Skylight Comic Opera in Milwaukee will present the
American premiere of Stephen Oliver's MARIO AND THE MAGICIAN,
based on Thomas Mann's novella of the same title. The opera will receive
its world premiere in Italy in July '88. Oliver's other opera, Beauty and
the Beast, was given its first American performance last summer by the
Opera Theatre of Saint Louis. Another bit of striking programming by
the Milwaukee company next season is the completion of its Monteverdi
cycle in November, when it will present II Ritomo d'Ulysse in patria,
L'Incoronazione di Poppea, and L'Orfeo in repertory on alternate days.
Smetana's comic opera THE SECRET will receive its first American
performances next January when the Bronx Opera stages the work in
English at Lehman and Hunter Colleges of the City University of New
York. The world premiere was in 1878 at Prague's Czech Theater.
Opera/Omaha, which scheduled its first contemporary opera festival last
fall, has announced plans to continue this adventure in 1988. The company
-10-
will stage the American premiere of Udo Zimmermann's DIE WEISSE ROSE
in its 1986 revised version (see Vol. 26, No. 3). The opera is about the
German anti-Nazi resistance and its protagonists, and it will be presented
in English on a double bill with Jan65ek's The Diary of One Who Vanished.
(The Long Beach Opera will perform the Zimmermann piece a month later.)
The other opera scheduled for the fall will also be a first in the United
States, but not of a contemporary work. It will be a production of
Handel's PARTENOPE, premiered in 1730 in London but never before performed in this country.
The first North American performance of a 1976 opera by British composer
John L. Gardner entitled TOBERMORAY took place at the University of
Manitoba Opera Workshop in Winnipeg this season. For other works by
Mr. Gardner see the COS directories of contemporary operas.
The National Arts Centre in Ottawa will host the first North American
performances of NAPOLEON/LAMA, a 3i-hour French music theater piece
that played more than two years at the The'Stre Marigny in Paris. The
spectacle, scheduled for late June, has a cast of 21 and presents highlights
from Napoleon's life in 17 tableaux. The music is by Yves Gilbert, who
will conduct the Canadian performances; Jacques Rosny, the original
director, will stage the musical, using the original sets and costumes
designed by Hubert Monloup and Mario Franceschi.
Antonio Vivaldi's GIUSTINO, first performed in Rome in 1724, had its
American premiere in Houston last November. Presented as part of the
"Italy in Houston" festival, the production was imported from Vicenza,
with a full-size reproduction of the Teatro Olimpico's Palladio stage with
its permanent, three-dimensional scena in sharp perspective. Alan Curtis
conducted the Italian cast and the Complesso Barocco Italiano at Jones
Hall, the auditorium used by the Houston Grand Opera until the opening
of the Wortham Center this season.
The first fully staged American production of Honegger's LE ROI DAVID
was mounted by the Towson State University Opera Workshop in Maryland.
It was performed in its original orchestration for 13 instruments in Edward
Agate's English translation. Menotti's The Telephone served as a curtainraiser at the two performances on April 22 and 23.
Handel's oratorio DEBORAH received its first staged production in the
U.S. by Opera at Rutgers University in New Jersey on April 8. Valorie
Goodall was the stage director and Michael Fardink conducted the four
performances.
After presenting New York with the first U.S. production of Antonio
Carlos Gomes' Salvator Rosa in April '87, the Amato Opera Company has
now scheduled the American premiere of the Brazilian composer's LO
SCHIAVO. Premiered in Rio de Janeiro in 1889, it has been announced
for September 10, 11, 17, and 18 at Marymount Manhattan Theater. The
rest of the season will be performed in the company's own small theater
on the Bowery. — EL BARBERO DE SEVILLA is a 1901 zarzuela with
music by Geronimo Gimenez and M. Nieto. The Opera Factory in Chicago
gave it its American premiere on May 21.
A contemporary piece based on Greek mythology is MYTHOS OEDIPUS,
which had its world premiere last summer in Greece. Conceived and
-11-
directed there as well as in its American premiere at New York's La
MaMa E.T.C. in February by Ellen Stewart, this "dance-opera" is a
collaborative effort of composers Genji Ito, Elizabeth Swados, Sheila
Dabney, David Sawyer, and Michael Sirotta, with choreography by Min
Tanaka.
On June 11 the Harmonia Opera opened at Pace University in New York
with the U.S. premiere of GOMBO GITSUNE, a 45-minute Japanese folk
opera with a story by Koichi Maki and music by Hirokazu Sugano.
The Goodspeed Opera House in Connecticut has announced the first U.S.
staging of the British musical MR. CINDERS, to open in October. The
book by Clifford Grey and Greatrex Newman offers a "romantic twist"
on the Cinderella story; the music is by Vivian Ellis and Richard Myers.
A Quebecois musical, COSTUME FOOL, produced by Bernard Cauchy with
music by Francois Dubi, had its first U.S. exposure in May at the Producer's
Club in New York City. It deals with the struggles of an actor who
delivers singing telegrams to make a living.
PREMIERES
POSTPONED
Hugo Weisgall's WILL YOU MARRY ME? was to be premiered by Opera
Ensemble of New York in May, but has been postponed to October '88.
It will be presented on a double bill with the same composer's The Stronger.
Edward Thomas and Joe Masteroff's DESIRE UNDER THE ELMS, announced
for fall 1987, has been rescheduled for a premiere by the New York
Opera Repertory Theatre for January 11, 1989. Also postponed and
rescheduled by the same company is Roger Trefousse and Eric Overmyer's
commissioned opera THE COMPOSING OF THE HELIOTROPE BOUQUET,
originally named The Heliotrope Bouquet, which will receive a staged
reading in spring '89.
AMERICAN
OPERAS
ABROAD
Philip Glass's latest opera, 1000 AIRPLANES ON THE ROOF (first
announced under the title of THE VISITORS), with text by David Henry
Hwang and visual images and effects by Jerome Sirlin, is a joint commission
and production of the new Donaufestival (in the Austrian province of
Niederosterreich), the American Music Theater Festival (Philadelphia), and
the Meta Media Festival (West Berlin). The world premiere is scheduled
for July 15 at Hangar #3 of Vienna's international airport at Schweehat;
then the production will be brought to Philadelphia for the American premiere on September 21 and will play there until October 2. A science
fiction story, it mixes fantasy with reality while exploring human emotions
and reactions. — The European premiere of Glass's THE JUNIPER TREE
was scheduled for May 13 at the Stadttheater in Wiirzburg. — This busy
composer is further committed to deliver THE PALACE OF THE ARABIAN
NIGHTS for a first performance at the Theatre ChStelet in Paris next
December, a project that will renew his collaboration with Robert Wilson
(Einstein on the Beach and other works). And for 1991 there looms the
completion of THE VOYAGE, recently commissioned by the Metropolitan
Opera (see "Commissions"). Two recently completed operas, The Fall of
the House of Usher and The Making of the Representative of Planet 8,
the latter also a European coproduction (English National Opera, Netherlands Opera, and Kiel Opera House), were both premiered this spring.
Certainly a maximum output by a minimalist composer.
Following "Making Music Together," the Boston festival that featured a
large group of visiting Russian musicians performing their own music last
-12-
April (see Vol. 28, No. 1), the Soviet Union's Third International Music
Festival from May 15 to June 8 prominently featured American music.
Besides symphonic and ballet works by John Adams and Morton Gould,
the Festival presented two operas: Menotti's THE MEDIUM and Pasatieri's
THREE SISTERS. The latter, based on Chekhov's play, was sung in a
Russian translation at the Stanislavsky/Nemirovich-Danchenko Musical
Theater in Moscow; the former was performed in Leningrad.
Marc Neikrug's LOS ALAMOS (see Vol. 27, No. 3) will receive its world
premiere on October 1 at the Deutsche Oper Berlin, to be conducted by
Arturo Tamayo and staged by John Dew.
The two-year-old Schleswig-Holstein Music Festival (see Vol. 28, No. 1)
will perform its first opera this summer. In celebration of Leonard Bernstein's seventieth birthday it will mount A QWET PLACE, which has previously been heard in Europe at La Scala and the Vienna State Opera.
— The opera-house version of Bernstein's CANDIDE was staged in its
British premiere by Jonathan Miller for the Scottish Opera in Glasgow.
John Mauceri conducted the performances in May. The first staging in
West Germany is planned for May '89 in Wuppertal.
Argento's POSTCARD FROM MOROCCO was staged by the Morley Opera
at King's College in London in early June, and the same composer's oneact THE BOOR was paired with Maxwell Davies's Eight Songs for a Mad
King in Oldenburg.
The Finnish National Opera gave two concert performances of PORGY
AND BESS in May, one in Helsinki and the other in Moscow, using a
primarily American cast.
American composer Tod Machover's "media opera" VALIS was premiered
on December 2 at IRCAM, the electronic music facility at the Pompidou
Center in Paris. The performance was cosponsored by the Electronic
Media Center of M.I.T. in Cambridge and the Getty Trust. Catherine
Ikam was responsible for the visual effects, a laser and video display.
The opera is based on the 1982 science-fiction novel of the same title
by Philip Dick; it has been published by Ricordi, Paris. Plans are being
completed for performances in Boston, Houston, Minneapolis, Los Angeles,
and New York next year to commemorate the French Revolution.
Alvin Singleton, currently composer in residence with the Atlanta Symphony
Orchestra, had a short music-theater work, NECESSITY IS A MOTHER,
performed in Bremen, West Germany, in May on an all-Singleton evening.
A production of the Menotti double bill of THE TELEPHONE &. THE BOY
WHO GREW TOO FAST was shared between the theaters in Poitiers and
Saujon in France in May.
The international competition for opera and ballet conducted annually by
the city of Geneva and Radio Suisse Romande has announced the winners.
First and second prizes went to British composers, with Fr.Sw. 20,000 to
John Laurence for ORAISONS and Fr.Sw. 4,000 to Keith Gifford for HIGH
WINDS. Two third prizes of Fr.Sw. 3,000 each were awarded to Polish
composer Edward Sielicki for LUXVRIA and West German composer Volker
Blumenthaler for LEVIATHAN. A total of 203 scores from 28 countries
were submitted, of which 43 were selected for closer examination.
-13-
NEM OPERAS
ABROAD
Continuing his cycle of seven operas, one for each day of the week,
Karlheinz Stockhausen had his MONTAG AUS LICHT premiered at La
Scala, Milan, in May, followed by performances at the Holland Festival
in June. It requires the services of three conductors, and at La Scala
Mr. Stockhausen's collaborators were Peter Otvos and Jan Pasveer; Michael
Bogdanov functioned as stage director. The first work in the series,
Donnerstag aus Licht, was premiered in 1981, also at La Seala.
This spring Sylvano Bussotti was honored with world premieres of two
new works. FEDRA was presented at the Teatro dell'Opera, Rome, on
April 19, and L'ISPIRAZIONE was mounted in Florence on May 26 during
the Maggio Musicale Fiorentino. The composer wrote his own libretti
and designed sets and costumes for both works. The former, also staged
by Bussotti, is based on Racine's tragedy; the latter, a melodrama based
on sketches by Ernst Bloch, was staged by Derek Jarman. Each opera,
written in three acts, is published by Ricordi.
In the past Thomas Mann has served opera composers as a resource for
their stories, and so it is with two new works both based on MARIO AND
THE MAGICIAN. The first, by Hungarian composer Jdnos Vajdas, was
premiered in Budapest January 30, 1988; the other, by British composer
Stephen Oliver, is discussed above under "American Premieres."
Alberto Bruni-Tedeschi had his fourth operatic work premiered in Nice
on November 27—postponed from the original date of May '87. SECONDATTO, an "action dramatique," is a socio-political drama of East-West
ideologies. The composer's first opera was premiered in Bergamo in 1941,
and the following two were first heard in Milan and Spoleto, respectively,
during a twenty-year period when he was manager of the Turin Opera.
In September the Turin Opera gave the world premiere of CIRANO, with
the romantic Cyrano de Bergerac as central character. This is the composer Marco Tutino's second opera; his first was a children's piece on
Pinocchio. The librettist for the new opera was Danilo Bramante.
Polish composer Joanna Bruzdowicz's third opera, THE GATES TO PARADISE, was premiered at the Teatr Wielki in Warsaw on November 15. The
libretto for this one-act opera was written by Jerzy Andrzejewski. Her
two earlier operas, La Colonie penitentiaire and Les Troyennes, were
first performed in the opera houses in Tours and Saint-Denis in 1972 and
'73 respectively.
David Blake's THE PLUMBER'S GIFT will be premiered on May 25, 1989,
by the English National Opera in London. — RESURRECTION, a comic
opera in one act by the British composer Peter Maxwell Davies on a
commission from the opera house in Darmstadt, West Germany, will be
premiered there in September 1988 (not in 1987 as originally announced).
— On May 6 John Lambert's FAMILY AFFAIRS, commissioned by the
Brighton Festival, was premiered there, and on May 27 THE VISITORS
by Donald Swann, with a libretto by Arthur Scholey, was given a concert
performance on a program entitled "Russian Roots." Mr. Swann is best
known as the composer of many songs to texts by Michael Flanders, which
the two performed in the long-running revue At the Drop of a Hat.
Commissioned by the British Arts Council in 1949 and awarded a prize
in 1951, although not performed then, Berthold Goldschmidt's BEATRICE
-14-
CENCI has finally received its world premiere. It was performed in concert at Queen Elizabeth Hall on April 16 with the Pro Musica Chorus of
London and the London Chamber Orchestra. Martin Esslin's libretto is
based on the Shelley play. The same title and subject were used by
Alberto Ginastera in 1971 for a work commissioned by the Opera Society
of Washington and the Kennedy Center.
For the opening of a new building at the Scottish Academy of Music and
Drama in Glasgow, Robin Orr has been commissioned to write a new
opera. Entitled ON THE RAZZLE, it is drawn from Tom Stoppard's
adaptation of Nestroy's farce, Einen Jux will er sich machen. It will be
premiered on June 27 by the Academy, which claims Dame Janet Baker
as its President.
London celebrates the Australian bicentennial with a double bill of VAN
DIEMEN'S LAND and NELL in June at Donmar Warehouse Theatre near
Covent Garden.
The 1988 Australian Opera's National Opera Workshop, the RA Project,
took place this year in Melbourne. Felix Meagher's LAKE LOST, a tale
of high corporate finance and personal dreams and resignation, was workshopped at Studio One in South Melbourne May 14-21. Wendy Harmer
wrote the libretto, Baz Luhrmann directed, and Julia de Plater conducted
the 10-piece orchestra.
Jorge Fernandez Guerra was commissioned to write a chamber opera,
which resulted in a new zarzuela entitled SIN DEMONIO NO HAY FORTUNA
(Only the Devil Brings Good Fortune). The libretto by Leopoldo Alas is
based on the Faust legend. The premiere was staged in spring '87 at
Madrid's Sala Olimpia.
Preceding the usual Music Festival Weeks in Munich is a new Munich
Biennale from May 27 to June 22. Six operas and music theater works
were commissioned by the city of Munich for premieres during that time:
from Gerd Kiihr an opera, STALLERHOF, after a play by the same title;
from British composer Mark-Anthony Turnage the opera GREEK, with a
German libretto by Berkhoff dealing with the Oedipus figure and set in
a British police state; from Detlev Glanert the musical fairytale LEYLA
UNO MEDJNUN, based on a story previously used for operas by Gadzhibekov
and by Gliere and Sadykov; from Andreas Lechner a "peasant requiem,"
DER LETZTE MILKANER; and from Maximilian Beckschlafer a musical
play for singers, mimes, and dancers, DER TROJANISCHE FRIEDEN. In
addition there will be the pop musical STARS and five short operas, never
before performed, from the estate of Karl Amadeus Hartmann. The
production of Turnage's opera will visit the Edinburgh Festival in late
August.
Opera and music theater can make strange bedfellows indeed. COSMOPOLITAN GREETINGS, which opened on June 11 in Hamburg for a one-month
run, is described as a jazz/mixed media/avant garde opera, with blues
singer Bessie Smith as a central figure. The work is the result of a
collaboration between the American poet Allen Ginsberg, the Swiss jazz
composer George Gruntz, the Swiss classical composer and opera impresario
Rolf Liebermann, and the American director and theater artist Robert
Wilson. The 1989 Next Wave Festival at the Brooklyn Academy of Music
will introduce Cosmopolitan Greetings to American audiences.
-15-
DAS GAUKLERMARCHEN, a new opera by Gerhard Konzelmann based on
Michael Ende's play of the same title, is scheduled for a first performance
by the Cologne Opera on September 27, 1988, with Hilary Griffiths conducting. — On February 5, 1989, the opera house in Wuppertal is to perform ERINNYES, a new opera by David Kirchner.
For the reopening of the Prinzregententheater in Munich on January 16,
the specially commissioned DIE JAGD NACH DEM SCHLARG by Wilfried
Hiller was premiered. Michael Ende fashioned his libretto after Lewis
Carroll's The Hunting of the Snark, and the work was subtitled "A Musical
Clownerie." Tristan Schiek conducted.
DER SAURIER, a new opera by Hans Peter Renfranz, will be premiered
at the opera house in Essen. After a postponement of several months,
the new date for the opening was set for June.
The hall of the East German parliament or Volkskammer in Berlin has
recently been turned into a theater at night, and this past season it held
the premiere on September 7 of Friedrich Schenker's second opera,
BETTINA (for Bettina Brentano), a monologue for soprano and orchestra.
The production was staged by film director Maxim Dessau, son of the
famous and controversial German stage director Ruth Berghaus.
Georg Katzer's GASTMAHL, oder UBER DIE LIEBE was heard for the
first time on April 30 at the Deutsche Staatsoper, East Berlin, which
subsequently performed it on May 4 at the Schwetzingen Festival.
The Basler Stadttheater in Switzerland gave the first performance of Jost
Meier's AVGUSTIN (formerly Der liebe Augustin) on April 21, with Hans
Urbanek conducting and Martin Markun staging the production.
On November 15, 1987, precisely the 200th anniversary of Gluck's death,
his LA CORONA, an azione teatrale composed in 1765, was given its
first staging ever at Vienna's Sehonbrunn Castle under the aegis of the
International Gluck Congress. The opera was an occasional work written
to celebrate Emperor Franz I's name-day, and was originally to have been
premiered at Sehonbrunn, but the Emperor's sudden death caused the
performance to be cancelled.
In its contemporary opera series, "Studio K" of the Wiener Kammeroper
has scheduled the premiere of Herbert Lauermann's WUNDERTHEATER
for June 23. Ullmann's Kaiser von Atlantis or Death Abdicates will be
repeated from last season.
Two operas are being written for Paris' new opera house. Luciano Berio
is preparing a work tentatively named MUSICAL for a premiere in 1991
at the Op6ra de la Bastille, and Pierre Boulez has promised a new opera,
of which neither the title nor the date have yet been announced.
A joint project of the Grand Theatre in Tours and the Festival de Lille
resulted in the premiere production of Philippe F6nelon's LE CHEVALIER
IMAGINAIRE in December. Cervantes and Kafka provided the inspiration
for the story. — LA VIEILLE MAISON is the title of Marcel Landowski's
latest operatic work. It was premiered in February in Nantes. — March
15 brought Charles Chaynes' new opera NOCES DE SANG (Blood Wedding)
to the stage of the Montpellier Opera, with repeat performances at the
-16-
Thefitre des Champs Elyse'es in Paris in May. The premiere featured
Carole Farley, Viorica Cortez, and Georges Gautier, with Cyril Dietrich
conducting and Michel Lonsdale directing. The composer's earlier works
include the opera ErzsGbet, premiered in Paris in 1983.
Several new operas are expected to be premiered in Finland over the
next three years. Einojuhani Rautavaara will deliver his latest opera,
VAN GOGH, to the Finnish National Opera in time for a 1990 premiere,
and Aulis Sallinen's KULLERVO will open that company's new house in
Helsinki in the 1990-91 season (see Vol. 28, No. 1). — Finland's lesserknown Ilmajoki Music Festival (6/9-19/88) will stage an opera premiere
on June 17. THIRTY PIECES OF SILVER is by Atso Almila and concerns
the ill-fated Pietist movement.
At the Savonlinna Festival, Paavo
Hynninen's VEITSI (The Knife), which won a Finnish opera competition,
will have its first performance in 1989.
In July '87 Mexican composer Federico Ibarra had his first opera premiered
in Mexico City. ORESTES PARTE is the Electra/Orestes story, told
against a surrealistic background in a one-hour, one-act opera with a
libretto by Jos6 Ram6n Enriquez. George Crumb's Ancient Voices of
Children filled the other half of the program.
Cuba's first opera festival was staged in Havana last October and brought
two Cuban works back on stage: Gonzalo Roig's zarzuela Cecilia Valdez
and Eduardo Sanchez de Fuentes' one-act opera first heard in 1921, El
Caminante (The Wanderer), the latter on a double bill with Cavalleria
rusticana. In addition the festival presented a new Russian opera in
Spanish translation, Yuri Kazarian's HEMINGWAY, with a libretto by
Grigori Chiguinov.
[]
-17-
NEWS FROM OPERA COMPANIES
NEW COMPANIES With the Los Angeles Music Center Opera Company firmly established,
we find smaller companies emerging in its orbit. Loren Zachary is the
founder and General Director of the LOS ANGELES CONCERT OPERA
ASSOCIATION, with former Metropolitan Opera bass Giorgio Tozzi as
Artistic Director. The first performance took place in January at Pasadena's Ambassador Auditorium; the opera was Donizetti's rarely heard
Linda di Chamounix.
Just as the Los Angeles Music Center Opera developed out of and for
the Los Angeles Center for the Performing Arts, the NATIONAL ARTS
CENTRE FESTIVAL AND OPERA of Ottawa, Ont., has developed out of
the NAC Orchestra with the Centre as the host organization. Now, after
a hiatus of five years, the newly revived summer festival will include
five performances of Le Nozze di Figaro as produced by the National
Arts Centre Opera under the orchestra's Music Director Gabriel Chmura.
Both French and English captions will be used in this bilingual country.
Plans call for reestablishing summer opera in the Canadian capital as an
annual event.
The newly formed BLACK MUSIC REPERTORY ENSEMBLE is a group of
thirteen black musicians dedicated to discovering unknown or little-known
music by black composers written from 1800 to the present. Its inaugural
performance took place on March 28 at Columbia College, Chicago, with
Governor James Thompson and Illinois Secretary of State Jim Edgar as
honorary chairpersons and Margaret Jackson and Eunita Johnson co-chairing the event. Bass-baritone Donnie Ray Albert, tenor William Brown,
and soprano Bernardine Oliphant were the singers of the Ensemble who
joined the instrumentalists and conductor, composer, and arranger T.J.
Anderson for the opening concert. Subsequent appearances will include
community groups in Illinois as well as other schools of music, among
these the Eastman School in Rochester, NY. The Center for Black Music
Research at Columbia College, with Dr. Samuel Floyd as its director, is
responsible for the formation of BMRE. Future projects envision the
cataloging, promotion and recording of the rediscovered music.
Boulder, Colorado, is the home of the new BOLD LION THEATRICAL
OPERA, which gave its inaugural performance in March. The company's
name derives from the last names of its two directors, Richard Boldrey
and Polly Liontis, but in its first season it appeared as the Colorado
Opera Festival—the same name as the seventeen-year-old opera festival
in Colorado Springs—and discovered the conflict too late to reprint its
material. The Boulder company will be Bold Lion after this season, for
which it programmed some modern operas: La Voix humaine & L'Enfant
prodigue, Milhaud's Medee, and Pasatieri's The Seagull.
The FRESNO LYRIC OPERA THEATER has made its debut with a mixed
season including Le Nozze di Figaro, Oliver! and La Boheme. General
Manager Janet Winston-Iacovetti also reports that Fresno Lyric Opera
plans to establish a statewide vocal competition. The new company fills
a gap left when the Fresno Opera Association, whose music director was
Nicola Iacovetti, ceased operations ten years ago.
A new ensemble, the DA CAMERA SOCIETY, has been founded in Houston
by Sergiu Luca, its first director. The debut season will offer six different
short series, each with a particular theme, performed by various combinations of solo artists—instrumentalists, singers, or dancers. The Society
-18-
will use two different halls: the Cullen Theater, which is the smaller
auditorium at the Wortham Center, and the attractive de Menil Museum.
Included in the inaugural season are Jandcek's The Diary of One Who
Vanished and Stravinsky's L'Histoire du soldat as choreographed by Ben
Stevenson.
James Arsenault has founded OPERA NORTHWEST in Bainbridge, a community on the Olympic Peninsula in the state of Washington. The company's
opening event in January was a concert of operatic and musical comedy
favorites sung by young performers with piano accompaniment. Two American one-acters, scheduled for June (Gallantry &. The Face on the Barroom
Floor), will be followed by a concert under the stars in August, while a
full production of Don Giovanni in a new updated English translation is
planned for November. Further plans include development of a new opera
on the subject of "AIDS and Hope," with music by Daniel Stimmerman and
a libretto by Mr. Arsenault.
THE NEW OPERA THEATRE, based in New Orleans, was founded by Brian
Morgan, Artistic Director and Louise LaBruyere, Music Director. In the
opening concert last spring, the company premiered Mr. Morgan's experimental opera "s." The first staged production was Hansel and Gretel last
December, with performances at Gretna High School and Ursuline Academy
in New Orleans. Mr. Morgan, a graduate of Loyola University, was also
stage director for a production of Dido and Aeneas in April coproduced
with I Cantori di New York in New York City and repeated in New Orleans.
Philip Brunelle, former music director of the Minnesota Opera, has founded
the PLYMOUTH MUSIC SERIES in St. Paul. Last year he produced Britten's Paul Bunyan, which he will take to the Aldeburgh Festival during
the summer. Plans for next season include Rimsky-Korsakov's The Snow
Maiden in February.
Yet another opera company is evolving out of an academic opera workshop.
Douglas Nagel, director of the workshop at California State University at
Hayward, has founded the HAYWARD LYRIC OPERA. In May he produced
a 30-minute staged version of The Tales of Hoffmann with paid singers
which toured to schools and reached about 5,000 children. Next season's
plans include the creation of a new opera suitable for touring to senior
centers; the libretto is ready and a composer is being sought.
OPERADELAWARE has announced that it will be taking over some of
t h e a c t i v i t i e s of t h e MINIKIN OPERA, which primarily toured opera p r o grams t o schools in and around Wilmington and which has ceased o p e r a t i o n s .
Some of Minikin Opera's board members have joined t h e OperaDelaware
board, and t h e company hopes t o be able t o incorporate additional e d u c a tional a c t i v i t i e s into its own programs.
COMPANY
MERGERS
The MIDWEST OPERA THEATER, t h e touring and education affiliate of
the MINNESOTA OPERA, has merged with its parent company but continues
its o u t r e a c h a c t i v i t i e s with some 150 performances this past season.
From September 9 t o 18 Montreal will be immersed in its first INTERNATIONAL MUSIC FESTIVAL. Among t h e p a r t i c i p a t i n g organizations will
be L'Ope>a de Montreal, which has scheduled the opening of its season
for September 13. The opera will be Madama Butterfly with Veronika
-19-
FESTIVAL
NEWS
Kineses and Kristian Johannsson in the leads and accompanied by L'Orehestre symphonique de Montreal.
The AMERICAN MUSIC THEATER FESTIVAL of Philadelphia continues to
expe-iment with new scheduling formats. It is shifting its season from
fall to spring with performances, readings, etc. projected for April and
May. Meanwhile, as a transitional schedule, AMTF will present The Warrior Ant by the Gospel at Colonus team Bob Telson and Lee Breuer in
a joint production with the Spoleto Festival U.S.A., Yale Repertory Theater, and the Brooklyn Academy of Music's Next Wave Festival. The
Philadelphia performances are scheduled for June. In September AMTF
will host the American premiere of a new Philip Glass work, 1000 Airplanes
on the Roof, a science-fiction story with text by David Henry Hwang and
designs and visual effects by Jerome Sirlin, which will have its world
premiere in Vienna in July (see "New Operas: American Operas Abroad").
October will bring a new AMTF Cabaret. Works for the first full spring
season, from April 4 to May 21, 1989, will be announced at a later date.
Returning to the California/Nevada region, the AMERICAN OPERA FESTIVAL OF THE SIERRA at Lake Tahoe, formerly the Squaw Valley Arts
Society, has Metropolitan Opera tenor William Lewis as its Artistic Director and Gloria Kramer as Education Director. Its four productions, The
Ballad of Baby Doe, Amelia Goes to the Ball &. The Old Maid and the
Thief, Bernstein's Mass, and Gordon Getty's Plump Jack &. The White
Election, will be performed as part of the Lake Tahoe Music Festival in
July and August.
The ASHLAWN-HIGHLAND SUMMER FESTIVAL of Charlottesville, Virginia,
will truly expand its sphere when it travels cross-country to Boise, Idaho
to give one performance each of Le Nozze di Figaro, L'Elisir d'amore,
and Cenerentola.
SARASOTA OPERA will try its wings, or rather its wheels, when it takes
three of its productions to the new Tampa Bay Performing Arts Center
in March for one performance each.
ACROSS
THE SEAS
The increasing flow of western opera companies to far eastern countries
will continue in August when La Scala journeys from Milan to Seoul,
South Korea. June found the Metropolitan Opera en route to Japan to
play for audiences in the same cities where the Deutsche Oper Berlin
had preceded it last summer. And the New York City Opera visited
Taipei, Taiwan, as was shown in a recent public television documentary.
Four singers from the SAN FRANCISCO OPERA CENTER have performed
in Shanghai, following an invitation from the Shanghai Opera to participate
in the city's first production of Tosca and in a concert of the Shanghai
Conservatory. The opera was given in late April with Chinese singers
filling all roles other than those taken by three California artists—soprano
Susan Neves (Tosca), bass-baritone Victor Ledbetter (Scarpia), and tenor
Craig Estep (Spoletta). They sang in Italian while the rest of the cast
performed in Chinese. Mezzo Susan Graham was the vocal soloist in an
orchestral concert.
The airways between the Orient and the USA will be travelled by the
BEIJING OPERA next fall when it embarks on a national tour of the
United States. Some performances will be presented by local opera com-20-
panies as part of their subscription series, as with Opera Carolina in
Charlotte.
Meanwhile Tokyo's experimental new theater company, YUME NO YUMINSHA, also known as the Noda Company after its director Hideki Noda, is
coming to the U.S. to participate in the First New York International
Festival of the Arts. Booked by Inter-Arts into the Brooklyn Academy
of Music's Majestic Theater, the company will perform Noda's Comet
Messenger-Siegfried.
Five performances are scheduled between July 7
and 10.
The HOUSTON GRAND OPERA is taking its production of Nixon in China,
featuring the premiere cast, to Scotland this summer, where it will be
seen at the Edinburgh Festival on September 1, 3, and 4. Original plans
called for the Teatro San Carlo to bring two productions from Naples to
Edinburgh but this had to be cancelled due to the lack of funds. In June
Nixon in China will play the Netherlands Opera, one of the companies
that coproduced the work with the Houston Grand Opera. Further performances will be given at the Los Angeles Music Center in 1989.
Crossing a smaller sea—the Mediterranean—was the COLOGNE OPERA,
which brought its production of Fidelio to Tel Aviv in February. The
performances took place in the Mann Auditorium with the "house orchestra," the Israel Philharmonic, accompanying under the baton of Michael
Schoenwandt.
This summer the city of Geneva will be celebrating American music, which
will be performed both by local ensembles and by American musicians.
The former will offer four operatic evenings of a Bernstein/Menotti double
bill, and the latter will include the New York Chamber Opera Theater,
the Little Orchestra Society, the Eastman School of Music orchestra with
Martina Arroyo as soloist, and Leontyne Price in a concert appearance.
The American visitors' programs are still to be announced.
Due to unsettled conditions in Israel, the Royal Philharmonic has cancelled
its participation in the production of Nabucco that was planned as a
major event in the country's fortieth anniversary celebration. The performances were to be staged in an amphitheater in the outskirts of Jerusalem.
The latest news is that the Canadian Festival organization which is presenting Aida in Montreal's stadium also plans to bring this grand production
of Nabucco to Canada, but details are not available at this time.
The football stadium in Sydney, Australia, will be filled with a production
of Verdi's Aida involving some 700 participants performing for as many
as 60,000 spectators. It has not yet been stated whether the spectacle
will be locally produced or (more likely) an import. The occasion will be
the Australian bicentennial celebration.
The ASPEN MUSIC FESTIVAL too will be celebrating the Australian bicentennial this summer by sharing its stages with Australian composers and
performers. Among the former will be Peter Sculthorpe, Vincent Plush,
and Andrew Ford, and the latter will include the ensemble Terra Australis
Incognita.
Every new season brings changes of schedules for some companies. The
SAN DIEGO O P E R A is o p t i n g for a c o n s o l i d a t i o n in i t s next s e a s o n .
-21-
CHANGED
SEASON
Instead of the usual two productions in the fall and two in mid-winter,
the company will present its four-opera schedule between January and
April—a period during which the special events such as recitals will also
be offered.
The company's extensive educational touring program will
take place during the fall. (See also "Festival News" for other changed
schedules.)
EXPANDED
SEASONS
The METROPOLITAN OPERA has found its "other" house, a smaller auditorium for a Mini-Met for performances of new and perhaps even experimental works as well as of chamber or baroque operas, announced General
Manager Bruce Crawford. It is the Majestic Theater in Brooklyn, one
of the Brooklyn Academy of Music's performing facilities (see Vol. 27,
No. 3). A former vaudeville house turned movie palace, the theater had
fallen into disrepair and was rescued by BAM President and Executive
Producer Harvey Lichtenstein and stage director Peter Brook when they
were searching for a suitable hall for Brook's Mahabharata. At the 1987
COS Conference Mr. Lichtenstein spoke movingly of the "rediscovery" of
the Majestic and of its rehabilitation (see Vol. 28, No. 3). The house
seats 900 and can accommodate a pit orchestra of about 75 musicians.
The stage has a proscenium but will need a rigging system, which will
be installed. The Met hopes to mount its first productions there in late
May or June 1991, after the main season at Lincoln Center ends and the
company's orchestra and chorus are fully available. Tentative plans for
the first Brooklyn season call for Gluck's Orfeo ed Euridice and a new
opera by composer John Adams, librettist Alice Goodman, and director
Peter Sellars, the creative team of Nixon in China, in consultation with
Artistic Director James Levine. The new opera's subject will again be
a recent historical event, the Arab terrorist seizure of the cruise liner
Achille Lauro. It will be presented in a coproduction with the Theatre de
la Monnaie in Brussels. The first Mini-Met performed in 1973 at the
Mitzi Newhouse Forum of Lincoln Center's Vivian Beaumont Theater. Nor
will this be the first time the Met has played in Brooklyn; it brought its
main-season productions to the Academy's Opera House on Tuesday
evenings from 1908 until 1937.
Meanwhile, the coming season will mark one of the METROPOLITAN
OPERA'S longest in its home theater. It will open September 26 and
play for 32 weeks at Lincoln Center, reaching into May. During the
final two weeks the company will present two complete cycles of Der
Ring des Nibelungen. The announcement of the repertoire, including five
new productions— Giulio Cesare, Aida, Gbtterddmmerung, Bluebeard's
Castle &. Erwartung, and Salome— came just in time to be included under
"Stop Press" in the last Bulletin; the complete schedule with dates can
be found under "First Performance Listing, 1988-89 Season" in this issue.
As the result of last season's successful production of a favorite Savoy
opera, The Mikado, the KENTUCKY OPERA will embark next season on
its first Gilbert and Sullivan Festival. In September the company will
perform three full programs: The Yeomen of the Guard, The Mikado, and
a double bill of Trial by Jury/Cox and Box. The rest of the season will
be made up of three operatic productions, which will increase the company's program from four to six works and from 17 to 22 performances.
Three companies that will offer four rather than their usual three productions next season will be the MINNESOTA OPERA (Don Giovanni, Salome,
The Mikado, The Juniper Tree); BATON ROUGE OPERA, which will give
-22-
the world premiere of Constantinides' Antigone in addition to Manon,
L'Elisir d'amore and Fledermaus; and OPERA SAN JOSE, which will offer
the world premiere of Henderson's West of Washington Square in addition
to La Boheme, The Barber of Seville, Die Fledermaus. — The MINNESOTA
OPERA will also mount a world premiere staged by its New Music-Theater
Ensemble and two works, one opera and one musical, to be taken on an
educational and community tour.
The COLORADO OPERA FESTIVAL will be back with a full opera production this summer, after limiting its last season to the Verdi Requiem and
a concert of arias. The first problems became evident in summer '86
when the company had to revise and shorten its festival at the new Pikes
Peak Arts Center.
In 1987 it had to give concert performances and
benefits to begin to recoup its losses. This strategy has succeeded in
bringing the company to the point where a carefully laid plan will enable
it to eliminate the rest of the deficit in four more years. Meanwhile it
is going ahead with a full-scale production of La Traviata and a concert
of operatic favorites this summer.
For the first time New York's VILLAGE LIGHT OPERA GROUP will add
a third production, this one in the summer, to its usual winter and spring
schedule. The Pajama Game will be presented in a joint production with
the Philbeach Society of London. The Mikado and Oklahoma! were musicals
performed earlier this season.
Due to an overwhelming demand for tickets, OPERA/COLUMBUS will be
increasing the number of its performances from two to three for each of
its four productions. Each opera is scheduled to be repeated on consecutive
days, a great demand on the singers, especially on those in the principal
roles of such operas as Salome, Tosca, Don Carlo, and Faust; only the
roles of Faust and Me'phistophe'les are double-cast.
The PITTSBURGH OPERA is also offering more repeats of its productions.
Of the five operas, four will be given four times, and only Salome will
be heard in the former three-performance schedule. The singers in each
opera will appear at two- and three-day intervals.
Four performances of each of the four productions staged by the
BALTIMORE OPERA will lengthen the company's season, which previously
consisted of three performances of each work. This in turn will also
change the opera dates, which traditionally had been Thursday, Saturday,
and Monday evening. The new schedule spreads the performances of each
opera across nine days, with the opening on Friday evening, a newly
added matinee on Sunday, and the last two performances on Wednesday
and Saturday evenings. This season's schedule consists of four all-time
favorites, Le Nozze di Figaro, La Boheme, Tosca, Les Contes d'Hoffmann,
all with projected English captions.
Planning its eleventh season, the UTAH OPERA joins the above companies
in giving an extra performance of each production. By adding a Sunday
matinee, it will for the first time bring the total number of performances
to fifteen—five of each opera.
A major cut in productions and performances had to be made by the
LAKE GEORGE OPERA FESTIVAL in upstate New York. Original plans
called for four works in twenty performances: Manon Lescaut, No, No,
-23-
REDUCED
SEASONS
Nanette, Cosi fan tutte, and the second production of Hoiby's The Tempest.
However, economic pressures necessitated shortening the schedule to five
performances each of The Merry Widow and The Barber of Seville. A
special "Opera in the 80s and Beyond" grant will facilitate workshopping
of a new one-act opera by Leonard Lehrman and Joel Shatzky, The Birthday of the Bank, at the beginning of August.
The EUGENE OPERA in Oregon is returning to three operas next season
after trying four productions last year, and the MADISON OPERA to two
operas after one season of three.
From Canada comes the not unexpected news that the COM US MUSIC
THEATRE has disbanded. This imaginative ensemble, dedicated to workshopping and premiering new music theater pieces, was forced to close
because of lack of funds.
WORKSHOP
PROGRAMS
T h e GUTHRIE THEATER in Minneapolis h a s been given a n unused w a r e house which will be converted by a design and construction consultant
into a flexible performing space for its Laboratory. It is intended for
research and experimental development rather than for public performances. Among the first projects will be a company-developed "acting
exercise involving music and memory."
The INDIANAPOLIS OPERA is organizing two three-week sessions to workshop a new piece. Catherine Reid, composer, and David Ives, librettist,
will be in residence together with a group of young singers to try out
scenes from their opera The Broken Jug, based on a novel by Kleist.
EDUCATIONAL
PROGRAMS
ASSOCIATE ARTISTS OF OPERA/COLUMBUS was in its first eleven-week
residency this winter, with five young singers participating. They received
special advanced training and were given the opportunity to perform in
the company's Education-Outreach Division. (For the names of the artists
see "Winners.")
The TULSA OPERA has announced a reorganization of the company's
former Young Artists Ensemble into a new Young Artists Apprentice Program. Beginning with the 1988-89 season, the company will offer two
training periods, from October 3 to November 18 and from January 5 to
May 13. Apprentices will receive formal instruction and master classes
and during the first phase will participate in the main stage season as
comprimarios, choristers, or covers; in the second phase the young artists
will participate in touring and community/educational programs. Housing
will be made available and transportation costs as well as a weekly stipend
will be paid. Tulsa Opera's production director Jane Nelson will administer
the new program and may be contacted for further details. — For the
first time, Tulsa Opera is also offering internships in stage management
and production coordination as well as in coaching/accompanying.
Two short operas and three scenes programs were given a total of 96
performances by OPERA PACIFIC'S Community Outreach Program. It is
administered by Stephen Rapp with Lori Green assisting and has an
enrollment of thirteen apprentice singers. — The eight singers in Greater
Miami Opera's touring program gave 126 performances of two short works
during the past season.
"Opera For Kids Too" is a new program established by the JUNE OPERA
FESTIVAL OF NEW JERSEY. The first production was a one-hour version
-24-
of Hansel and Gretel, given seven performances during the spring in
different communities in the state by a young professional ensemble
recruited for this program. The Ring of the Fettuccines was offered
during the company's Festival season in June.
New Jersey's HOLLYBUSH FESTIVAL has inaugurated an educational outreach program which it has named "Hollybush, Too!" Twelve groups of
seventh- and eighth-grade students are taught by young singers specially
engaged and trained for this program. The subject selected was the company's next production, Tosca, which was set in Central America and
therefore had particular significance to the heavily Hispanic student body.
Students with pronounced musical talent were accepted into the company's
children's chorus. The seven-week program is coordinated by the Vineland
school system and the Vineland Chamber of Commerce.
OPERA SAN JOSE is embarking on a new project which will cut across
the company's community/outreach and in-school programs and its regular
main stage season. Artistic director Irene Dalis plans to engage up to
ten professional singers for a resident ensemble which will serve as the
backbone of the company for the main season of subscription performances
and also for outreach, educational, and touring presentations. The members
of this group will receive a ten-month contract and rent-free housing.
The Singer Contract Support Grants approved for 1988 have been announced by the National Institute for Music Theater. These are awarded
to American opera and music theater companies to assist them in hiring
outstanding young singers for principal roles—engagements which should
further the young artists' careers. The following ten companies were
selected for this year's program: DAYTON OPERA, FLORENTINE OPERA,
KENTUCKY OPERA, LONG BEACH OPERA, OPERA/OMAHA, PENNSYLVANIA OPERA THEATER, SKYLIGHT COMIC OPERA, TRIANGLE MUSIC
THEATER, UTAH OPERA, and VINEYARD THEATRE AND WORKSHOP
CENTER. Total funds disbursed for the project this winter were $27,000.
The American Federation of Musicians Local 802 in New York has been
demanding union contracts with some of the smaller opera companies in
the city. Negotiations with Bel Canto Opera reached an impasse and the
company performed with piano accompaniment at its spring production of
Chabrier's L'Etoile.
A.F. OF M.
A new development in Seattle finds the local symphony musicians severing
their association with the A.F.of M. They plan to join a three-year-old
organization, the International Guild of Symphony, Opera, and Ballet Musicians, which has members in twelve major orchestras in the U.S. and
Canada. The Guild is to represent the players in collective bargaining
negotiations.
Impasses between unions and managements, or between unions and their
own members, are not the exclusive territory of the United States.
L'Ope>a de Montreal had to cancel its first performance of Carmen in
February due to a strike by the stage technicians at the Place des Arts,
and the Royal Opera, Covent Garden delayed the opening of its season
last fall by two weeks because of unresolved differences with the union
representing the choristers.
Have you ever tried a Midnight Breakfast? It might become the chic
affair after the opera. The Guild of the TRI-CITIES OPERA offers a
-25-
SUPPORT AND
FUNDRAISING
choice of Eggs Benedict, Seafood Newburg on puff pastry, cheese blintzes
with blueberry sauce, or sliced prime beef—with piano accompaniment.
It may even have greater appeal to some late-night hearty snackers than
the more traditional and more delicate champagne and petits fours.
OPERADELAWARE has an annual Impatiens Sale to benefit the company.
Orders for multiple plants in boxes have been numerous (plants are to be
picked up in different locations), and the sale has netted a nice fund for
the company. And the flower's name is an open invitation to punsters.
How about a prize for the best slogan?
Door prizes, auctions, and raffles are ever-popular as fundraising tools.
L'OPERA DE MONTREAL offers "A Week of Musical Delights in London
for Two" to the lucky winner of a drawing, with a new twist. Instead
of selling raffle tickets, the company draws the winner's name from the
list of new or renewed subscribers who have paid for their subscriptions
by May 31. What an original incentive to renew or join, and to do so
early—and, at the same time, it makes the subscribers feel part of a
truly privileged group.
OPERA/COLUMBUS has good reason to urge its patrons and subscribers
to book all their travel through Travel Agents International in Columbus,
OH. The opera company will receive five percent of the agent's commission
from any travel booked by an opera patron.
The MICHIGAN OPERA THEATRE presented a rare double feature in
June. In addition to a concert by Luciano Pavarotti at the 18,500-seat
Joe Louis Arena in Detroit—a concert sponsored by the Ford Motor Company to benefit MOT—it also arranged for the world premiere of a oneman show of 26 oil paintings executed by the tenor. This exhibition,
which opened in Detroit on June 10, is slated for a three-year tour
through North America, Europe, and the Far East. Profits from the show
in Detroit, as well as from sales of the poster and catalogue there, benefitted the Michigan Opera.
One of the largest grants on record has been offered to the HOUSTON
GRAND OPERA by The Brown Foundation in the form of a challenge
grant. The total amount is $5 million, of which $250,000 is to be a onefor-three match designated to cover the balance of the cost associated
with the company's move into the Wortham Center; a $500,000 one-forthree match is to establish a fund for the commissioning and production
of new works; and the remaining $4,250,000 is to be matched on a onefor-3.53 basis and used towards the establishment of a $22 million endowment fund, which presently has a $2 million cash and pledge value.
Fundraising results were recorded—joyfully—at the LYRIC OPERA OF
CHICAGO, which ended its season not only in the black but also with
an endowment fund totalling $26.7 million, exceeding its original goal of
$25 million. The previous season had left the company with a deficit of
almost $1 million, which was made up this year with $150,000 to spare.
The '87-88 budget amounted to $16.2 million, a half million less than the
previous year; revenues from ticket sales were more than $9 million.
Many new ideas and much practical advice about fundraising can be found
in OPERA AT THE CROSSROADS, the transcript of the Central Opera
Service National Conference held in New York City last October, which
-26-
has been published as the COS Bulletin, Vol. 28, No. 3. Among the speakers was the grant officer of a large national corporation who offered
frank and valuable guidance, as did Marilyn Shapiro, Development Director
and Assistant Manager of the Metropolitan Opera. Also participating
were several high-ranking professionals in marketing, public relations, and
fundraising, who are usually well paid for their opinions but on this occasion generously shared their expertise and advice with COS members.
The topics discussed include telemarketing, direct mail approach, and
corporate sponsorship. Special sessions on opera administration from
finances to programming were led by America's major opera chief executive
officers, and a detailed discussion on board membership will be of particular
interest to volunteers and to staff members working with them.
Public relations and marketing are major tools of an opera administrator
today. Therefore we periodically report on effective or original ideas.
Catchy slogans are part of PR, and here is NEW ORLEANS OPERA'S for
its 45th season: "Deadliest of the Species." This certainly fits a season
that includes Turandot, Carmen, and Salome.
PUBLIC
RELATIONS
Outrageous Acts: Backstage at Vancouver Opera is a twelve-minute MultiImage presentation conceived as a long-term audience development project
aimed at high school students. The Multi-Image format combines a highquality studio-recorded soundtrack with computer-controlled banks of 35millimeter slides, in this case photographed during the course of four
main-stage productions. This hi-tech format has been found more effective
with young audiences than conventional film or video, and the VANCOUVER
OPERA show won three Gold Medal Awards at a Multi-Image festival in
June, including "Best of Show." It was produced with grants from several
local foundations and is available free to high school audiovisual libraries.
For further information or to obtain a copy of Outrageous Acts, contact
the Vancouver Opera, 1132 Hamilton St., Vancouver, B.C. V6B 2S2; (604)
682-2871.
The DAYTON OPERA is one of several companies that offer one perforPROGRAMS
mance per season for the hearing impaired. Working with Karen DiChiera
FOR THE
and interpreters John J. Ray and Mary A. Wells, the company selected HANDICAPPED
a matinee of Kismet for this year's opera/musical to be interpreted in
American Sign Language from the side of the stage. Because of its
experience and success with this approach, Dayton Opera is offering a
Workshop on Interpreting the Performing Arts, the first to be organized
by an opera company. — For the first time the company has taken its
educational program into a school with children with a hearing disability.
For this the Dayton Opera earned a special grant and a citation from
Very Special Arts Ohio. — In addition the Dayton Opera is involved in a
task force study of its theater to improve access for persons with
disabilities.
OPERADELAWARE is the latest to join concerned opera companies which
offer interpreted performances for the hearing-impaired. Evelyn Swensson,
the company's education director, developed an introductory program for
hearing-impaired students who subsequently attended a performance of
Strouse's Nightingale, sign-interpreted by two professionals.
The MICHIGAN OPERA THEATRE and OPERA PACIFIC have each
arranged with the chapters of Very Special Arts in their states for particular programs: the former for a full semester of opera workshops for
-27-
hearing-impaired high school students, the latter for performances of two
children's operas for elementary students who are mentally challenged.
The BOSTON LYRIC OPERA too is presenting a signed and audienceparticipation production of Hansel and Gretel in collaboration with its
local chapter of Very Special Arts. All of these programs were coordinated
through OPERA America.
Thanks to a grant from AT&T, the NEW ORLEANS OPERA has invited
some 75 deaf or hearing-impaired persons to its performances of Samson
et Dalila. The company's use of projected English captions since 1984
makes the action understandable without the use of interpreters. All
companies using English captions, please note!
On another front, DAYTON OPERA has instigated a new program of audio
description for blind and visually impaired patrons. The opera chosen for
this experiment was Carmen. After a preparatory lecture, a describer
—a volunteer reader from the Central Ohio Radio Reading Service specially
trained in this technique in Washington, DC—describes the action and
reads the surtitles over a closed broadcasting system. The broadcast is
picked up by wireless receivers with a single earphone which are distributed
to the special audience. The signal can be received in any section of
the auditorium and is not limited to certain seats. — OPERA/COLUMBUS
is using the same system and the same reader, Kay Adamson, for two
operas this season. Miss Adamson has also read for handicapped audiences
at several theater performances.
The SEATTLE OPERA, which publishes a magazine for each production
with the cast and information about the work, the composer, the period
and country, as well as articles about the opera company and/or the
performers, has now begun to record the contents of the Seattle Opera
Magazine on cassette tape for the visually-impaired. Copies may be
requested free of charge. For the hearing-impaired, the company has
had the infrared hearing devices installed, and these have met with
enthusiasm and heavy use.
OPERA
COMPANIES
ABROAD
The American Friends of Scottish Opera has been renamed the CALEDONIA FOUNDATION and is expanding its support to include not only the
opera company in Glasgow but also the Scottish Ballet, Balnain House in
Inverness, and various Scottish folk ensembles. The Foundation, which
hopes to establish closer ties between the Scottish organizations and their
friends in the United States and Canada, is located at Greenville Center,
Bldg. C, suite 300, 3800 Kennett Pike, Greenville, DE 19807.
The revival of the D'OYLY CARTE OPERA COMPANY became a reality
when the company embarked on its first tour on April 28, a 12-week
swing through northern England and southern Scotland, with The Yeomen
of the Guard and Iolanthe.
The PFALZTHEATER, Kaiserslautern, will establish a studio for experimental music theater pieces by such composers as Berio, Kagel, Schnebel,
Griinauer, and Lorentzen. It is to open in spring '89, as announced by
the theater's new Intendant, Michael Leinert.
NEW NAME
American National Opera, Chicago (formerly Lincoln Opera); Norma
Williams, Artistic Director; performances for students and senior
citizens will take place at Munderlein College in Chicago.
-28-
Chicago Opera Theater, 20 East Jackson Blvd., suite 1400, Chicago, IL
60604 (same telephone)
Eastern Music Festival, P.O. Box 22026, Greensboro, NC 27420; (919)
272-9575
June Opera Festival of New Jersey, 65 South Main St., Bldg. B, Pennington,
NJ 08534; (609) 737-7711 (pfs. at Kirby Arts Center, Lawrenceville)
Opera Theatre of Northern Virginia, 2011 North Hancock St., Arlington,
VA 22201 (same telephone)
Pittsburgh Opera, 711 Penn Ave., 8th floor, Pittsburgh, PA 15222 (same
telephone)
Springfield Regional Opera, 305 East Walnut, #314, Springfield, MO 65806
(same telephone)
[]
CHANGES OF
ADDRESS
CONFERENCES
3/13-16/88
3/18-20/88
3/23-26/88
3/29/88
4/21-23/88
6/1-4/88
6/3,4/88
6/7/88
6/10/88
6/15-18/88
6/21-25/88
6/25-28/88
7/14-16/88
9/19/88
10/5-7/88
10/13-16/88
11/7-13/88
11/16-19/88
11/17-19/88
12/9-11/88
1/24-27/89
4/89
10/12-15/89
National Society of Fund Raising Executives, Nashville, TN
10th Anniversary Conference, Opera For Youth, Wilmington, DE
"The Wide World of Performing Arts," U.S. Institute for Theatre Technology (USITT),
Anaheim, CA
"The Individual Artist: Condition and Support," ACA, Baltimore, MD
Association of Arts Administration Educators, Toronto, Ont.
Chorus America Annual Conference, Vista International Hotel, Washington, DC
"Culture as a Political Priority," Canadian Conference of the Arts, Ottawa, Ont.
National Music Council Membership Meeting, Symposium, and Awards Luncheon, NYC
ACA Seminar: Private Support for the Arts, Duke Univ., NC
43rd National Conference, American Symphony Orchestra League, Chicago
2nd International Congress—Managing the Arts, International Society for Performing
Arts Administrators (ISPAA), Amsterdam, Netherlands
10th Annual Convention, National Assembly of Local Arts Agencies (NALAA),
Washington, DC
"Use and Care of the Human Voice," 8th Annual Conference, University of Minnesota,
Minneapolis, MN
"New Realities: Arts and Business—'88 and Beyond," Business Committee for the
Arts (BCA) Conference, Guggenheim Museum, NYC
National Arts Convention: "Coming to Consensus", American Council for the Arts,
New Brunswick, NJ
31st Annual Meeting, College Music Society, Santa Fe, NM
American Music Week, nationwide, organized by American Music Center
National Opera Association, Columbus, OH
Central Opera Service Conference, Dallas, TX (Argento's The Aspern Papers prem.
11/19)
OPERA America Annual Meeting, Fairmont Hotel, San Francisco, CA
10th Anniversary Conference, Box Office Management International, Tampa, FL
Opera Guilds International (OGI), Kansas City, MO
32nd Annual Meeting, College Music Society, St. Louis, MO
[]
-29-
GOVERNMENT AND NATIONAL ORGANIZATIONS
FEDERAL
The FY '88 federal budget has barely been settled, but already attention
must be turned to FY '89. In a departure from its previous practice,
the Reagan Administration has requested that the National Endowment
for the Arts be funded at last year's level—$167.7 million. For the last
few years, the White House's proposals have always been substantially
lower than Congress's appropriation for the preceding year.
Next it was the turn of the House Appropriations Committee to recommend
the level of FY '89 funding for the National Endowment for the Arts and
the National Endowment for the Humanities. The Committee has voted
for an appropriation of $169 million for the NEA and $153.7 million for
the NEH. Sidney R. Yates (D-IL), who has long been the most faithful
advocate and protector of support for the arts, has added to the bill a
limitation that "None of the funds may be used to implement a peer panel
review process different from that in place as of December 31, 1987."
While the legislation that created the Endowments mentions peer panel
review, it does not prescribe any details. This is the first time that any
restrictions have been proposed as part of the appropriations bill. The
bill now goes before the full House and the Senate for debate and vote.
In December Congress passed the "Tax Exempt Organizations Lobbying
and Political Activities Accountability Act of 1987" as embedded in
another bill. It will affect disclosure of the annual tax returns of taxexempt organizations—501(c)3 and 501(c)4—who must, upon request, have
the returns of the last three years (beginning in 1987) and their application
and approval of tax exemption available to members of the public during
normal business hours. Furthermore, organizations will jeopardize their
tax-exempt status if more than 5 percent of their overall spending goes
towards lobbying activities. The bill also requires that organizations
disclose the fact if they sell information or services that are available
free of charge from the federal government. Other information will be
listed as it is made available.
NEA PROGRAMS The National Endowment for the Arts' OPERA-MUSICAL THEATER PROGRAM will hold its 1988-89 Overview Meeting on December 5 and 6,
1988,
at the NEA offices in Washington, DC. The main topic of this
meeting will be an examination and discussion of the guidelines for
applications and grant-making. Overview meetings are open to the public,
but it is recommended that anyone wishing to attend call about four
weeks in advance to verify the time and place; telephone (202) 682-5447.
Concern over inadequate representation of American art and artists abroad
has led to the formation of the FUND FOR U.S. ARTISTS AT INTERNATIONAL FESTIVALS AND EXHIBITIONS. Organized and funded jointly by
the National Endowment for the Arts, the United States Information
Agency, and the Rockefeller Foundation, the Fund will assist individual
performing artists and performing organizations deemed worthy to represent this country at international festivals. Applications from artists who
have been invited to participate in foreign festivals will be reviewed by
a committee made up of experts from the three support organizations,
who will decide on the merit of the festival as well as that of the performers. Beverly Kratochvil at the Endowment will be available for further
information about the performing arts programs; telephone (202) 682-5562.
Susan Stirn at the USIA should be contacted regarding exhibits and other
visual arts participation.
Alberta Arthurs and Suzanne Sato are the
liaison officers at the Rockefeller Foundation in New York, (212) 869-8500.
-30-
GOVERNMENT & NATIONAL ORGANIZATIONS
Of the 37 organizations selected by NEA for participation in its first
round of ADVANCEMENT PROGRAMS were two opera companies: the
Boston Lyric Opera and the Sacramento Opera. A 15-month technical
assistance period is to result in a long-range development plan for which
NEA will grant up to $75,000 on a matching basis.
A total of Can. $92.6 million has been allocated to THE CANADA COUNCIL
for the 1988-89 season. Of this, $14.5 million has been apportioned for
music (including opera), $15.5 million for theatre (including musical theater
companies), $3.5 million for touring (for all arts disciplines), and $9.3
million for Arts Awards to individual artists.
CANADA
COUNCIL
Responding to current needs, VOLUNTEER LAWYERS FOR THE ARTS
has set up monthly seminars on immigration concerned with the needs of
individual artists, such as obtaining citizenship under the new laws or
obtaining work permits, as well as with the needs of arts organizations
regarding the hiring of foreign and immigrant artists. The first seminar
was held in late February in VLA's New York offices. Preregistration
per seminar is $10, or $15 at the door. For future dates contact VLA,
1285 Avenue of the Americas, New York, NY 10019, or call (212) 977-9270.
NATIONAL
ORGANIZATIONS
The first annual Nancy Hanks Lecture on Arts and Public Policy was
organized by the AMERICAN COUNCIL FOR THE ARTS in collaboration
with the Friends of Nancy Hanks and the Gannett Foundation. Dr. Arthur
Schlesinger Jr. was the distinguished speaker on April 13 at the National
Academy of Sciences in Washington, DC. He called for the next President
to establish a national commission on the arts to "examine the range of
governmental activity affecting the arts, to propose a comprehensive arts
agenda, and to set goals for national arts policy in the 1990s."
The AMERICAN MUSIC CENTER will supply publicity material and upto-date information on the progress of the Fourth Annual American Music
Week, which is planned for November 7-13, 1988. Next year's dates are
November 6-12, 1989. Performing organizations interested in participating,
i.e. scheduling American music and/or performers during that period, should
contact AMC, Program Manager Deborah Steinglass, 250 West 54th St.,
#300, New York, NY 10019.
ACUCAA [The Association of College, University and Community Arts
Administrators], 1112 16th Ave. NW, #620, Washington, DC 20036; (202)
833-2787 (form. Madison, WI)
FEDAPT [Foundation for the Extension and Development of the American
Professional Theatre], 270 Lafayette St., #810, New York, NY 10012
Mid-America Arts Alliance, 912 Baltimore Ave., #700, Kansas City, MO
64105
Southern Arts Federation, 1293 Peachtree St., NE, suite 500, Atlanta,
GA 30309
TAP [Technical Assistant Project], A Division of Performing Arts
Resources, Inc., 270 Lafayette St., suite 810, New York, NY 10012;
(212) 966-8658
Washington International Arts Letter, P.O. Box 12010, Des Moines, IA
50312 (form. Washington, DC)
Kurt Weill Foundation for Music, 7 East 20th St., New York, NY 10003;
(212) 260-1650
[]
-31-
CHANGES OF
ADDRESS
NEW AND RENOVATED THEATERS
NEW HALLS
With the opening of the Tampa Performing Arts Center last fall, plans
for two more Florida performing arts centers are still on the drawing
boards. The FORT LAUDERDALE CENTER will have two auditoria, a
2,700-seat main hall and a 590-seat theater, with the total cost estimated
at over $50 million, and the WEST PALM BEACH CENTER, also designed
to house two different-size halls, will come in at about $45 million.
In Palm Desert the BOB HOPE PERFORMING ARTS CENTER, America's
newest performing arts center, celebrated its opening with a gala performance in January, and many thousands watched the festivities via a
delayed national telecast in March. The Center's main hall is the McCallum
Theatre for the Performing Arts with a seating capacity of 1,166. Later
during the season Opera Pacific traveled from its home at the Orange
County Performing Arts Center to give one performance each of Aida
and Kismet in Palm Desert.
September 1989 will mark the inauguration of a new concert hall in Dallas,
the MORTON H. MEYERSON SYMPHONY CENTER, which will become
the permanent home of the Dallas Symphony Orchestra. The $79 million
Center was designed by I.M. Pei, with Russell Johnson of Artec Consultants
responsible for the acoustics. It will house the Eugene McDermott Concert
Hall seating 2,100, public areas such as a foyer and lounges, dressing
rooms, offices for the orchestra, a restaurant, and a music library.
Opening festivities are scheduled for the week of September 6, 1989.
When the orchestra vacates the Music Hall many previously booked dates
will be open, and this may also affect the schedule of the Dallas Opera,
which currently shares the Music Hall with the orchestra.
A major capital fund drive has been launched by BOSTON UNIVERSITY
SCHOOL FOR THE ARTS with a goal of $41.5 million. Part of the money
will be used to build a new performing arts center designed by architects
Hardy Holzman and Pfeifer. The main auditorium will seat 1,250 and be
equipped for opera performances as well as for concerts. There will also
be a 600-seat theater and a 250-seat performance space.
A new and technically well-equipped 400-seat theater opened on New
York's east side in April. The FLORENCE GOULD HALL has been built
by the French Institute/Alliance Francaise and can be used for plays,
operas, music theater pieces, concerts, lectures, and films. It opened on
April 6 with Cocteau's comedy-ballet Les Marias de la Tour Eiffel. In
December '88 the first act of a Christmas opera, A Christmas for Vincent
Van Gogh by Pierre Friloux, will be presented, making use of the theater's
electronic and other technical equipment to reproduce the score, which
was originally created by and for IRCAM, the electronic music center in
Paris headed by Pierre Boulez. The $6 million theater is located in a
new building at 55 East 59th Street, which adjoins the back of the FI/AF
building on East 60th Street.
RENOVATIONS
The New York State Arts Council, in a departure from its previously
approved grant categories, has made some funds available for the improvement of facilities under its new CAPITAL AID PROGRAM. In the first
round, the Council approved 64 projects ranging from fixing broken plumbing and other mundane necessities to intricate projects in architectural
and historic restoration.
Air-conditioning and humidity controls for
museums, as well as improved access for the disabled, were also on the
Council's priority list. Maximum individual grants of $25,000 were avail-32-
NEW AND RENOVATED THEATERS
able from a total special fund of $1.4 million. At last report about $1
million of this had been distributed or committed.
The 80-year-old TEATRO COLON in Buenos Aires is currently undergoing
a major renovation and modernization process. One of the world's great
and famous opera houses, it has been the site of appearances by the
world's foremost operatic singers and conductors. With its 2,400 seats
and standing room for almost 1,000, it is among the largest traditional
operatic theaters. The main alterations will be made to the stage and
the backstage areas, including the installation of up-to-date technical
equipment. A reopening is planned for March 1989.
THEATERS
ABROAD
Next fall the new OPERA HOUSE in ESSEN, West Germany, will finally
open. It was originally designed years ago by the Finnish architect Alvar
Aalto but was completed only this year.
In its endeavor to enlarge its season and broaden its base, LA SCALA
in Milan is acquiring the Teatro Puccini. Renovations.and modernization
should be completed by 1990, when the company plans to open the 1,800seat theater.
Incidents at two major German opera houses last September dealt serious
blows to their schedules and played havoc with the past season. At the
Wurttembergische Staatsoper in Stuttgart, the stage machinery broke down
during rehearsal for the opening night Aida, forcing management to present
the opera in concert, although the production was to have been the major
attraction of the company's season. Because of the lengthy and intricate
repairs, the Staatsoper had to reduce the number of works in the season's
repertoire from 37 to 14. — Last September's fire at the Frankfurt Opera
caused such extensive damage that restoration of the stage and backstage
areas will take about two years. Meanwhile the company must use every
performance space available to save as much of its schedule as possible.
Now the company is further plagued by theater problems. The Kammerspiele, where rehearsals and smaller productions had been scheduled, has
been declared out of bounds because of dangerous levels of asbestos and
is closed until further notice for renovation.
[]
MUSIC PUBLISHERS
G. SCHIRMER Inc. has announced contracts
with two American composers whose works the
publisher will now represent. Anthony Davis's
agreement is for five years and includes his
opera X, premiered in 1986, and its new abbreviated concert version named XCERPTS calling
for baritone, soprano, tenor, bass-baritone, and
a narrator. G. Schirmer will also handle Davis's
forthcoming Under the Double Moon. The other
composer new with this publisher is Lee Hoiby,
who has signed for three years. His operas
The Tempest and Something New for the Zoo
are now available from Schirmer.
-33-
Correction
Please make the following correction in the
Central Opera Service Directory of Operas and
Publishers and Directory of English Translations: Baerenreiter-Verlag (Germany; formerly
GS-Bae and MMB-Bae) is now available exclusively from Foreign Music Distributors, 305
Bloomfield Ave., Nutley, NJ 07110. Also available from FMD are Doblinger (Austria), Harmonia (Netherlands), Kneussli (Switzerland),
Kunzelmann
(Switzerland),
Musica
Rara
(France, formerly England), and Supraphon
(Czechoslovakia).
[]
FORECAST
1988-89
SEASON
AND BEYOND
Although the new season is not yet upon us, we are delighted to be able
to announce already the 1989-90 repertoire and partial casts of the LYRIC
OPERA OF CHICAGO. Celebrating its 35th season, the company will
again stage eight operas—the same as in 1988-89—and will include two
works new to its repertory. These are Thomas's Hamlet and Mozart's La
Clemenza di Tito, the former with Ruth Welting as Ophelia and Sherrill
Milnes as the Danish prince, and the latter with Carol Vaness as Vitellia,
Tatiana Troyanos as Sesto, and Gosta Winbergh in the title role. Returning
to the stage of the Lyric after an absence of many years will be Don
Carlo and Der Rosenkavalier. Kiri Te Kanawa' and Tatiana Troyanos will
take the female leads in the Verdi opera with Peter Dvorsky in the title
role, Samuel Ramey as King Philip, and Jorma Hynninen in his local debut
as Rodrigo, while the Strauss opera has been cast with Anna TomowaSintow, Kathleen Battle, and Kurt Moll, all in their own way vying for
the love of Anne Sofie Von Otter as Octavian in her Chicago debut.
Frederica von Stade, Frank Lopardo, and Thomas Allen will cavort in II
Barbiere di Siviglia, and Barbara Daniels will tease Hakan Hagegard as
her operatic husband in Die Fledermaus. Both of today's most celebrated
tenors have also been signed for this anniversary season in Chicago:
PMcido Domingo will portray Samson with Agnes Baltsa as his Dalila, and
Luciano Pavarotti will sing Cavaradossi to Eva Marton's Tosca. — An
unprecedented announcement from Chicago even offers a glimpse into the
1990-91 season. Opening night will present the Chicago Lyric debut of
Jessye Norman in Gluck's Alceste, in the striking Robert Wilson production
first seen in Stuttgart last year.
L'OPERA DE MONTREAL has made known its plans for the season after
next when it will produce Faust, Die Entfilhrung aus dem Serail, Un Ballo
in maschera, and Rossini's Le Comte Ory. — Opening its 1989-90 season
in September, the LOS ANGELES MUSIC CENTER OPERA will offer a
new staging of Aufstieg und Fall der Stadt Mahagonny in a joint production
with L'Op^ra de Lyon. It will be directed by Jonathan Miller, designed
by Robert Israel, and conducted by Lyon's new music director—Los Angeles'
own Kent Nagano.
Looking beyond 1990, plans are being forged by Opera/Columbus for the
company's own production of the complete Der Ring des Nibelungen. The
first opera is to be ready by 1991 with the others following in 1993 and
1995, and with the complete cycle to be given in a Wagner Festival in
1996.
The company tested its Wagnerian mettle last November when it
presented Tristan und Isolde.
EUROPE
1988-89
SEASON
The ROYAL OPERA, COVENT GARDEN, which now has its new administration in place (see "Appointments"), plans to cut back its opera performances
from about 150 to 130 next season to reduce expenses. In compensation,
however, Covent Garden will present a total of nine new or completely
restudied opera productions, an all-time record for the house. A new
Ring cycle will begin in 1988-89 with Das Rheingold, conducted by Music
Director Bernard Haitink and directed by Yuri Lyubimov. Another controversial director, Nuria Espert, will stage a new Rigoletto, and her Madama
Butterfly will be performed on loan from the Scottish Opera. II Trovatore
will be staged by Piero Faggioni, the new Principal Guest Director of
the company, with Haitink conducting, while a Mozart series continues
with a new Cosi fan tutte directed by Johannes Schaaf and led by the
company's Principal Conductor Jeffrey Tate; Sir Colin Davis will conduct
revivals of La Clemenza di Tito and Die Zauberflbte. John Cox will be
-34-
FORECAST
in charge of a new staging of Manon as well as Die Fledermaus, in a
newly commissioned translation by John Mortimer. Luciano Berio will
conduct the British premiere of his opera Un Re in ascolto, and Sir Peter
Hall's production of Albert Herring will be borrowed from Glyndebourne.
Visiting opera companies during the 1988-89 season will include the
Hungarian State Opera and Ballet and the Komische Oper of East Berlin.
General Director Jeremy Isaacs has also announced final plans for the
renovation and improvement of Covent Garden and its immediate surroundings, to begin in 1993 and be completed by 1996. No decision has
yet been made as to where performances will be given during this period.
This fall a special guest engagement of the Bayerische Staatsoper at La
Scala from September 17 to 27 will bring three performances each of
Strauss's Die Liebe der Danae, Daphne, and Die Frau ohne Schatten from
Munich to Milan. — The MUNICH FESTIVAL WEEKS 1989 will include a
rare production of Hindemith's Mathis der Maler, opening July 6 with
John Brocheler in the title role; also featured will be a new production
of Wolf-Ferrari's Le Donne curiose.
While the official opening night of the new OPERA DE LA BASTILLE in
Paris will be a Gala on July 14, 1989—the 200th anniversary of the
storming of the Bastille—the season will truly open in January 1990 with
Don Giovanni in a new staging by Patrice Ch6reau, conducted by the
company's artistic and music director Daniel Barenboim, and designed by
Richard Peduzzi. This will begin a Mozart/Da Ponte cycle from that
production team; Le Nozze di Figaro and Cosl fan tutte will follow in
subsequent seasons. Another cycle planned by Barenboim will be devoted
to Wagner, with his Bayreuth Ring collaborators, director Harry Kupfer
and designer Hans Schavernoch, coming to Paris for a new Tristan und
Isolde in 1990 and a new Parsifal in 1990-91. The opening season will
also bring Pique Dame, conceived by Jean-Pierre Ponnelle, Barenboim
conducting; and Pierre Boulez has been won for the Ope>a de la Bastille
with Pell4as et M6lisande (1990), completing the list of new productions
for the first season. He will also lead Schonberg's Moses und Ann in
1991-92, and is to compose a new work to be premiered at the new theater.
In the 1990-91 season, besides continuing the Mozart and Wagner cycles,
Mo. Barenboim plans a new Carmen to be directed by Carlos Saura, and
Christoph von Dohnanyi will conduct Zimmermann's Die Soldaten as staged
by Ruth Berghaus. Looking ahead to 1991-92, Luciano Berio will conduct
his own latest work, tentatively named Musical, which is to be a joint
production with La Scala. That season's star conductors will include
Zubin Mehta for Otello and Sir Georg Solti for Salome.
The first season, with its delayed opening, will offer approximately 200
performances, of which 120 will be operatic, the others concerts and
possibly some ballet, although the main ballet season will remain at the
Palais Gamier. The Bastille schedule will be expanded in the following
seasons to 150 operatic evenings with five new productions and five or
six repeats, plus some visiting ensembles, featuring both opera companies
and major international orchestras. The Palais Gamier, the current grand
opera house, will be administered by Jean-Albert Cartier, head of the
Theatre Musical de Paris-Le Chfitelet, but ultimately he will work under
the overall administration of the Ope>a-Bastille team consisting of General
Director Pierre Vozlinsky and Mo. Barenboim.
[]
-35-
L1 OPERA DE
LA BASTILLE
ATTENTION COMPOSERS
November 1, 1988 is the deadline for participation in the MUSICAL
THEATRE COMPETITION FOR THE RICHARD RODGERS PRODUCTION
AWARD 1989. Information and application forms are available from the
American Academy and Institute of Arts and Letters, 633 West 155th St.,
New York, NY 10032; a self-addressed stamped envelope must be included
with the request.
The DENVER WOMEN'S CHORUS (P.O. Box 2638, Denver, CO 80202)
announces a competition for compositions for women's chorus by women
composers. The text should make an affirmative statement about or for
women. The prizes are $1,000 in cash and a public performance. There
is an entry fee of $10; scores must be submitted before August 31, 1988.
Vol. 28, No. 1 reported on an ambitious new opera/music theater project
offered by MEET THE COMPOSER. The latest parallel program is designed
to promote collaboration between composers and choreographers, a union
that for more than two centuries has proven its value. Any professional
nonprofit dance company may apply for grants ranging from $5,000 to
$60,000 for the commissioning of a ballet from a composer/choreographer
team and for the first staging of the resulting work. John Duffy, President
of Meet the Composer, announced that the cosponsors—the Ford Foundation
and the Pew Charitable Trust—have committed grants over the next three
years towards this program. The application deadline for the first round
was in the spring; write to Meet the Composer, 2112 Broadway, #505,
New York, NY 10023, for information on the second phase.
Because of Bulletin publishing schedules, announcements of composers'
competitions may reach us too late for publication before this year's
deadline. Those competitions that are offered annually will nonetheless
be listed, as are the following two which carry deadlines of April and
May respectively.
MUSICIANS' ACCORD will pay a cash prize of $150 for the winning work
in a competition for previously unperformed pieces scored for not more
than five musicians, one of whom may be a singer, and lasting no longer
than twelve minutes. The ensemble will also perform the work in New
York during the 1988-89 season. Composers of any age who are U.S.
citizens may enter. Submitted scores, carrying identification marks but
not the composer's name which should be provided with address in an
accompanying sealed envelope, and a registration fee of $25 per submitted
composition, should be forwarded to Musicians' Accord, c/o R. Kassel,
245 East 24th St., #3E, New York, NY 10010.
The annual CHAMBER OPERA COMPETITION offered by the National
Opera Association accepts operas suitable for performance by college or
university workshops. Submitted works are to be in English, under 60
minutes' duration, and scored for no more than twenty instrumentalists.
There are no restrictions as to the composer's age or nationality; the
work may have been performed, though not by a major company, but it
must not have been published or accepted for publication. A $15.00 fee
must accompany the application. The winning work will be performed by
an academic opera workshop at the next NOA convention. Inquiries and
scores should be sent to Dr. Robert Chauls, NOA Chamber Opera Competition, P.O. Box 3292, Van Nuys, CA 91407.
The tenth NEW MUSIC AMERICA festival will be held in Miami, December
2-11, 1988. Using a variety of cultural facilities ranging from large
-36-
ATTENTION COMPOSERS
concert and opera auditoria to experimental performance spaces around
the city, the Festival will present as many as 22 events within a single
day. Festival and conference headquarters will be at the Wolfson Campus
of Miami-Dade Community College, which is hosting the event. Works
by more than 100 living composers from North, Central, and South America
will be played, including twenty from South America alone. Twenty-five
compositions will receive their world premieres, and another twenty-five
their first American hearings. The cities that have hosted previous festivals, in chronological order, are New York, Minneapolis, San Francisco,
Chicago, Washington DC, Hartford, Houston, Los Angeles, and Philadelphia.
The 1987 Pulitzer Prize in Music was awarded to JOHN HARBISON for
The Flight Into Egypt, a composition for soloists, chorus, and chamber
orchestra. His other works include the operas A Winter's Tale (1974)
and Fuji Moon in March (1977).
Among the 25 winners of the 1987 Rome Prize, which sends its recipients
to the American Academy in Rome for at least one year, were two American composers: KATHRYN ALEXANDER of Oberlin, OH, and MICHELLE
EKZIAN of Mamaroneck, NY.
[]
ARCHIVES
The music library at the University of Michigan has acquired the MICHAEL
MONTGOMERY COLLECTION OF POPULAR AMERICAN SHEET MUSIC,
consisting of some 22,000 items from 1900 to 1950. This is most likely
the largest collection of its kind and includes much out-of-print and
unknown music. It was collected over the last thirty years by Mr. Montgomery, a graduate of the School of Music at Ann Arbor.
The Smithsonian Institute in Washington, DC, has acquired the DUKE
ELLINGTON COLLECTION, a large archive of papers, manuscripts, and
memorabilia which had been stored in a warehouse in New York. Included
are original musical manuscripts, photos, and other documentary material.
It will be catalogued and housed at the Smithsonian's American History
Museum.
Earlier this year Brown University opened its new VIRGINIA BALDWIN
OR WIG MUSIC LIBRARY, the latest addition to Brown's Benton B. Orwig
Music Complex. The library houses, in addition to books, scores, and
journals, a collection of more than 12,000 opera recordings on LP and
tape, and a state-of-the-art listening room in which to study them. This
collection, the Walter E. Neiman Archive of Sound Recordings, was established in 1984 in memory of the late president of New York's radio station
WQXR, and the bulk of its present holdings was given by George Jellinek,
host of WQXR's "The Vocal Scene," and by John F. Mastroianni, formerly
of the Houston Grand Opera and now with CAMI.
[]
-37-
WINNERS
EDUCATION
ACADEMIC/
PROFESSIONAL
JOINT
TRAINING
PROGRAMS
The latest affiliation between an opera company and its neighboring
university has occurred in Fort Worth, where the Fort Worth Opera Association and TEXAS CHRISTIAN UNIVERSITY have set up an Apprentice
Artist Program for Singers beginning in the fall. As is the case in similar
projects, singers accepted into this special program will receive advanced
training and master classes at the university while simultaneously getting
practical performance experience with the opera company. Candidates
must be accepted for graduate study at TCU and be selected for enrollment
in the university's new Master of Music degree program in vocal performance pedagogy. Degree candidates will receive an annual scholarship
of $1,500 from the opera company, which may assign them to comprimario
roles or the chorus for main stage productions or participation in special
community/educational performances. Further financial aid may be available from the university. The program will be under the supervision of
Dr. Arden Hopkin, Director of Opera at TCU, and Mario Ramos, Artistic
Director of the Fort Worth Opera. While this is the first formal arrangement between these two organizations, their collaboration began at the
time the opera company was founded in the late forties, and it continued
in the fifties when artistic director Karl Kritz, formerly of the Metropolitan Opera, was engaged jointly by Fort Worth Opera and TCU.
The previously announced Opera Studio Program under the joint sponsorship
of VIRGINIA COMMONWEALTH UNIVERSITY and the Virginia Opera will
be put into practice next fall under the directorship of Wayne Batty.
Graduate students will earn a Master's degree in Applied Music with
emphasis on opera while gathering practical performance experience at
the Virginia Opera.
NEW DEGREE
PROGRAMS
The STATE UNIVERSITY OF NEW YORK (SUNY)at Purchase has announced
the establishment of a new graduate program that will lead to a Master
in Fine Arts degree with specialization in opera. The new program will
begin in fall '88.
The Opera/Music Theater program at WEST TEXAS STATE UNIVERSITY
in Canyon, headed by Dr. Robert Hansen, has been expanded and is now
offering a Bachelor of Fine Arts degree in Music Theatre for the first
time. In addition to scenes programs, the music department mounts two
full productions in four performances each, staged in cooperation with
the drama department. The university also offers B.M. and M.M. degrees
in Conducting, a B.A. in Theater in the areas of stage direction and
stage design and technique, and a B.M. in Music Business.
ACADEMIC
PRODUCTIONS
The Opera Theater at BRIGHAM YOUNG UNIVERSITY in Provo, Utah,
doubled the number of productions and tripled the performances last
season, offering its students a great variety of styles—although no variety
in languages, since everything was performed in English. Both undergraduate and graduate students take part in Opera Theater productions. The
works staged last season, Madama Butterfly, Dialogues of the Carmelites,
Don Pasquale, The Pirates of Penzance, Oklahoma! and She Loves Me,
were given a total of 38 performances.
COMPUTERS &
TECHNOLOGY
The School of Music at the UNIVERSITY OF MICHIGAN has established
a Center for Performing Arts and Technology for research and development
of technological applications in the performing arts. CPAT hopes to
complement the work done at the Experimental Media Facility at M.I.T.,
Cambridge, presently America's most advanced computer center in music
-38-
EDUCATION
composition, and also to collaborate with IRCAM, the Paris center headed
by Pierre Boulez. Tod Machover, who directs the M.I.T. project and is
also closely involved with IRCAM, and CPAT's Director David Gregory,
a composer of computer music who has worked with computer applications
in the fine arts, hope to discover new technological uses of the versatile
machines which will be applicable to both the performing and fine arts.
The UNIVERSITY OF MASSACHUSETTS at Amherst offers two summer
programs in July: "Introduction to Arts Management" and "The Arts Management Refresher." Lectures and courses are given concurrently over
a three-day period, July 13 to 15. A tuition of $195 admits students to
either program; $95 permits enrollment for a single day. The University's
Arts Extension Service administers the programs.
ARTS
MANAGEMENT
The Manhattan School of Music is opening a new high school for outstanding
musicians, THE ACADEMY AT MANHATTAN SCHOOL OF MUSIC, which
is a t t a c h e d t o t h e s c h o o l ' s P r e p a r a t o r y Division. In a d d i t i o n t o c o n c e n trated music instruction, students receive four half-days of academic
classes satisfying New York State requirements. Admission is by demonstration of outstanding achievement in music performance as well as in
academic subjects. Auditions are required, and dual enrollment in the
Academy and the Prep Division commands an annual tuition of $8,000.
HIGH SCHOOL
FOR
MUSICIANS
The SAN FRANCISCO UNIFIED SCHOOL DISTRICT has agreed to test a
pilot program in opera and music theater curriculum in collaboration with
the San Francisco Opera Guild. Created by the education department of
OPERA America under its director Marthalie Furber, the program has
been developed for grades K through 12, and will be put into effect in
four San Francisco schools this fall. Eight classes in each school will
create and produce an opera or musical based on contemporary themes
originating with the children; some of the results will be showcased in
December at the annual OPERA America meeting, which will be held in
San Francisco this year. The spring curriculum calls for the study of
existing great operas or musicals. If the program is deemed a success,
it will be offered nationally. The initial program is sponsored jointly by
the San Francisco Opera Guild, the San Francisco Education Fund, the
San Francisco Unified School District, Learning through Education and
the Arts, and the Lamplighters.
CURRICULUM
FOR SCHOOLS
Founded in 1939, the MUSICIANS CLUB OF AMERICA is now offering
its third year of summer courses for singers and pianists. Three sessions
of master classes are being held at the Educational Center for the Performing Arts in Franklin, NC. May 30 to June 17 is reserved for "Lieder/
Art Song" repertoire, June 20 to July 22 for "Operatic Career Preparation,"
and July 25 to August 5 for "Music Theatre." The approach and course
subjects are similar to those offered in Graz by AIMS—minus the Germanspeaking environment and the European managers. William Woodruff, a
former AIMS associate, is the director of the institute in North Carolina.
Tuition, which includes housing and two meals daily, is $1,400 for the
Lieder course, $2,450 for Operatic Career Preparation, and $950 for Music
Theatre, inclusive of the registration fee. Application is by live audition
or submission of a cassette tape; in either case there is a $35 audition
fee.
For more information write MCA, P.O. Box 130407, Tampa, FL
33681; telephone (813) 831-7389.
SUMMER
COURSES IN
U.S.
Opera Northeast and the UNIVERSITY OF MAINE offer a Music Theater
Workshop under the directorship of Donald Westwood. The three-week
-39-
EDUCATION
program for singers, which runs from July 11 to 30, will culminate in a
production of The Pirates of Penzance. The tuition is $800 and includes
housing but no meals. For information call (212) 472-2168.
The ROCKY MOUNTAIN INSTITUTE FOR THE ARTS has announced a
ten-week Summer Musical Theater Institute at Grand Lake, Colorado, this
year. Details are available from Ted L. James, P.O. Box 671, Grand
Lake, CO 80447; (303) 627-8385.
From June 19 to July 24 a new summer institute for singers will be
offered in La Jolla, California. BATIQUITOS FESTIVAL MUSIC INSTITUTE
may be contacted by writing P.O. Box 2576, Del Mar, CA 92014.
SUMMER
COURSES
ABROAD
The AMERICAN INSTITUTE OF MUSICAL STUDIES in Graz, Austria, better
known as AIMS, the oldest and most sought-after of the American programs
for singers in Europe, opens this summer on July 4 and runs through
August 17. Auditions are held in major cities around the country to
select participants for this intensive advanced training program. Tuition
is $3,495, which includes housing and some meals but not airfare. This
summer marks the twentieth anniversary of AIMS, and for this occasion
the Institute asks past students, faculty, and staff to send their current
addresses, and the years they were in Graz, to Nora Sands, General Director, AIMS, 2701 Fondren Drive, Dallas, TX 75206, or at Elisabethstr. 93,
8010 Graz, Austria.
Two summer seminars for young singers that have not previously been
listed in the COS Bulletin are being offered in German-speaking countries.
The WIENER MUSIKSEMINAR lists a standard academic curriculum in
music, plus courses in instrumental performance, conducting, and voice,
with specialization in Lieder and their accompaniment, with Erik and Ady
Werba as instructors. This year's seminar is held from July 18 to August
12; future dates and further information may be obtained from Vienna
Music Seminar, Schonburgstrasse 32/17, A-1040 Vienna, Austria. — A new
two-week seminar for solo singers, choristers, and accompanists, under
the direction of Martha Harlam and Robert Tannenbaum, is scheduled to
run from August 7 to 21 in Heimbach, near Cologne, Germany. For details
write to EUROPEAN AUDITION ORIENTATION SEMINAR, Am Kuttenbusch
47, 5040 Briihl, Germany.
Nick Rossi's STUDIO LIRICO in Stia, Italy, will begin its training and
master classes in mid-June and has scheduled two performances of Cosl
fan tutte for July 16 and 17.
CARNEGIE-MELLON UNIVERSITY and the ACCADEMIA VOCALE DI
LUCCA will offer an Italian Opera Institute this summer. Robert DeSimone
and Lorenzo Malfatti are the co-directors, with Italo Tajo also engaged
to teach master classes.
Further information may be obtained from
Professor Malfatti, Department of Music, Carnegie-Mellon University,
Pittsburgh, PA 15213.
FULBRIGHT
GRANTS
Educators who are U.S. citizens with university or college teaching experience and a Ph.D. degree or equivalent professional qualifications are
eligible to apply for Fulbright grants in research and university lecturing
abroad. There is no age limit, and applications "are seriously encouraged
from retired faculty members and independent scholars." There are openings in over 100 countries in virtually all disciplines.
Application
(continued on page 42)
-40-
EDITIONS AND ADAPTATIONS
The 50th Music Festival of Strasbourg promises a novelty: TRISTAN UND
ISEULT, based on an early thirteenth-century version of the legend by
the Minnesinger Gottfried von Strassbourg with music reconstructed from
medieval fragments by Joel Cohen. Cohen's Boston Camerata will participate in the performances, to be staged by Pierre-Jean de San Bartolome'
on July 2, 1988, in Strasbourg and repeated at the Festival Vaison-laRomaine. The work was performed in Boston and New York in semistaged form this past season.
When the Seattle Opera presents WERTHER next season, it will do so
with a baritone, Dale Duesing, in the title role. It seems that this will
be only the second time that the original tenor part has been east with
a baritone. Mr. Duesing follows in the distinguished footsteps of Mattia
Battistini, for whom Massenet himself revised and transposed the role.
The Seattle performances will be seen in a new production designed by
Neil Peter Jampolis, staged by Francesca Zambello, and conducted by
Antonio de Almeida.
In addition to the The Children's Pinafore there is now also the SON OF
THE MIKADO, an abridged 50-minute version of the ever-popular Savoy
opera created for in-school performances given by OPERA-Go-Round, the
Kentucky Opera's education and outreach program. Conceived to include
student participation, the work was taken into area schools this season
concurrently with the Kentucky Opera's main-stage production of The
Mikado itself. Two student performances of the complete work were also
added to the run of six regular subscription performances at the Macauley
Theatre.
A new critical edition of Verdi's LUISA MILLER by Jeffrey Kallberg is
now available from Hendon Music/Boosey <5c Hawkes. James Conlon led
a concert performance using this edition at the Cincinnati May Festival
on May 20, featuring soprano Silvia Mosca, tenor Dennis O'Neill, baritone
Paolo Coni, and bass Paul Plishka.
Rossini's BIANCA E FALLIERO was heard in its American premiere in
Miami in a new critical edition published by the University of Chicago
Press. The general editor is Gabriel Dotto, and the vocal embellishments
were edited by Philip Gossett.
Sheldon Harniek has written a new English text for Bach's THE CONTEST
BETWEEN PHOEBUS AND PAN on a commission from the Bach Aria Group.
Performances of this delightful spoof were staged in June at SUNY in
Stony Brook and Merkin Hall in Manhattan.
On the day of the 200th anniversary of Gluck's death, a new edition of
IPHIGENIE EN AULIDE was given its first performance at the Vienna
State Opera under Charles Mackerras' baton. The score, based on Gluck's
first version of 1774, was prepared for the New Critical Complete Edition
of his works published by Baerenreiter and is available in the U.S. from
Foreign Music Distributors.
Seattle's A Contemporary Theater (ACT) is trying out a revised version
of Stephen Sondheim/George Furth's MERRILY WE ROLL ALONG, first
performed at the La Jolla Playhouse in 1985 under the direction of James
Lapine and brought to Broadway for a very brief run, where it was
directed by Harold Prince. The current collaborator/director is Jeff
-41-
EDITIONS AND ADAPTATIONS
Steitzer, and the latest version has several new numbers by Furth and
Sondheim, while several previous numbers have been omitted.
Combining the revised book created for the film version with the original
uncut score written for the Broadway musical, Houston's Theatre Under
the Stars and the Long Beach Civic Light Opera will jointly produce THE
UNSINKABLE MOLLY BROWN, with performances scheduled by both companies in spring '89. The film's co-stars Debbie Reynolds and Harve
Presnell will appear in the first run in both cities.
DONIZETTI
In 1984 Will Crutchfield, a music critic of the New York Times, reported
OPERA
his find of a hitherto unknown manuscript in Donizetti's hand of Acts 1
REDISCOVERED and 3 of his lost comic opera ELISABETH. Further searches by Mr.
Crutchfield turned up sketches for Act 2 at the Bibliotheque Nationale
in Paris. There things stood until this June, when Richard Bonynge
uncovered the manuscript score of Act 2 at Covent Garden while examining
old ballet materials there. Donizetti evidently composed the opera in
Paris during the early 1840s, adapting much of it from Gli Esiliati in
Siberia (Naples, 1827), but he failed to obtain a performance there. (The
work published as Donizetti's Elisabeth was largely the work of one Uranio
Fontana.) The Covent Garden version, which has an Italian text, may
have been intended for an English impresario who asked Donizetti for a
new opera in 1841 and again in 1845; however, the score seems to have
been set aside and forgotten until Messrs. Crutchfield and Bonynge brought
it to light. Donizetti scholars now have the task of collating and selecting
from the available material in order to prepare a performing edition so
that Elisabeth, or Elisabetta, can receive its belated world premiere.
CORRECTION
Michael Kaye's new critical edition of LES CONTES D'HOFFMANN, scheduled to be premiered in October by the Los Angeles Music Center Opera,
will be published by B. Schott <5c Sohne, Mainz, and available in the U.S.
from European American Music Distributors. Mr. Kaye's address, listed
in this connection in Vol. 28, No. 1, should have read: 3023 Pickwick
Lane, Chevy Chase, MD 20815.
[]
Education (continued from page 40)
forms are available now for the 1989-90 school year. The application
deadlines vary depending on the country and subject selected, beginning
with June 15, 1988, for Australasia, India and Latin America, and continuing with September 15 for Africa, Asia, Europe, and the Middle East;
January 1, 1989, for Germany, U.K., and Japan; and February 1 for France
and Italy. For specifics and materials write Council for International
Exchange of Scholars, 11 Dupont Circle, suite 300, Washington, DC 20036.
WINNERS
During the NOA Conference, the following academic productions were
singled out to receive awards for excellence: Manhattan School of Music's
staging of Massenet's Che'rubin, and Cincinnati College-Conservatory of
Music's The Magic Flute.
D
-42-
APPOINTMENTS AND RESIGNATIONS
Government Appointments
ADRIENNE NESCOTT HIRSCH, Executive Director of the Illinois Arts Council, has accepted
the position of Deputy for Public Partnership
with the National Endowment for the Arts in
Washington. She will have charge of the State
and Local Arts Programs and the Arts in Education Program. New to the position of NEA Director of State Programs is EDWARD DICKEY,
who has had eleven years of experience in
various areas of the Public Partnership office.
The Colorado State Council on the Arts and
Humanities has recently appointed BARBARA
NEAL Executive Director, and the North Carolina Arts Council has named HARLEY SHUFORD
Chairman. — Two Executive Directors who have
resigned recently and whose replacements are
being sought are WALLY WEIL of the Missouri
Arts Council and CHARLOTTE CARVER,
founding Director of the South Dakota Arts
Council.
Government Appointments Abroad
The post of Music Director of the Arts Council
of Great Britain will become vacant when the
five-year contract of RICHARD LAWRENCE
terminates this spring. He announced that he
will not be available for another term.
International Arts Organizations
The International Theatre Institute (ITT) has
elected MARTHA COIGNEY President of the
organization, which links theaters in 72 countries. She has been one of the U.S. representatives for many years.
National & Regional Arts Organizations
STEPHEN BENEDICT, Director of the Program
in Arts Administration at Columbia University,
was elected President of the Theatre Development Fund in New York City. Special Assistant
at the White House in the 1950s and then a
Program Director for the National Endowment
for the Arts, he was for fifteen years a Staff
Associate at the Rockefeller Brothers Fund.
He was one of the founding architects of TDF
and its programs, has been on its board of
directors since 1968, and served once before
as its President (1972-74). Others elected to
new posts were the immediate past president
EDWIN WILSON to First Vice President;
GERALDINE STUTZ, Second Vice President;
DAVID HOLBROOK, Treasurer; and JOHN F.
BREGLIO, Secretary.
At its January Conference OPERA America reelected the following slate of officers: DAVID
GOCKLEY, President; ARDIS KRAINIK, Vice
President, two-year term; LOTFI MANSOURI,
-43-
Vice President, one-year term; and PLATO
KARAYANIS, Treasurer. Newly elected are
MARTIN FEINSTEIN, Vice President, one-year
term; ROBERT HEUER, Secretary; and PAUL
KELLOGG
(Glimmerglass
Opera),
MARC
SCORCA (Chicago Opera Theater), and KEVIN
SMITH (Minnesota Opera) as members of the
board of directors.
Volunteer Lawyers for the Arts has named
TIMOTHY S. JENSEN Executive Director to succeed Jennifer Moyer, who has resigned. KATHARINE ROWE, VLA Staff Attorney, is moving
into Mr. Jensen's former position as Director
of Legal Services.
SANFORD I. WOLFF is the new National Executive Secretary for the American Guild of
Musical Artists (AGMA), succeeding GENE
BOUCHER, who after suffering a stroke last
fall has now fully recovered.
The National Association of Teachers of Singing
(NATS) has elected DALE MOORE as its President. He is Professor of Voice at Indiana University.
Dr. RANDALL HOLDEN, Director of the Opera
Theater at the University of Louisville, Kentucky, was elected President of the National
Opera Association at the November membership
meeting. Two longtime members were installed
as Life Members: BORIS GOLDOVSKY and
CLIFFORD REIMS. Dr. BARBARA LOCKARDZIMMERMAN of Bowling Green State University
in Ohio was named Vice President of Conventions, and ROBERT WALLACE, MARAJEAN
MARVIN, and HAROLD HAWN were returned
to their former offices as Regional Vice President, Recording Secretary, and Treasurer
respectively.
STEPHEN RAPP, Director of Community and
Education Programs at Opera Pacific, who
helped to develop the education program ECCO!
at Cincinnati Opera, will succeed Robert Petza
as President of Opera For Youth in the fall.
The New England Foundation for the Arts, with
headquarters in Cambridge, MA, has elected
DONALD R. MELVILLE President. He recently
retired as Chairman of the Norton Company.
Including the Rockefeller Foundation as a national arts organization may be wishful thinking,
but it is national and has sponsored important
arts programs. PETER C. GOLDMARK, Jr.,
has been elected President of the Foundation,
succeeding Richard Lyman. As of July 1 Mr.
Goldmark will also be Chief Executive Officer.
Opera Companies: Officers
At the annual meeting of the Metropolitan
Opera Association on May 19, the following
officers were reelected to their previous
positions: WILLIAM ROCKEFELLER, Honorary
Chairman of the Board; JAMES S. MARCUS,
Chairman of the Board; LAURENCE D. LOVETT,
Vice Chairman of the Board; Mrs. GILBERT W.
HUMPHREY, President; MICHAEL V. FORRESTAL, Chairman, Executive Committee; J.
WILLIAM FISHER and ALTON E. PETERS, Vice
Presidents; RICHARD R. SHINN, Treasurer; and
WILBUR DANIELS, Secretary. Newly added to
the Board of Managing Directors are RAY J.
GROVES, GEORGE V. GRUNE, EMILY FISHER
LANDAU, and RISE STEVENS, the first former
Met artist to join this particular category of
directors. New Advisory Directors are OSCAR
DE LA RENTA, Mrs. RANDOLPH H. GUTHRIE,
Jr., Mrs. ALBERT A. LIST, and BARNABAS
McHENRY. Former General Manager ANTHONY
A. BLISS, who was President of the Association
during the Rudolf Bing era, was elected an
Honorary Director. Twelve new Members of
the Association were also elected and they
include JOHN T. LAWRENCE, Jr., immediate
past President of the MONC, and BARRY
TUCKER, son of the late Richard Tucker.
FREEMAN, Sr., Secretary & General Counsel;
PAUL WILSON, Treasurer; ARDIS KRAINIK,
General Director; and FARRELL FRENTRESS,
Assistant Secretary.
Opera Carolina in Charlotte has elected
GAETANO (Guy)STAFFA President of the company. He joined its board of directors two
years ago when he moved to North Carolina
from New York, where he had been involved
with both the Metropolitan Opera and the New
York City Opera over a long period.
CLAUDE BEL AND has been elected President
of L'Ope>a de Montreal where he succeeds
Herv6 Belzile, who served for over five years.
Opera Companies: Executive/Artistic Heads
After seven years as General Director of the
San Francisco Opera, TERENCE A. McEWEN
has resigned for reasons of health. He succeeded Kurt Herbert Adler, who had held that
office for 28 years. (Maestro Adler died the
same day Mr. MeEwen resigned; see "Opera Has
Lost.") A highlight of Mr. McEwen's tenure
in San Francisco was a new production of Der
Ring des Nibelungen in 1983-85. LOTFI MANSOURI, the international stage director and
General Director of the Canadian Opera ComMrs. GEORGE P. (Ellie) CAULKINS of Denver pany in Toronto since 1975, when he succeeded
has been elected President of the Metropolitan founding director Hermann Geiger-Torel, has
Opera National Council, succeeding JOHN T. been chosen to replace Mr. McEwen. He will
LAWRENCE JR. whose term had expired. Mrs. be in San Francisco next fall as stage director
DENNIS (Camille) LaBARRE of Cleveland was of two operas and will assume the full duties
named Chairman of the MONC Regional Audi- of General Director on January 1, 1989. He
tions, taking over from HOWARD J. HOOK JR., will be the fourth person to occupy this post
and Mrs. KLAUS (Margo) BINDHARDT of New- since the company's founding 65 years ago.
market, Ont., was reelected National Chairman
of Central Opera Service. Mrs. NORRIS (Mary) BEVERLY SILLS, who stated some time ago
DARRELL retired as Vice Chairman (see "COS that she intended to relinquish the position of
General Director of the New York City Opera
Inside Information").
by her 60th birthday, has announced her retireThe Washington Opera has elected nine new ment from that office effective January 1,
She will then become President of the
members to its board of directors: Mrs. ROY 1989.
EARL DEMMON, F. DAVID FOWLER, WILLIAM company's board of directors, an office that is
C. HARRIS, JOHN RODERICK HELLER III, free from artistic decision-making. Should no
SHERMAN ELLIOT KATZ, GILBERT H. successor have been found or agreed upon by
KINNEY, Mrs. DAVID MERRfCK, BRUCE C. the New Year, however, she is willing to continue until the post is filled. Miss Sills began
McMILLEN, and RONALD F. STOWE.
her singing career at the New York City Opera
Elections of officers for the Lyric Opera of in 1955 and remained with the company throughChicago were held at the opera house on May out her international career until her retirement
18, placing the following board members in key from the stage in 1979, when she assumed the
decision-making positions: J.W. GORKOM, administrative duties. Her future plans include
Chairman; WILLIAM B. GRAHAM, President and television appearances, and she may be the host
Chief Executive Officer; FRANK W. CONSI- for a new cultural series, Omnibus.
DINE, Chairman, Executive Committee; LESTER
CROWN, JOHN D. GRAY, and PHILIP B. JOHN BALME, Artistic Director of the Boston
MILLER, Executive Vice Presidents; ANTHONY Lyric Opera and formerly Managing Director of
ANTONIOU, ARCHIE BOWE, JAMES BRICE, Opera New England and Artistic Administrator
RUSSELL FISHER, JOHN SEABURY, and Mrs. of the Opera Company of Boston, has been
EDWARD BYRON SMITH, Vice Presidents; LEE appointed General Director of the Lake George
-44-
Opera Festival, replacing Brian Lingham. Mr.
Balme may be best known for Boston Lyric's
production of the complete Der Ring des
Nibelungen, which he conducted first in Boston
and then at New York's Beacon Theater in 1983.
L'Op6ra de Montreal and its Artistic Director
Jean-Paul Jeannotte have announced the
appointment of BERNARD UZAN, Artistic
Director of the Tulsa Opera, as DirecteurG6n6ral of the Canadian company. The international stage director, educated in France,
will assume his new duties on August 1.
Opera Carolina is facing a change next summer
when BRUCE CHALMERS, General Director of
the company in Charlotte for the last six years,
will be retiring. His previous positions in opera
management found him at the Canadian Opera
Company in Toronto and at the head of the
Portland Opera in Oregon.
BRIAN McMASTER has announced his resignation as Artistic Director of the Vancouver
Opera effective at the end of his contract,
which terminates in summer 1989. He will
retain his longtime post as Artistic Director of
the Welsh National Opera in Cardiff.
Opera Companies: Administrative Heads
The Skylight Comic Opera has engaged CHRISTINE VOIGT to fill the newly created position
of General Manager. Ms. Voigt comes to Milwaukee from the Pennsylvania Council on the
Arts, where she was Music Program Director.
Glimmerglass Opera in Cooperstown, NY, has At Skylight she will work closely with Managing
engaged STEWART ROBERTSON as Music Director Colin Cabot and in collaboration with
Director. He will continue with the Des Moines Artistic Directors Stephen Wadsworth and FranMetro Opera as Associate Conductor and Direc- cesca Zambello.
tor of the company's Apprentice Artists Program, and also as Music Director of the Santa MICHAEL ANDERSON has been engaged by the
Fe Symphony Orchestra.
Eugene Opera to fill the newly created post
of Managing Director.
The Seattle Opera has extended its current
contract with General Director SPEIGHT The Chicago Opera Theater has named STEVEN
JENKINS until July 1993, when he will have LARSEN Artistic Administrator; he is also the
conductor for one of this season's operas.
been head of the company for ten years.
MARC SCORCA, previously Managing Director,
The San Diego Opera announced a five-year now has the title of Executive Director.
renewal of General Director IAN CAMPBELL'S
contract, which will also end in July 1993. The Theatre Under the Stars in Houston has
— The Greater Miami Opera has signed a new named JOHN HOLLY, formerly of the Music
five-year contract with ROBERT HEUER, Theatre of Wichita, to the newly created post
insuring the General Manager's services until of Producing Director. As such he will be
summer 1993.
joining the executive management of TUTS and
will report directly to Artistic Director Frank
Barbara Silverstein, General Manager and Artis- Young.
tic Director of the Pennsylvania Opera Theater,
is divesting herself of one of her titles and Opera Companies: Department Heads
the duties that it entails. She has named MARTA JUSTUS FOLDI, who has been in charge
PATRICIA FULVIO General Manager of the of opera productions at the Cleveland Institute
company with responsibility for administrative of Music, has now accepted positions with two
matters, while remaining in charge of all artis- professional opera companies. She will be Protic decisions.
duction Manager for the Atlanta Opera and
Assistant to the Artistic Director at the Toledo
Her husband, bass-baritone Andrew
JOHN GAGE, formerly General Manager, is now Opera.
General Director of the Florentine Opera in Foldi, continues as head of the Cleveland Institute's Opera Theater and as guest artist with
Milwaukee, Wisconsin.
major opera companies.
TIM ROLEK has been named Artistic Director
of the North Star Opera in Saint Paul.
DAVID GANO, Technical Director and resident
designer for the New Orleans Opera for the
GERALD BLOUNT-BIERLY has resigned as last fifteen years, has accepted the position of
Executive Director of the Tri-Cities Opera in Director of Productions with the Palm Beach
Binghamton, NY. The company is conducting Opera in Florida. — DANIEL HELFGOT has
a search for his successor.
been named Director of Production for Opera
Following a
at the Tulsa
was engaged
is currently
replace Mr.
reorganization of responsibilities
Opera, MYRNA SMART RUFFNER
as General Manager. The company
looking for an Artistic Director to
Uzan.
-45-
San Jose\ where he had previously
several operas.
staged
The Lyric Opera of Chicago has engaged SUSAN
MATHIESON as its new Director of Marketing.
Her preceding position was with the Vancouver
Arts Festival held in conjunction with the World
Exposition there.
MARC A. DORFMAN is rejoining the New York
City Opera's Department of Development as
Director of Foundation and Government Giving.
He was an Associate in the company's Development Department until last year.
AUDREY BROURMAN has been named Director
of Development for the Pittsburgh Opera, and
DOMENICK IETTO will fill that same position
with the San Diego Opera, where he replaces
Sharon LeeMaster. He joins the opera company
after some years of fundraising for the Dallas
Symphony.
The Chautauqua Institution in upstate New York
has engaged CAROL C. HALTER as its first
Director of Marketing. She comes to Chautauqua from the Greater Buffalo Chamber of
Commerce Convention and Visitors Bureau.
ANNA ARRINGTON, an arts consultant, has
been engaged by the Aspen Music Festival and
School as Director of National Funding.
After two years as Business Manager of the
Opera Orchestra of New York, JOHN-DAVID
BROOME has accepted the post of Executive
Director of the Boston Early Music Festival.
Theater Training Company
Stage director FRANK CORSARO was named
Artistic Director of the Actors Studio in New
York, succeeding Ellen Burstyn, who held that
post for the last six years. Paul Newman is
President of the Studio and Patty Ewald is
Executive Director. Emphasis will be placed
on the production of new works, while the advanced training of professional actors will be
continued.
Miss Burstyn's predecessor, who
shaped the Studio and its programs almost from
the time of its founding in 1947, was the late
Lee Strasberg.
DALE DREYFOOS has left the post of Artistic
Director of the Charleston Opera in South
Carolina and moved north to become Director
of the Education and Outreach Division of
Opera Carolina in Charlotte, NC. REBECCA
CAIRNS has joined the company as his assistant
in charge of marketing the outreach program; Orchestras & Ensembles
CINDY
BALLARO
becomes
Development The Houston Symphony Orchestra, which is curAssociate.
rently celebrating its 75th season, has named
CHRISTOPH ESCHENBACH as its new Music
Director, succeeding Sergiu Comissiona. He
Music Festivals
ANTHONY J. RUDEL was named Deputy Direc- will take charge this fall, with his four-year
tor in charge of music for the First New York contract extending through the summer of 1992.
International Festival of the Arts by its Chair- Although he has not held a permanent conductman, Martin Segal. For several years he has ing position, he has been principal guest conhad his own program on the New York radio ductor in Zurich and of the London Philharstation WQXR; he is the son of conductor Julius monic, and has led numerous major orchestras
here and abroad since his conducting debut in
Rudel.
Hamburg in 1972.
DENNIS RUSSELL DAVIES will not renew his
contract as Director of Serious Music at the GUNTHER HERBIG, Music Director of the
Saratoga (NY) Performing Arts Festival at the Detroit Symphony since 1984, has announced
end of this summer, when he will complete his that he will not renew his contract there when
fifth year there. He continues as Music Direc- it terminates in summer 1990. The orchestra's
tor of the Cabrillo Festival in California and inability, due to budgetary restrictions, to
Principal Conductor of the American Composers program various extra activities originally
Orchestra, in addition to being Music Director promised to Mo. Herbig was the reason for his
for the City of Bonn—i.e. of the symphony, decision. — Meanwhile, Mo. HERBIG has been
opera, and all official musical functions—in named Artistic Advisor to the Toronto Symphony for the upcoming season and will phase
West Germany.
into the position of Music Director over the
California's 33-year-old Ojai Music Festival has next three years; he will assume the title and
a new Music Director, NICHOLAS McGEGAN, full responsibility in 1991. The resignation of
who will perform Baroque music including Pur- ANDREW DAVIS, the current Music Director,
cell's King Arthur with his own Philharmonia will become effective next season.
Baroque Orchestra at the festival. Contempohas
rary music will be provided by Peter Maxwell The Baltimore Symphony Orchestra
Davies, including his children's opera Cinder- extended its contract with DAVID ZINMAN as
Conductor and Music Director until the end of
ella; he is this year's composer-in-residence.
-46-
the 1993-94 season, and the Saint Louis Symphony Orchestra and LEONARD SLATKIN will
remain as a team at least through the 1990-91
season.
The Florida Orchestra of Tampa/St. Petersburg/
Clearwater has selected as its Music Director
JAHJA LING, former Resident Conductor of
the Cleveland Orchestra, and the Philharmonic
Orchestra of Florida in Fort Lauderdale has
named JAMES JUDD as its Music Director.
Music Director of the Rhode Island Philharmonic
and former Associate Conductor at the San
Francisco Symphony ANDREW MASSEY became
Music Director of the Fresno Philharmonic at
the beginning of the 1987-88 season.
Richard Cisek, President of the Minnesota
Orchestra, has announced the appointment of
MARK VOLPE as General Manager, succeeding
David M. Wax, who moved on to Houston (Vol.
28, No. 1). Mr. Volpe comes to his position
from the Baltimore Symphony, which he joined
in 1983.
STEPHEN PAULUS (The Village Singer, The
Postman Always Rings Twice) has joined the
Atlanta Symphony Orchestra as its Composerin-Residence. — The Los Angeles Philharmonic
has signed RAND STEIGER as its first Composer
Fellow, while Pulitzer Prize-winner John Harbison continues as the orchestra's Advisor on
New Music.
CHARLES WADSWORTH, founder and Artistic
Director of the Chamber Music Society of Lincoln Center, has announced his resignation
effective at the end of the 1988-89 season,
the Society's twentieth. He plans to devote
more time to his career as composer and pianist.
FRED SHERRY, cellist, who became a parttime administrator of the Society in 1980, will
replace Mr. Wadsworth.
Academia
The University of Cincinnati College-Conservatory of Music has named DAVID ADAMS to
head its Performance Studies Division. On the
faculty since 1980 as associate professor of
voice, he had previously performed at various
European opera houses. — TERRY LaBOLT,
conductor, pianist, and arranger of Broadway
GARY L. GOOD, former Executive Director of and Off-Broadway musicals, is currently Visiting
the Buffalo Philharmonic, has joined the Mil- Instructor of Musical Theater at CCM. — The
waukee Symphony Orchestra in the same capa- Cincinnati College-Conservatory's "Hot Summer
city. — DARRELL EDWARDS has moved from Nights," a series of musicals at the University
the Dallas Symphony to the Buffalo Philhar- now in its sixth consecutive summer, has a new
monic as its Executive Director, the post Artistic Director, AUBREY BERG.
vacated by Mr. Good. — Mr. Edwards' successor
as Orchestra Manager in Dallas is MARK
For the 1987-88 academic year, the voice
MELSON.
faculty at the University of Michigan added
several singers of the Metropolitan Opera to
ZDENEK MACAL has accepted the position of its roster. Tenor GEORGE SHIRLEY was named
Artistic Director and Principal Conductor of Professor of Voice, soprano KAY GRIFFEL
the San Antonio Symphony Orchestra, suc- Adjunct Associate Professor, and soprano
ceeding former Principal Conductor Andrew GIANNA ROLANDI Visiting Assistant Professor.
Schenck. Mr. Macal has also had his current
contract as Music Director of the Milwaukee
Central State University at Edmond, Oklahoma,
Symphony extended until summer 1992.
has established a new performing arts program,
and KAY CREED, formerly of the Metropolitan
JOHN SANTUCCIO, formerly with the New York Opera Studio and the New York City Opera, is
Philharmonic, has become Executive Director its Director of Opera and Assistant Professor
of the Syracuse Symphony Orchestra, replacing of Voice.
DON ROTH who has accepted the post of General Manager of the San Francisco Symphony.
— PETER McCOPPIN will be the new Music Former Met stage director JAMES LUCAS is
Director of the Vancouver Symphony Orchestra on the faculty of the Opera Theater of Indiana
if and when the orchestra is able to shed its University in Bloomington.
accumulated
deficit
(through
bankruptcy
proceedings) and testablish a financially sound Northern Arizona University in Flagstaff has
named Dr. LLOYD HANSON, who is Professor
basis—possibly in time for a 1988-89 season.
of Voice there, to head the NAU Opera Theater.
— At the University of Nevada in Las Vegas,
L'Orchestre symphonique de Quebec has named DAVID BRADLEY of the voice faculty has
GASTON BROWN as its General Director. become Director of the UNLV Opera Theater.
Among his previous administrative positions was — Beginning in fall '88, Professor HELENE
that of Director and Vice President of the JOSEPH-WEIL will take over the Opera WorkNational Bank of Paris in Quebec.
shop at California State University in Fresno.
-47-
ROBERT PAGE, Music Director and Conductor
of several major American choral groups, joins
Carnegie-Mellon University in Pittsburgh as
Director of Choral Studies.
ROBERT FEIST has resigned as Music Director
of Opera and Orchestra at the University of
Washington in Seattle. His last performance
there was the American premiere of Martinu's
Julietta. Vincent Liotta continues as Director
of the University Opera Theatre; Mr. Feist will
be conducting for American Opera Festival of
the Sierra, Oakland Opera, and other companies.
has been Administrator of the Friends of English
National Opera for the last seven years.
The Kent Opera of Great Britain has engaged
ANDREW PARROTT as its new Artistic Director. He has appeared as guest conductor with
various orchestras including, in the U.S., the
Pittsburgh Symphony and St. Paul Chamber
Orchestras; he also led the premiere of Judith
Weir's A Night at the Chinese Opera at the
Cheltenham Festival. Norman Platt, his predecessor at Kent, will be retiring after 25 years
with the company.
Opera Factory/London Sinfonietta has engaged
Arts Centers
Expanding its activities by reviving its summer its first full-time Administrator in the person
festival program, Ottawa's National Arts Centre of MAGGIE SEDWARDS, the former Publicity
has engaged the services of two artistic con- Director at the English National Opera.
sultants. They are artists' manager DAVID
HABER, who was with the Centre for five years EVA WAGNER-PASQUIER has accepted an
in the early seventies before becoming artistic administrative position with Paris' new Ope'ra
director of the National Ballet of Canada, and de la Bastille, where the two company heads
MURIEL SHERRIN, whose former affiliations are Daniel Barenboim and Pierre Vozlinsky, the
include the CBC, the Stratford and Shaw Festi- former in charge of artistic matters, the latter
vals, and the 1984 Toronto International Arts as General Director. — This is L'Orchestre de
Festival. The position of Director General has Bordeaux's first season under the musical
been filled by YVON DesROCHERS, whose guidance of ALAIN LOMBARD.
contract started in May; previously he was
affiliated with government and other cultural Several new appointments have been made at
Italian opera houses.
At the San Carlo in
institutions.
Naples RENZO GIACCHIERI, formerly of the
Arena di Verona, has taken over the artistic
Opera and Symphony Abroad
direction from ROBERTO DE SIMONE; GUSTAV
Summer 1990 will find GUNDULA JANOWITZ at KUHN, formerly of the Rome Opera, has become
the helm of the Opera in Graz, Austria. The first conductor there. — Two new artistic
renowned Austrian soprano, who studied in the directors are BRUNO CAGLI at Rome's Teatro
Styrian capital and began her professional dell'Opera and GIULIO TERRACINI at Genoa's
career there, has accepted the post of Opera Teatro Comunale. — The Teatro La Fenice,
Director. — KOSTAS PASKALIS, leading drama- Venice, has named GIANNI TANGUCCI Artistic
tic baritone at major festivals and opera houses, Director, and LUIGI FERRARI has been
is returning to his native Athens to become appointed to the same position at the Teatro
the head of the Greek National Opera.
Comunale in Bologna.
The internationally renowned stage director
JOHN COX has joined the Royal Opera Covent
Garden in the newly created position of Director of Production. He will also continue some
free-lance work, although on a reduced scale.
— Following the resignation of Eva WagnerPasquier, the Royal Opera has named PAUL
FINDLAY, formerly Assistant Director, as Opera
Director. He has been with the company since
1968. — The new directorial team now in place
at Covent Garden also includes Jeremy Isaacs,
General Director; Bernard Haitink, Music Director; and Peter Katona, Artistic Administrator.
PATRICK CARNEGY will be the last to join
the group in the fall as Dramaturg.
When KEN DAVISON retires this summer as
Director of the Friends of Covent Garden, he
will be succeeded by PHYLLIDA RITTER, who
-48-
The Netherlands Opera has lost its General
Administrator, JAN VAN VLIJMEN, who
resigned following some budgetary restrictions.
— Amsterdam's Concertgebouw Orchestra is
now under the musical directorship of RICCARDO CHAILLY, succeeding Bernard Haitink. Mo.
Chailly also leads the orchestra in Bologna and
the Berlin Radio Symphony Orchestra—until
next year, when VLADIMIR ASHKENAZY will
become its chief conductor.
The Wuppertaler Musiktheater has a new
Generalintendant in the person of HOLK
FREYTAG. His background is in theater, in
which he was also active for several years
while residing in the United States. — The
Pfalztheater
Kaiserslautern
has
signed
MICHAEL LEINERT as its new Intendant, with
WILFRIED EMMERT as Generalmusikdirektor.
COS INSIDE INFORMATION
RISKS AND REWARDS
New Works and t h e Future o f Opera
Hosted by the Dallas Opera
November 17-20, 1988
Dallas Sheraton Hotel and Towers
The next COS Conference is scheduled to coincide with the world premiere
of an opera by one of America's most important composers for the lyric
stage: Dominick Argento's The Aspem Papers. The Dallas Opera will
give the work its first performance on November 19, and Plato Karayanis,
the company's general director, has invited COS to hold its next conference
in Dallas in honor of the occasion; we are delighted to accept the
invitation.
Another event planned for the premiere date is a special three-day symposium at Southern Methodist University in Dallas. The sessions on November
19, which will be of particular interest to COS members, have generously
been opened to our conference registrants.
A detailed program of the COS Conference, with registration form, will
be mailed to all COS and MONC members. A general outline follows.
As always, the speakers and panelists will be expert professionals, willing
to impart their knowledge and experience to the conference attendees.
COS Conference (Dallas Sheraton Hotel)
Thursday, November 17
6:00 PM - Registration and Welcome Cocktail Reception
Friday, November 18
10:00 AM to Noon - Greetings; Session I, "Risks"
Plato Karayanis, moderator; panel of administrators and department
heads from major companies
12:00 to 2:00 PM - Luncheon: Guest speaker - Peter Conrad, author
2:00 to 4:00 PM - Session II, "Rewards"
Moderator TBA; panel of creative and performing artists
7:00 PM - COS Gala Dinner: Guest speaker - Dominick Argento, composer
Southern Methodist University Symposium (SMI) campus)
Saturday, November 19
Optional free time; for COS registrants wishing to attend the Symposium,
a special bus will provide transportation to and from SMU
10:00 AM - "Henry James in Film and Television"
1:30 PM - "Literature and Contemporary Opera"
3:00 PM - "Problems in Adapting Literary Texts"
Symposium speakers on Saturday include John Ardoin, Martin Bernheimer,
Peter Conrad, Peter G. Davis, Thor Eckert, James Cellan Jones, Thea
Musgrave, Myfanwy Piper, Simon Sargon, and Dennis Wakeling.
Dallas Opera (Fair Park Music Hall)
Saturday evening, November 19
8:00 PM - Argento's The Aspern Papers world premiere
Soderstrom, von Stade, Ka. Ciesinsky; Rosenshein, Stilwell; c: Rescigno;
d: Lamos; ds: Conklin
10:30 PM - Champagne Supper Celebration
A limited number of tickets for the premiere will be set aside for COS
Conference registrants; they are orchestra seats at $67.50 and $42.50.
-49-
NEXT COS
CONFERENCE
IN
DALLAS
Order forms will be included in the COS Conference registration mailing,
and orders will be filled as received.
The Dallas Opera is negotiating with American Airlines for a special
discount for air travellers. Look for an announcement in the Conference
registration mailing.
MARY HAND
DARRELL
RETIRES
When Central Opera Service was founded by Mrs. August Belmont in 1954
she invited Mrs. Norris (Mary Hand) Darrell to be its Chairman—and, as
Mary Darrell says, when Mrs. Belmont suggested or invited you t o do
something, that really amounted t o a direct order. To Mary's objection,
". . .But I don't know nearly enough about opera to be a chairman," Mrs.
Belmont simply replied, "Don't worry. Mary Peltz will sit on one side of
you and I will sit on t h e other." It would never have occurred t o anyone
to refuse h e r .
This was 34 years a g o , 34 years during which other officers of t h e organization came and went but Mary Darrell remained faithful a n d s t e a d f a s t ,
serving C e n t r a l Opera Service and through it t h e Metropolitan Opera
National Council as COS Chairman, Co-Chairman, and l a t e r as COS Vice
Chairman. Whether she was in charge of a conference committee or a
planning c o m m i t t e e , writing r e p o r t s , or just helping with office chores
such as sorting orders or mailing announcements, s h e gave of herself with
t o t a l dedication t o t h e task at hand. Her belief in t h e value of t h e S e r vice to opera and t o all those involved with it—the a r t i s t s a s well as
the administrators—strengthened t h e organization through all these y e a r s .
She was born into an illustrious family, t h e daughter of t h e great jurist
Learned Hand. In "Wings of t h e Soul", an a r t i c l e she wrote for A n a on
the occasion of t h e 25th anniversary of t h e C e n t r a l Opera Service—the
t i t l e alludes to Berlioz' epigram, "Love and music a r e t h e wings of t h e
soul"—she tells of her first o p e r a t i c experience, when she was six years
old. " J u s t i c e Felix Frankfurter invited me to go to hear Hansel and
Gretel.
I shall never forget those beautiful angels coming down from
heaven just for one l i t t l e girl: Mary Hand."
And now after a full and we hope rewarding 34 years with C e n t r a l Opera
Service, Mary is retiring. Our g r a t i t u d e is as heartfelt as a r e our very
best wishes for many more years of o p e r a t i c enjoyment, now unencumbered
by t h e duties of t h e office in which she served so well.
COS
SYMPOSIUM
OPERA BUDGETS—FINANCES AND PLANNING was t h e t i t l e of a t w o hour symposium on April 8, a r r a n g e d by C e n t r a l Opera Service for t h e
members of t h e Metropolitan Opera National Council during their spring
meeting in New York. Three experts representing different-size opera
companies made up t h e erudite and informed panel, which was moderated
by COS National Chairman Margo H. Bindhardt. The panel members were:
J a m e s E. McGarry, Treasurer and Chairman of t h e Finance Committee,
Dallas Opera
Anca Mohnblatt, Director of Budget, Canadian Opera Company, Toronto
S t e w a r t P e a r c e , Director of Planning and Budget, Metropolitan Opera
The p a r t i c i p a n t s ' diverse posts and points of view made for an engrossing
discussion and for many lively questions and comments from t h e audience.
C e n t r a l Opera Service is g r e a t l y indebted t o t h e speakers who gave so
generously of their time and e x p e r t i s e .
-50-
As some of our readers may have heard, the Louis Harris pollsters recently
THE COS
surveyed 1,500 randomly selected individuals, asking how they spend their SURVEY & THE
leisure time. The Harris organization concluded from the poll that there HARRIS POLL
has been a marked decline in audiences at live cultural events, and specifically that since 1984 attendance at concerts has declined by 36 percent
and at operas and music theater events by 38 percent.
Fortunately the annual COS Opera Survey USA, based on detailed information supplied by the performing companies themselves, proves that this is
simply not the case.
Therefore COS responded with a letter to Louis Harris, sent to him the
day after the results of his poll were made public. Copies were also
mailed to music editors across the country, and were enclosed to all
opera and music theater companies with the 1987-88 COS Annual Survey
questionnaire.
This incident points up beyond any doubt the importance of our obtaining
accurate performance data year after year. If the Harris poll announcement had remained uncontested, it could have had the most harmful impact
on the future support and growth of opera, and specifically on companies'
fundraising efforts; nothing succeeds like success, but the opposite is
equally true.
Here is the text of the letter to Louis Harris:
Dear Mr. Harris,
I have seen several articles quoting from your recent national arts
survey and was greatly surprised to read of its finding a reduction in
audiences for opera and musical theater.
The Central Opera Service, the information and research division of
the Metropolitan Opera, has conducted detailed annual surveys of opera
—and since 1978 of both opera and not-for-profit musical theater events
—in the United States. The results are based on a 75 percent return
of information from the complete field, with all figures supplied by the
performing organizations. I am pleased to send you enclosed the last
survey which includes comparative figures for the last few years and
also some early statistics beginning with 1954-55.
As you can see, audiences for opera and nonprofit music theaters have
risen constantly, with one of the biggest increases—about 13 percent
—occurring from the 1985-86 to the 1986-87 season. The last five
years show an increase of 3.7 million or approximately 25 percent.
Should you require any further information, do not hesitate to be in
touch.
Sincerely,
Maria F. Rich
Executive Director
It will also be of interest to our readers that the American Symphony
Orchestra League's latest survey of its field shows a similar increase in
concert attendance, from 22.8 million to 25.4 million.
-51-
NEW COS
Opera at the Crossroads, the COS Conference held in New York last
PUBLICATIONS October, has been praised for its informative speeches and helpful advice
from professionals in the field of opera administration, volunteer responsibilities, fundraising, and marketing, as well as in education of and
career-building for young singers. Now a transcript of the Conference
has been published. Copies may be ordered at $12 plus postage: $2 for
domestic orders, $4 if from abroad.
Addenda to the Career Guide for Young American Singers a r e revised
and updated every month or two. Those who already own the fifth edition
(1985) of the Career Guide and need only the addenda may order it for
$3.95, including postage.
IN
PREPARATION
The annual survey of opera and musical theater companies leads to new
editions or updating addenda of several COS publications. During the
fall the following will be published:
Directory of Opera/Music Theater Companies and Workshops in the U.S.
and Canada, 1988-89 edition; in list form or as mailing labels
English Captions in Projection
Addenda to Directory of English Translations
Addenda to Directory of Sets and Costumes for Rent
Publication dates and prices will be announced in the next
Bulletin.
SPECIAL OFFER If you have not yet purchased a copy of the 1988 edition of Musical
TO MEMBERS
America's International Directory of the Performing Arts, here is your
chance to order it at half the regular price of $60.00. Send a prepaid
order to Musical America Directory, Special Order, 825 Seventh Avenue,
New York, NY 10019. Mention your COS membership, and enclose your
check for $33 (including $3 postage). Canadian orders require $10 postage,
for a total of U.S. $40.
KAY LAFANS
It is with deep regret that we report the passing last January of Kay
(Mrs. James) Lafans, Central Opera Service Director for the Upper-Midwest
Region. Herself a singer, she first became part of the Metropolitan
Opera National Council fifteen years ago as a member of the Regional
Auditions Committee. Six years ago she joined Mrs. Roy Hollander as
COS Co-Director, and three years later assumed the full responsibility
for COS in the region. With much love and devotion she continued to
organize the annual regional conferences in Minneapolis, even after the
Metropolitan Opera discontinued its spring visit to the Twin Cities. Her
detailed reports on operatic activities in her region were always knowledgeable, as was her evaluation of artistic work; they kept the New York
office and through it the national membership abreast of the activities
in the Upper Midwest. Her support and her cheerful nature will be greatly
missed.
[]
-52-
COS SALUTES...
...composer VTTTORIO RIETI (The Pet Shop, Don Perlimplin) on his 90th
birthday, which was celebrated with a special concert by the St. Luke's
Chamber Ensemble in New York City devoted exclusively to his works.
...composer MAX BRUCH, on the 150th anniversary of his birth, and
composer, arranger, and choral director HALL JOHNSON, who was remembered on the 100th anniversary of his birth in a concert by mezzo-soprano
Barbara Conrad on March 14 at Alice Tully Hall in New York.
...HERBERT VON KARAJAN on his 80th birthday, Austrian soprano HILDE
GUDEN and American mezzo-soprano ASTRID VARNAY on their 70th birthdays, and composer GYORGY LIGETI on his 65th birthday.
...MRS. GILBERT W. HUMPHREY, President of the Metropolitan Opera
Association, recipient of the 1988 Verdi Medal of Achievement awarded
by the Metropolitan Opera National Council.
...opera and art patron, benefactress, and COS Regional Director
ROBERTA RYMER BALFE, who was named "Woman of the Year" at the
Gala Real of the Friends of Art in Miami.
...the PITTSBURGH OPERA, which will be celebrating its golden anniversary with performances of Werther (May '89), with Luciano Pavarotti
taking the title role for the first time; the SAN FRANCISCO OPERA
GUILD on its golden anniversary this year, only three years after the
Metropolitan Opera Guild celebrated its 50th year; the EQUITY LIBRARY
THEATER on its 45th birthday, celebrated with a benefit evening of
Richard Rodgers love songs at New York's Town Hall; OPERA CAROLINA
in Charlotte, looking forward to its 40th anniversary season; the SKYLIGHT
COMIC OPERA of Milwaukee, going into its 30th season; the SEATTLE
OPERA, EDMONTON OPERA, PICCOLO OPERA in Detroit, and the GOODSPEED OPERA HOUSE in Connecticut on their respective silver anniversary
seasons; MUSIC FROM BEAR VALLEY on its 20th summer festival; NEW
YORK GRAND OPERA and Vincent LaSelva on fifteen years of free summer opera in Central Park, this year commemorating the 175th anniversary
of Verdi's birth; and L'OPERA DE MONTREAL on completing its first
decade of operation.
...MUSIKFEST LUZERN in Switzerland on its 50th anniversary.
...KAREN DiCHIERA, composer and director of educational and community
programs at the Michigan Opera and the Dayton Opera, as the recipient of
a 1987 Distinguished Woman Award from Northwood Institute.
...BETTY ALLEN and DAVE BRUBECK, recipients of the National Music
Council's 1988 American Eagle Awards in the classical and popular music
field, awarded on June 7 at the Council's annual members' luncheon.
...ROBERT SHAW, music director of the Atlanta Symphony Orchestra, on
his retirement from this post and in recognition of his distinguished career
as a choral conductor, who received the 1988 Golden Baton Award from
the American Symphony Orchestra League; and 34-year-old KENNETH
KIESLER, Music Director of the Springfield (IL), South Bend (IN), and
Illinois Chamber Orchestras, to whom ASOL presented the 1988 Helen M.
Thompson Award.
-53-
COS SALUTES. . .
...composer ANDREW LLOYD WEBBER (Phantom
of the
Opera,
Cats,
Requiem, Evita, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat), this year's honoree at the eleventh annual National
Music Theater Institute Awards in New York on May 16.
...Maestro SERGIU COMISSIONA, in whose honor the Houston Symphony
Orchestra together with musicians from Rice University and the University
of Houston, a total of 175 players, performed at "Bravo, Maestro, a
Farewell Celebration and Concert" on April 7. Proceeds from the concert
will be used to endow grants to young conductors studying at Rice and
Houston Universities.
...conductor DENNIS RUSSELL DAVIES, recipient of the Columbia University Ditson Award, which cites his commitment to concert and operatic
performances of works by a great variety of American composers.
...American Music Theater Festival's Producing Director MARJORIE
SAMOFF, on having been selected as the first recipient of Philadelphia's
Hal Weissman Service Award for "unselfish and faithful service to the
cultural community."
...LARRY NEWLAND, Music Director of the Harrisburg Symphony Orchestra, who was honored by the Pennsylvania House of Representatives on
his tenth anniversary with the orchestra as a "true son of the Muses,
and brother of Amphion and Orpheus."
...EVELYN SWENSSON, conductor and director of the education programs
of OperaDelaware, who was presented with the William Winder Laird
Award at a ceremony in Wilmington. ERIC W. KJELLMARK, JR., ELIZABETH FERRIS, ROBERT F. McCARTNEY and NEWELL DUNCAN, all of
OperaDelaware, were also cited.
...JACK COHAN, Director of Jorgensen Auditorium at the University of
Connecticut in Storrs, who was awarded ACUCAA's Harold Shaw Special
Commendation for excelling in recital programming and presentation. The
award was made at the organization's annual convention in December in
New York.
...composer DAVID MAVES, eomposer-in-residence at the College of
Charleston, SC, who received one of ASCAP's 1987 awards.
[]
Appointments (continued from page 48)
After several months of widely circulated
rumors that HERBERT VON KARAJAN's contract with the Berlin Philharmonic might be
canceled, an agreement was reached through
the West Berlin Senate to honor the original
commitment and to reconfirm the 80-year-old
Maestro's position as the orchestra's conductorfor-life.
DMITRI TEMIRKANOV has been chosen as chief
conductor of the Leningrad Philharmonic,
succeeding Evgeny Mravinsky who died earlier
this year after a 50-year tenure with the
orchestra. Mr. Temirkanov, a frequent guest
conductor of U.S. orchestras, is leaving his post
as Music Director of the Kirov Opera to accept
the new appointment; his successor at the Kirov
has not yet been named.
[]
-54-
WINNERS
On April 10 the Metropolitan Opera House was
the scene of the MONC National Winners Concert, which presented eleven young singers all
of whom were equal winners of the Regional
Auditions of the Metropolitan Opera National
Council competition. They ranged in age from
22 to 31 and included five sopranos: HELEN
SMEDLEY CARTER (from Memphis, Mid-South
Region), RENEE FLEMING and CAROLYN
JAMES (both from New York City, Eastern
Region), HEIDI LYNN GRANT (from Seattle,
Northwest Region), and LYNDA KEITH (from
Cincinnati, Tri-State Region); two mezzos:
SUSAN GRAHAM (from New York City, Eastern
Region) and WENDY HOFFMAN (from Minneapolis, Upper Midwest Region); two tenors:
RICHARD DREWS (from Chicago, Central
Region) and BEN HEPPNER (from Toronto,
Great Lakes Region); and two baritones:
HAIJING FU (from Boston, New England Region)
and LeROY VILLANUEVA (from Los Angeles,
Western Region). A total of 26 singers who
placed first in their regions had been brought
to New York to compete in the finals two
weeks earlier.
The finalists who did not
advance to the concert were soprano PATRICIA
LYNN RACETTE; mezzos DENISE GRAVES,
ROXANE HISLOP, HEIDI ELIZABETH JONES,
and CHRISTIANE YOUNG; tenors KEVIN
ANDERSON, SAMUEL COOK, GREGORY
CROSS, STUART ALAN NEILL, RICHARD
SCHULER, and BRIAN STRATTON; baritones
JOHN L. ATKINS and RICHARD BYRNE; and
bass-baritone GEORGE MARK JONES.
BEN HEPPNER (see above) was also chosen as
the recipient of the new Birgit Nilsson Prize
by a special jury adjudicating during the Met's
National Winners Concert. — Recent Canada
Council Career Development grants also
included tenor BEN HEPPNER, in addition to
sopranos HEIDI GEDDERT and HENRIETTE
SCHELLENBERG and baritone DANIEL LICHTI.
Metropolitan Opera soprano MARVIS MARTIN
received the $10,000 Florida Prize, awarded
annually to a Florida native by the regional
newspaper group of The New York Times Company for outstanding work in the performing or
visual arts.
The 1988 winner of the Richard Tucker Music
Foundation Award, which this year totals
$25,000, is the already successful 31-year-old
tenor RICHARD LEECH. He will be the focal
point of next season's Tucker Gala at Avery
Fisher Hall, scheduled for November 13. (He
shared the stage at the '87 Gala at Carnegie
Hall with Pilar Lorengar in a duet from Les
Huguenots.) In addition the Foundation
bestowed career grants of $5,000 each on mezzo
ROBYNNE
REDMON,
baritone
JAMES
McGUIRE,
and
bass-baritones
RICHARD
COWAN and ALAN J. HELD, and the new
Robert Jacobson study grants in the same
amount on three baritones, JEFF MATSEY,
CHRISTOPHER ROBERTSON, and LeROY
VILLANUEVA—another MONC Auditions winner.
The 1988 recipient of the $10,000 Cravath
Memorial Award administered by the Musicians
Emergency Fund was mezzo soprano LIANG
NING. The second prize of $5,000 went to
soprano MI-HAE PARK, and third prize to
mezzo-soprano ROBYNNE REDMON. A special
President's Discretion Award was bestowed on
tenor FREDERIC KALT.
The three winners of the 1987 competition
organized by the Oratorio Society of New York
were 25-year-old tenor CARL HALVORSON
($3,000 Ruth Lopin Nash Award), countertenor
DEREK RAGIN ($1,500), and soprano KAREN
HOLVICK ($750).
Mezzo-soprano CARLA WOOD received first
prize, the $1,000 Constance Eberhart Memorial
Award and a scholarship to AIMS in Graz, at
the National Opera Association's competition
last fall.
Soprano LOUISE MENDIUS was
awarded the $1,000 Eleanor Steber Foundation
prize. Other winners in the Artist Division
included
ERNESTO
ZUCCARELLI,
MEG
MORRISON, MARY JANE STEINMETZ, and
SCOTT GREGORY. In the younger scholarship
category baritone KYLE MARRERO received
first prize, STUART NEILL and SCOTT SIKON
second and third respectively.
Opera Index '87 gave its first prize of a $2,000
Chase Manhattan grant to baritone KENNETH
SHAW, and four $1,000 cash awards to
coloratura soprano JEANINE THAMES, mezzo
MARIETTA SIMPSON, tenor ROBERT BRUBAKER, and bass MARK DOSS. Study grants
were distributed to mezzos SUSAN GRAHAM
and JANE BUNNELL, tenor STANFORD OLSEN,
and bass-baritones HERBERT PERRY, JAMES
RENSINK, and NICHOLAS SOLOMON.
The first prize of $2,500 awarded by the
Concert Artists Guild in the vocal category
went to tenor ROBERT SWENSEN.
The Young Patronesses program of the Greater
Miami Opera, sponsor of the Young Artists
Competition, has announced the 1988 winners
chosen from nineteen young singers who competed in the finals. Top honors went to soprano
KATHERINE KULAS of Wisconsin who won
-55-
WINNERS
$3,500, combining the first prize of this competition with the Florida Resident Award.
Second and third prizes were awarded to ERMA
GATTIE and GREGORY RAHMING. All three
were also accepted into the company's Young
Artists Program. CHRISTOPHER SCHALDENBRAND won the first prize of the Student
Award ($1,000).
Portland Opera's Eleanor Lieber Award was
won by bass-baritone RICHARD M. ZELLER,
currently completing his graduate studies at
the University of Cincinnati College-Conservatory of Music. The first prize brings him a
$2,000 cash grant, engagements with the Portland Opera, and possible concert work. In the
summer he was going to join the Merola Opera
Program in San Francisco when he was offered
and accepted a three-year contract with the
Metropolitan Opera's Young Artists Development Program. He has won several awards and
scholarships at
the Cincinnati
CollegeConservatory.
Romanian-born,
Montreal-resident
mezzo
CORINA CIRCA POPA, winner of several major
international competitions, and Manitoba-born
bass PHILLIP ENS, a member of the Atelier
lyrique de l'Op6ra de Montreal.
The Loren L. Zachary Society's national competition selected lyric soprano ANGELIQUE BURZYNSKI of California and mezzo NING LIANG
of New York as its two winners. Each received
a round-trip ticket to Europe and $3,500 in
expense money to travel and audition there.
Achievement awards in the amount of $2,350
went to lyric soprano BRENDA WIMBERLY of
California and coloratura soprano JUDY BERRY
of New York.
The other finalists, each
receiving $1,000, were MARK COLES, KEITH
IKAIA-PURDY, MI-HAE PARK, CHARLES
ROBERT STEPHENS, KEWEI WANG, and WADE
WILSON.
The Washington Opera Guild has selected bassbaritone JEFFREY WELLS as its 1988 "Artist
of the Year" and the recipient of a $500 award.
The 1988 Operatic Competition sponsored by — SUSAN STETSON, mezzo of Austin, Texas,
Opera/Columbus awarded first prize in its was named Singer of the Year by the Shreveport
senior division, consisting of the $2,000 Eleanor Opera. Baritone JOHN BLIZZARD and tenor
Steber Foundation Grant and a scholarship to HUGH FORBIS took second and third place
AIMS in Graz, to baritone RICHARD FINK (32). respectively.
The other winners in this division were baritone
RICHARD REBILAS (30), soprano STEFFANIE
The American Friends of Austria Vocal CompePEARCE (29), and bass-baritones MARK
tition held its finals on March 6 in Chicago.
BAKER (24) and DANIEL MAY (29). The junior
ROBIN MURPHY received the first prize of
division's prizes went to tenor A. CRAIG
$2,000, to be used for attending AIMS in Graz.
MONTGOMERY (22), baritone RANDAL TURA $250 Mozart prize went to BONITA HYMAN,
NER (23), soprano RANDA ROUWEYHA (22),
and an encouragement award was presented to
and lyric tenor CHARLES EVERSOLE (23).
FRANK POMPONI. The other finalists, CHRISTINE BREGENZER, ROBERT CHIONIS and
PENNY JOHNSON was selected from among the TERY MEDLEY, received $100 each. The comapprentices at the Sarasota Opera for this petition is cosponsored by the Austrian Consul
year's Richard Gold Career Grant of $2,500. General and the Mozart Society of Chicago.
The program is administered by the Shoshana
Foundation.
Soprano JUDY BERRY won the first prize of
The following young artists in the Tri-Cities $1,000 cash, a New York recital, and a leading
Opera training and touring program received role with the sponsoring company, at the Queens
cash scholarship and career advancement Opera Association's vocal competition. Second
awards from the TCO Guild: HEATHER HOL- prize went to tenor HONG-SHEN LI, originally
COMB, CAROL McCAA, SUZANNE SANTER, from Beijing and now a resident of New York;
THOMAS GOODHEART, CHRISTOPHER HUX, third prize to soprano REBECCA SHERBURN
of California; fourth to tenor JOHN DANIECKI;
PETER SICILIAN, and REED SMITH.
and fifth to soprano ANNETTE NAURAINE.
In Toronto, the winners of the Young Canadian
Mozart Singers Competition were sopranos The Competition for Colorado Singers, sponCHRISTIANS RIEL and KATHLEEN BRETT, sored by the Denver Lyric Opera Guild, held
each receiving $2,000. Both are members of its finals on April 22 and 23, and awarded
the Canadian Opera Company Ensemble, and prizes to the following contestants, in this
they alternated in the roles of the four heroines order: GENA JEFFERIES, MARK CALKINS,
APRIL GUTIERREZ, ELIZABETH HOOVER, and
in Les Contes d'Hoffmann last fall.
BARRY JOHNSON.
The Canadian periodical ARIA: Revue d'art
lyrique has featured two singers as its choice Winners in recent foreign competitions included
the Canadian soprano SUZANNE GARI, who
for the column "Jeunes artistes." They are
-56-
WINNERS
shared first prize in the women's division in
the International Competition "Chant Offenbach" in Paris with mezzo RACHEL ESSO.
FRANCK CASSARD and FRANCOIS VINCIGUERRA won in the men's division. The competition was held at the Theatre des Bouffes
Parisiens in Paris last March with Maestro
Antonio de Almeida presiding over the jury.
Touring Ensembles
The San Francisco Opera has announced the
eight recipients of the 1988 Adler Fellowships.
They have all participated in the Merola Opera
Program, and six have toured with Western
Opera Theater. The young artists selected are
sopranos ANN PANAGULIAS and JANET
WILLIAMS; mezzo PATRICIA SPENCE; tenors
KEVIN ANDERSON and DOUGLAS WUNSCH;
baritones VICTOR LEDBETTER and THOMAS
POTTER; and bass-baritone DALE TRAVIS.
They are now under contract to the San Francisco Opera Center where they may participate
in a variety of programs.
The first five Associate Artists of Opera/
Columbus have been engaged for eleven weeks
of training and performing. They are sopranos
MARTHA DUERSTEN and SARAH WILSON,
mezzo ANN FOX CONRAD, tenor ERIC
STEWART, and baritone STEPHEN SMOOT. All
have had some performance experience.
The Pittsburgh Opera Center, which conducts
training classes in April and May, has selected
twelve young American singers for its 1988
program: DAPHNE ALDERSON, JEAN MARIE
BRAHAM, RENE CARNEVALE, DEBORAH
COLE, TERESA ELDH, KEVIN GLAVIN, JON
PESCEVICH, JEANNE REAVEL, JEFFREY
REYNOLDS,
BRONWYN THOMAS, BRENT
WEBER, and MAX WITTGES.
The 1987-88 Artists-in-Residence at the Dayton
Opera are soprano PAMELA BATHURST, mezzo
LESLIE SUSAN WRIGHT, tenor JOSE MEDINA,
and baritone RICHARD KINSEY.
JOAN
FORBES is their coach/accompanist.
Opera Iowa, the young artists touring ensemble Cincinnati Opera's Young American Artists Proof the Des Moines Metro Opera, has engaged gram has signed five singers for its 1988 summer
three of the company's previous apprentices to season. They are soprano PATRICIA DELL'
participate in its state school tour of some 200 ORTONE, mezzo MARY CLAIRE KENT, tenor
BROUSSARD,
baritone
PHILIP
performances. They are mezzo PAULA PAT- JAMES
TERSON, tenor MARK KLEINMAN, and bass- LAURIAT, and bass STEVEN FREDERICKS.
baritone CHRISTOPHER KELLY.
Continuing
from last season's ensemble is baritone BRUCE The current Resident Artists Ensemble of the
BROWN, and joining the group for the first Virginia Opera consists of three sopranos,
time are sopranos BELINDA GATTEN and PATRICIA FARR, ALEXANDRA GRUBER, and
BARBARA PARE. Robin Jensen is the musical LAURA REINHARDT; three mezzos, KATHLEEN
director and Jerilee Mace the coordinator of HANSON, KATHLEEN SMITH, and JANET WILthe program.
SON; and three tenors, KEVIN BAGBY, ROBERT
HEIL, and PREVIN MOORE.
Eight singers are participating in this season's
Young Artists Program of the Greater Miami Of the twelve young singers who form the
Opera. ERMA GATTIE, KATHERINE KULAS, ensemble of the Atelier lyrique de l'Ope'ra de
and GREGORY RAHMING are mentioned above Montreal, seven are new this year: CHANTAL
as winners of the company's Young Artists Com- LAMBERT, FRANCE FRENETTE, KENNETH
petition; the others are sopranos ROSEMARIA BEAL, MICHEL LEPAGE, DUNCAN CAMPBELL,
MARTINELLI and JULIE SCHMIDT, tenors CLAUDE GRENIER, and GREGORY ATKINSON.
PATRICK JONES and MARK NEMESKAL, and Those continuing from last season include LYS
baritone FRED LOVE. LAURA YOUNG is the GUERIN, HELENE FORTIN, MARIA POPESCU,
apprentice coach-accompanist.
and PHILLIP ENS.
[]
-57-
CAREER GUIDE SUPPLEMENT
(lists new information since Supplement in Vol. 27, No. 4)
The following entries supplement the Career Guide for Young American Singers (Fifth Edition)
published in 1985, as updated in the COS Bulletin. Entries marked only with page numbers refer
to listings in the Career Guide itself, -while those marked "insert" add or update newer listings.
In either case, the entries below contain only information that has not been published in the
Career Guide or the COS Bulletin.
A copy of the Career Guide with addenda may be ordered for $9.75 prepaid, postage included.
The addenda, containing all information after 1985, may be ordered separately for $3.95 prepaid.
GRANTS FOR SINGERS
TEXAS
Dallas Opera Guild (insert page 1)
1925 Elm St., #400, Dallas, TX 75201; (214) 878-0123
Career Development Grants
Grants to young singers to assist with special expenses directly connected with advancing career
opportunities. Each singer in the program may receive up to $1,000 within one year.
Eligibility: Age 18-35, residing in the North Texas area; must have had some professional
performance experience. Applications must be for specific projects such as travel expenses
in connection with auditions or competitions; purchase of concert wear, scores, or other
professionally needed materials; or coaching expenses or language study for a special
project. Grants are not available for ongoing studies or courses at a college or conservatory.
Requirements: Completed application form outlining the project; photograph; cassette tape
with two contrasting arias; and recommendations from two qualified professionals.
Auditions: in Dallas, following evaluation of application.
GRANTS FOR CANADIAN ARTISTS
Vancouver Opera Guild Career Development Grant (page 4)
311-4101 Yew St., Vancouver, B.C., V6L 3B7; (604) 732-8451; Lydia Suderman
Deadline: 4/30/88
REGIONAL, NATIONAL AND INTERNATIONAL COMPETITIONS
IN THE UNITED STATES & CANADA
DISTRICT OF COLUMBIA
Washington International Competition for Singers (page 7)
4530 Connecticut Ave., #704, Washington, DC 20008; Attn: David Howell-Jones
Age limit: 20-30
Deadline: 1/15/89; competition: 4/7,8/89. Fee: $25.
Required repertoire: add 1 song in English by an American composer, published after 1950.
Other requirements: Amend to read "reel-to-reel tape or cassette." Write for official application
form.
Not eligible: Singers under professional management; former lst-place winners of this competition.
Prizes: 1st: $5,000; 2nd: $2,500; 3rd: $1,500; separate and equal prizes awarded to men and
women. Also Eleanor Steber Foundation Prize of $2,000 for American-born singer; participation
in various recital series.
FLORIDA
Palm Beach Opera Vocal Competition (page 8) (formerly Palm Beach Opera Scholarship Contest)
Deadline: 2/20/88; competition: 3-4/88
MARYLAND
Baltimore Opera International Vocal Competition (page 9)
Age limit: 20-35; competition: 6/6-8/88
Prizes: 1st: Baltimore Opera Guild Award, now $10,000; others as previously announced.
-58-
Rosa Ponselle International Vocal Competition for Aspiring Young Artists (page 9)
"Windsor," Stevenson, MD 21153
MASSACHUSETTS
Mu Phi Epsilon International Competition (page 10)
Mu Phi Epsilon Memorial Foundation, 5797 South High Drive, Evergreen, CO 80439; Shari Walter
Legler, Coord.
Application deadline: 1/15/89; auditions 4/1/89; finals (Chicago) 8/17/89
NEW JERSEY
Enrico Caruso International Vocal Competition (insert page 11)
Inter-Cities Performing Arts, Inc., 4000 Bergenline Ave., Union City, NJ 07087
Age limit: none, but preference given to participants under 36. Fee: $20
Deadline: 8/5/88; preliminaries: 9/88; finals: to be announced
Repertoire requirements: 3 arias in Italian, 1 in French, and 1 in English, all sung in the original
languages. Participant must supply own accompanist.
Requirements: Must not have made a reviewed professional debut or be under management. Submit
application form, typewritten resume^ 1 letter of recommendation each from the singer's present
teacher and a recognized musician, 8x10" black and white glossy photo. Participants must be
prepared to perform a recital program on short notice.
Prize: $2,000 and round-trip air fare to Milan, Italy to audition for the La Scala preparatory
course given by Giulietta Simionato.
NEW YORK CITY
Center for Contemporary Opera International Opera Singers Competition (page 12)
Deadline: 2/5/88
Lauritz Melchior Heldentenor Foundation Auditions (page 14)
Betty Smith Assoc, 322 East 55th St., New York, NY 10022
Competition: 1990. Details to be announced.
Prizes: grants of as much as one year's living expenses to singers considered potential Heldentenor
material.
Metropolitan Opera National Council Auditions (page 14)
Age limit (effective fall '89): women, 19-33; men, 20-33. Age limits for 1988-89 are as before.
Write to MONC Auditions office for dates and places of district and regional auditions.
Richard Tucker Music Foundation (page 16)
277 West End Ave., Suite 11A, New York, NY 10023; (212) 496-5154
—Robert M. Jacobson Study Grants
By nomination or proposal only. For singers entering on a professional career.
Auditions: April. Grants: $5,000 cash.
OHIO
Toledo Opera-Keyboard Gallery American Artists Vocal Competition (insert page 17)
1700 North Reynolds Rd., Toledo, OH 43615; (419) 531-5511
Annual; competition: 2/19-21/88
FOREIGN COMPETITIONS
FRANCE
Concours International de Chant de Paris (page 23)
Requirements: Certificate of type and duration of musical studies, curriculum vitae, photograph.
Repertoire requirements: 3 each of classical arias (up to 1791), opera arias, French art songs
(including 1 by Roussel), 3 art songs from other countries.
Deadline: 7/26/88
Prizes (in FFr): Grand: 40,000; 1st: 15,000; 2nd: 5,000; French song prize: 15,000; Mozart prize:
3,000. All the preceding, except the Grand Prize, are awarded equally to the male and female
winners. Also prizes for best interpretation of an opera aria (10,000 Ffr), of music by
Massenet (10,000 Ffr), and of a Spanish song (3,000 Ffr), and for the encourage of the
youngest singer (3,000 Ffr); each awarded to one winner regardless of gender.
-59-
Concours International de Chant Offenbach - Paris (insert page 23)
Parade, 1 rue Meslay, F-65003 Paris
Competition: 3/18-21/88 at the Bouffes Parisiens. Write for further details.
Concours International d'Oratorio et de Lied (addenda page 8)
Competition: finals, 10/1-8/88. Prizes: Total of 50,000 FFr.
FEDERAL REPUBLIC OF GERMANY (WEST)
First International Coloratura Competition (insert page 23)
Sylvia Geszty-Wettbewerb 1988, Staatliehe Hochschule fur Musik und Darstellende
Urbanplatz 1, D-7000 Stuttgart
Open to all vocal ranges.
Deadline: 9/5/88; competition: 9/21-24/88
Write for further information.
Kunst,
GREAT BRITAIN
Purcell-Britten Prize for Concert Singers (page 24) — DELETE ENTRY; competition discontinued
Royal Over-Seas League Music Competition (insert page 24)
Age limit: 30 as of 6/30/88; deadline: 1/8/88; competition: 7/4/88 in London
Auditions: 3-4/88 in London, Glasgow and Manchester
NETHERLANDS
Elly Ameling Competition (insert page 27)
Stichting Elly Ameling Concours, Postbus 1144, 2340 BC Oegstgeest, Netherlands
Age limit: Born after 1/1/54; deadline: 7/15/88.
Requirements: Must be in the early stage of a professional career; show programs and/or reviews
of at least 6 performances.
Required repertoire: At least 30 Lieder or songs in different languages from 3 periods: before
1800, 1800-1940, and after 1940.
SPAIN
International Voice Competition of Bilbao (addenda page 10)
deadline: 10/1/88; competition; 12/3-10/88. Registration fee: 3,000 ptas., nonrefundable.
Prizes (in ptas.): 1st: 500,000; 2nd: 250,000; 3rd: 125,000; separate and equal prizes are awarded
to men and women. Other prizes as previously announced.
Concours International de Chant "Julian Gayarre" (insert page 28)
Gen. Regstr., Gvnmt. de Navarre, Avda. Carlos III, 2. 31002 Pamplona, Spain
Biennial. Age limit (at time of competition): women 18-32, men 20-35
Deadline: 5/31/88; Competition: 8/29-9/4/88, Festival de Navarre, Spain
Requirements: Detailed resume' and documents pertaining to completed studies, prizes won,
artistic activities, etc.
Required repertoire: at least 4 opera arias and 2 songs, totaling at least 30 minutes.
Singers may bring own accompanists.
Prizes (in ptas): 1st: 750,000; 2nd: 500,000; other awards, including a special Jose" Carreras
Prize; participation in following year's Festival.
OPERA/MUSICAL THEATER COMPANIES IN THE UNITED STATES AND CANADA
CALIFORNIA
Long Beach Civic Light Opera (page 32) — Pegge Logefeil, Mng.Dir., replaces L. Hansen
434 East 3rd St., Long Beach, CA 90802
Sacramento Opera (page 33)
2131 Capitol Ave., Suite 307, Sacramento, CA 95816; (916) 442-4224
San Francisco Opera (page 33)
Lotfi Mansouri, Gen.Dir., replaces T. McEwen
COLORADO
Colorado Opera Festival (page 35) — Donald Jenkins, Gen.Dir., replaces A. Pinney
-60-
Opera Colorado (page 35)
695 South Colorado Blvd., Suite 20, Denver, CO 80222
FLORIDA
Florida Lyric Opera (page 37)
1183-D 85 Terrace North, St. Petersburg, FL 33702
MISSOURI
Springfield Regional Opera (page 45)
305 East Walnut St., #314, Springfield, MO 65806
NEW JERSEY
June Opera Festival of New Jersey (page 45)
65 South Main St., Bldg. B, Pennington, NJ 08534; (609) 737-7711
NEW YORK
Lake George Opera (page 47)
John Balme, Gen.Dir., replaces B. Lingham
OHIO
Dayton Opera (page 54)
—Dayton Opera Artists in Residence (formerly Dayton Opera Ensemble and Dayton Opera
OutReach [DOOR])
8- to 10-week training and residency program for 4 singers and 1 coach/accompanist.
Toledo Opera (page 55)
—Toledo Opera-Keyboard Gallery American Artists Vocal Competition — For details see above
under COMPETITIONS
OKLAHOMA
Tulsa Opera (page 55)
—Young Artists Apprentice Program (replaces Young Artists Ensemble) — Jane Nelson, Prod.Dir.
Program: Training, master classes, performance opportunities. The apprenticeship periods are
10/3-11/18/88, with performances in chorus and comprimario roles in mainstage productions,
and 1/5-5/13/89, in regional touring of educational and outreach programs. Apprentices
receive housing, transportation, and weekly stipend.
Deadline: 3/1/88; auditions: 4/16-18 in New York, 4/25,26 in Tulsa
PENNSYLVANIA
Pittsburgh Opera (page 56)
711 Penn Ave., 8th floor, Pittsburgh, PA 15222
SOUTH CAROLINA
Charleston Opera (page 57) — delete D. Dreyfoos
TEXAS
Houston Grand Opera (page 59)
—Houston Opera Center — Ann Tomfohrde, Mgr.
VIRGINIA
Wolf Trap Opera Company (page 60) — delete R. Woitach
INSTITUTES FOR ADVANCED TRAINING
UNITED STATES AND CANADA
OHIO
Lyric Opera Cleveland/Cleveland Institute of Music (insert page 65)
Deadline: 12/23/87; auditions: 1/8-10/88
Program: Ten weeks in summer, 6-8/88. Intensive advanced training for 12 singers—three each of
sopranos, mezzo-sopranos, tenors, and baritones/basses.
-61-
EUROPE
GERMANY
Berlin - Deutsche Oper Berlin (insert page 67)
Deadline: 2/15/88; auditions: spring '88, place to be announced
GREAT BRITAIN
Aldeburgh - Britten-Pears School for Advanced Musical Studies (page 67)
1988 master classes: various courses, 4-9/88
OPERA/MUSIC THEATER APPRENTICE PROGRAMS IN FIELDS OTHER THAN SINGING
UNITED STATES AND CANADA
OPERA America (insert page 69)
777 14th St. NW, Washington, DC 20005; (202)347-9262.
—Administrative Intern Program
Four 6- to 12-month administrative internships with one or more opera companies for those
new to the field of opera administration. Training in several areas for administrators who
are: a) graduates of arts administration programs; b) entering opera from another field; c)
currently active in opera performance or production and wishing to transfer to administration;
or d) currently in one area of opera administration and wishing to broaden their experience.
Deadline: 4/15/88. Monthly stipend of $1,000 and required airfare paid.
—Executive Fellowship Program
Five 2- to 12-week executive fellowships for opera administrators to increase skills by working
in one specific field of their choice, or with one specific expert in that field. Applications
must specify the field and host company or individual.
Deadline: 4/15/88. Monthly stipend of $400 and required airfare paid.
OHIO
Dayton Opera (page 54)
—Dayton Opera Artists in Residence (formerly Dayton Opera Ensemble and Dayton Opera
OutReach [DOOR])
8- to 10-week training and residency program for 4 singers and 1 coach/accompanist.
OKLAHOMA
Tulsa Opera (insert page 71) — Jane Nelson, Prod.Dir.
Internships for stage managers, production coordinators, and coach/accompanists, in the periods
10/3-11/18/88 (main season) and 1/5-5/13/89 (regional touring of educational and outreach
programs). Interns receive housing, transportation, and weekly stipend.
Deadline: 6/1/88
VIRGINIA
Wolf Trap Opera Company (page 60) — delete R. Woitach
CANADA
Canadian Opera Company (insert page 72) — Deborah Knight, National Auditions Coord.
26-week apprenticeship for 1 vocal coach and 1 stage director, within the period 6/27/88-6/25/89.
Apprentices receive a stipend.
Deadline for 1988-89: 2/5/88. Fee: Canadian $10.
Requirements: Supply proof of age and Canadian citizenship or Landed Immigrant status, resume^
1-page statement of goals in apprenticing with COC, 2 letters of recommendation, an 8x10
photograph (optional).
[]
-62-
NEW ENGLISH OPERA TRANSLATIONS
The following compilation contains information obtained since the last listing in Vol. 28, No.
1. The COS publication Directory of English Opera Translations, including a 20-page addenda
published in December 1987, may be ordered for $12.50 prepaid, postage included. The addenda
may be ordered separately for $6.00 prepaid.
For items marked * see under "Addresses" below. # indicates changes from the original Directory.
N.B.: Translations included here have been used or announced as available.
copyright, check for authorized version with publisher.
For operas under
BACH, J.S.
Der Streit zwischen Phoebus und Pan Sheldon Harnick, Bach Aria Group Ass'n, New York
[adapted for the stage as The Contest between Phoebus and Pan]
BIZET
Carmen Elliot Petrach, Lyric Opera of Kansas City, MO
Le Docteur Miracle Elizabeth Hastings*
CESTI
La Dori Martin Morell & Paul Echols, Mannes College of Music, New York, NY
L'Orontea Carol Palca, Skylight Comic Opera, Milwaukee, WI
C1MAROSA
11 Matrimonio segreto Malcolm Fraser, Univ. of Cincinnati College-Conservatory, OH
Delete addenda entry for Josef Blatt
CUI
Feast in Time of Plague Lyle Neff*
Little Red Riding Hood Lyle Neff*
DONIZETTI
L'Elisir d'amore Beaumont Glass, University of Iowa, Iowa City
FLOTOW
Martha Elizabeth Hastings*
HAYDN
La Canterina Paul Echols, Mannes College of Music, New York, NY
La Fedelta premiata Marcie Stapp, Manhattan School of Music, New York, NY
LORTZING
Zar und Zimmermann Stafford Foss* (substitute for Stafford Foss & Benton Hess)
MASSENET
Le Portrait de Manon Colin Graham, Boston Lyric Opera, MA
Therese Colin Graham, Boston Lyric Opera, MA
MOZART
Le Nozze di Figaro Frans Boerlage, Univ. of Southern California, Los Angeles
Dittemore, Hofstra University, Hempstead, NY
PUCCINI
La Boheme Andrew Porter*
RAMEAU
Les Indes galantes Beaumont Glass, University of Iowa, Iowa City
RAVEL
L'Heure espagnole Franc-Nohain, Kansas State University, Manhattan
STRAUSS, JOHANN
Die Fledermaus John Mortimer, Royal Opera Covent Garden, London
Nicholas Muni, Toledo Opera, OH
STRAUSS, RICHARD
Der Rosenkavalier Elliot Petrach, Lyric Opera of Kansas City, MO
VERDI
Stiffelio David Lawton & Nicholas Muni, OperaDelaware, Wilmington
WAGNER
Tannhauser Elliot Petrach, Lyric Opera of Kansas City, MO
WEILL
Happy End Michael Feingold (#European American Music)
ZEMLINSKY
Der Kreidekreis Michael Geliot, Univ. of Cincinnati College-Conservatory, OH
-63-
NEW ENGLISH CAPTIONS IN PROJECTION
The titles listed below have been added to the COS directory, English Captions in Projection,
since the last supplementary list published in the COS Bulletin, Vol. 28, Nos. 1 &. 2. The
complete directory may be ordered for $5.00 prepaid, postage included.
BEETHOVEN
BIZET
CATALANI
DELIBES
DONIZETTI
DVORAK
GOUNOD
JANACEK
LEONCAVALLO
MASCAGNI
MASSENET
MEYERBEER
MOZART
OFFENBACH
PONCHIELLI
POULENC
PUCCINI
RAMEAU
ROMBERG
ROSSI, LUIGI
ROSSINI
Fidelio San Francisco Opera, CA (slides 6c video/computer); 10/87 (Bergen)
Carmen Arizona Opera, Tucson (slides); in prep
Opera Colorado, Denver, CO (slides); in prep.
La Wally Sarasota Opera, FL (slides); 3/89
Lakm£ Arizona Opera, Tucson (slides); in prep
Anna Bolena Royal Opera, Covent Garden, London (slides); 5/88
Rusalka Minnesota Opera, St. Paul/Opera Carolina, Charlotte, NC (slides);
in prep. (Graff)
Faust Opera/Columbus, OH (slides); in prep. (Harrison)
Romeo et Juliette Four Corners Productions, New York, NY (slides & video/
computer); in prep. (Friedman)
K&Va Kabanovg Los Angeles Music Center Opera, CA (script & cued vocal
score); in prep. (Graff)
Pagliacci Opera Colorado, Denver, CO (slides); in prep.
Iris Four Corner Productions, New York, NY (slides <5c video/computer); 4/88
(Friedman)—replaces previous listing for New Jersey State Opera
Lodoletta Four Corner Productions, New York, NY (slides <5c video/computer);
12/88 (Friedman)
Zanetto Four Corner Productions, New York, NY (slides & video/computer);
9/88 (Friedman)
Werther Four Corners Productions, New York, NY (slides <5c video/computer);
in prep. (Friedman)
L'Africaine San Francisco Opera, CA (slides & video/computer); in prep.
(Cranna)
Cos"! fan tutte San Francisco Opera, CA (slides <5c video/computer); in prep
(Bergen)
University of Southern California, Los Angeles (computer); (Boerlage)
Don Giovanni Florida State University, Tallahassee, FL (slides); 3/88
Le Nozze di Figaro Baltimore Opera, MD (slides); in prep
Four Corners Productions, New York, NY (slides & video/computer); 6/88
(Friedman)
Greater Miami Opera, FL (computer); in prep
Die Zauberfldte Portland Opera, OR (slides)
Royal Opera, Covent Garden, London (slides)
Les Contes d'Hoffmann Baltimore Opera, MD (slides); in prep
Greater Miami Opera (computer); in prep
La Gioconda San Francisco Opera, CA (slides & video/computer); in prep.
(Cranna)
Dialogues des Carmelites Aria Productions, Victoria, B.C. (slides); in prep
La Boheme Baltimore Opera, MD (slides); in prep
Gianni Schicchi Arizona Opera, Tucson (slides); in prep
Opera Colorado, Denver, CO (slides); in prep.
San Francisco Opera, CA (slides <5c video/computer); 4/88 (Bergen)
Madama Butterfly Indiana University Opera Theater, Bloomington (slides)
Manon Lescaut San Francisco Opera, CA (slides <5c video/computer); in prep.
(Bergen)
n Tabarro Arizona Opera, Tucson (slides); in prep
Tosca Baltimore Opera, MD (slides); in prep
Opera/Columbus, OH (slides); in prep. (Harrison)
Le Villi Four Corner Productions, New York, NY (slides & video/computer);
9/88 (Friedman)
Platee Piccolo Teatro dell'Opera, Brooklyn, NY (slides); in prep.
The Student Prince Tri-Cities Opera, Binghamton, NY (slides)
L'Orfeo Indiana University Opera Theater, Bloomington (slides)
L'ltaliana in Algeri Four Corners Productions, New York, NY (slides <5t video/
computer); 4/88 (Friedman)
-64-
NEW ENGLISH CAPTIONS
ROSSINI
SAINT-SAENS
SHOSTAKOVICH
STRAUSS, R.
VERDI
WAGNER
Maometto II San Francisco Opera, CA (slides & video/computer); in prep.
(Bergen)
Samson et Dalila Four Corner Productions, New York, NY (slides &
video/computer); 3/89 (Friedman)
Lady Macbeth of Mzensk San Francisco Opera, CA (slides & video/computer);
in prep. (Bergen)
Ariadne auf Naxos Royal Opera, Covent Garden, London (slides)
Der Rosenkavalier Royal Opera, Covent Garden, London (slides)
Salome Kentucky Opera, Louisville (slides)
San Francisco Opera, CA (slides & video/computer); 10/87 (Bergen)
Don Carlo Long Beach Opera, CA (slides); 2/86
San Francisco Opera, CA (slides & video/computer); 12/87 (Moor)—either
Paris Ope>a vers. or 5-act Italian vers.
Rigoletto Bob Jones University, Greenville, SC (slides); in prep.
San Francisco Opera, CA (slides & video/computer); 4/88 (Sherk)
La Traviata Arizona Opera, Tucson (slides); in prep
n Trovatore Kentucky Opera, Louisville (slides)
Der fliegende Hollander Four Corners Productions, New York, NY (slides &
video/computer); In prep. (Friedman)
San Francisco Opera, CA (slides & video/computer); in prep. (Bergen)
Parsifal San Francisco Opera, CA (slides & video/computer); 10/87
(Bergen)
Die WalkUre Greater Miami Opera, FL (computer); in prep
Foreign Visitors
When THE BEIJING OPERA visits the United
States on tour next winter, it will perform in
Chinese with English captions.
Conversely,
during the METROPOLITAN OPERA'S tour of
Japan in June, all three operas carried Japanese
captions.
available from her at 1120 Park Ave., New
York, NY 10028.
Captions Abroad
The first German opera house to use overhead
captions is the Cologne Opera, which presented
all the foreign-language works in the past season's repertory with German "Ubertiteln".
American Companies
Following is the latest list of North American
opera companies and workshops that used projected captions for the first time during the
past season or will be using them for the first
time during the coming season. This brings the
total number of such companies in the United
States and Canada to 89.
In Paris a recent production of JandSek's , rom
the House of the Dead, sung in Czech at the
Ope>a-Comique/Salle Favart, had French captions created by Yveta Graff.
Transliterations
Yveta Graff has made transliterations of several Czech works for recent productions: Dvorak's
Rusalka and JandSek's Jenufa, K&t'a Kabanovd,
and Glagolitic Mass. The transliterations are
-65-
For the Hearing-Impaired
A reminder: Opera companies using English captions have a wonderful, practical tool with
which to perform for the hearing impaired.
Boston Lyric Opera, Boston, MA
Opera Hamilton, Hamilton, Ont.
Palm Beach Opera, Palm Beach, FL
Palm Springs Opera Guild of the Desert, Palm
Springs, CA
University of Southern California, Los Angeles,
CA
[]
BOOK CORNER
MUSIC IN THE RESONANCES 1836-1850, the first of a planned three-volume history
NINETEENTH
titled STRONG ON MUSIC and subtitled The New York Music Scene in
CENTURY
the Days of George Templeton Strong, 1836-1875, transports the reader
to New York's cathedrals, concert halls, opera houses, and garden restaurants at a time when the bustling metropolis was uncivilized above 23rd
Street. Vera Brodsky Lawrence's amazing recreation of the era resembles
a noisy carnival where all manner of entertainers, as well as impresarios,
critics, and instrument makers, gave a music-starved populace the greatest
possible variety of diversion. Her often witty remarks punctuate this
historic panorama, while the excerpted diaries of Strong, a lawyer and
avid music patron, personalize the narrative of performances, anecdotes,
and reviews. Operatic performances by Malibran, Lind, and other nineteenth-century superstars play a great part in this illustrated and indexed
686-page work, which includes appendices and an important bibliography.
Published by Oxford University Press, it is priced at $85.00. Volume Two
will be eagerly awaited.
Kerry Murphy's HECTOR BERLIOZ AND THE DEVELOPMENT OF FRENCH
MUSIC CRITICISM is one of several dissertations and research projects
growing out of the current wave of interest in the composer and in
French music during the 1830s and 40s in general. Ms. Murphy examines
the attitudes toward modern music reflected in the critical writings of
Berlioz and the often politically-oriented work of his fellow journalists.
The book concludes with a brief catalogue of the many magazines that
published his articles. A compilation of these reviews is now being completed. This 295-page UMI Research Press publication contains numerous
appendices, notes, a bibliography and an index. It is priced at $49.95.
In THE NATION'S IMAGE: FRENCH GRAND OPERA AS POLITICS AND
POLITICIZED ARTS Jane Fuleher sets the rise, growth, and decline of
grand opera against the social and political life of France during the
period between 1830 and 1870. In these years both the creation of and
the response to works of the visual and performing arts were necessarily
affected by the policies and aims of the government. This thoroughly
researched treatise examines political symbolism, overt and covert, in the
works of Auber, Meyerbeer, Gounod, and others, while a helpful appendix
provides synopses of several of the operas discussed. The 280-page Cambridge University Press illustrated publication also includes a bibliography
and an index. It is priced at $37.50.
OPERATIC
HISTORY
OPERA: A HISTORY by Christopher Headington, Roy Westbrook and Terry
Barfoot is an intelligent, clearly written guide which gives equal weight
to the musical and the dramatic aspects of the art form. Eleven chronological chapters survey opera's origins in Hellenic theater and church ritual,
the contributions of Monteverdi and other composers of the Renaissance
and Baroque era, the innovations of Mozart, and nineteenth-century developments in Italy and France, all the way to the avant-garde productions
of works by Glass, Sallinen, and others. The chapter on Wagner and
Bayreuth is noteworthy for its review of the musical, dramatic, and philosophical elements which characterize the composer's vision. An index
and illustrations are included in the 399-page St. Martin's publication,
which sells for $24.95.
First published in 1947 and considered a standard text in the operatic
field for more than 30 years, the late Donald Jay Grout's A SHORT
HISTORY OF OPERA is now in its third edition. It has been significantly
-66-
BOOK CORNER
revised and expanded by Hermine Weigel Williams to include recent operatic
history and new chapters tracing the development of opera in China,
Latin America, and Canada. This comprehensive 912-page publication,
which contains an index, bibliography, musical examples and illustrations,
is published by Columbia University Press and is priced at $39.00
William Weaver's well-known 1980 book, THE GOLDEN CENTURY OF
ITALIAN OPERA: FROM ROSSINI TO PUCCINI, has now been issued in
softcover by Thames and Hudson. Filled with accurate historical detail
and enlivened by entertaining anecdotes, this book reflects the colorful
events of the bel canto, Verdian, and verismo eras, when operatic doings
onstage were matched by passion, jealousy, madness, and violence behind
the scenes. Illustrations taken from contemporary sources, as well as
extensive passages from the writings of famed composers, prima donnas,
and impresarios, make this 256-page, indexed publication a great introduction to the period. It sells for $19.95.
In A SONG OF LOVE AND DEATH: THE MEANING OF OPERA cultural
critic Peter Conrad builds a complex chain of analogies in an effort to
explain the almost visceral grip that opera, from Monteverdi to Glass,
has on many of its devotees. This book, a historical survey which draws
on philosophy, psychology, and anthropology, suggests that opera generates
a response analogous to primitive ritual, affecting the spiritual and sensual
forces that lie at its audiences' subconscious. The unique dramatic parallels drawn between different operas lead to some very original thinking
and these novel ideas spur the reader on to approach the works in new
ways. The book also contains some memorably descriptive passages about
operas we know and love as well as about the films, novels, plays, and
even photography which touch on opera in a variety of ways. This 384page indexed Poseidon Press publication is priced at $19.95.
Andrew Porter's New Yorker writings can best be described as selfcontained essays which offer the reader an expanded historical context
for the appreciation of a musical work and its performance. The Summit
Press publication MUSICAL EVENTS: A CHRONICLE 1980-1983 is the
fourth volume of Mr. Porter's selected criticism reprinted from the magazine. In these articles covering the music scene in the United States
and abroad, opera lovers will appreciate his insight and the significant
historical information he provides about both familiar and little known
works by a host of composers ranging from Handel, Donizetti, and Meyerbeer to Stephen Paulus, Leonard Bernstein, and Roger Sessions. The 524page indexed work is priced at $24.95.
MUSIC
REVIEWED
Capra Press commemorates the 100th anniversary of the birth of Lotte
Lehmann with the publication of LOTTE LEHMANN: A LIFE IN OPERA
AND SONG, an authorized biography by her friend Beaumont Glass, who
served as her assistant and accompanist during her famed masterclasses
at the Music Academy of the West. Researched from the wealth of
materials on file at the Lehmann Archives in Santa Barbara, this affectionate memoir recounts familiar and little known facts about her career,
personal life, and relationships with her renowned musical contemporaries.
It is the singer's own words, extensively quoted from her published and
unpublished writings, which make the book particularly moving. She was
as revered as she was loved by her friends, her colleagues, and her
audiences for her individual artistry and the warmth and compassion she
radiated. Many photographs of Lehmann and pictures of her own art
THREE
LEGENDARY
FIGURES
-67-
BOOK CORNER
work are included in this 350-page publication, which also contains a
discography and an index; it is priced at $18.95.
FLAGSTAD: SINGER OF THE CENTURY, the first biography of the singer
to appear in English in many years, will make the reader nostalgic for
those lengendary times when the mingled voices of the Wagnerian soprano
and her partner Lauritz Melchior filled the old Metropolitan Opera House.
Using material from a Norwegian biography by Aslaug Rein and interviews
conducted with Flagstad family members, author Howard Vogt sympathetically discusses the circumstances surrounding the soprano's decision to
remain in her native Norway during the war. The English firm Seeker &
Warburg publishes this 300-page indexed book, which includes a preface
by Jessye Norman and many photographs of Flagstad at various stages of
her career, several showing her in uncharacteristic roles. A selected
bibliography, and an extensive list of her roles completes this book, priced
at $39.95.
As announced in Vol. 28, No. 1, Treves Publishing continues its second
Portraits of Greatness series with TOSCANINI, written by Opera News
editor John Freeman and Walfredo Toscanini, the maestro's grandson. As
in the previous volumes, a wealth of pictorial material—color reproductions
of posters and illustrated sheet music, publicity stills of the conductor
leading the NBC Symphony, portraits of the people and places which had
importance to him—make this a delightful scrapbook with text and image
in perfect proportion. Inexpensively priced and highly suitable for giftgiving, this 75-page book, printed in Italy in hard and soft cover, sells
for $17.50 and $12.50 respectively.
MUSICIANS
ON RECORD
In EDISON, MUSICIANS, AND THE PHONOGRAPH: A HISTORICAL GUIDE
editors John Harvith and Susan Edwards Harvith approach the history and
development of music on disc from the perspective of those popular and
classical artists whose careers are linked with the recordings they made.
An introduction summarizing the ideas of Edison and the invention of the
phonograph is followed by interviews with musicians who have left a
major legacy of recorded material—Anna Case, Benny Goodman, Rosa
Ponselle and others. The present state of the industry is represented by
such performers as Bernard Haitink, Gunther Schuller, and Joan Morris,
who discuss the crucial question of artistic fidelity as well as their
involvement in both the business and technology of recorded music. This
461-page Greenwood Press publication, No. 11 in the series Contributions
to the Study of Music and Dance, contains photographs, a preface and
an index. It is priced at $49.95.
COMPOSERS AND The popularity of the film Amadeus has now made even the most musically
THEIR WORKS uninformed aware of the tragic death of a talented but unruly composer
named Mozart. In 1791: MOZART'S LAST YEAR the noted musicologist
H.C. Robbins Landon utilizes varied sources including his own original
research to investigate everything from the latest medical theories to
the state of the composer's finances. He offers a lucid and credible
account of Mozart's last four hectic months and final days. In the course
of the book he presents a number of little-known facts, not the least of
which are the identity of the mystery man who ordered the Requiem and
the brief time—as little as two weeks—allotted for the composition and
rehearsal of a large-scale new opera such as La Clemenza di Tito; other
major choral and instrumental works received the same treatment. Extended discussions of Masonic ritual and philosophy, the attitude of Con-68-
BOOK CORNER
stanze, who is shown here in a compellingly favorable light, and of course
Salieri's jealousy towards his younger rival, make for a treatment as
fascinating as the subject it addresses. In details such as Mozart himself
bringing Salieri to a sold-out Zauberfldte performance four weeks before
his death, the brief mention of the Hofdehmel affair, and in the discussion
of Mozart's final illness, the author stops short of drawing any speculative
conclusions and proves once again how impenetrable is the enigma that
continues to surround Mozart's death. The 249-page illustrated Schirmer
publication contains several appendices, one of which gives the layout of
the Mozart apartment, notes, a bibliography, and an index. It is priced
at $19.95.
Anyone familiar with the current literature on Verdi knows that one has
one's pick of several very good biographies. Charles Osborne's recent
VERDI: A LIFE IN THE THEATER is to be recommended as a well-written
and straightforward account which brings together much recent scholarship.
As its title suggests, the author has attempted to focus on Verdi's professional associations with the librettists, directors, singers, and conductors
of his operas, and incorporates into the text generous excerpts from the
composer's letters to his many colleagues. The 360-page indexed Alfred
A. Knopf publication contains many illustrations of individuals mentioned
in the course of the book. It is priced at $22.95.
In recent years several books have made unfavorable comparisons between
the more daring works of Mussorgsky, Borodin, and the other members of
the "Mighty Five", and those of Tchaikovsky, who has been derided for
excessive emotionalism, lack of orchestral craftsmanship and conservative
harmonies. Henry Zajaczkowski acknowledges and responds to this criticism
in TCHAIKOVSKY'S MUSICAL STYLE, a highly positive assessment which
examines these compositions through a technical analysis of structure,
style, and orchestration. In a perceptive concluding essay, the author
praises much of the Russian master's music for its melodic and expressive
power—precisely those qualities for which it had previously been discredited. Musical examples, several appendices, notes, a bibliography, and
an index are included in this 257-page UMI Press publication, which is
priced at $44.95.
Another UMI Research Press offering, HUGO WOLF'S LIEDER AND EXTENSIONS OF TONALITY by Deborah J. Stein, studies the harmonic innovations
of two dozen songs by the late 19th-century composer, both in terms of
the musicological theories of Heinrich Schenker and as an expression of
the song's poetic content and textual message. Musical examples, an epilogue, notes, a selected bibliography, and an index are included in this
247-page book, which sells for $44.95.
Juliane Brand, Christopher Hailey, and Donald Harris, editors of THE
BERG-SCHOENBERG CORRESPONDENCE: SELECTED LETTERS, have
transcribed and annotated more than 800 letters and postcards spanning
the years from Schoenberg's move to Berlin in 1911 to Berg's death in
1935.
Far more than a chronicle of the relationship between student and
teacher, this important book is a testament to the artistic and personal
struggles of two men of genius in the face of a hostile and misunderstanding
public. While Schoenberg's letters are written with respect and sincerity,
Berg becomes the book's protagonist through his fervent, emotional communications, reflecting his loving reverence for his "dear master." Often
filled with underlined phrases and exclamations of frustration and disap-69-
BOOK CORNER
pointment, Berg's letters describe his constant efforts to get both his
own compositions and those of his mentor performed. They also speak of
his personal struggles, due not least to meager finances and his fragile
health, which was worsened by the war which caused both men to suffer.
Further included are a draft and the complete text of Berg's letter of
November 1915, in which he defends rather than apologizes for the actions
that led to a rift between the two composers. The 497-page indexed
and illustrated Norton publication sells for $35.00.
In SCHOENBERG AND THE NEW MUSIC the renowned music scholar Carl
Dahlhaus analyzes the composer's musical theories and stylistic development both from a technical standpoint and in relationship to those critical writings on modern music which were important during Schoenberg's
lifetime. The book, comprised of twenty-two essays of which six are
published here for the first time, includes separate chapters on other
composers whose works were encompassed within the philosophy of the
"New Music"—Schreker, Scriabin, and Webern. Notes, musical examples,
and an index are contained in this 305-page Cambridge University Press
book, translated by Derrick Puffett and Alfred Clayton, and priced at
$44.50.
In recent years Kurt Weill's standing as a modern composer has been
elevated considerably through the reevaluation of familiar works and
especially through the discovery of theater and instrumental compositions
which were unknown or thought to have been lost. For this reason, David
Drew's long-awaited KURT WEILL: A HANDBOOK is destined to become
an indispensable tool for scholars of twentieth-century music and for
those with an interest in performing his works. A definitive catalogue
providing such useful information as the orchestration, premiere casts,
and plot synopses of the stage works comprises about half the book; other
sections include an extensive chronology of Weill's life and times and a
chapter on projects left incomplete at the time of his death. An account
of the author's longtime involvement with Weill's music and his quest to
uncover new information serves as an introduction to the 480-page
illustrated and indexed book, published jointly by Faber and Faber in the
U.K. and the University of California Press, Berkeley. It sells for $30.00.
DALLAPICCOLA ON OPERA: SELECTED WRITINGS is the first of two
related volumes edited and translated by Rudy Shackelford. The humanistic
and ideological concerns of this noted composer/librettist are revealed in
the first part of the book in a series of moving autobiographical essays.
They center on Dallapiccola's experiences during World War I, which
resulted in his love for music and theater and also in his regard for
freedom which plays so strong a part in his works. They enhance one's
understanding of the subsequent writings on his own operas as well as
his analyses of the music of Verdi, Wagner, Ravel, and others. Conductor
Antal Dorati contributes the foreword to this illustrated and indexed 291page book, available in both hard-and softcover from Toccata Press,
London. Plans are being made for distribution in the United States.
CONVERSING WITH CAGE by Richard Kostelanetz is the first original
publishing venture of the reprint house Limelite Editions. The 76-yearold composer's own words, excerpted from hundreds of interviews with
the author and other writers, provide the format for Cage's musings on
his eccentric childhood, his evaluation of works by Cowell and Ives and
their influence on his own music, the relationship of his famous silent
-70-
BOOK CORNER
piece 4'33" to the blank canvases of Rauschenberg, and other fascinating
subjects. The 299-page softcover book, which is priced at $13.95, contains
an index of interviewers and a highly useful bibliography.
MUSIC BY PHILIP GLASS does double duty as a handbook and guide to
his works and as an autobiographical account of his years in Paris, when
he studied with Nadia Boulanger and worked with Ravi Shankar. The
author/composer goes on to discuss his later collaborative ventures with
Mabou Mines and La MaMa, and the worldwide recognition and ultimate
acceptance by traditional operatic forces which he achieved with his nowfamous trilogy of operas. Reproductions of Robert Wilson's designs and
color photos of his productions are another highlight of this 222-page
book, which contains separate sections on the music and libretti of Einstein
on the Beach, Satyagraha, and Akhnaten, and concludes with information
on the recordings, performances, and scoring of many of Glass's other
works, including finally The Making of the Representative of Planet 8.
Robert T. Jones has written the introduction to this Harper & Row publication, which includes an index and discography and sells for $22.95.
Another Greenwood reference book, MAX REGER: A BIO-BIBLIOGRAPHY
edited by William E. Grim, consists of four main sections: a brief biography
of the late-nineteenth-century composer, a complete list of works with
and without opus number and their premieres, a discography of commercial
recordings, and an annotated bibliography of writings by and about Reger.
An index of names concludes this 270-page contribution to the Bio-Bibliographies in Music series, which is priced at $37.95.
HEITOR VILLA-LOBOS, edited by David P. Appleby, is No. 9 in the Greenwood Press series of Bio-Bibliographies in Music. A short biography of
the Brazilian composer introduces this helpful 358-page reference work,
which includes a discography, a bibliography of books and articles, an
alphabetical and classified listing of his compositions, and an index. It
sells for $45.00.
The first English-language book devoted to the French composer and
organist, JEAN LANGLAIS: A BIO-BIBLIOGRAPHY is No. 10 in the Greenwood Press series. As with all books in this series, it contains a biography,
interviews, a list of works and their first performances, a discography,
and a bibliography. Further, it provides information on all 240 published
and unpublished compositions, including eleven orchestral works, by the
81-year-old Langlais, who has been blind since the age of three. Opus
numbers assigned by the composer's present wife are published here for
the first time. Several indices covering works, authors, and general
information conclude this 191-page book, edited by Kathleen Thomerson,
which sells for $37.95.
No. 11 in Greenwood Press' Bio-Bibliographies in Music, Carol A.
Pemberton's LOWELL MASON is a study of the nineteenth-century American organist and composer who became a pioneer in the field of music
education. A biographical essay precedes a catalog of Mason's music,
books, and articles. A bibliographic listing of books and articles written
specifically on Mason or relevant to his many fields of expertise, including
education, instrument making and liturgical composition, is followed by
several indices and extracts from Mason's writings.
The 297-page
reference work is priced at $37.95.
-71-
BIO-BIBLIOGRAPHIES
BOOK CORNER
From the libretto of Die Zauberflbte to the absurdist dramas of contemporary playwrights, the supernatural fiabe or dramatic fairy tales by the
eighteenth-century Italian playwright CARLO GOZZI have exerted a farreaching influence on the performing arts. Greenwood Press has now
published John Louis DiGaetani's English translations of Gozzi's The Snake
Lady, The Love of Three Oranges, on which Prokoviev based his opera,
and Turandot, which both Puccini and Busoni adapted for their operas of
the same title. A chapter on Gozzi's work and his influence introduces
this 155-page book, which sells for $29.95.
BRITISH
INNOVATORS
An affectionate husband and good father whose interesting job keeps him
and his family on their toes—this is the picture author Nancy Phelan
paints of her cousin, CHARLES MACKERRAS: A MUSICIAN'S MUSICIAN.
Although this book provides a wealth of detail about the maestro's personal
life—including which London tram he took to conduct the opening night
of Kdt'a Kabanovd— the reader yearns for more information about the
exciting projects and discoveries for which he is famous, and which are
described here too briefly. However, Mackerras's own writings on Mozart,
Handel, JandCek, and aspects of conducting included in this illustrated
367-page volume will be of great interest. The English firm Victor Gollancz is the publisher of the book, which contains a discography and an
index and is priced at $39.95.
The famous director Peter Brook can tell a good story. In THE SHIFTING
POINT: THEATRE, FILM, OPERA 1946-1987 he constructs his memoirs as
a series of short sketches which give the reader a behind-the-scenes look
at his original and memorable work, often done in collaboration with the
world's great actors, musicians, and designers. On the way one gains
understanding of his staging concepts, from his thoughts on Shakespeare
and avant-garde theater to his study of the dramatic conventions of other
cultures. This 254-page illustrated and indexed book, published by Harper
& Row is priced at $22.50
FESTIVAL
GUIDE
Be prepared to book passage to England after just a glance at the handsome images and seductive catalogue of repertory in Richard Adams' A
BOOK OF BRITISH MUSIC FESTIVALS. In villages and cities from Aldeburgh to York the foliage is lush, the cathedrals are sublime in their
architectural detail, and the children, all of whom look like little angels,
are dedicated and knowledgeable singers of esoteric choral music. Medieval motets, grandiose works by Elgar, Delius, Vaughan Williams and others,
and the newest of music, including some played on giant computerized
pan pipes at Nettlefold, are described in more than 200 listings of musical
events throughout the British Isles. This 224-page book includes maps,
an index, and a directory of the festivals. Published by Robert Royce
in the U.K. and distributed in this country by Riverdale Publishers, it
sells for $23.95
CORRECTION
The ACUCAA publication THE ARTS ADMINISTRATOR: JOB CHARACTERISTICS is not available free of charge, as was erroneously reported
in Vol. 28, No. 1, but can be obtained from that organization at 1112
16th Ave. NW, #620, Washington, DC 20036 for the price of $10.00 for
members, $18.00 for non-members.
[]
-72-
OPERA HAS L O S T . . .
Conductor and impresario KURT HERBERT ADLER, Austrian/American,
82 years old, in San Francisco 2/9/88. His name is synonymous with that
of the San Francisco Opera, where his daring imagination coupled with
his proverbial meticulous standards of musical and artistic excellence
established it as one of the world's preeminent companies. His influence
however reached far beyond the company, and if the U.S. is a leading
force in opera today it is in no small measure due to Maestro Adler's
foresight and dedication. He came to the United States in 1938, and
began working as an assistant conductor and chorus master in San Francisco
in 1943, while he was still associated with both the Chicago Lyric and
New York City Operas. In 1953 he was appointed artistic director and
subsequently general director, succeeding the company's founder Gaetano
Merola, and he led the company until his retirement in 1981 when he
was made general director emeritus. During his tenure he brought in
legendary singers as well as directors and conductors for seasons which
gradually expanded from five weeks to four months, with additional spring
and summer performances. Birgit Nilsson, Elisabeth Schwarzkopf, Mario
Del Monaco, Boris Christoff and many others made their American debuts
there, while American artists like Leontyne Price were first introduced
to San Francisco audiences. The range of repertory encompassed unfamiliar
baroque and nineteenth-century works as well as four world premieres
—Dello Joio's Blood Moon (1961), Imbrie's Angle of Repose (1976),
Harbison's A Winter's Tale (1979) and Mechem's Tartuffe (1980)—and
numerous American premieres such as Dialogues des Carmelites (1957),
Die Frau ohne Schatten (1959), The Makropulos Case (1966), and Reimann's
Lear (1981). He continued to conduct performances in San Francisco and
occasionally with other companies until 1983, and in 1982 he conducted
II Trovatore in Philadelphia with Rolf Adler, his son from his first marriage
and an international stage director, staging the opera. In his ongoing
mission to support American singers he established several projects including Western Opera Theater (1967), the first outreach program designed
to give professional experience to young artists while introducing opera
into new communities. He was a founding member of COS, served on
the National Council for the Arts and Humanities, headed the association
of international opera impresarios, and received several national and
international awards. Due to his prominence and distinguished career his
name is included in six volumes of Who's Who. The operatic world both
here and abroad held him in high esteem and he will be greatly missed.
On April 11, a concert in his memory was presented at the Opera House.
Baritone VINCENT BASKIN, American, in New York City 2/88. He sang
in Europe and with American regional companies as well as in New York,
where he was a member of Opera Ebony. At the New York City Opera
he participated in the world premiere of Davis' X in 1986.
Critic R.D. DARRELL, American, 84 years old, in New York City 5/1/88.
He wrote free-lance articles, primarily on classical recordings, for such
publications as the Saturday Review and High Fidelity beginning in the
1930s and continuing until his death. Some of his books, including The
Gramophone Shop Encyclopedia of Recorded Music (1936) and Good Listening (1953), were both pioneering and authoritative works on these
subjects.
Administrator and singer DOUGLAS J. DUNCAN, American, 37 years old,
in Des Moines, IA, 1/19/88. Under his guidance the Des Moines Metro
Opera, which he helped to found sixteen years ago, became one of the
-73-
OBITUARIES
country's important regional houses, with an extended summer season and
a budget of about one million dollars. A dedicated and enthusiastic
administrator, he participated in all aspects of running the house from
fundraising to performing in over 45 productions. His achievements and
talents were manifested in the growing success of the company, which
hosted the premiere of Hoiby's The Tempest in 1986.
Soprano SUZY (nc§e Estelle) FRELINGHUYSEN, American, 76 years old, in
Pittsfield, MA, 3/19/88. Under the name of Suzy Morris she sang principal
roles at the New York City Opera for three seasons, winning particular
acclaim in her debut as Ariadne in 1947. A well-known professional
artist, she was the wife of the abstract painter George L.K. Morris.
Writer ALEXANDER FRIED, American, 85 years old, in San Francisco
5/9/88. A critic of the arts and host of the San Francisco Opera radio
broadcasts, he was a key force in the city's cultural life for over 50
years. He began his career at the Musical Digest in New York and wrote
for the San Francisco Chronicle before attaining the post of music and
art editor at the Examiner in 1934, from which he retired in 1977.
Composer OTTORINO GENTILUCCI, Italian, 86 years old, in Milan 7/29/87.
A teacher at the Milan Conservatory, his operas La Fiaccola and Don
Ciccio were both premiered in Italy in 1953.
Producer LEE GUBER, American, 67 years old, in New York City 3/27/88.
He and his partner Shelley Gross created and administered a highly successful chain of for-profit theaters across the country including the Valley
Forge Music Fair in Philadelphia, Shady Grove near Washington, and the
Westbury Music Fair on Long Island, all of which ultimately boasted some
of the world's most famous entertainers in revues and musical revivals.
For the last twenty years he also actively produced Broadway shows,
among them the 1974 and 1977 hit revivals of Lorelei with Carol Channing
and The King and I starring Yul Brynner, as well as the recent ill-fated
production of Rags (1986).
Bass YOLAND GUERARD, Canadian, 64 years old, 11/87. A well-known
radio, film, and television performer in Canada, he began his career in
the 1940s and went on to sing leading roles in operas and musicals. He
was Ezio Pinza's replacement during the New York run of South Pacific
for two years. He also performed M6phistoph61es in Faust, Don Giovanni,
and other roles with various Canadian companies and festivals. He was
one of the founders of the Grand Opera of Montreal in the 1950s and at
the time of his death was the Canadian Cultural Attach^ in Paris, where
he helped to encourage and promote performances by artists of his country.
Soprano BEATRICE HALDAS, Swiss, in Hamburg 12/3/87. She made her
1976 debut in Basel and was a member of the Hamburg Opera from 1979
to 1985, where she sang Micaela, Marzelline, and other lyric parts including
Ghita in a revival of Zemlinsky's Der Zwerg,
Singer and teacher KATHERINE HILGENBERG, American, 67 years old,
in Ann Arbor, MI, 3/18/88. A native of California, she was a noted
opera and choral soloist as well as a musical comedy singer who appeared
with leading American companies and symphony orchestras before her
retirement two years ago. She was a teacher of voice at the University
of Michigan.
-74-
OBITUARIES
Administrator JAY HOLBROOK, American, 35 years old, in Towson, MD,
6/19/88. He began as a volunteer with Baltimore Opera in 1970, and in
1974 received an NOA grant to study administration under its general
manager, Robert Collinge. He later became director of public relations
and was promoted to the position of assistant general manager before
1980, when he was appointed general manager after Mr. Collinge's death.
Under his leadership the Baltimore Opera expanded its education department, and during the 1984-85 season produced a series of contemporary
works by Bernstein, Weisgall, and Hoiby. He served on the board of
advisors of the Metropolitan Opera National Council Regional Auditions
and was a member of the boards of NIMT and OPERA America.
Writer and critic HARRIETT JOHNSON, American, 79 years old, in La
Jolla, CA, 6/26/87. A well-known figure on the American music scene,
she was a graduate of the University of Minnesota and the Juilliard
School, where she was a student of Olga Samaroff Stokowski. She served
as official lecturer at the New York Philharmonic and as a broadcaster
on WQXR before assuming her role as music critic for the New York
Post during the early 1940s. Her reviews appeared there for nearly 44
years, until her retirement in 1986. She was also the composer of the
children's works Chuggy and the Blue Caboose and Pet of the Met, about
a white mouse who lived at the old Metropolitan Opera House. At the
time of her death she was working on a musical about the life of ToulouseLautrec.
Author and musicologist IRVING KOLODIN, American, 80 years old, in
New York City 4/29/88. An influential critic in the field of live and
recorded classical and popular music for nearly 50 years, his name was
also identified with the famous history of the Metropolitan Opera, first
published in 1936 and revised in 1953 and 1966. Music critic for the
Saturday Review from 1947 to 1982, he began his career as a critic at
the New York Sun from 1932 to 1950 and wrote program notes for the
New York Philharmonic from 1953 to 1958. During this time he also
worked for RCA, where he assembled several record anthologies including
50 Years of Great Operatic Singing. He taught music criticism at the
Juilliard School from 1968 to 1986. Recognized for his wide-ranging
expertise, he was a frequent radio guest and in 1970 helped to select
recordings for the newly-created White House music library. His many
other publications include Mozart on Records (1942), The Interior
Beethoven (1975) and The Opera Omnibus (1976).
Soprano ANNELIES KUPPER, German, 82 years old, 12/87. A member of
the Hamburg Opera from 1938 to 1945, she also appeared in Vienna and
Bayreuth during this time. She performed both in the standard repertory
and in world premieres of works by Egk and Orff at the Bavarian State
Opera, where she sang from 1945 until her retirement in 1961. At the
same time she appeared in England and on the continent. Of the many
and varied roles she performed, she was particularly acclaimed for those
in the Wagner and Strauss repertory. At the request of Clemens Krauss
she created the title role in Die Liebe der Danae in Salzburg in 1952,
and later sang the part at Covent Garden. She taught singing in Germany
after 1956.
Educator JOHN W. LARGE, American, 57 years old, in Fort Worth, TX,
10/22/87. Director of the graduate program in voice pedagogy at Texas
Christian University since 1985, he had previously taught at SUNY-Potsdam,
-75-
OBITUARIES
San Francisco State University, North Texas State University, and other
institutions. He had developed his own theories of vocal pedagogy and
founded a voice institute in Santa Fe.
Tenor ALFREDO LATTARO, Italian, 87 years old, 8/30/87. A teacher
of singing whose pupils included Franco Bonisolli, he performed dramatic
tenor roles, including Siegfried and Otello, in Italy's major houses during
the 1930s.
Composer ANGELO FRANCESCO LAVAGNINO, Italian, 81 years old, in
Gavi, Italy, 8/21/87. Known as both a teacher and composer of film
music in Italy, he also wrote several orchestral works and an opera,
Malafonte, premiered in Antwerp in 1953.
Composer FREDERICK (Fritz) LOEWE, German/American, 87 years old,
in Palm Springs, CA 2/14/88. A major contributor to the American
musical scene, he composed the waltzes, ballads, dance music, and patter
songs for the memorable shows he wrote together with the lyricist Alan
Jay Lerner, who died in 1986. A professional pianist and composer during
his youth, he studied music with Busoni, d'Albert, and von Reznicek in
Berlin before coming to the United States in 1924. Here he struggled to
make a living and worked at many odd jobs, from busboy to prizefighter,
until he finally achieved some success as a songwriter for revues during
the 1930s. Brigadoon (1947), written five years after his first meeting
with Lerner, was followed by the hits Paint Your Wagon (1951); My Fair
Lady, a masterpiece of the genre (1956); the film Gigi (1958); and Camelot
(1960). Semi-retired since the early 1960s, his last work for the musical
film of The Little Prince was written in collaboration with Lerner in 1974.
Soprano EMMY LOOSE, Czech/Austrian, 73 years old, in Vienna 10/14/87.
Her high soprano voice, which can still be heard in her many recordings
of opera and operetta, ideally complemented her vivacious stage personality. A member of the Vienna State Opera from the early 1940s until
her retirement, she excelled in the Mozartean repertory, performing
Blondchen, Susanna, Despina, and Zerlina, as well as principal roles in
works by such diverse composers as Strauss, Verdi, Puccini, and Stravinsky.
She sang at La Scala, Covent Garden, Glyndebourne, Salzburg, Aix-enProvence, and other major European and South American houses and
festivals throughout her career.
Tenor JAMES McCRACKEN, American, 61 years old, in New York City
4/30/88. One of the internationally acclaimed tenors of the last twenty
years, he started in regional opera houses and joined the Metropolitan
Opera in 1953, where he sang numerous eomprimario roles. He left in
1957 to advance his career in Europe, and gained worldwide recognition
as a leading tenor before his return to the Met as Otello in 1963. He
quickly became identified with the roles of the dramatic tenor repertory,
including Manrico, Canio, Samson, Florestan, and Calaf, and during the
1970s he starred as Otello, Don Jos6, Radames, Jean in Le Prophete, and
Tannhauser in five new productions at the Metropolitan Opera during
consecutive seasons. He again left the Met in 1978, after a dispute
concerning scheduled telecasts, but returned once more in 1983 and was
to have appeared in II Trovatore a week before his untimely death. He
was also heard at the Deutsche Oper Berlin, Hamburg, Cologne, Vienna,
Rome, Zurich, Covent Garden, and many other major European houses, as
well as with principal American companies including Houston, Chicago,
-76-
OBITUARIES
San Francisco, and Washington. Married to mezzo-soprano Sandra Warfield,
with whom he frequently appeared in Samson et Dalilah, he was admired
and esteemed by both his colleagues and the young singers whom he
helped and encouraged. On May 7 the world of opera professionals
gathered at Alice Tully Hall to hear tributes to his memory. Contributions
to The James McCracken Memorial Fund, established to support young
tenors, may be sent c/o John McCracken, 4 Gladys Ln., Freeport, NY 11520.
Scenic and costume designer ITA MAXIMOWNA, Russian/German, 80 years
old, in Berlin. A former book illustrator, she began designing for the
theater during the 1940s and created her first operatic production for
the Deutsche Oper Berlin in 1953. She went on to an international career,
working at the Vienna State Opera, Cologne Opera, La Scala, La Fenice,
Glyndebourne, and numerous other major European houses and festivals.
In the United States she was a resident designer at San Francisco Opera,
and at the Metropolitan Opera she created the sets and costumes for Un
Ballo in maschera in 1962 and Manon in 1963, both directed by Gunther
Rennert. Her work for film and television was also well-known.
Playwright and director TIMOTHY S. MAYER, American, 43 years old,
4/88. Associate director to Peter Sellars at the Boston Shakespeare
Company and the American National Theater in Washington, he wrote the
book for the revival of My One and Only and had recently collaborated
on the soundtrack for the film Bright Lights, Big City. He was a cofounder
of the Hudson Valley Theater in Hyde Park, NY.
Conductor ANDREW MELTZER, American, 41 years old, in San Francisco
6/22/88. Originally from New York City, he came to California as music
director of the Merola Opera Program in 1974 and later held the same
position with Western Opera Theater. In 1982 he became music director
of the newly formed San Francisco Opera Center and also made his company debut with II Barbiere di Siviglia during the summer season. He
made numerous guest appearances with the New York City Opera; Michigan
Opera Theatre; Vancouver Opera; the State University of New York at
Purchase, where he conducted the premiere of Susa's The Love of Don
Perlimplin in 1984; the Houston Grand Opera, including last summer's
European tour of Porgy and Bess; the Spoleto Festival U.S.A.; and other
American and Canadian companies. He also conducted the Orchestre
Lamoureux and led concert performances of American operas as well as
a special Bach tricentenary concert for Radio France.
Writer KAREN MONSON, American, 42 years old, in Long Branch, NJ,
1/30/88. A busy free-lance writer and the author of two biographies,
Alban Berg (1979) and Alma Mahler: Muse to Genius (1983), she was a
winner of the Deems Taylor Award for criticism and the Peabody and
Armstrong Awards for music programs she produced as host of her own
radio show in Chicago. A graduate of Radcliffe, she went on to write
music criticism for The Chicago Daily News from 1973 to 1978 and later
for the Los Angeles Herald Examiner and the Baltimore Sun. She also
served as musical advisor to the philanthropist Paul Fromm.
Educator EARL V. MOORE, American, 97 years old, in La Jolla, CA,
12/29/87. Much of his life was spent at the University of Michigan, Ann
Arbor, from the time he entered college in 1908 until his retirement in
1960. He began his career as the university organist and teacher of
music and became Dean of the Music School in 1923. A leading figure in
-77-
OBITUARIES
the establishment of the Ann Arbor May Festival, he also composed several
school songs. The Earl V. Moore scholarship was established in 1951, and
in 1975 the University also named the music building in his honor. He
had also served as the head of the music department of the University
of Houston, and was the recipient of numerous honorary degrees and a
member of leading academic and professional associations.
Soprano ELSA OEHME-FORSTER, German/American, 88 years old, in
Cologne 9/21/87. As a child she appeared in the premiere of Konigskinder
at the Metropolitan Opera, where her father played in the orchestra.
After studying voice in New York she joined the Diisseldorf and later the
Cologne Operas, singing principal dramatic roles including Senta, Elsa,
and Agathe. She was heard in German and Austrian houses from the
1920s through the 1950s and appeared in the first European performance
of The Love for Three Oranges (1925) and in the world premiere of
Siegfried Wagner's Der Heidekbnig (1933).
Mezzo soprano GIANNA PEDERZINI, Italian, 88 years old, in Rome 3/12/88.
Her performances of principal roles in Italy led to an international career
during the 1930s and 40s, when she sang at Covent Garden, Paris, Berlin,
and the Teatro Coldn in Buenos Aires. After Conchita Supervia's death
in 1936, she was considered the leading interpreter of the Rossini repertory, but was also highly successful in music which ranged from Mozart
and Strauss to JandCek, Bloch, and Menotti. During her long career she
appeared in several world premieres, including Dialogues des Carmelites
(La Scala, 1957).
Soprano CLARA PETRELLA, Italian, 73 years old, in Milan 11/19/87.
She excelled in both verismo and contemporary repertory, first in Italy
and later throughout Europe from the 1940s through the 1960s; her recordings are prized by collectors. In addition to her interpretations of works
by Puccini, Mascagni, and Wolf-Ferrari, she created roles in new operas
by Rocca, Bianchi, and others including the world premieres of Doenisch's
Soleida (1941), and Pizzetti's Cagllostro (1953) and La Figlia de Jorio
(1954), all at La Scala, and Pannain's Madame Bovary (1955) and Rossellini's
II Vortice (1958) at the San Carlo. She also sang in the first Italian
performances of Menotti's The Consul (1951) and Maria Golovin (1958).
Baritone AFRO POLI, Italian, 86 years old, in Rome 2/28/88. He sang
principal roles in operas by Donizetti, Verdi, Puccini, Wagner, and others
in major European houses beginning in 1930, and later performed character
parts and acted in films until his retirement in 1969. He is known to
American fans through his many recordings.
Tenor BRUNO PREVEDI, Italian, 59 years old, in Milan 1/12/88. After
one season as a baritone, he launched an international career as a tenor
and enjoyed great acclaim at La Scala and other Italian theaters. He
performed extensively at major houses and festivals, including Covent
Garden, the Vienna State Opera, the Paris Opera, and the Aix-en-Provence
and Edinburgh Festivals. In the United States, he was heard in Chicago,
Boston, Dallas, Miami, and at the Metropolitan Opera from 1965 to 1969,
where he was admired for his musicianly interpretations of Cavaradossi,
Alfredo, and other roles. He was also a popular recording artist.
Conductor FELIX PROHASKA, Austrian, 75 years old, in Vienna 3/29/87.
Son of the composer Karl Prohaska, he studied in Vienna and was a chorus
-78-
OBITUARIES
director and coach at the Graz Opera before conducting opera at Duisburg
(1939-41) and Strasbourg (1941-43). He was principal conductor at the
Vienna State Opera from 1945 to 1956 and the Frankfurt Opera from
1956 to 1961 before assuming the post of director of the music academy
in Hannover, which he held until 1969. He made guest appearances with
orchestras in Europe and South America, and recorded frequently.
Composer and pianist SAM RAPHLING, American, 78 years old, in New
York City 1/8/88. He was active for many years in Chicago as a composer,
pianist, and arranger, and also taught at Greenwich House Music School
in New York. He wrote numerous works of many kinds, including a short
chamber opera, Mrs. Bullfrog, which was premiered in 1980.
Baritone JOHN REARDON, American, 58 years old, in Santa Fe 4/16/88.
Widely known from his more recent appearances in musicals and on television, including Mister Rogers' Neighborhood, he was acclaimed for his
work in both the standard repertory and in operas and concert music by
contemporary composers, for which he had a particular affinity. After
studies with Margaret Harshaw and Martial Singher, he sang at the New
York City Opera from 1954 to 1972, where he was heard in the world
premieres of Moore's Wings of the Dove (1961) and Hoiby's Natalia Petrovna
(1964) as well as the New York premieres of Floyd's Wuthering Heights
and von Einem's Dantons Tod. He made his Metropolitan Opera debut in
1965 and sang many roles there including Escamillo, Count Almaviva—both
in New York and on the Paris tour in 1966—and Orin in the world premiere
of Levy's Mourning Becomes Electra (1967). He often performed with
regional companies, including Santa Fe where he took part in the American
premiere of Menotti's Help, Help, the Globolinks! in 1969. He also
participated in the world premieres of Menotti's TV opera The Labyrinth
(NBC, 1963), Weisgall's Athaliah (Concert Opera, New York, 1964), Moore's
Carrie Nation (University of Kansas, 1966), Hoiby's Summer and Smoke
(St. Paul Opera, 1971), and Pasatieri's The Seagull (Houston Grand Opera,
1974). He always included material by American composers in his many
recitals.
Singing actor GEORGE ROSE, British/American, 68 years old, in Sosua,
Dominican Republic, 5/5/88. A character actor adept at both dramatic
and comic roles, he was a principal member of the Old Vic for nearly
twenty years and first appeared on Broadway during the 1960s, singing
in such musicals as Coco and Peter Pan. More recently he was associated
with New York Shakespeare Festival productions including The Pirates of
Penzance (1980), in which he sang the role of the Major General, and
The Mystery of Edwin Drood (1985), for which he won his second Tony
Award; the first was for his part in the 1976 revival of , u y Fair Lady.
He also appeared in films and made recordings.
Educator and pianist MARTIN H. SMITH, American, 50 years old, in New
York City 3/11/88. An accompanist for many prominent singers during
the 1950s and 1960s, he taught and coached at the Juilliard School and
was later the head of the American Opera Center there. In 1986 he
left that post to join the Manhattan School of Music, where he was the
dean of faculty and students at the time of his death.
Conductor JUDITH SOMOGI, American, 47 years old, in Rockville Centre,
NY, 3/23/88. A Juilliard graduate, she began her career as assistant
conductor under Thomas Schippers at the Festival of Two Worlds in
-79-
OBITUARIES
Spoleto, Italy, and later led both orchestral and operatic performances
throughout the United States. She was the first woman conductor at the
New York City Opera, where she made her debut in 1974. Her successes
led to her being invited by Michael Gielen to become principal conductor
at the Frankfurt Opera in 1981, where she remained until 1987 and where
she conducted new productions of operas by Rossini, Verdi, Offenbach,
and Wagner. During that time she also made frequent guest appearances
with the Tulsa Opera and several major American orchestras.
Administrator ROBERT L. TURNER, American, 50 years old, 2/8/88. He
was born in Kentucky and earned his music degrees from Stetson University
and Louisiana State University. He had worked for Lincoln Center since
1963, and was appointed General Manager of Avery Fisher and Alice
Tully Halls in 1971.
Musician and inventor JOSEPH S. TUSHINSKY, American, 78 years old,
in Encino, CA, 3/21/88. Beginning his career as a professional trumpeter,
he went on to conduct musicals and eventually settled in California,
where he wrote screenplays for musicals in the 1940s. It was during
that time that he and his brother developed the wide-screen process
called Superscope. An inventor of audio devices, he was the founder and
chairman of the Marantz company.
Librarian and musicologist THOR E. WOOD, American, 55 years old, in
New York City 4/28/88. He served as head of the New York Public Library's Performing Arts Research Center ever since its establishment at
Lincoln Center in 1965. Under his tenure the dance, music, and theater
collections, as well as the Rodgers and Hammerstein Archives of Recorded
Sound, grew to international stature. He also played a key role in the
capital campaign fund, begun in 1986. Active in numerous music and
library associations, he published articles in several scholarly journals.
COS also notes with regret the passing of:
ROBERT JOFFREY, American, 57 years old, in New York 3/25/88; the
renowned dancer, choreographer, and founder/director of the Joffrey
Ballet.
FRITZ KRAMER, Austrian/American, in New York 3/88; coach/accompanist
and lecturer.
EVGENY MRAVINSKY, Russian, 84 years old, in Leningrad 1/88; Music
Director and conductor of the Leningrad Philharmonic for 50 years.
DAVID SCHIFFMAN, American; artists manager and public relations
representative.
[]
New English Translations (continued from page 63)
Addresses - Translators
Stafford Foss, R.R.I, Box 56, Standfordville, NY 12581; (914) 868-7590
Elizabeth Hastings, 677 West End Ave., #7D, New York, NY 10025
Lyle Neff, 320 East University St., #4, Bloomington, IN 47401
Andrew Porter, c/o E. Snapp, Inc., 87 Robinson Ave., Glen Cove, NY 11542
Change to Directory - Translator
Henry Reese (estate): contact Mrs. Marlyn Reese, 2601 Rutherford Dr., Los Angeles, CA 90068
Change of Music Distributor
Baerenreiter-Verlag, Doblinger, Harmonia, Kneussli, Kunzelmann, Opera Rara, Supraphon: now
available from Foreign Music Distributors, 305 Bloomfield Ave., Nutley, NJ 07110
[]
-80-
PERFORMANCE LISTING, 1987-88 SEASON (CONT.)
All performances are staged unless marked "conc.pf." (concert performance) and are given with
an orchestra unless marked "w.p." (with piano). An * following a title indicates a new production;
a t indicates that projected English captions are used. A single date appearing for a listing
of several performances indicates the opening night. Performances and news items listed in
an issue of the Bulletin are not repeated in later issues.
ALABAMA
University of South Alabama Opera Wksp., C. Reims, Oir., Mobile
4-5/88 Gentry's L'Amant jaloux Eng.
ALASKA
Basically Bach Festival, Anchorage
7/7-17/88 incl. Handel's Samson c: Contino
University of Alaska, Music & Theater Depts., Anchorage
4/13-24/88 The Threepenny Opera
ARIZONA
Mesa Symphony Orchestra, M. Davies, Gen.Mgr., Mesa
4/28/88 Carmina Burana
Northern Arizona University Opera Theatre, L. Hanson, Dir., Flagstaff
10/23,24,25/87 West Side Story
4/15,16/88 Gianni Schicchi
University of Arizona Opera Theater, L. Day, Dir., Tucson (see also Vol.28 #1)
4/88 La Cenerentola Eng.; c: Knott; d: Sullivan
6/88 Don Giovanni
CALIFORNIA
Bay Chamber Orchestra, San Francisco
6/88 Carmen Duykers
Berkeley Opera, R. Goodman, Art.Dir., Berkeley (see also Vol.27 #4)
5/21,22,25,27,28/88 Dvorak's The Devil and Kate Eng.; c: Kuhner; d: Acord; ds: Davis;
at Zellerbach Playhouse, U. of Cal.
7/29,30 8/5,7,12,13/88 Lortzing's Zar und Zimmermann (The Czar's Disguise) Eng.
(replaces Der Waffenschmied) at Hillside Club
California State University Music Theatre, R. Cordova, Mus.Dir., Long Beach
4/16/88 Le Nozze di Figaro
California State University Opera, M. Kurkjian, Dir., Fullerton
4/29,30 5/lm/88 Madama Butterfly
California State University Opera Theatre, D. Scott, Dir., Northridge (see also Vol.28 #1)
4/18-5/10/88 The Fantasticks
I Cantori, E. Cansino, Dir., Pasadena
5/7/88 de la Halle's Robin et Marion c/d: Cansino
Carmel Bach Festival, S. Salgo, Mus.Dir., Carmel (7/11-31/88)
7/16m,23m,30m/88 Fidelio eonc.pfs.; Lundell, Paschal; Bachlund, Urrey, Myers; c: Salgo
Casa Italians Opera, M. Leonetti, Gen.Dir., Hollywood (see also Vol.28 #1)
5/1/88 Suor Angelica & Pagliacci (replaces La Traviata)
Cinnabar Opera Theater, M. Klebe, Art.Dir., Petaluma (see also Vol.28 #1)
5/27,28 6/3,4,10,11/88 Susa's Transformations c: Shuman; d: Klebe; ds: Wubbold/Anacker
Citrus College, Music Dept., Glendora
4/24/88 1940's Radio Hour
City Summer Opera, David Parr, Dir., San Francisco
7/14-17/88 The Mother of Us All 5 pfs.
Claremont College, Music Dept., Claremont
4/8/88 H.M.S. Pinafore
Downey Civic Light Opera, W. Marsh, Mus.Dir., Downey (see also Vol.28 #1)
6/3-19/88 Kismet
Euterpe Opera Theatre, H. Pelta, Dir., Los Angeles
4/24m/88 L'Elisir d'amore abrdg. w. narr.; at Japan America Theatre
Glendale Community College Opera Wksp., M.A. Dutton, Dir., Glendale
12/87 Scenes d: Serbo
Summer '88 1776 c: Dutton; d: Overson
Grove Theatre Company, T. Bradac, Prod.Art.Dir., Garden Grove
5/20-6/25/88 Pump Boys and Dinettes
-81-
1987-88 SEASON
Hayward Lyric Opera, D. Nagel, Dip., Hayward
5/3-17/88 The Tales of Hoffmann 30-min. stgd. vers.; Eng.; 6 pfs., tour to schools
Hollywood Opera Ensemble, A. Monte, Gen.Dir., Hollywood (see also Vol.28 #1)
8/88 Carmen
Japan America Theatre, D. Ebata, Gen.Mgr., Los Angeles
2/2-6/88 Utamaro, the Musical
Korean Philharmonic Orchestra, Los Angeles
7/22,23/88 La Boheme
La Jolla Playhouse, D. McAnuff, Art.Dir., La JoUa (see also Vol.28 #1)
8/23-10/9/88 Davies/Wilson's 80 Days prem.
La Mirada Civic Theatre, La Mirada
5/3-22/88 Company
Los Angeles Music Center Opera, Chandler Pavilion, Los Angeles (see also Vol.27 #4)
3/23/88 Getty's Plump Jack conc.pf.; Buck, Vlahos; Mack, Del Carlo; c: Massey
8/10,12/88 Kkt'a KabanovA previews for students & senior citizens
Los Angeles Music Theatre Company, Los Angeles (see also Vol.28 #1)
5/6,8,11,13,15,18,20,22/88 L'Elisir d'amore c: Stivers; d: White
Marin Civic Light Opera, M. Rios, Gen.Dir., San Rafael (see also Vol.28 #1)
4/22-5/15/88 Guys and Dolls
5/28/88 Annual concert
Mt. San Jacinto College Opera Theatre Wksp., A. Avars, Dir., San Jacinto
1/15,17,22,24/88 Le Nozze di Figaro
Music Academy of the West, M. Singher, Dir., Santa Barbara (6/24-8/20/88)
8/88 A Midsummer Night's Dream c: L. Smith; d: Igesz
Music from Bear Valley Festival, S. Comer, Gen.Mgr., Bear Valley (7/30-8/14/88)
8/3/88 Gershwin Concert incl. Porgy and Bess excpts.; c: Nice
8/11,13/88 n Barbiere di Siviglia Harris; Tate, Little, Haile, MacAllister; c: Conlin; d:
Rhodus
Nakamichi Baroque Festival, F. Hammond, Gen.Dir., UCLA College of Fine Arts, Westwood
Campus (6/22-26/88)
6/23,25/88 Landi's n Sant'Alessio Nelson, Baird; Minter, Kelley, J. Thomas; New York
Baroque Dance Ensemble; Philharmonia Baroque Orchestra; c: McGegan; d: McGegan/
Turocy
Ojai Festival, N. McGegan, Dir., Ojai
5/28,29,30 6/4,5/88 P.M. Davies1 Cinderella
6/3/88 Purcell's King Arthur Armstrong; Elliott, Busterud; narr: McDowell; Philharmonia
Baroque Orchestra; c: McGegan
6/4/88 Cone. incl. Davies' Into the Labyrinth Am.prem.; Ojai Festival Chamber
Orchestra; c: Davies
Old Globe Theatre, J. O'Brien, Art.Dir., San Diego (see also Vol.28 #1)
8/13-9/25/88 Metcalfe/Michilinda's White Linen prem.
Orange County Opera, C. Webb, Sec'y/Treas., Sunset Beach
1987-88 La Fille du regiment Eng.; scenes; w.p.; 282 pfs. tour to schools
Pacific Chamber Opera, G. Hildenbrand, Mng.Dir., San Diego (see also Vol.28 #1)
4/7,9,12,16,17m/88 The Chocolate Soldier
PCPA Theaterfest, J. Shouse, Art.Dir., Summer Season, Solvang (see also Vol.28 #1)
6/20/88 Pump Boys and Dinettes
6/30/88 Strouse/Adam's It's a Bird...It's a Plane...It's Superman
7/14/88 Sweeney Todd d: Shouse
Pepperdine University Seaver College Opera Wksp., V. Mesrop-McMahon, Dir., Malibu (see
also Vol.28 #1)
4/18/88 1940s Radio Hour
Performing Arts Alliance, Foothill College, Los Altos Hills
6/3,4,9-25/88 Pump Boys and Dinettes (TheatreWorks prod.)
6/4/88 Die Fledermaus (West Bay Opera prod.)
6/17-19,22-26/88 The Mikado (Saratoga Chamber Theatre prod.); at Studio Theater
7/7-10,14-17/88 The Boy Friend Foothill Summer Stock
7/7-17,21-23/88 Godspell Los Altos Conservatory Theatre; at Studio Theater
7/23,24/88 The Medium (Opera San Jose prod.)
7/29,30/88 Little Red Riding Hood Palo Alto Children's Theatre; at Studio Theater
8/11-14,18-21/88 Sweeney Todd Foothill Summer Stock
-82-
1987-88 SEASON
Redlands Bowl Summer Music Festival, F. Fetta, Mus.Dir., Redlands (6/21-8/26/88)
7/8/88 Madama Butterfly eonc.pf.
7/29,30,31/88 The Music Man
8/19/88 The Mikado Opera-a-la-Carte
Riverside Opera, J. Sullivan, Gen.Dir., Riverside
2/88 L'Elisir d'amore
5/21/88 Norma
San Bernardino Civic Light Opera, CD. Jenks, Mng.Dir., San Bernardino
4/22-24,26-30 5/lm/88 The Pirates of Penzance
San Diego Civic Light Opera, L. Drew, Gen.Mgr. & Exec.Prod., Starlight Bowl, Balboa
Park, San Diego (see also Vol.28 #1)
6/30-7/3,5-10/88 Showboat
7/21-24,26-31/88 Grease
8/11-14,16-21/88 Anything Goes
9/1-4,6-11/88 Fiddler on the Roof
San Diego State University, Music Dept., M. Chambers, Dir., San Diego
11/20,21/87 Gallantry
5/5,6/88 Hin und zttruck
5/8,9/88 In a Garden 5/11,13,15,18,20,22 off-campus pfs.
San Francisco Opera, T. McEwan, Gen.Dir., San Francisco (see also Vol.27 #4)
4/llm/88 Kurt Herbert Adler Memorial Concert
6/19/88 Carmina Burana at Stern Grove
7/88 Opera Concert c: I. Robertson; at Stern Grove
San Francisco Opera Center, C. Bullin, Mgr., San Francisco/Saratoga
6/23,28,30/88 Titus' Rosina Opera Center Showcase at Theater Artaud
6-7/88 Madama Butterfly Merola Opera Program in Saratoga; L'ltaliana in Algeri Merola
Opera Program at Stern Grove
San Francisco Symphony Orchestra, H. Blomstedt, Mus.Dir., San Francisco
12/18/87 Wuorinen's The W. of Babylon prem.; New and Unusual Music series
5/18,19m,20,21/88 Peer Gynt Haggander, White; Malmberg; c: Blomstedt
San Jose Gilbert and Sullivan Society, M. Handloff, Pres., San Jose (see also Vol.28 #1)
5/20,21,22,27,28,29/88 The Pirates of Penzance
Santa Barbara Civic Light Opera, E. Unruh, Art.Dir., Santa Barbara (see also Vol.28 #1)
5/27-6/5/88 West Side Story
Santa Barbara Theatre Group, Santa Barbara
Stockton Symphony Orchestra, K. Won, Mus.Dir., Stockton
5/3,5/88 Madama Butterfly eonc.pf.; Arroyo; c: Buckbee
Theater of the Blue Rose, Berkeley
10/30,31 11/1,6,7,8/87 Cabaret
12/4,5,6,11,12,13/87 Happy End
University of California, Santa Barbara
5/28-30/88 Lotte Lehmann Centennial Symposium
University of California Opera/Musical Theatre Wksp., S. Krachmalnick, Mus.Dir., Los
Angeles (see also Vol.28 #1)
4/5,16,22,23,24m/88 Sondheim's Merrily We Roll Along c: Krachmalnick
5/27-6/4/88 A Little Night Music
University of California Opera Theater, C. Zytowski & M. Ingham, Dirs., Santa Barbara
4/8,9/88 Lo Speziale Eng.
University of San Diego Opera Wksp., W. Eichorn, Dir., San Diego
12/4,5/87 Scenes
4/29,30/88 Proulx's The Pilgrim
University of Southern California Opera, Los Angeles (see also Vol.28 #1)
4/21,22,23,24m/88 Cosi fan tuttet c: Behr; d: Boerlage
Vallejo Music Theatre. Vallejo
7/1/88 The King and I 5 pfs.
Voices/SF, D. Ahlstrom, Art.Dir., San Francisco (see also Vol.28 #1)
5/14,15m/88 Ahlstrom's Song of the Golden Fish c: Shahani; d: Ahlstrom
COLORADO
Aspen Music Festival, J. Mester, Mus.Dir., Aspen (6/24-8/21/88) (revised listing)
7/5/88 Cone. incl. Conyngham's Bony Anderson Terra Australis Incognita; c/d: Kreisberg;
at Wheeler Opera House
7/27/88 Cone. incl. Dido and Aeneas Wheeler; Guinn; Sinfonia; c: Revzen
-83-
1987-88 SEASON
Aspen Music Festival (continued)
7/31m/88 Salome conc.pf.; V. Thomas, Wheeler; Glassman, Shirley, Guinn; c: Mester
8/15/88 Cone. incl. The Unicorn, the Gorgon and the Manticore Aspen Chamber Choir;
c: Revzen
Aspen Opera Theater Center, E. Berkeley & R. Spillman, Dirs., Wheeler Opera House
7/12/88 Milhaud's L'Enlevement d1 Europe <5c L'Abandon d'Ariane & La Deliverance de
Thes6e & Winkler's Arms Akimbo & Vidovszky's Narcissus and Echo w.p.; wksp.; d:
Berkeley/Spillman
7/23,25/88 Don Giovanni c: Mester; d: Berkeley
8/6,8/88 Falstaff c: Foster; d: Berkeley
6/25-8/18/88 Opera Scenes Master Classes, as follows: 6/25m 7/2m,9m,16m,23m Scenes;
8/6m Plump Jack exepts.; 8/13m Cos^ fan tutte exepts.; 8/17m New Works; 8/18m
L'Incoronazione di Poppea exepts.
Bold Lion Theatrical Opera (as Colorado Opera Festival), R. Boldrey & P. Liontis,
Co-Dirs., Boulder
2/13/88 "An Enchanted Night" at Clarion Hotel
3/4,5,12,13m/88 Debussy's L'Enfant prodigue company's own 3-aet vers. in Eng.; at 1st
Presbyterian Church
6/3,4,ll,12m/88 La Voix humaine & Milhaud's Medee
8/12,13/88 The Seagull at Fairview H.S. Auditorium
Central City Opera, Opera a la Carte, J. Moriarty, Art.Dir., Williams Stables, Central
City (see also Vol.28 #1)
7/13-8/12/88 10 Salon Recitals; Apprentice Artists
7/16,17,23,24,30,31 8/6,7,13/88 The Face on the Barroom Floor Apprentice Artists
Colorado Music Festival, G. Bernstein, Mus.Dir., Boulder (6/23-8/5/88)
7/24,26/88 La Finta Giardiniera conc.pfs.; e: N. Goldschmidt
Colorado Opera Festival, D. Jenkins, Gen.Dir., Pikes Peak Arts Center, Colorado Springs
7/1/88 "Songs for a Summer Night" cone, at Broadmoor Hotel
7/29,31m 8/2/88 La Traviata Eng.; Bueklew-Rowland; e: Jenkins; d: Beattie
University of Denver, Lamont Opera Theatre, R. Worstell, Dir., Denver
11/10-18/87 Blow's Venus and Adonis
3/2/88 Savitri & Signor Deluso
5/20,21,22/88 L'Elisir d'amore Eng. Martin
University of Northern Colorado Opera Theatre, C. Gerbrandt, Dir., Greeley (see also
Vol.27 #4)
1/29,30/88 The Face on the Barroom Floor w.p. (replaces I Can't Stand Wagner)
7/21,22/88 The Fantasticks
8/4,5,6,7/88 Annie
CONNECTICUT
Candlewood Playhouse, New Fairfield
6/12-19/88 The Sound of Music
6/28-7/9/88 N. & G. Gould/Walker's Beetle Bailey prem.
7/12-30/88 La Cage aux folles
8/2-14/88 Brigadoon
8/16-9/4/88 Little Shop of Horrors
Charles Ives Center for American Music, Danbury
7/3-8/21/88 incl. The Pirates of Penzance
Connecticut Festival of American Music Theater, M. Josman's National Chorale, Stamford/
Westport
7/7-31/88 incl. Sweethearts; Candide; Sunday in the Park with George
Downtown Cabaret Theater, R. Hallinan, Exec. Prod., Bridgeport (see also Vol.28 #1)
6/24,25/88 Little Shop of Horrors
National Opera/Music Theater Conference, Eugene O'Neill Theater Center, M. Glassman,
Adm., Waterford
8/9-28/88 Megan's A Vision; Davis' Under the Double Moon; Yuan Ye (Savage Land);
wksp. pfs.
Goodspeed Opera House, M. Price, Gen.Dir., East Haddam (see also Vol.27 #4 & Vol.28 #1)
4/20-7/8/88 Wonderful Town
6/8-7/20/88 Kociolek/Racheff's Abyssinia work-in-progress; at Chester
7/13-9/30/88 Fain/Shapiro/Boulton's Ankles A weigh
Greater New Britain Opera, J. Mansigian, Gen.Mgr., New Britain
11/87 Carmen d: Luchsinger
-84-
1987-88 SEASON
Hartt School of Music & MENC/Student Chapter, W. Rolan, Art.Dir., West Hartford (see
also Vol.28 #1)
3/ll,12.13m/88 The Best Little Whorehouse in Texas
Opera Theatre of Connecticut, A. Mann, Art.Dir., Clinton
8/12-21/88 Cosi fan tutte 6 pfs.
University of Connecticut's Nutmeg Summer Theater, Storrs
6/22-26/88 Man of La Mancha
7/6-16/88 Little Shop of Horrors
Yale Opera Theatre, Yale School of Music, D. Yarick-Cross, Dir., New Haven
10/20 12/17/87 Opera Scenes
5/5,7/88 La Boheme
Friday Morning Music Club, Washington
6/4/88 J. Smith's The Gooseherd and the Goblin
Kennedy Center for the Performing Arts, R. Davidson, Chmn., Washington
12/26/87-1/30/88 Let Freedom Sing! (American Music Theater Festival prod.)
4/1,3/88 Adams' Nixon in China (coprod. Houston Grand Opera/Brooklyn Academy of
Music)
6/1-4/88 Coates' Actual Sho George Coates Performance Works; 4 pfs.
6/8-11/88 Barthol's The Mozamgola Caper San Francisco Mime Troupe; 3 pfs.
Summer Opera Theatre Co., E. Walter, Exec.Dir., Georgetown University, Hartke Theatre,
Washington
7/3-12/88 Carmen Oeser edn.
7/25-31/88 The Merry Widow
FLORIDA
Bethune-Cookman College Opera Wksp., G. Robinson, Dir., Daytona Beach
ll/19m/87 The Student from Salamanca at NO A Conference, Orlando
Coconut Grove Playhouse, A. Mittelman, Prod.Art.Dir., Coconut Grove (see also Vol.27 #4
& Vol.28 #1)
2/19-3/27/88 Coleman/Hotchner's Let 'Em Rot* prem.; d: Corsaro; ehorg: Lee; ds: Jenkins/Schurkamp; 2/16-18/88 previews (replaces 110 in the Shade)
4/15-7/2/88 Eberhard/Levy's Waiting for You prem.; in the Encore Room
Florida Arts Celebration, P. Bleiweiss, Exec.Dir., Gainesville
4/27,29,30 5/1/88 Porgy and Bess
Florida Symphony Orchestra, K. Jean, Mus.Dir., Orlando
5/12,14/88 Carolina Burana c: Jean
Greater Miami Opera, R. Heuer, Gen.Mgr., Miami (see also Vol.27 #4)
9/21-11/25/87 The Impresario Educational Program
3/25,26/88 A. Scarlatti's n Trionfo dell'onore Young Artists Program
Hippodrome State Theatre, M. Hausch, Prod.Dir., Gainesville
9/1-20/87 Hair
Jacksonville University, College of Fine Arts, W. Vessels, Dir., Jacksonville
2/10,12,13/88 Cabaret
North Miami Beach Opera/Broward Symphony Orchestra, L. Siegel, Mus.Dir., Miami Beach
1/30/88 La Traviata
4/10/88 La Boheme
Pensacola Junior College Summer Opera, S. Kennedy, Dir., Pensacola
10/14-17,22/87 Once Upon a Mattress 5 pfs.
7/22-24/88 Kismet 3 pfs.
Tennessee Williams Fine Arts Center, P. Bakardjiev, Art.Dir., Key West
2/18,20,21,27,28/88 The Music Man
3/17,18,19,20,25,26/88 A Chorus Line
Treasure Coast Opera Society, C. Barrena, Dir., Ft. Pierce (see also Vol.28 #1)
2/27/88 n Barbiere di Siviglia Elledge; Densen, Cossa, Naldi, Campbell; c: LeBaron; d:
Moresco; ds: Stivanello
3/26/88 Lucia di Lammermoor Kahn; Spinetti, Roisum, Halley; c: Bracali; d: Moresco; ds:
Stivanello
University of Miami Opera Wksp., F. Summers, Dir., Coral Gables
10/10,13,14,15/87 4/22,23/88 Scenes
U/19m/87 Sheffer/Wadsworth's The Mistake
3/17-20/88 Cosfr fan tutte
-85-
1987-88 SEASON
University of South Florida Opera, L. Cullison, Dir., Tampa
ll/19m/87 A. Scarlatti's n Trionfo deU'onore
GEORGIA
Atlanta Repertory Opera, M. Dietrichs, Art.Dir. 4 Gen.Mgr., Atlanta
5/88 Le Nozze di Figaro 6 pfs.
National Black Arts Festival, Atlanta (7/30-8/7/88)
7/30-8/2/88 Melver's The Death of Jesus (Jormandy prod.)
8/2-7/88 Faison/Graphenreed/Wolfe's The Apollo: It Was Just Like Magic
Truett-McConnell College, E. Calloway, Mus.Dir., Cleveland
2/23-27/88 Brigadoon 5 pfs.
Wesleyan College, Music Dept., F. Anderson, Dir. Opera, Macon
10/30,31/87 Hansel and Gretel
IDAHO
Boise State University Opera Theatre, L. Berg, Dir., Boise
11/16/87 Scenes
3/18,18,19/88 Kiss Me, Kate
ILLINOIS
Chamber Opera Chicago, L. Rapchak, Adm.Dir., Chicago
5/6,8m, 12,14/88 The Barber of Seville Jepson; Swenson, Engstrom, Marsala; c: Rapchak;
d: Ratner; ds: Biddle
5/7,ll,13,15m/88 La Traviata L. Miller; Abbagnato, P. Kraus; c: Rapchak; d: Ratner; ds:
Biddle
City Musick, E. Banks, Mus.Dir., Shedd Aquarium, Chicago
4/17,18,20/88 Idomeneo Malafronte, Coku; Elliott, Urrey, c: Banks; d: Zambello
Columbia College, Music Dept., S. Patinkin, Chair, Chicago (see also Vol.28 #1)
4/18/88 Day/LeZebnik's Aztec Human Sacrifice wksp. rdg.
5/4m,4/88 Russo's The Civil War c: Russo
DePaul University Opera Theater, A. Voketaitis, Dir., Chicago
4/21-24/88 C. Moore's I Can Sing That Better prem.; w.2 ps. <5c Rorem's Three Sisters
Who Are Not Sisters w.2 ps. it Telemann's Pimpinone w.o.
Eastern Illinois University Music Theatre/Opera Wksp., J. Daniels, Dir., Charleston
11/19/87 Scenes
3/4,5/88 La Finta Giardiniera Eng. Pearlman (as Lunatics and Lovers)
Grant Park Concerts, Z. Macal, Mus.Dir., Chicago
6/24-8/28/88 incl. Otello conc.pf.; Lamberti; c: Slatkin
Illinois State University, Music Dept., B. Pomfret, Dir. of Opera, Normal
11/19,20/87 Riders to the Sea & Rita Eng. Mead
4/3/88 The Ballad of Baby Doe excpts.
4/9,10/88 The Sound of Music
International Theatre Festival of Chicago, Chicago (5/2-29/88)
5/17-29/88 Byrne/Wilson's the CIVIL warS: The Knee Plays d: Wilson
Light Opera Works, P. Kraus, Art.Dir., Evanston (see also Vol.27 #4)
6/24,25,26m/88 The Land of Smiles Eng.
Lyric Opera Center for American Artists, A. Krainik, Gen.Dir., L. Schaenen, Mus.Dir.,
Civic Theatre, Chicago
6/10/88 Goldstein/Kondek's The Fan wksp.prem.; c: Schaenen
Millikin-Decatur Civic Orchestra, E. Dansby, Gen.Dir., Decatur
4/15,16/88 Carolina Burana
Music of the Baroque, T. Wikman, Mus.Dir., Chicago
3/88 Handel's Hercules L. Haywood
4/25,26/88 Acis and Galatea c: Wikman
New American Theater, J. Sullivan, Art.Dir., Rock ford
3-4/3/88 Strider
New Opera Co. of Chicago, D. Lapinskas,. Art.Dir., Roosevelt Univ., Chicago
5/14,22/88 Lapinskas' Ives of Danbury adapt. Ives; Rastenis, Dykstra, Pantazelos; Edens;
c: Lapinskas
5/15,21/88 Lombardo's The Sorrows of a Supersoul & Lapinskas' Ein Theaterstuck &
Stokes/Gunderson's We're Not Robots, You Know c: Lapinskas
The Opera Factory, B. Lewis, Exec.Dir., Chicago
3/12,13,14/88 Greeley/McKenna's The Magic Cup prem.
5/21,22,23 7/29,30,31 8/1/88 Gimenez/Nieto/Matallanes' El Barbero de Sevilla Am.prem.
1987-88 special zarzuela program; 4 pfs. on tour
-86-
1987-88 SEASON
Opera Theatre of Springfield, S.Y. Thomas, Art.Dir., Springfield
9/87 La Traviata Eng. Glass; 4 pfs.
Organic Theater Company, T. Riccio, Art.Dir., Chicago
5/19-6/19/88 Harper/Nieboer's Snow Leopard wksp. (co-prod. American Ritual Theater &
Minnesota Opera)
Ravinia Festival, J. Levine, Mus.Dir., Chicago Symphony Orchestra in residence, Highland
Park (6/24-9/4/88)
7/88 Die WalkUre Act I; conc.pf.; Norman; Lakes; c: Levine
7/8/88 Don Giovanni conc.pf.; Battle, Huffstodt, Schuman; Cole, Hampson, Capecchi; c:
Levine
Southern Illinois University at Edwardsville, Opera Players, R. Abraham, Dir., Edwardsville
1/14,15,16,17/88 Die Fledermaus Eng. Martin; plus 2 pfs. on tour
5/21,22/88 Scenes
Thornton Community College Opera Wksp., D. Clairin, Dir., South Holland
4/15,16,22,23/88 Where's Charley?
8/3,4/88 Rose Marie
INDIANA
Ball State University, Opera/Music Theater Wksp., P. Ewart, Dir. Opera, Muncie (see also
Vol.27 #4)
7/5,6,7,8,9/88 The Fantasticks (replaces Working)
8/2,3,4,5,6/88 Once Upon a Mattress
Butler University Opera Theatre, J. Wiley, Mus.Dir., Indianapolis
4/21/88 Viva la Mamma
Indiana Opera Theater, D. Ratts, Gen.Dir., Indianapolis (see also Vol.28 #1)
2/21/88 Handel's Saul Bruner, Niemeier; D. Kelly, Talley, Willen; c: Wiley; d: Ratts; ds:
Feit/Carringer; at Christian Theological Seminary
Indiana State University Opera, R. Hounchell, Dir., Terre Haute (see also Vol.28 #1)
Summer '88 Pippin annual wksp. for high school students
Indiana University School of Music, C. Webb, Dean, Summer Festival/Opera Theater,
Bloomington (6/29-8/6/88)
7/88 A Little Night Music c: Porco; d: Lucas; ds: Higgins; 4 pfs.
8/88 The Barber of Seville Eng.; 3 pfs.
Phoenix Theatre, B. Fonseca, Art.Dir., Indianapolis
5/6-6/4/88 A. . .My Name is Alice
Starlight Musicals, Indianapolis
5/31-6/5/88 Big River
6/14-19/88 The Mystery of Edwin Drood nat. tour
7/26-31/88 The Sound of Music nat. tour
Wabash College, Theater Dept., J. Fisher, Chair, Crawfordsville
4/20/88 Runaways
IOWA
Cedar Rapids Symphony Orchestra, C. Tiemeyer, Cond., Cedar Rapids
3/19,21/88 Carmina Burana
Des Moines Metro Opera, R. Larsen, Art.Dir., Blank Performing Arts Center, Indianola
6/17,19m,25,29 7/1,9/88 n Barbiere di Seviglia Eng.; De la Rosa; Julian, Abruzzo, Edery,
W. Walker; c/d: Larsen; ds: Short/Casta Diva
6/18,26m 7/3m,5,8/88 Turandot Eng.; Sellers, Glennon; Adkins, W. Walker; c/d: Larsen;
ds: Norrenbrock/Linyou
6/24,28 7/2,6,10m/88 The Magic Flute Eng.; Grissom, Halgrimson; Haddock, B. Brown, J.
Patterson; c/d: Larsen; ds: Norrenbroek/Sehimmelpfennig
1-3/88 Opera Iowa tour to schools incl. Sid the Serpent Who Wanted to Sing; Chanticleer; n Campanello Eng.; Scenes Cone; abt. 180 pfs.
Simpson College Opera Wksp., R. Larsen, Dir., Indianola
11/87 The Consul
KANSAS
Bethel College, W. Jost & A. Kasper, Co-Dirs., North Newton
1/8,9/88 Cosft fan tutte w.p.
3/3,4,5,6/88 Fiddler on the Roof
Kansas State University Opera Theatre, J. Langenkamp, Dir., Manhattan
11/8/87 Scenes
3/3,4,5/88 L'Heure espagnole Eng. Franc-Nohain <5c Trouble in Tahiti
-87-
1987-88 SEASON
KENTUCKY
Kentucky Opera, Student & Outreach Program, T. Smillie, Dir., Louisville
1/2lm,22/88 The Mikado
1987-88 Son of the Mikado tour to schools
Southern Baptist Theological Seminary, Wksp. in Church Music Drama, M. Sherman, Dir.,
Louisville
10/16,20#/87 L'enfant prodigue #Eng. Sherman
4/26-30/88 Godspell
LOUISIANA
Louisiana State University Contemporary Music Festival, Baton Rouge (2/25-3/3/88)
2/28m/88 Constantinides' Antigone-Prologue and Parodos wksp.; Weininger, Seavey;
Champagne; c: R. Black
McNeese State University Musical Theatre, M. Martin, Dir., Lake Charles
2/4,5,6,7m/88 Gates/Kelso's The Hollow prem.; Cates, Martin; Brumley; ds: Unruh
New Opera Theatre, B. Morgan, Art.Dip., New Orleans
12/15,19/87 Hansel and Gretel Eng.; at Gretna H.S. & Ursuline Academy
Northwestern State University Opera Theater, C. Davis, Dir., Natchitoches
4/27,28,29/88 The Music Man
Shreveport Opera, R. Murray, Gen.Dir., Shreveport (See also Vol.27 #4)
2/21/88 n Barbiere di Siviglia
University of New Orleans Opera Theater, R. Cortina, Dir., New Orleans
4/15,16,17/88 The Medium
MAINE
Brunswick Music Theater, V. Crandall, Exec. & Art.Dir., Brunswick
6/12-26/88 Sugar Babies
6/28-7/10/88 Li'l Abner
7/12-31/88 42nd Street
8/2-14/88 The Mystery of Edwin Drood
8/16-28/88 Coward's Bitter Sweet
Carrying Place Productions, A. Dembska & A. Hawks, Co-Dirs., Hancock
3/25,26,27/88 Dembska's The Juniper Tree d/chorg: Skura; ds: Hawks/Fradkin/Giovannetti;
at Henry Street Recital Hall, New York, VY
Portland Symphony Orchestra, T. Shimada, Mus.Dir., Portland
4/26,27/88 La Traviata E. Shade; Nolan, Karousatos; c: Shimada
University of Maine, Music Theater Wksp., D. Westwood, Art.Dir., Orono
7/28/88 The Pirates of Penzance (Opera Northeast prod.)
MARYLAND
Baltimore Opera, J. Holbrook, Gen.Mgr., Baltimore (see also Vol.27 #4)
4/11-16/88 Porgy and Bess excpts.; outdoor cones, at various locations; 6 pfs. ("Opera
Week in Maryland")
Prince George's Community College, Music Dept., G. Kirkeby, Chmn., Largo
3/11,13,18,19/88 The Medium
Salisbury State College, Salisbury
Towson State University Opera Wksp., P. Frankel & S. Thompson, Co-Dirs., Towson
11/20,21/87 Scenes
4/22,23/88 The Telephone w.p. & Honegger's King David Eng. Agate; stgd.; w.o.
MASSACHUSSETTS
Berkshire Opera Co., G. Glaze, Art.Dir., Lee/Lenox
7/8/88 Gala Concert
7/22,23,27m,28,30/88 La Pe>ichole Parker; Javore, Kass; c: Dordova; d: Rindge
8/88 II Matrimonio segreto
Berkshire Public Theatre, F. Bessell, Pres. & Dir., Pittsfield
6/29-9/1/88 Good Time Rock & Roll: The Musical Beach Party
7/3-9/4/88 It's a Bird....It's a Plane...It's Superman
Boston Academy of Music, R. Conrad, Art.Dir., Boston
11/27-29/87 H.M.S. Pinafore at Sanders Theater, Cambridge
7/24/88 El Capitan cone, pf.; at Hatch Memorial Shell
Boston Academy of Music, Summer Festival of Music, R. Conrad, Art.Dir., Boston (7/139/24)
8/3/88 Bel Canto Concert Halgrimson; Conrad
9/23,24/88 Cole Porter Revue; at First and Second Church
-88-
1987-88 SEASON
Boston Lyric Opera, A. Ewers, Gen.Dir., Boston (see also Vol.27 #4 & Vol.28 #1)
5/5m/88 Hansel and Gretel signed, audience participatory pf.
Boston Music Project, Suffolk University, Boston
2/1,2,5,6/88 Megan's A Vision staged readings
Boston Musica Viva/Mabou Mines, Boston
2/19 4/2,3/88 Garfein's Suenos prem.; Minter
Boston Theater Group, T. Henry, Admin., Boston
6/3,4,10,11/88 Hendricks/Henry's The Cell prem.; at C. Walsh Theatre
Boston University School of Music Opera, J. Haber, Dir., Boston (see also Vol.27 #4)
10/27,28/87 Scenes
4/9,10,11,12/88 Die Fledermaus
4/29,30/88 Trouble in Tahiti & Hoffman's A Noble and Sentimental Death prem.
Bradford College Music Theater Wksp., F. Schuetze, Dir., Bradford
10/16 12/10/87 2/28/88 Opera Sccenes
11/19-21/87 The Threepenny Opera 4 pfs.
5/13,14/88 The Portable Pioneer and Prairie Show w.p.
College Light Opera Co., R. Haslun, Gen.Mgr., Falmouth
6/28-7/2/88 The Mikado 6 pfs.
7/5-9/88 Kismet 6 pfs.
7/12-16/88 The Student Prince 6 pfs.
7/19-23/88 South Pacific 6 pfs.
7/26-30/88 Guys and Dolls 6 pfs.
8/2-6/88 The Merry Widow 6 pfs.
8/9-13/88 Ruddigore 6 pfs.
8/16-20/88 Where's Charley? 6 pfs.
8/23-27/88 The Boys from Syracuse 6 pfs.
Five College Orchestra, D. Burkh, Mus.Dir., Amherst
3/11,13/88 Tosea conc.pfs.; N. Thomas; c: Burkh
Harvard Gilbert and Sullivan Players, Cambridge
4/7-10,13-16/88 Iolanthe c: Laraga
Huntington Theater Company, P. Altaian, Prod.Dir., Boston
5/21-6/12/88 Kalmar/Ruby/Kaufman/Ryskind's Animal Crackers d: Carpenter (eoprod.
Alliance Theater, Atlanta)
Lowell House Opera, Harvard University, Cambridge
3/9,11,12,17,18,19/88 The Merry Wives of Windsor Eng.; c: Gilbert; d: Frato
Music-Theatre Group/Lenox Arts Center, L. Austin, Prod.Dir., Stockbridge (see also Vol.28
#1)
7/6-24/88 Bennett/Robinson's Out of Order (Magic in Distress) prem.; 15 pfs.
7/30/88 Native American Stories
8/10-28/88 M. Rodgers/Barrer/Kesselman's The Griffin and the Minor Canon prem.; d:
Ernotte; ds: Sendak; 15 pfs.
8/18/88 Berkshire Writings '88
North Shore Music Theater, J. Kimbell, Gen.Dir., Beverly
6/13-9/18/88 My One and Only; Dreamgirls; La Cage aux Folles; Desert Song
Opera Company of Boston, S. Caldwell, Art.Dir., Boston (see also Vol.28 #1)
5/15m,18,20,22m/88 La Traviata Reese; Villa, Rawnsley; c/d: Caldwell; ds: Pond/Senn
Tanglewood Music Festival, S. Ozawa, Mus.Dir., Boston Symphony Orchestra in residence,
Lenox (6/30-8/28/88)
8/8/88 Henze's Elegy for Young Lovers conc.pf.; Fellows of the Tanglewood Music
Center; c: G. Meier
8/13/88 Elektra conc.pf.; Behrens, J. Meier, Forrester; King, Matthews; c: Ozawa
8/27/88 Bernstein's Mass Indiana University Opera Theater
Worcester Foothills Theatre Co., M. Smith, Exee.Prod. & Art.Dir., Worcester
4/28-5/22/88 Dames at Sea
[ICHIGAN
Interlochen Music Camp & Arts Festival, E. Downing, Art.Dir., Interlochen (6/28-8/21/88)
8/5,6/88 The Gondoliers
8/12,14,16,18/88 My Fair Lady
Meadow Brook Music Festival, J. White & T. Aston, Co-Dirs., Oakland University,
Rochester
6/16-9/7/88 incl. Carousel
-89-
1987-88 SEASON
Michigan State University, East Lansing
Piccolo Opera Company, M. Gordon, Exec.Dir., Detroit
10/87 Little Red Riding Hood 2 pfs.; also 7/88 at Meadow Brook Music Festival
10-11/87 DePue's True Story of Three Little Pigs 2 pfs.
12/87 3/88 Gilbert and Sullivan Festival Concerts, 3 pfs.
5/18/88 Hansel and Gretel Eng. Limbacher/Gordon
University of Michigan School of Music Opera Theater, J. Lesenger, Art.Dir., Ann Arbor
(see also V.28, #1)
10/87 A Funny Thing Happened on the Way to the Forum
3/24,25,26,27/88 L'Incoronazione di Poppea Eng. Jacobs
University of Michigan, School of Music, Project Theatre, Ann Arbor
3/88 Previn/Stoppard's Every Good Boy Deserves Favour & Delbanco/Gregory's Wolf
prem. (Project Theatre prod.)
MINNESOTA
Anoka Theatre Ensemble, P. Pierce, Art.Dir., Anoka/Coon Rapids
3/18,19,22,25,26/88 La Traviata
Minnesota Opera, K. Smith, Gen.Dir., St. Paul (see also Vol.27 #4 & Vol.28 #1)
5/17,18/88 Meredith Monk in Recital (coprod. Ordway Theatre); at the Theatre Garage
5/20-22,25-27/88 Madsen/Green's Cowboy Lips & Hutchinson/Shank's Fly Away All &
Monk's Book of Days stgd. wksp. excpts.; New Music-Theater Ensemble
7/8-8/6/88 Oklahoma! (eoprod. Ordway Music Theater); 35 pfs.
Minnesota Orchestra, Sommerfest '88, L. Slatkin, Art.Dir., Minneapolis (7/13-8/6/88)
8/6/88 Tosca conc.pf.; Mitchell; Moldoveanu, Milnes; c: Slatkin
Moor head State University Opera Wksp., R. Visus, Dir., Moorhead
5/5,6/88 Dido and Aeneas
Plymouth Music Series, P. Brunelle, Mus.Dir., St. Paul
1987-88 Paul Bunyan in St. Paul; 7/88 at Aldeburgh Festival
MISSISSIPPI
University of Mississippi Opera Theatre, D. Coleman, Dir., University
4/88 Tartuffe 3 pfs.
University of Southern Mississippi Opera Theatre, D. Holley, Dir., Hattiesburg
10/87 Scenes
2/23,26/88 Susannah
MISSOURI
Central Missouri State University, Music Dept., E. Quistorff, Dir. Opera, Warrensburg
10/28,30/87 The Merry Wives of Windsor Eng. Csonka/Theslof
7/14,19,23,27,29/88 Man of La Mancha
Drury College Opera Wksp., R. Jackson, Dir., Springfield
4/15,16/88 Trial by Jury & The Impresario Eng. D. Previn
Springfield Regional Opera, D. Emanuel, Gen. & Art.Dir., Springfield
6/15,17,18,20/88 La Boheme
7/20,22,23,25/88 La Traviata
William Jewell College Opera, R. Witzke, Dir., Liberty
Winter '88 Les Contes d'Hoffmann excpts.; La Serva padrona; The Old Maid and the
Thief
MONTANA
University of Montana, Music & Drama Depts., E. England, Dir. of Opera, Missoula
11/18-21 12/2-5/87 Anything Goes
4/21-23,26,27,29,30/88 H.M.S. Pinafore
12/2/87 1/15/88 Scenes
NEBRASKA
Chadron State College Opera Wksp., R. MacNeill, Dir., Chadron
9/20/87 H.M.S. Pinafore
11/12-14/87 Cohan's Little Johnny Jones
Nebraska Wesleyan University Opera Theater, W. Wyman, Dir., Lincoln
11/22/87 Opera Scenes
4/9,10,14,15,16,17/88 The Mystery of Edwin Drood
NEVADA
Las Vegas Symphony Orchestra, V. Baley, Mus.Dir., Las Vegas
1/88 Pagliacci stgd.; Duykers
-90-
1 9 8 7 - 8 8 SEASON
American Opera Festival of the Sierra, W. Lewis, Art.Dir., Lake Tahoe Summer Music
Festival, Cal-Neva Theater, Incline ViUage
7/23,29/88 The Ballad of Baby Doe Siobhan, Tede; Lewis; c: Feist
7/24/88 Getty's Plump Jack & The White Election c: Mercurio; accmp.: Herbolsheimer
7/30/88 Amelia Goes to the Ball & The Old Maid and the Thief Pollard; Tuff & Harte;
R. Westergaard; c: Yee
7/30m/88 Scenes from American Operas
8/7/88 Bernstein's Mass Ferrand; McCall, Rudat, Davidson, Wells; c: Yee
University of Nevada Lyric Theatre, D. Bradley, Dir., Las Vegas
10/87 Patience 3 pfs.
11-12/87 Stop the World, I Want to Get Off 8 pfs.
5/88 The Boyfriend 10 pfs.
3/88 Scenes 1 pf.
NEW HAMPSHIRE
American Stage Festival, D. Keeton, Mng.Dir., Milford
7/20-8/6/88 Guthrie/Glazer's Woody Guthrie: Word Singer
8/10-14,16-21,23-27/88 Keating/Ross' Starmites
Durham Stage Co., Mill Pond Center, Durham
11/20-12/13/87 Happy End
Monadnock Music Festival, J. Bolle, Mus.Dir., Peterborough (7/23-8/24/88)
8/6/88 Don Giovanni conc.pf.
Prescott Park Arts Festival, Portsmouth (7/4-8/14/88)
8/88 Little Shop of Horrors
NEW JERSEY
Creative Theater, Inc., A. Gordon, Exec.Dir., Englewood
10/29-11/8/87 Once Upon a Mattress
2/11-20/88 Oliver!
5/26-6/5/88 Barnum
Fox Associates, Princeton
2/13m/88 Dodds/Fox's Lucinda wksp.; at the Jewish Center
June Opera Festival of New Jersey, M. Pratt, Art.Dir., Lawrenceville
3/5m,12m,13m,20m,26m/88 Hansel and Gretel Eng.; abrgd.; tour to schools by "Opera for
Kids Too"
6/5,24/88 "An Evening with Gershwin" incl. Porgy and Bess excpts; c: Pratt
6/11,16,18,21,26m/88 Co& fan tutte Eng. Westergaard; Zapola, Burrows, Elliot; Mercer,
Dernier, Atherton; c: Pratt; d: Berkeley; ds: Woodbridge/Barnes-Leech
6/17,19m,25,28/88 A Midsummer Night's Dream Windle, Pearce, Parker; Hardesty,
Swensen, Lau; c: Pratt; d: N. Jackson; ds: Woodbridge/Barnes-Leech
6/5m-25m/88 The Ring of the Fettuccines c: Pazur; 8 pfs. by "Opera for Kids Too"
Metro Lyric Opera, E. Tognoli, Art.Dir., Asbury Park/Red Bank (see also Vol.28 #1)
4/17m/88 D. Barbiere di Siviglia De la Fuente; Hartman, Naldi, Zachary; c: Andreozzi; d:
Moresco; ds: Stivanello
7/16/88 Madama Butterfly c: Ferrara; d/ds: Stivanello
7/30/88 La Boheme c: Ferrara; d/ds: Stivanello
8/13/88 Lucia di Lammermoor d: Moresco
Monmouth Conservatory, F. Molzer, Dir. Opera, Little Silver
10/26/87 The Impresario Eng.; w.p.
12/14,15,17/87 Amahl and the Night Visitors
4/28,28,30/88 Snoopy
New Jersey State Opera, A. Silipigni, Gen.Dir., Newark (see also Vol.27 #4)
5/88 Krasa's Brundibar Eng. Javora/Karas; tour to schools
New Jersey Symphony Orchestra, H. Wolff, Mus.Dir., Newark
4/10-17/88 Tristan und Isolde Act 2 excpts.; cone.pfs.; Copley, Bean; Bachlund/Lakes/
Tomaselli; c: Wolff; also at Englewood, Trenton, Carnegie Hall
Opera at Florham, C. Del Rosso, Dir., Fairleigh Dickinson University, Madison
11/13-15/87 La Serva padrona & n Segreto di Susanna
5/13-15/88 Massenet's La Navarraise c: Del Rosso; d: Anderson
10/10/87 3/26 4/9/88 Scene Recitals
Opera at Rutgers, V. Goodall, Dir., Rutgers University Arts Center, New Brunswick
11/8/87 Scenes 2 pfs.
4/8,9,15,16/88 Handel's Deborah Am.stg.prem.; c: Fardink; d: Goodall; ds: Miller
-91-
1987-88 SEASON
Opera/Music Theatre Institute of New Jersey, J. Hines, Gen.Mgr. & Art.Dir., Montclair
State College/Newark Symphony Hall
1/29 4/5/88 Scenes
5/29m/88 "Tomorrow's Opera Stars in a Concert of Operatic Scenes" Burbank, Gruber,
Leasure, Pruitt, Tidwell-Simon, Yakes; Acosta, Colantti, Graham, Jastrebski, White;
New Jersey Symphony Orchestra; c: H. Lewis; d: Corsaro
Paper Mill Playhouse, A. Del Rossi, Prod., Millburn (see also Vol.28 #1)
3/30-5/8/88 Jesus Christ Superstar
6/12-26/88 Herman/Stewart's Mack and Mabel revised vers.
7/27-8/7/88 Mettee/Bogardus' Internal Combustion at New Jersey Theater Jubilee
Festival, Jersey City/Camden
Princeton Festival, V. Symonette, Art.Dir., Princeton
7/9,10m/88 Die Dreigroschenoper cone.pfs.; c: V. Symonette; at Merkin Hall, New York
Westminster Opera Theatre, G. Parker, Dir., Westminster Choir College, Princeton
12/11,12,14/87 Amahl and the Night Visitors
4/29,30 5/1/88 Gianni Schicchi & Mascagni's Zanetto
NEW YORK
Artpark, C. Keene, Art.Dir., Buffalo Philharmonic Orchestra in residence, Lewiston (6/289/11/88)
6/30 7/2/88 Gbtterdammerungt Daner, Shaulis; Sooter, Stith, Halfvarson, Patrick; c:
Keene; d: Kellner; ds: Sirlin/Button-Eaton
7/12,14m,15,17m/88 Toscat Thigpen; Glassman, Patrick; c: Keene; d: Bakman; ds: Gano/
Dorsey
7/27-8/6/88 Peter Pan 16 pfs.
8/17-27/88 42nd Street 16 pfs.
Bach Aria Festival & Institute, S. Baron, Mus.Dir., Nassau County Center, Stony Brook
(6/13-27/88)
6/18/88 Acis and Galatea
6/25/88 Bach's The Contest Between Phoebus and Pan Eng. Harnick; d: J. Bookspan;
6/26 in Roslyn; 6/27 at Merkin Hall, NYC
Colgate University, Hamilton
4/17/88 Carolina Burana
Corning Summer Theatre, D. Chernuck, Prod., Corning
7/25-30/88 Beehive revue
8/1-6/88 Some Enchanted Evening revue
8/8-13/88 La Cage aux Folles
First Street Playhouse, Ithaca
3/20/88 Lehrman/Shatzky's Superspy: The Secret Musical rdg.
Greater Buffalo Opera Co. (form. Buffalo Lyric Opera), R. Miller, Vice-Pres., Shea's
Buffalo Theater, Buffalo
11/87 Aida
4/15,17/88 Madama Butterfly Cusak; Absolom, Lentz, Stephens; c: Pinto
Hofstra University Opera Theater, E. Dittemore, Dir., Hempstead
1/29,30,31/88 Le Nozze di Figaro Eng. Dittemore
John Drew Theater, East Hampton
4/16/88 Cone. incl. Dickman/Glickman's Tibetan Dreams Act T; stgd. work in progress; c:
Dickman
8/15-27/88 Brel/Tiber/Grant's Jacques Brel Blues
Lake George Opera Festival, J. Balme, Gen.Dir., Glens Falls (revised schedule)
7/16,19,22,25,28/88 The Merry Widow Cormany, Kierstine; H. Thompson, Brandstetter; c:
Flint; d: Cullinen; ds: Anania
7/23,26,29 8/1,4/88 The Barber of Seville Zambalis; D. Hamilton, LaPierre, Jacobs; c:
Balme; d: Elias; ds: Kotcher
8/2,3/88 Lehrman/Shatzky's The Birthday of the Bank 1st stgd. rdg.; c: Carson; d: Elias
Mac-Haydn Theater, Chatham
6/12-19/88 The Merry Widow
6/22-7/3/88 Annie Get Your Gun
7/6-24/88 42nd Street
7/27-8/7/88 Hello, Dolly!
8/10-21/88 Cabaret
8/24-9/4/88 Sugar Babies
9/7-18/88 Anything Goes
-92-
1987-88 SEASON
National Grand Opera, M. Scuderi, Pres., Greenvale (see also Vol.27 #4 & Vol.28 #1)
4/16/88 Nabuceo Janeva-Iveljic, Graham; Austin, Dietsch; c: Monica
7/16/88 Madama Butterfly Matsumoto; at Eisenhower Park, East Williston
New Rochelle Opera, C. Coppola, Art.Dir., New Rochelle Library
4/29 5/lm,7/88 La Traviata c: Buchalter; d: Coppola
New York Rep Company, Lake Placid Center for the Arts, Lake Placid
7/21-23 8/4-6,10,17-19/88 Godspell
7/29,30 8/11-13,20,21/88 Zorba
OPERA-Go-Round, touring company of Tri-Cities Opera, Binghamton (see also Vol.27 #4)
1987-88 A Faun in the Forest; Rumpelstiltskin; Hansel and Gretel abrgd.
PepsiCo Summerfare, C. Hunt, Dir., Purchase (7/8-31/88)
7/8,13,15,16,17m/88 Coates' Actual Sho George Coates Performance Works
V13,15,17m,20,22,24m,27,29,31/88 Le Nozze di Figaro* West, Ommerle, Larson; Maddalena, Sylvan; c: C. Smith; d: Sellars; ds: Lobel/Ramicova; chorg: Morris
7/14,16,17/88 Cage's Europeras 1 & 2 Am.prem. (Frankfurt Opera prod.)
7/20,21,22,23,24m,27,28,29,30/88 Heymann/Ludwig's Line One Eng.; Am.prem. (Grips
Theater, West Berlin, prod.)
Port Singers, Port Washington
5/13,14,20,21/88 The Most Happy Fella
8/12-15/88 Bye, Bye, Birdie
Roberts Wesleyan College Musical Stage, A.R. Mosher, Dir., Rochester
4/25,26/88 The Mikado
Rockland County Choral Society, P. Hagemann, Dir., Bardonia
3/19/88 Cartnina Burana
4/7,8,9/88 Hagemann's A Shaw Trilogy: The Music Cure & The Six of Calais & Passion,
Poison, and Petrification prem.; Niska; Thorn & Shaulis; Sergi & Beardsley; Thorn,
Sergi; c: Hagemann; d: Ostwald; at Fashion Institute of Technology, NYC
Rockland Opera Society, H. Elisha, Art.Dir., Suffern
4/6/88 Lo Speziale Eng.; 3-act vers.; c: Elisha
SUNY College at Potsdam, Crane School of Music, L. Vaccariello, Coord., Potsdam
10/8,9/87 Scenes
3/17-20/88 Gianni Schicchi Eng. Grossman & The Telephone 4 pfs.
Syracuse Musical Theatre, Syracuse
5/12,13,14,20,21/88 A Funny Thing Happened on the Way to the Forum
8/3-7/88 Li'l Abner
Syracuse Opera, R. Swedberg, Gen.Dir., Syracuse (see also Vol.27 #4)
5/17/88 Mautner/Bostick's Cartazan semi-stgd. excpts.; prem.rdg.
4/88 The Magic Flute Eng. Swedberg; Syracuse Opera Studio; w.p.
The Talent Co., Summerfest '88, Carrier Theater, Syracuse
7/13-17/88 West Side Story
NEW YORK CITY
All Souls Players, All Souls Unitarian Church
2/12-3/6/88 Company
4/29-5/8/88 The Boy Friend
American Folk Theater, Theater Four, West 55th St.
2/11/88 Hemphill/Harrison's Anchorman prem.; 2/1-10 previews
American Place Theater, W. Handman, Art.Dir., West 46th St.
2/12-28/88 Perry's Celebration
Apollo Opera, N. Moraitis, Gen.Dir., St. Peters Church, Citicorp Center
3/13m/88 Annual Concert
Blue Hill Troupe, Hunter College
4/7,8,9,10m/88 The Yeomen of the Guard
Broadway Grand Opera Production, C. Sebok, Art.Dir., Brooklyn
1/22-24/88 Annie at Fashion Inst. of Technology
6/3,4m,4,5m,12m/88 The Most Happy Fella
Bronx Arts Ensemble, W. Scribner, Art.Dir., The Bronx
5/8/88 Sierra's El Mensajero de Plata c: Plata; at Merkin Hall
6/25,26m/88 Jansons's Gundega Latvian Concert Choir; c: Jansons; at Lehman Center for
the Performing Arts
Brooklyn College of CUNY, Conservatory of Music Opera Theatre, R. Barrett, Art.Dir.,
Brooklyn (see also Vol.28 #1)
2/5,6,7m,12,13,14m/88 Deak's The Ugly Duckling tc Jana"5ek's The Diary of One Who
Vanished Eng. & La Voix humaine Eng.; c/d: Barrett
5/26,27,28m/88 Giulio Cesare c: Barrett; d: Vaughn; 5/25m preview at Gershwin Theater
-93-
1987-88 SEASON
Brooklyn Conservatory of Music Opera Theatre, J. Russell, Dir., South St. Theater, Manhattan (see also Vol.28 #1)
6/29,30m 7/2m,3/88 Die Zauberflote Eng. Martin
6/30 7/l,2,3m/88 CoSi fan tutte Eng. Martin
Brooklyn Philharmonic Orchestra, L. Foss, Mus.Dir., Brooklyn (see also Vol.28 #1)
3/18/88 Cone. incl. Larsen's Four on the Floor Meet the Moderns series; at Cooper
Union
Cathedral of St John the Divine
5/20,21m,21/88 Noye's Fludde Lane; Pauley; spk: McDonough; c: Halley
6/4/88 Cone. incl. Handel's L'Allegro ed il Penseroso Cathedral Singers
Center Stage Community Playhouse, E. Freedman, Adm., The Bronx
6/4,5/88 Sweeney Todd
Christ Church Choir/Riverdale Chamber Orchestra, Riverdale
3/12/88 Britten's Saint Nicolas stgd. prod.
Composers Showcase, C. Schwartz, Dir., Alice Tully Hall
2/29/88 Leonard Bernstein Song Celebration; Migenes-Johnson; Evans
6/1/88 Silverman/Foreman's Elephant Steps conc.pf.; e: Cordova
Concert Royale, J. Richman, Art.Dir. (see also Vol.28 #1)
3/24/88 Saint Matthew Passion stgd.; at St. Thomas Church
7/9/88 Bernier's Apollon, Contuse et la Nuit <5c Terpsichore abrgd.; at Palermo Festival
of the Performing Arts, Italy
Cooper Opera Works, E. Clark & P. Stephen, Co-Dirs. (see also Vol.28 #1)
8/7-10,14-17/88 CoSl fan tutte w.p.
Diana Productions, West 42nd St.
4/29-5/29/88 Martini/Comparato's Wine in My Blood
Downtown Music Productions, M. Stern-Wolfe, Art.Dir., East 12th St. (see also Vol. 28 #1)
5/22/88 Cityscapes revue; created & pfd. by Children's Downtown Musical Theatre
DUO Theater, M. Alasa, Mng.Dir., East 4th St.
2/12-3/5/88 Garcia-Marruz/Machado's Wishing You Well & Rivas/Cruz's When Galaxy 6
and the Bronx Collide & Roy/Simo's Penguins prems.
4/14-5/7/88 Welch/Alasa's Studio prem.
6/2-7/2/88 Leon/Martin's Rita and Bessie prem.
Ensemble Studio Theatre, C. Dempster, Art.Dir., West 52nd St.
4/15-18/88 Schotenfeld's Greencard
Episteme Ensemble, A. Davis, Art.Dir.
1/23 2/1,12/88 Davis' X: The Life and Times of Malcolm X abrgd. cone, vers.; narr: A.
Davis; in New York NY, Columbus OH, Cambridge MA
First New York International Festival of the Arts, M. Segal, Dir. (6/11-7/11/88)
6/14-7/10/88 Peaslee/Clarke's Miracolo d'Amore (New York Shakespeare Festival <5c
Spoleto Festival U.S.A. coprod.); 30 pfs.; at Public Theater
6/15-7/10/88 Rivas/Simo's Alma & Rivas/Cruz's Welcome Back to Salamanca prems.;
INTAR Hispanic American Arts Center; d: Zimet <Jc Ferencz; 28 pfs.; at INTAR
Theatre
6/16,18,19/88 The Monkey King Goes Under the Sea Yinchuan Beijing Opera Troupe; 6
pfs.; at The Triplex, Borough of Manhattan Community College
6/20/88 "The American Popular Song—from Broadway to Hollywood" cone. (ASCAP prod.);
at Marquis Theatre
6/22/88 Birtwistle's Punch and Judy conc.pf.; M. Nixon, Thames; Deaton, Hawkins;
Brooklyn Philharmonic Orchestra; c: Kess; at Merkin Hall
7/6/88 The Merry Widow Eng.; New York City Opera; at NY State Theater
7/7,8,9m,9,10m/88 Node's Comet Messenger-Siegfried Am.prem.; Yume no Yuminsha (Noda
Company) (Inter-Arts/NY presentation); at Brooklyn Academy of Music's Majestic
Theater
Fordham University at Lincoln Center, Studio Theater
4/21-30/88 The Wiz
Friends of Mozart, City University of New York Grad. Center, West 42nd St.
3/30/88 Lucio Silla
Golden Fleece Ltd., L. Rodgers, Art. & Exec.Dir., S. Meisner Theater (see also Vol.28 #1)
4/7-10/88 M. Spektor's The Passion of Lizzie Borden & Tanenbaum's Keep Going By
George & Innerarity's Moonlight Sonata stg.prem.; 6 pfs.
6/24-26/88 C. Moore's Wakas and Haiku of Grandma Kimi & Deak's The Ugly Duckling &
Colgrass' Virgil's Dream 6 pfs.
-94-
1987-88 SEASON
Harlequin Theatre Co., Riverdale YMHA, Riverdale
2/20,21m,27,28 3/4,6,13m/88 Fiddler on the Roof
Harmonia Opera Company, AIDS Benefit, Pace University
6/ll,12m/88 Sugano/Maki's Gombo Gitsune Am.prem.; c: Demster
Heights Players, Brooklyn
5/6-22/88 Chicago
Hunter College Symphony Orchestra & Choir
4/28-5/1/88 Dougherty's Many Moons
Imagination Celebration, The Bronx
5/88 Difficult Decisions prem.; Public School 205; student-developed
5/12,13m,14,27m/88 Bye, Bye, Birdie Columbus High School
5/13,14,15m/88 Man of La Mancha Nerian Players
5/8/88 All-Gershwin Show cone.
5/20/88 Musical Tribute to Irving Berlin cone.
Jewish Association for Services for the Aged, Green Auditorium, West 68th St.
3/20/88 Sahl/Pflanzer's Dream Beach prem.; conc.pf.
Jewish Repertory Theatre, R. Avni, Art.Dir., E. 14th St. Theater (see also Vol.28 #1)
6/16/88 Herman/Stewart/Bramble's The Grand Tour w. revised book
Juilliard School, Drama Division, Lincoln Center
4/29-5/8/88 Marvin/Durang's A History of the American Film
La MaMa E.T.C., E. Stewart, Art.Dir. & Exec.Prod.
2/6-21/88 Ito/Swados/Dabney/Sawyer/Sirotta/Stewart's Mythos Oedipus Am.prem.; d:
Stewart; chorg.: Tanaka
3/88 Stewart's Another Phaedra via Hercules
4/9,10/88 Stack's Dead Marilyn
6/12-26/88 Montgomery's Ezekiel d: McDowall
Lamb's Theatre Co., C. Copeland, Ezec.Dir., West 44th St.
3/22-4/2/88 Courts/St. Germain's Johnny Pye and the Foolkiller
League of Composers ISCM/Manhattan Community College, Chambers St.
2/27/88 Continescu's The Musical Seminar c: Hoose; at The Triplex
Light Opera of Manhattan, R. Allen & J. Gotham, Art.Dirs., Playhouse 91 (see also Vol.28
#1)
2/21-3/13/88 The Mikado
3/21-4/10/88 The Desert Song
4/17-5/7/88 H.M.S. Pinafore
5/8-6/2/88 Naughty Marietta
5/15-30/88 The Pirates of Penzance
6/5-19/88 Iolanthe
6/22-7/88 Give My Regards to Broadway
Lighthouse Anna Case Mackay Opera Wksp., Lighthouse School
6/9,10/88 Cone. incl. Sunday Excursion
Live at Met-Duane, E. Wentz, Art.Dir., 13th St. (see also Vol.28 #1)
5/22/88 Cone. incl. Zaninelli's Speak Up! & Randolph/Clokey's The Grasshopper stgd.pfs.
Manhattan Opera Ass'n, M. Broms, Gen.Mgr., William O'Shea Jr.H.S. (see also Vol.28 #1)
6/10,17/88 Tannhauser Turekian, Adams; Broms, Gafford, Bertacci; c: Buchalter; d:
Broms; ds: Bromelli
Manhattan Opera Ensemble, Irving PI.
6/2/88 Carmen
Manhattan Theatre Club, L. Meadow, Art.Dir., City Center (see also Vol.28 #1)
6/19-26/88 Shire/Maltby/Kleban's Urban Blight revue
Mannes College of Music Opera Wksp., P. Echols, Dir. (see also Vol.28 #1)
5/11,12/88 Mayer's A Death in the Family Act 3 stgd. exepts.; d: Witke
Medicine Show Theatre Ensemble, J. Barbosa & B. Vann, Co-Dirs., Broadway (see also
Vol.28 #1)
4/7,8,9,10 5/5,6,7,8/88 Hellermann's Three Sisters Who Are Not Sisters* w. add. music
6/9-19/88 Cohen's Sincerely L. Cohen: A Trip Through the Songs and Writings of
Leonard Cohen d: Vann
Mesopotamian Opera Co., P. Healey, Mus.Dir., Brooklyn
5/10,11/88 Healey/Norquist/Gordon-Borg's Jane Heir prem.; at Middle Collegiate Church,
Manhattan
-95-
1987-88 SEASON
Metropolitan Opera, B. Crawford, Gen.Mgr., tour to Japan, Tokyo/Nagoya/Osaka (3/256/10/88Ksee also Vol.27 #4)
5/25,28 6/1/88 Les Contes d'Hoffmann Mills, Alexander, Dupuy, Quittmeyer; Domingo,
Morris; c: Levine; in Tokyo; 6/7 in Nagoya, 6/10 in Osaka
5/27,31 6/3#/88 Le Nozze di Figaro Battle/Hong#, Vaness, Montague; Cheek, Hampson; e:
Levine; in Tokyo; 6/9# in Osaka
5/29 6/2,5/88 II Trovatore Millo, Cossotto; Bonisolli, Milnes; c: Rudel; in Tokyo; 6/8 in
Nagoya
6/4/88 Operatic Concert; Battle; Domingo; c: Levine; in Tokyo
Metropolitan Opera, B. Crawford, Gen.Mgr., in the New York City & New Jersey parks
(see also Vol.27 #4)
6/21#,24,29 7/2,6,9/88 L'Elisir d'amore conc.pfs.; Battle#/Hong/Swenson, Kotoski;
Pavarotti#/Cole/Olsen, Coni/Malis, Taddei; c: Panni; at Central Park#; Prospect Park
(Brooklyn), Flushing Meadow Park, Bronx Botanical Gardens; also Brookdale Park,
Montclair & Cooper Park, Pennsauken, NJ
6/22#,25,27 7/1,5,8/88 Turandot conc.pfs.; Kelm, Haddon#/Watanabe; Lamberti, Dworchak,
Velis; c: Rudel; at Snug Harbor (Staten Island)#, Eisenhower Park (Nassau), Central
Park, Cunningham Park (Queens); also Waterloo Village, Stanhope & Rutgers Univ.,
New Brunswick, NJ
Metropolitan Opera Guild, Education Dept., J. Forman, Dir.
3/7,8,9,10,11/88 Gianni Schicchi Eng. Grossmann; Folta/Park, Ayers/Livengood; Redmann/
M. Thompson, Stith/West; c: Nadler; d: Taylor; ds: L. Sherman/D. Stein; at City
College of New York; 3/23-25/88 at Raritan Valley Community College, Somerville,
NJ; 5 pfs.
Mosaic Theater, M. Posnick, Art.Dir., 92nd St YMHA
2/28-3/20/88 Swados' Esther: A Vaudeville Magillah adapt. Wiesel; prem.; d: Swados
Mostly Mozart Festival, G. Schwarz, Mus.Dir., Avery Fisher Hall (7/12-8/27/88)
8/11,13/88 Lucio Silla conc.pfs.; Chalker, Schuman, R. Welting, D. Jones; Hadley,
Kazaras; c: Schwarz
Music Before 1800, Corpus Christi Church
3/6m/88 Stradella's Susanna Daley, Beckenstein, J. Lane; M. Brown, Kuehn; c: Basbas
Musical Theatre Works, A. Stimac, Exec.Dir., East 13th St. (see also Vol.28 #1)
2/4-20/88 Affoumado/Whitfeld/Curtis/J. Hammerstein's . . .After these Messages prem.
2/25-3/13/88 Haber/Hackaday's Alias Jimmy Valentine prem.
6/8-26/88 Driver/Haddow's Ducks prem.
National Black Theatre, Fifth Ave. & 125th St.
2/88 Nelson's The Legacy d: Terry-Morgan
National Music Theater Network, T. Jerome, Exec.Dir., Sampler & Readers Series, Donnell
Library/Edison Theatre (see also Vol.28 #1)
2/29/88 Beck's Anne Boleyn excpts. & Woldin/Robinson's Goodbye and Good Luck rdg.
3/21/88 Lunden/Perlman's Once on a Summer's Day excpts.
4/25/88 Tipton's Rainbow Dancing & McKelvey's Treasures excpts.
5/24/88 Silversher/Hall's Scalawag prem.rdg.
New Amsterdam Singers, St. Peter's Church, Citicorp
6/7/88 Cone. incl. Dido and Aeneas semi-stgd.
New Amsterdam Theatre Co., J. Lee, Mus.Dir., Academy Theater (see also Vol.28 #1)
3/20m/88 Rodgers/Hart's I'd Rather Be Right conc.pf.
New Dramatists Wksp., T. Dunn, Exec.Dir., West 44th St.
2/25,26/88 Drobny/Schenkar's Fire in the Future rdgs.
New York City Opera, spring tour, B. Sills, Gen.Dir.
5/3-8/88 La Boheme 3 pfs.; The Student Prince 3 pfs.; Die Zauberflote 2 pfs.; at Tampa
Bay Performing Arts Center, FL
6/15-19/88 Madama Butterfly 2 pfs.; The Merry Widow 1 pf.; Die ZauberflSte 3 pfs.; at
Saratoga Springs, NY
6/21-26/88 Cavalleria rusticana & Pagliacci 2 pfs.; The New Moon 2 pfs.; Die
Zauberflote 2 pfs.; at Wolf Trap, VA
New York City Opera, B. Sills, Gen.Dir., New York State Theater (see also Vol.27 #4 &
Vol.28 #1; also "First Performance Listing, 1988-89 Season" in this issue)
7/6,16,31m 8/17,25/88 The Merry Widow Eng.; Munro, Golden; R. White/R. Orth; c:
Pallo; ds: Pond/Senn
7/7,13,29 8/20m,27/88 La Bohemet Ginsberg, Cusack; Grayson, Opalach; c: Bergeson; ds:
Evans
-96-
1987-88 SEASON
New York City Opera (continued)
7/8,16m 8/3,9/88 Cavalleria rusticanat & Pagliaecit L. Richards; Algieri, Wangerin &
Christos; Absalom, Elvira; c: Comissiona; d: Masella; ds: Dunham/Marlay
7/9m,15,30m 8/6/88 Die Zauberfl8tet Hynes, Rosales; G. Wilson, Dickson, Dworchak; c:
Comissiona; d: Mansouri/Alley; ds: Bosquet; chorg: Redel
7/9,12,26 8/4,13/88 Rigolettot* Esham/O'Flynn/Donahue, Marsee/Eckhart; Leech/Hartfield,
Burchinal/Ellis/Wangerin; c: Boncompagni; d: Capobianco; ds: Toms
7/14,30 8/5,11/88 La Traviatat Mims; O'Mara, Elvira; e: M. Morgan; d: Corsaro; ds:
Evans/Campbell; chorg: Galan
7/19,20,21,22,23m,23,24m/88 The New Moon Munro/Thorngren, Campana, Costa-Greenspon;
White/Parcher, Cousins/M. Davis; c: J. Coleman; d/ehorg: Johanson; ds: Anania/Marlay
8/2,13m,20,27m/88 n Barbiere di Sivigliat* Mills/Woods; Wilson/Kelly/Cousins, Orth/
Woodman, Opalach/McKee; c: Comisssiona; d: Mansouri; ds: Heeley
8/6m, 10,16,26/88 Madama Butterflyt
8/12,19,23/88 Mefistofelet
8/18,24/88 Lucia di Lammermoort
8/30,31/88 Naughty Marietta
New York Grand Opera, V. La Selva, Art.Dir., Central Park Bandshell
4/13/88 Gala Verdi Concert at Alice Tully Hall
7/7/88 Rigoletto Zeldin, Feld, Cossa, Naldi; c: La Selva; d: Gentilesca
7/14/88 Verdi's I Masnadieri Ojima; Van Valkenburg, Corteggiano; c: La Selva
7/21/88 La Traviata Neill; Aquino; c: La Selva; d: Stivanello; ds: Bartolini
7/28/88 Un Ballo in maschera Tucci, Aronoff, McAlister; Di Giuseppe, Meixsell
New York Philharmonic, Z. Mehta, Mus.Dir., Avery Fisher Hall (see also Vol.27 #4)
2/18,19m,20,23/88 La Voix humaine conc.pf.; Norman; c: Mehta
New York University, West 4th St.
4/29-5/7/88 She Loves Me NYU Musical Theater Program
5/13,14/88 La Serva padrona NYU Opera Wksp.
6/30 7/1,2/88 Moross/Latouche's The Golden Apple Kurt P. Reimann Opera Studio; c:
Wallace
8/11-13/88 How to Succeed in Business Without Really Trying NYU Summer Program in
Music Theater
North-South Consonance, M. Lifchitz, Mus.Dir., New York
2/20/88 Cone. incl. L'Histoire du soldat c: Lifchitz; at SUNY-Albany
On Stage Productions, L. Frank, Art.Dir., Hartley House Theatre
10/10-11/22/87 Rebsch/Cuff/Smith's You + Me = We
12/18/87-1/10/88 Stone/Beloff/Frank's Miranda's World
2/18-3/12/88 Spencer's Cyrano
3/1-20/88 Frank's How the World Got Wisdom: A Celebration of African Folklore
4/2-5/8/88 Gardner's Mermaids
Opera Amici, Trinity School, West 91st St.
5/15/88 Die Zauberflote
Opera Ebony, B. Matthews, Art.Dir., East 92nd St. (see also Vol.28 #1)
4/10/88 Young Artist Concert
5/88 Porgy and Bess tour to Eastern Europe
6/19m/88 Le Nozze di Figaro at Davis Hall, CCNY
Opera Stage, West 100th St.
2/18,20m/88 Don Giovanni
6/30 6/2,4/88 Aida
Oratorio Society of New York, L. Woodside, Mus.Dir., Carnegie Hall
3/1/88 Verdi Requiem
5/4/88 Orfeo ed Euridice J. Baker; conc.pf.
ORRA, R. Currie, Art.Dir., Symphony Space
6/10/88 Currie's The Cask of Amontillado & A Dream Within a Dream stgd.; c: de Cou;
d: Mann; ds: Kahn/Johanos (coprod. Jersey Lyric Opera)
Otrabandacompany, A. Bogart, Art.Dir., Wooster St.
3/19-4/3/88 Mann/Kirkwood's No Plays No Poetry But Philosophic Reflections Practical
Instructions Provocative Prescriptions Opinions and Pointers from a Noted Critic and
Playwright prem.; adapt. Brecht; d: Bogart (coprod. The Talking Band & Via Theater)
Penny Bridge Players, S. Forbes, Prod., Brooklyn
2/2-12/88 Carter/Stanton's Little Red Riding Hood 16 pfs.
2/16-26/88 James/Benedict's AH Baba prem.; 15 pfs.
3/1-10/88 Hardee/Stanton's Snow White and the Seven Dwarfs 15 pfs.
-97-
1987-88 SEASON
Q Piccolo Teatro dell'Opera, B. Elliott, Gen.Dir., Brooklyn (see also Vol.28 #1)
7/29,31 8/2,6/88 Cavalleria rusticana & Pagliacci conc.pfs.; Brooklyn Philharmonic
Orchestra; in parks
Playwrights Horizons, A. Bishop, Art.Dir., West 42nd St. (see also Vol.28 #1)
4/26/88 Flaherty/Ahren's Lucky Stiff prem.
Pregones Puerto Rican Traveling Theatre, R. Rolan, Art.Dir. (see also Vol.28 #1)
2/19,20m,21m/88 Acosta/Garcia/Rodriguez/Rolan's Remote Control
Prometheus Theater, East 5th St.
2/5/-28/88 Da Versa/Cole's Honeymoon in Hades
Queens Opera, J. Messina, Gen.Dir., Jamaica, Queens
4/30-6/88 The Barber of Seville 8 school informances; 1 conc.pf.; 1 stgd. prod.
Repertorio Espaftol, R. Buch, Exec.Dir., Gramercy Arts Theater (see also Vol.28 #1)
4/9,10m/88 Perrin/Palacios's Generala
Richmond Theater Collection, Staten Island
5/13-22/88 Coil fan tutte
Riverside Opera Ensemble, N. Matthews, Art.Dir., New York
5/10,21,22/88 Zandonai's Giuletta e Romeo; 6 pfs.; at Rutgers Church
Riverwest Theatre, Bank St.
2/21-3/5/88 Siegel/Lang's The Last Musical Comedy
4/6-5/7/88 Finn's A Glimpse of Light
St. Barts Players, St. Barts Church
3/20,24,25,26/88 Perfectly Frank d: Barkley
St. Joseph's College, Brooklyn
4/2 2-2 4 m/8 8 The Most Happy Fella
Serious Fun, Lincoln Center Series, Alice Tully Hall (7/14-8/4/88)
7/14/88 Nyman's The Man Who Mistook His Wife for a Hat
Spotlight Repertory Theater, P. Raleigh, Mng.Dir., Aging in America Auditorium, The
Bronx
6/10,llm,ll,12m/88 Of Thee We Sing Gershwin revue
Susan Bloch Theatre, West 26th St.
4/13/88 Weinberg's Ten Percent Revue prem.
Thalia Spanish Theatre, S. Brito, Prod., Sunnyside, Queens
3/25-6/26/88 Luna's Molinos de Viento zarzuela; c: Escalante
4-6/88 Folklore Argentino
Theater on the Square, Washington PL
4/13-23/88 Gandolfo's Wuthering Heights
Theater Two, Chambers St.
1/22-24/88 Solly/Ward's Boy Meets Boy
Theatre for the New City, G. Bartenieff & C. Field, Co-Art.Dirs., First Ave. (see also
Vol.28 #1)
2/2-20/88 Ayanoglu/Shubert/Coleman's Marlene, Marlene
4/14-5/1/88 Warner/Mangano's Reefer Madness prem.
Town Hall, West 43rd St.
1/22-2/13/88 Jacques Brel Is Alive and Well and Living in Paris semi-stgd.; d: Stone; 7
pfs.
6/12/88 Cabaret for Cole
Village Light Opera Group, R. Dewar, Pres., Fashion Institute of Technology (see also Vol.
28 #1)
4/23,24m,28,29,30 5/lm/88 Oklahoma! (replaces Carousel)
8/4,5,6/88 The Pajama Game (coprod. Philbeach Society of London)
Willie Warmflash Productions, M. Grant, Prod.
2/13/88 Grant's Chautauqua excpts.; c/d: Grant; at Fashion Institute of Technology
Wings Theatre Co., J. Corrick, Art.Dir., Charlton St. (see also Vol.28 #1)
3/19m-5/29m/88 Callner/Wheeler's Jack and the Beanstalk
World Opera Productions, Church of the Holy Apostles
3/4,5/88 Don Carlo
NORTH CAROLINA
Appalachian State University Opera, S. Papian, Dir., Boone
10/87 Die Zauberflote
-98-
1987-88 SEASON
Brevard Music Center, H. Janiec, Art.Dir., Brevard (6/24-8/7/88)
6/25/88 Don Giovanni c: Dawson; d: Patacchi
7/1/88 L'Elisir d'amore c: Saunders; d: Ferguson
7/8/88 n Trovatore c: Janiec; d: Patacchi
7/22/88 Fiddler on the Roof e: Janiec; d: Magoulas
7/29/88 Les Contes d'Hoffmann c: Dawson; d: Patacchi
8/6/88 Kismet c: Janiec; d: Magoulas
8/7m/88 Honegger's Le Roi David stgd.; c: Janiec
East Carolina University Opera Theatre, C. Hiss, Dir., Greenville
10/5,6/87 Scenes
2/11,12,13,14/88 La Cenerentola Eng. Martin (replaces La Serva padrona & Gianni
Schicchi)
Eastern Music Festival, S. Morgenstern, Mus.Dir., Greensboro (6/17-7/30/88)
7/16/88 Cone. incl. Carolina Burana c: Morgenstern
North Carolina School of the Arts Opera Wlcsp., N. Johnson, Dir., Winston-Salem
1/29,31/88 Co^i fan tutte Eng. Martin
5/19,20/88 Scenes
Triangle Music Theatre, M. Ching, Art.Dir., Durham
6/3,4,5,7,9,10/88 Die Zauberflote Poyner/Fogarty, Paul/S. Alexander; S. Smith,
Brandstetter, Maynor; c: Ching; d: Clum; ds: Ma
University of North Carolina Opera Theater, A. Knutsen, Dir., Greensboro (see also Vol.28
#1)
4/8,9,10/88 Die Zauberflote Eng. Porter
University of North Carolina Opera Theatre Wlcsp., T. LaGarde, Dir., Chapel Hill
11/18/87 American opera scenes
3/30/88 American opera & musical scenes incl. Hannay's The Journey of Edith Wharton
Act I & Ward's Lady from Colorado rev. vers. Act I; 3/31 off-campus pf.
NORTH DAKOTA
Dickinson State University Opera Wksp., E. Brown, Dir., Dickinson
12/13/87 Amahl and the Night Visitors w.p.
OHIO
Baldwin-Wallace College Theatre Productions, S. Raleigh, Mus.Dir., Berea (see also Vol.28
#1)
5/21/88 Bach Festival incl. Handel's Theodora Haywood, Robbin
Cincinnati May Festival, J. Conlon, Mus.Dir., Cincinnati (5/20-28/88)
5/20/88 Luisa Miller Kallberg ed.; conc.pf.; Mosca; O'Neill, Coni, Eckhoff, Plishka; c:
Conlon
5/21/88 Treemonisha conc.pf.; M. Martin, Newman; Freeman, Margolis; c: Conlon
Cincinnati Pops Orchestra, S. Monder, Gen.Mgr., Cincinnati
12/87 The Sound of Music conc.pf.; von Stade; Zeller
Dayton Opera Artists-in-Residence, D. DiChiera, Art.Dir., Dayton (see also Vol.27 #4)
1/11-4/18/88 Carmen 30-min. updated vers. w.p.; Artists-in-Residence; "Muse Machine"
tour to secondary schools; 60 pfs.
2/28m/88 Concert; Artists-in-Residence; at Engineers' Club
3/23-5/5/88 Carmen abrgd.; Traveling Opera; "Operation Opera" tour to elementary
schools; 14 pfs.
Findlay College Musical Theatre, M. Anders, Dir., Findlay
2/24-28/88 South Pacific 5 pfs.
Lakeside Summer Festival Symphony Orchestra, R. Cronquist, Mus.Dir., Lakeside (8/3-26/88)
8/88 Hello, Dolly!
Oberlin College, Summer Performing Arts at Oberlin (6/12-8/13/88)
7-8/88 The Threepenny Opera cone pf.; Reiser's Die edelmiithige Octavia cone.pfs.
Ohio Light Opera, B. Havholm, Mgr., Wooster (revised listing)
6/8,11,17,29m, 7/12,16m,28 8/7m/88 The Gondoliers
6/9,llm,12,16,18,21 7/3m,6m,8,20m,23m,31 8/3/88 The Chocolate Soldier Eng. adapt.
Kraus/Opelka
6/10,15,19m,25m,28 7/2,14 8/5/88 Fra Diavolo
6/14,18m,22m,23,25 7/1,17m,23,29 8/4/88 Orpheus in the Underworld
6/24,26m,30 7/2m,5,9,13m,20,24,31 8/6/88 Lehdr's The Count of Luxembourg
7/7,9m,10m,16,22,26,27,30m 8/3m,7/88 The Mikado
7/15,19,21,24m,27m,30 8/6m/88 Ruddigore
-99-
1987-88 SEASON
University of Cincinnati Opera Division, College-Conservatory of Music, M. Fraser, Dir.
1987-88 The Mystery of Edwin Drood; Evita; La Cenerentola conc.pf.; with Music
Theatre Dept.
2/13-19/88 Huston's The Blind Girl prem. telecast on Warner Cable #7; performed by
College-Conservatory of Music & videotaped by Univ.'s Broadcasting Division
Spring '88 "Oh Boy, Opera!" tour to schools
5/18/88 Le Nozze di Figaro Eng.; scenes; d: Eaton
5/25/88 Scenes from various Falstaff operas & Signor Deluso d: Alexander & Hale
Summer '88 "Hot Summer Nights" repertory season incl. Godspell; Chapin's Lies and
Legends; Do Black Patent Leather Shoes Really Reflect Up?; with Music Theatre
Dept.
University of Toledo Opera Theater, T. East, Dir., Toledo
3/8,10/88 Die Zauberflote Eng. Martin
OKLAHOMA
American Theatre Company, K. Roberts, Prod.Dir., Tulsa (see also Vol.28 #1)
4/15-30/88 Nunsense
Central State University Opera, K. Creed, Dir., Edmond
11/7/87 Scenes
Spring '88 No, No, Nanette
Oklahoma City University Opera & Music Theatre Co., C. Zrnil, Dir., Oklahoma City
10/87 The Pirates of Penzance 3 pfs.
11/87 The Telephone & The Medium 3 pfs.
2/88 La Traviata Eng. Machlis; 3 pfs.
4/88 On Your Toes 3 pfs.
1-4/88 Music Theater Scenes 20 pfs.
University of Science and Arts, Music Dept., Chickasha
12/6,7/87 Amahl and the Night Visitors
3/30/88 The Telephone & The Old Maid and the Thief
PENNSYLVANIA
American Music Theater Festival, M. Samoff, Dir., E. Salzman, Art.Dir., Philadelphia (see
also Vol.27 #4; also "First Performance Listing, 1988-89 Season" in this issue)
6/15-26/88 Telson/Breuer's The Warrior Ant (coprod. Spoleto Festival U.S.A., Yale Repertory Theatre, Brooklyn Academy of Music Next Wave Festival & Colonus Inc.); 14 pfs.
Arena Summer Theater, Lycoming College, Williamsport
6/23-26/88 The Boys from Syracuse
Johnstown Symphony Orchestra, Johnstown
Muhlenberg College Opera Group & Summer Music Theatre, J. Slavin, Dir., Allentown
4/22,23/88 A Game of Chance & Fortune's Favorites & Schubert's Die Versehworenen
Eng. Barker/Trevelyan
6/17-19,22-26,29,30 7/1-3,6-10/88 The Mikado 18 pfs.
6/30-7/2,6-9/88 Strouse's Nightingale
7/22-24,27-31 8/2-7,9-14/88 The Music Man 20 pfs.
Swarthmore College, Music Dept., Swarthmore
1987-88 Mozart's Zai'de New Mozart Edn.; dialogue in Eng.; semi-stgd.; Shelton; Stuart,
Beveridge; c: Freeman; d: Lord
Temple University Opera Theatre, G. McKinley, Dir., Philadelphia (see also Vol.28 #1)
Walnut Street Theatre Co., B. Havard, Exec.Dir., Philadelphia (see also Vol.28 #1)
6/11-7/10/88 Woldin/Enquist's Little Ham
PUERTO RICO
Puerto Rico Opera Co., San Juan
10/87 n Barbiere di Siviglia d: Guttman
RHODE ISLAND
Brown University, Music & Theater Depts., Providence
5/25-29/88 Berlin to Broadway with Kurt Weill c: Salgado; d: Silverman
Newport Music Festival, M. Malkovich III, Gen.Dir., Newport (7/9-24/88)
7/9/88 II Viaggio a Reims Concert Opera of Manhattan; e: Lindberg
Trinity Repertory Co., A. Hall, Art.Dir., Providence (see also Vol.28 #1)
6/17-7/17/88 Lehrer's Tomfoolery
-100-
1987-88 SEASON
SOUTH CAROLINA
Columbia College Opera Theatre, S. Palmer, Dir., Columbia
11/23/87 Scenes
4/6-9/88 The Mikado
Metropolitan Arts Council, Greenville
4/8-20/88 They're Playing Our Song at Greenville Little Theatre
Orangeburg Part-time Players, Orangeburg
3/24-27/88 Fiddler on the Roof
Rock Rill Arts Council, Rock Hill
3/9/88 My Fair Lady at Fort Mill Playhouse
5/27,28 6/3,4/88 Joseph and the Amazing Technicolor Dream Coat at Winthrop College
Theatre
Spartanburg Youth Theatre, Spartanburg
2/26,27/88 I Believe in Make Believe
Spoleto Festival U.S.A., G.C. Menotti, Art.Dir., Charleston (see also Vol.28 #1)
5/26-6/5/88 Peaslee/Clarke's Miracolo d'Amore prem.; ds: Israel; 5/20-24 previews
(coprod. NY Shakespeare Festival)
5/31/88 Convery's The Blanket prem.; c: Argiris
Town Theatre, Columbia
3/25-4/16/88 Mame
TENNESSEE
Knoxville Opera, R. Lyall, Gen. & Art.Dir., Knoxville (see also Vol.27 #4)
7/15,16,17m/88 Oklahoma!
Knoxville Symphony Orchestra, C. Harrison, Gen. Dir., Knoxville
1/9/88 La Finta Giardiniera Eng. Pearlman (as Lunatics and Lovers); conc.pf.
4/28/88 Weill's Marie Galante excpts.; Esham; c: Trevor
TEXAS
Amarillo College Opera Wksp., M. Burkhard, Dir., Amarillo
9/87 Gianni Schicchi 2 pfs.
4/88 Madama Butterfly w. community participation; 2 off-campus pfs.
Angelo State University's Opera Box Office, P. Homer, Dir., San Angelo
4/14-17/88 Hansel and Gretel 4 pfs.
Casa Mafiana Musicals, Summer Season, V. Kaplan, Gen.Mgr., F. Worth (see also Vol.28 #1)
6/7-12/88 Big River nat. tour
6/13-25/88 Dream Girls
6/27-7/9/88 "The Debbie Reynolds Show"
7/11-23/88 Annie Get Your Gun
7/25-8/6/88 Carousel
8/8-20/88 Anything Goes
8/22-9/3/88 A Chorus Line
Dallas Summer Musicals, T. Hughes, Prod., Dallas
6/7-19/88 Me and My Girl nat. tour
6/21-7/3/88 The Sound of Music nat. tour
7/5-17/88 The Mystery of Edwin Drood
7/19-31/88 Man of La Mancha nat. tour
8/2-14/88 Can-Can nat. tour
8/16-28/88 Grease
Houston Grand Opera, Spring Opera Festival, D. Gockley, Gen.Dir., Miller Outdoor Theater
(see also Vol.27 #4 & Vol.28 #1)
5/25,26,27,31 6/1,2,3,4/88 Lucia di Lammermoor Eng. Grossman; Halgrimson/W. Hill; Hartfield/Morales, Damsel/E. Perry, Berkolds/Kuether; c: Sulich; d: Cazan/Trexell; ds: P.
Horne/K. Hoffman (Texas Opera Theater prod.)
Houston Symphony Orchestra Mostly Mozart Festival, N. Wyss, Art.Adv., Houston (7/928/88)
7/16/88 Salieri's Prima la musica, poi le parole Eng. Martin & Der Schauspieldirektor
Halgrimson, Flanigan; Fink; c: Wyss; d: Ross
Italy in Houston Festival, Italian Ministry of Tourism and Spectacle, Houston
10/87 Vivaldi's Giustino Strohm ed.; Am.prem.; Anselmi; Complesso Barocco Italiano; c:
Curtis; d: Flach; ds: Grossi (Teatro Olimpieo, Vincenza, prod.); at Jones Hall
Lyric Opera of Dallas, J. Burrows, Art.Dir., Dallas (revised schedule)
4/29,30 5/lm,4,5,6,7,8111/88 Ruddigore
6/l,2,3,4,5m/88 The Yeomen of the Guard
8/5,6,7m>10)ll,12,13,14m/88 The Mikado
-101-
1987-88 SEASON
Rice University, Shepherd Sehool of Music, A. Addison, Dir. Opera, Houston
11/24/87 4/21/88 Scenes
3/20,21/88 Die Fledermaus Eng. Addison
San Antonio Festival, revised schedule (6/2-19/88)
6/3,4/88 Rodriguez's Backstage at the Majestic prem.; d: Zambello
6/17/88 The Impresario & Schickele's The Stoned Guest
6/18/88 La Cenerentolat set in 1930's
6/88 Herod and the Innocents NY Ensemble for Early Music
Texas A & I University Opera Wksp., R. Scott, Dir., Kingsville
4/15,16/88 H.MJS. Pinafore w.p.
7/6,7,8/88 Oklahoma!
University of Houston Opera Theater, B. Ross, Dir., Houston
11/20,22/87 The Beggar's Opera Britten vers.
3/18,19/88 The Consul w.p.
4/27/88 Warwick's The Last Leaf prem.; w.p.
University of Texas-El Paso, Music Dept., L. Woodul, Dir. Opera, El Paso
11/21/87 Captain Lovelock
2/25,26,27,28/88 Die Fledermaus Eng. Martin
UTAH
Brigham Young University Opera Theater, C. Robison, Art.Dir., Provo (rev. sched.)
10/30,31 11/4,6,7/87 Madama Butterfly Eng. Martin
11/19-12/5/87 She Loves Me w.p.
2/17-20, 23-27/88 Oklahoma!
2/24,26,27/88 Don Pasquale Eng. Mead; w.p.
3/26, 29-4/2/88 Dialogues des Carmelites Eng. Machlis; w.p.
6/10,11,14,15/88 The Pirates of Penzance
VIRGINIA
Ashlawn-Highland Summer Festival, J. Walker, Gen.Mgr., Charlottesville (6/26-8/28/88)
6/25,26 7/2,3,27,31 8/3,10,13/88 Le Nozze di Figaro Ueker, Zhu/Levitt, Waxman; Edens,
Yuen/Watson; c: Crawford; d: Pape; ds: Smart; 8/19 in Boise, ID
7/9,10,16,17,26,30 8/4,7,11/88 L'Elisir d'amore Ueker/Zhu; Turner/Lee, Watson/Yueh; c:
Crawford; d: Brumit; 8/17 in Boise, ID
7/23,24,28 8/2,6,9,14/88 La Cenerentola Guo; Turner/Broussard; 8/21 in Boise, ID
James River Chamber Opera/Richmond International Music Festival/Theatre IV, Richmond
7/8,10m/88 The Impresario <5c Hoiby's The Scarf c: Batty; d: Hopper
McLean Symphony Orchestra, McLean
6/4/88 Bart6k's Bluebeard's Castle conc.pf.
Roanoke Symphony Orchestra, V. Bond, Mus.Dir., Roanoke
11/9/87 Die Walkilre Act 1; conc.pf.; E. Shade; Lakes, Halfvarson; c: Bond
Southwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke (see also Vol.27 #4)
3/20m/88 Scenes
5/18,20,21/88 Kismet c: Granger; d: Ayers; in Salem
Virginia Commonwealth University Opera Studio Sc Opera Theatre, L.W. Batty, Dir.,
Richmond
4/13/87 Scenes
4/30 5/1/88 Riders to the Sea & Benjamin's Prima Donna
Wolf Trap Foundation for the Performing Arts, P. Russell, Admin.Dir., Filene Center,
Vienna (6/2-9/6/88)
6/21-26/88 New York City Opera; 6 pfs. (see above under New York City for details)
7/15,17m,19/88 Don Giovanni* Eng. Porter; James, Randell, Keith; Kasch, Mattsey, Held;
Wolf Trap Opera Co.; c: Fagen; d: Takazauckas; ds: Peterson/Bolton; at The Barns
7/29,31m 8/2/88 The Rape of Lucretia* Graves, Wray; Delavan, Nicolson; Wolf Trap
Opera Co.; c: Kellogg; d: Muni; ds: Peterson/Bolton; at The Barns
8/18,20/88 The Love for Three Orangest Keith, Wray; Nicolson, Kasch, Volpe; Wolf Trap
Opera Co.; c: Sutej; d: Corsaro/Mattaliano; ds: Sendak (New York City Opera &
Glyndebourne Festival prod.)
8/30-9/4/88 Cabaret 8 pfs.
8/7m/88 Wolf Trap Opera Co. Showcase Concert; c: Kellogg
WASHINGTON
A Contemporary Theatre, G. Falls, Prod-Dir., Seattle
5/5-29/88 Sondheim's Merrily We Roll Along rev. vers.
-102-
1987-88 SEASON
Group Theatre, R. Sierra, Art.Dir., Seattle (see also Vol.28 #1)
6-7/88 Oh Say, Can You See? revue
Opera Northwest, J. Arsenault, Art.Dir., Bainbridge High School, Bainbridge Island
1/23/88 Operatic and Musical Comedy Favorites, w.p.
6/88 Gallantry & The Face on the Barroom Floor
8/88 Concert Under the Stars
WEST VIRGINIA
Lakeview Theatre, R. Iannone, Prod., Morgantown
Summer '88 Company; Fiddler on the Roof; 42nd Street; Funny Girl
Masquers Town and Gown, Fairmont State College, Music Dept., L. Carson, Chmn.,
Fairmont
6/18-23/88 The Music Man
University of Charleston Conservatory of Music, D. Riggio, Dir., Charleston
4/24 5/20/88 The Fantasticks
WISCONSIN
Mike La Tour Company, Green Bay
2/27,28/88 Pizzazz
Musicale Inc., Grand Opera House, Oshkosh
3/11-13/88 Brigadoon
University of Wisconsin Opera Theatre, D. Wadsworth, Dir., Whitewater
2/21,23,25,27/88 Hansel and Gretel Eng. Kelley
University of Wisconsin, School of Music, K. Moser, Dir. Opera, Madison
10/23,24/87 Satie's Socrate Eng. Thomson/Fulmer & Les Mamelles de Tiresias Eng, Goss
12/3-5/87 Amahl and the Might Visitors 4 pfs.
2/12,13/88 Beatrice et Benedict Eng. Dunn
4/22-30/88 Anything Goes 6 pfs.
4/26/88 Scenes
WYOMING
University of Wyoming Opera Theater, F. Gersten, Dir., Laramie
11/22/87 Scenes
4/26/88 West Side Story
CANADA
Bernard Cauchy Productions, Montreal, P.Q.
5/4-7/88 Dube/Cauchy's Costume Fool Am.prem.; at the Producer's Club, NYC; 5 pfs.
Canada Opera Piccola, Victoria International Festival, Victoria, B.C. (7/14-8/27/88)
8/88 Cosi fan tutte 6 pfs.
Canadian Music Theatre Ensemble, Banff Centre, J. Metcalf, Art.Dir., Banff, Alta.
3/1-26/88 Happy End tour to Edmonton, Alta. & Richmond, B.C.
Spring '88 Minifest incl. Les Mamelles de Tiresias; Dean's God's Dice; Klein's Tale of a
Father and Son; Doolittle's Boiler Room Suite; Sondheim Revue
Canadian Opera Co. Ensemble, L. Mansouri, Gen.Dir., Toronto, Ont. (see also Vol.28 #1)
2-3/88 The Turn of the Screw c: Isepp; d: Mansouri
5/11,13,14/88 Composers-in-Residence program; rdgs.
Dalhousie University Opera Wksp., J. Morris, Dir., Halifax, N.S.
3/19/88 Rigoletto Act 4 & Hin und zurilck Eng. Farquhar
DuMaurier Theatre Centre, Harbourfront, Toronto, Ont.
9/87 Deschenes/Thibault's Lux & Out prems.
Ensemble lyrique de Lanaudiere, Drummondville, P.Q.
7/23 8/25/88 La Perichole abbrev.vers.
Festival de Lanaudiere, Joliette, P.Q.
6/28,30/88 Die lustigen Weiber von Windsor Atelier lyrique de l'Opera de Montreal; c:
Armenian
7/7/88 Honegger's Le Roi David Lausanne Ensemble
7/15/88 L'Enfant et les sortileges Atelier lyrique de l'Opera de Montreal
8/20,22/88 Les PScheurs de perles Fernandez; Jobin, Laperriere, Charbonneau; c:
Gendille
Festival of the Sound, J. Campbell, Art.Dir., Parry Sound, Ont.
7-8/88 Festival incl. Die Fledermaus Fanning
Gilbert and Sullivan Society, Toronto, Ont.
4/14-16,19-23/88 Iolanthe Hart House Theatre
Globe Theatre, Regina, Sask.
4/8-24/88 Happy End
-103-
1987-88 SEASON
Hamilton Philharmonic Orchestra, B. Brott, Mus.Dir., Hamilton, Ont.
Kitchener-Waterloo Symphony Orchestra, R. Armenian, Mus.Dir., Kitchener, Ont.
3/88 Parsifal Act 2; conc.pf.; Vickers, Corbeil; c: Armenian
5/14/88 Carolina Burana
National Arts Centre, J. Morrow, Prod., Ottawa, Ont. (see also Vol.28 #1)
2/4-20/88 Roby/Storey's Girls in the Gang (coprod. Factory Theatre, Toronto); 2/25-3/13
at Factory Theatre
2/22/88 Drouin's Vis ta vinaigrette (coprod. CHOT-TV & CFGS-TV)
National Arts Centre, Summer at the Centre, Ottawa, Ont. (see also Vol.27 #4 & Vol.28
#1)
6/13,14/88 The Monkey King Meets the Dragon King Under the Sea Yinchuan Beijing
Opera; 4 pfs.
6/22-25/88 Napoleon/Lama No.Am.prem.; c: Gilbert; d: Rosny; ds: Monloup/Franceschi
7/8,9/88 "A Baroque Opera Evening" Opera Atelier
7/21,23,26,28,30/88 Le Nozze di Figarot Fr. <5c Eng.; McNair, Wiens, Araya; Scharinger,
Laperriere; National Arts Centre Opera; c: Chmura; d: Heinicke
Olympic Arts Festival, Calgary, Alta. (see also Vol.28 #1)
2-3/88 Lemieux's Mutations prem.; also at National Arts Centre, Ottawa, Ont.
Opera-Comique de Quebec, F. Chiocchio, Dir., Saint-Laurent, P.Q.
5/14,15m, 17,19,21,22m,24,26,28,29m/88 "Les grandes duchesses de Gerolstein" c:
Letourneau
Opera Atelier, M. Pynkoski & J. Zingg, Co-Dirs., Univ. of Toronto, MacMillan Theatre,
Toronto, Ont. (see also Vol 28, #1)
6/2,3,4/88 Rameau's Myrthis prem.; Leibel, Longo, Loeb, Saunders, Roman; d: Pynkoski;
ds: Gauci/D'Eye
7/8,9,10/88 Rameau's Zais & Handel's Giulio Cesare Loeb, Roman Leibel, Gentry,
Stilwell; in Ottawa
L'Orchestre symphonique de Laval, Ville de Laval, P.Q.
L'Orchestre symphonique de Montreal, C. Dutoit, Mus. Dir., Montreal, P.Q.
12/87 Samson et Dalila cone, exepts.; Quivar; King, Summers; c: Dutoit
L'Orchestre symphonique de Quebec, Quebec, P.Q.
12/8,9/87 La Damnation de Faust M. Laferriere; Vanzo, Rouleau, Oland
Peterborough Festival of the Arts, Peterborough, Ont.
8/25-9/3/88 Schafer's The Greatest Show d: Sokoloski; ds: Smith/Smith
Radio-Canada/FM, Saint Jean the Baptist Church, Montreal, P.Q.
2/88 Boris Godunov in Russ.; cone.pfs.; Popa; Rouleau, Gregor, Belanger, Corbeil; e:
Vekshtein; 7/3,5 at Cath6drale de Joliette
Shaw Festival, C. Newton, Art.Dir., Niagara-on-the-Lake, Ont.
5/13-6/20/88 Youmans' Hit the Deck 37 pfs.
Society for Contemporary Music, Maison de la culture, Plateau Mont-Royal, Montreal, P.Q.
9/23/87 Henze's El Cimarron eone.pf.; Dionne
Stratford Festival, G. Thomas, Gen.Dir., Stratford, Ont. (5/30-10/29/88)
6/3-10/30/88 My Fair Lady at Festival Theatre
7/29-10/28/88 Irma La Douce at Avon Theatre
Summer Music from the Comox Valley, Courtenay Youth Music Centre, T. Vernon, Art.Dir.,
Courtenay, B.C.
7/20-23/88 The Boy Friend 4 pfs.
Theatre d'art lyrique, ViUe de Laval, P.Q. (see also Vol.28 #1)
4/23,24/88 La Belle Helene
Tudor Vocal Ensemble, St. Andrew & Paul Church, Montreal, P.Q.
10/15/87 Bernstein's Mass
University of Laval, Quebec City, P.Q.
1987-88 Cone. incl. Gagne's Menaud exepts.; prem.
University of Manitoba Opera Wksp., Winnipeg, Man.
Spring '88 Gardner's Tobermoray No.Am.prem.
University of Quebec Opera Wksp., J. Letourneau & C. Boky, Co-Dirs., Montreal, P.Q.
3/88 The Magic Flute Pelletier; Denys; d/ds: Letourneau; in French
Les Voisins de Saint-Martin, Ville de Laval, P.Q.
5/13,14,15/88 Rose Marie
[]
-104-
FIRST PERFORMANCE LISTING, 1988-89 SEASON
All performances are staged unless marked "conc.pf." (concert performance) and are given with
an orchestra unless marked "w.p." (with piano). An * following a title indicates a new production;
a t indicates that projected English captions are used. A single date appearing for a listing
of several performances indicates the opening night. Performances and news items listed in
an issue of the Bulletin are not repeated in later issues.
ALABAMA
Mobile Opera, P. Pearce, Gen.Mgr., H. France, Mus.Dir., Mobile
10/25,27,29/88 La Cenerentola Eng. Beni
3/16,18/89 Madama Butterflyt
ALASKA
Anchorage Opera, J. Wright, Gen.Mgr., Anchorage
ll/4,6m, 10,12/88 Carment
3/10,12m,16,18/89 The Mikado
ARIZONA
Arizona Opera, G. Ross, Gen.Dir., Tucson/* Phoenix
10/20,22,27*,29*/88 La Traviatat
1/5,7,12*,14*/89 Lakmet
2/16,18,23*,25*/89 Carment
3/9,ll,16*,18*/89 n Tabarrot & Gianni Schicchit
Northern Arizona University Opera Theatre, L. Hanson, Dir., Flagstaff
11/4,5,6/88 A Little Night Music
4/6,7,8/89 Le Nozze di Figaro
Phoenix Symphony Orchestra, T. Alcantara, Mus.Dir., Phoenix
9/88 Fidelio conc.pfs.; Kelm; Absalom
ARKANSAS
Arkansas Opera Theater, A. Chotard, Gen. & Art.Dir. Little Rock
9/24/88 Little Mary Sunshine
2/24,26m/89 Die Dreigroschenoper Eng.
4/14,16 m/89 Postcard from Morocco
6/9,llm/89 Lucia di Lammermoor
Arkansas Symphony Orchestra, R. Henderson, Mus.Dir., Little Rock
4/1,2/89 Carmina Burana M. Henderson; Moore, Coldiron; c: Henderson
CALIFORNIA
California Music Theatre, G. Davis, Art.Dir., Pasadena
12/8-18/88 Babes in Toyland 11 pfs.
Fullerton Civic Light Opera, J. Duncan, Art.Dir., Fullerton
10/88 Oklahoma! 12 pfs.
2/89 Showboat 12 pfs.
5/89 Peter Pan 12 pfs.
The Lamplighters, A.L. Harvey, Gen.Dir., San Francisco
9/17-10/23/88 Where's Charley? 16 pfs.
12/8,9,10,11/88 Champagne Gala
3/4-4/22/89 Trial by Jury & H.M.S. Pinafore 16 pfs.
6/17-7/30/89 Princess Ida 15 pfs.
8-9/89 Die Fledermaus Eng.; 15 pfs.
Long Beach Civic Light Opera, P. Logefeil, Mng.Dir., Long Beach
10/6-23/88 La Cage aux Folles
2/23-3/12/89 The Student Prince
5/4-21/89 The Unsinkable Molly Brown
8/3-20/89 Rodgers/Hammerstein's Cinderella
Long Beach Opera, M. Milenski, Gen.Dir., Long Beach
10/21/88 La Vie parisienne Eng.; 13 pfs.
10/22/88 U. Zimmermann's Die weisse Rose Eng.; 10 pfs.
5/7/89 Paisiello's n Barbiere di Siviglia Eng.; 5 pfs.
5/14/89 Le Nozze di Figaro Eng.; 5 pfs.
Los Angeles Music Center Opera, P. Hemmings, Gen.Dir., Chandler Pavilion, Los Angeles
10/7,10,13,16,18/88 Les Contes d'Hoffmannt Kaye ed.; Migenes-Johnson, Vlahos; Domingo,
Gilfrey; c: R. Buckley; d: Corsaro; ds: Schneider-Siemssen (Greater Miami Opera prod.)
10/8,11,14,16/88 Cos\ fan tuttet* Vaness, Howells, Ewing; Mack, Black, Dean; c: Perick;
d: Hall; ds: Bury
-105-
1988-89 SEASON
Los Angeles Music Center Opera (continued)
10/15,17,23,25/88 Kat'a Kabanovat K. Armstrong, Rysanek; Cassilly, Ellsworth; c: Kout;
d: Friedrich; ds: Schavernoeh (coprod. Paris Ope>a); 8/10,12 previews
12/1,3,6,9,11/88 Wozzeckt* Ross; Ellsworth, Egerton, Mazura; e: Rattle; d: D. Alden; ds:
Fielding (coprod. Los Angeles Philharmonic)
2/17,20,25,27/89 Rossini's Tancredit Weidinger, Home; C. Merritt, Cox; c: Lewis; d:
Copley; ds: Conklin (coprod. Lyric Opera of Chicago)
3/25,28,31 4/2/89 Otellot Tokody; Domingo, Diaz; c: Foster; d: Friedrich; ds: SchneiderSiemssen/Skalicki
4/18,23,27 5/1/89 Salomet Ewing; Ulfung, Mack, Devlin; c: Behr; d: Hall; ds: Bury
6/7-23/89 Orpheus in the Underworld Eng. S. Wilson; Dahl, Cariaga; Mack; c: DeMain; d:
Shifter; ds: Scarfe (coprod. Houston Grand Opera & English National Opera)
Marin Opera, I. Martinez, Gen.Dir., Larkspur
10/7,9m/88 The Student Prince
5/12,14m/89 Aida
12/29,31/88 Getty's Plump Jack prem.
Modesto Jr. College Opera Theater, L. Woodward, Dir., Modesto
12/8,9,10/88 Mayer's One Christmas, Long Ago
4/21,22/89 The Old Maid and the Thief & The Telephone
Oakland Opera, C. Heater, Art.Dir., Oakland
9/23,25/88 Carmen W. Lewis; c: Feist
Opera a la Carte, R. Sheldon, Dir., Los Angeles
Spring '89 The Gondoliers D. Adams
Opera Pacific, D. DiChiera, Art.Dir., Orange County Performing Arts Center, Costa Mesa
2/11,15,18,24/89 Normat Sutherland; c: Bonynge
2/17,19m,19,22,23,25m,25/89 II Barbiere di Sivigliat Forst; Elvira, L. Quilico; 2/27 at
Palm Desert
6/23,24m,24,25m,27,28,29,30 7/lm,l,2m/89 My Fair Lady 12 pfs.
Opera San Jos6, I. Dalis, Exec. & Art. Dir., San Jose
10/l,2m,6,7,8,9m/88 La Bohemet Lappalainen/Rohr; McCall/Purdy; c: Rohrbaugh; d:
Helfgot; ds: Richardson/Barrett
11/26,27m 12/l,2,3,4m/88 Henderson's West of Washington Square prem.; c: B.D. Turner;
d: Helfgot
2/25,26m 3/2,3,4,5m/89 The Barber of Sevillet Spenee/Lappalainen; c: Turner; d: Helfgot
5/13,14m,18,19,20,21m/89 Die Fledermaus Eng.; c: Rohrbaugh; d: Helfgot
Palm Springs Opera Guild of the Desert, H. DeBoer, Pres., Palm Springs
2/28/89 II Barbiere di Sivigliat Riverside Opera
3/13/89 The Student Prince
Riverside Opera, J. Sullivan, Gen.Dir., Riverside
10/22/88 Faust
12/88 Hansel und Gretel
1/89 The Secret of Susanna
4/8/89 La Traviata
Sacramento Opera, M. Oaks, Gen.Dir., Sacramento
9/16,18m/88 n Trovatore
11/11,13m/88 The Bartered Bride
2/24,26m/89 Manon
San Diego Opera, I. Campbell, Gen.Dir., San Diego
l/21,24,27,29m/89 Lucia di Lammermoort Dobish; Leech, Raftery, Langan; c: Miiller; d:
R. Levine; ds: Jampolis
2/ll,14,17,19m/89 Fideliot Hass, Langton; Matheson-Bruce, Korn, Fox, Outland,
Dworchak; c: Downes; d: Tannenbaum; ds: Jampolis
3/4,7,10,12m/89 Don Pasqualet Parrish; DuBois, Ledbetter, Loup; c: Keltner; d: W.
Weber; ds: Conklin (San Francisco Opera prod.)
4/15,18,21,23m/89 Madama Butterflyt Nishida, Redmon; Welch, Foss, Frank; c: Bakels; ds:
M.C. Lee
1/25,26,28/89 The Beijing Operat
2/20/89 "Homage to John McCormack" Robert White in recital; at La Jolla Museum
4/8/89 Marilyn Home in recital
San Diego State University Opera Theatre, M. Chambers, Dir., San Diego
11/18,19,20/88 The Telephone* & Riders to the Sea & Gallantry & Bastien und
Bastienne#; #4 pfs. on tour
Spring '89 program TBA
-106-
1988-89 SEASON
San Francisco Opera, L. Mansouri, Gen.Dir. Designate, San Francisco
9/9,13,16,18m,21,24,27/88 L'Afrieainet Swenson, Verrett; Domingo, Dtaz, Devlin; c: Arena;
d: Mansouri; ds: W. Skalicki/A. Skalicki
9/10,15,23,28 10/2m,4/88 The Rake's Progress Patterson, Christin, Vergara; Hadley,
Shimell; c: TBA; d: Cox; ds: Hockney
9/17,19,25m,30 10/6,9m/88 Rossini's Maometto lit Am.prem.; Anderson, Home; C. Merritt,
Alaimo; c: Zedda; d: Frisell; ds: Benois
9/29 10/l,5,7,ll,15,23m/88 Der fliegende Hollander! Polaski; Ochman, Van Dam,
Koptchak; c: Kaltenbach; d/ds: Ponnelle
10/8,13,18,21,27,30m 11/3/88 Cosn fan tuttet Csavlek, Rolandi, Montague; Gulya"s,
Krause, Hampson; c: Bradshaw; d/ds: Ponnelle
10/16m,19,26,29 11/1,4,9/88 Manon Lescautt Lorengar; Dvorsky, Vanaud, Capecchi; c:
Pritchard; d: Asagaroff; ds: Klein (Dallas Opera prod.)
10/22,25,28 U/2,6m,8/88 Parsifalt* W. Meier; Kollo, Berry, Hynninen, Moll; c: Pritchard;
d: Joel; ds: Halmen
11/12,19,21,25,30 12/4m/88 Lady Macbeth of Mzenskt Barstow; Lewis, Trussel, Devlin; c:
Pritchard; d: Freedman; ds: Skalicki
11/16,19m,22,26,29 12/2,8,9#,llm#/88 La Bohemet Freni/Gasdia#, Pacetti/de la Rosa#;
Pavarotti/TBA#, G. Quilico, Ghiaurov/TBA#, Tajo; c: Patane; d: Mansouri; ds:
Mitchell/Button
ll/20m,23,27nn 12/1,3,6,10/88 La Giocondat Marton, Ciurca, Nadler; Polozov, Ellis,
Giaiotti; c: Kord; d: Ewers; ds: Brown
12/5/88 Pavarotti recital
2/15/89 Te Kanawa recital
Sierra Chamber Opera, A. Rea, Gen.Mgr., Fresno
1988-89 tour: Rea's The Wizard's Ring 160 pfs.; Rea's Falstaff In and Out of Love 20
pfs.; "As the Opera World Turns"
Sonoma State University Opera Theater, P. Donovan-Jeffry, Dir., Rohnert Park
12/4,5,6,10,11/88 "A Night in Vienna"
5/12,13,19,20,21/89 Albert Herring
Townsend Opera Players, E. Townsend, Gen.Dir., Modesto
2/18,25,26/89 Rigoletto
4/8,15,16 La Fille du regiment
University of Southern California, USC Opera, G. Ostrowski, Dir., Los Angeles
12/8,9,10,11/88 Le Nozze di Figarot
West Bay Opera, M. Holt, Gen.Dir., Palo Alto
10/21,22,23,27,28,29/88 The Barber of Seville Eng.; c: Sloss; d: Grote; ds: Ragey/Grote
2/3,4,5,9,10,11/89 The Tales of Hoffmann Eng.; c: Kuhner; d: Field; ds: Ragey/Thomsen
5/19,20,21,25,26,27/89 Madama Butterfly c: H. Holt; d: Boerlage/Field
COLORADO
Opera Colorado, N. Merrill, Gen. Dir., Boettcher Hall, Denver
4/29-5/14/89 La Cenerentolat; La Traviatat 4 pfs. each
University of Colorado, Opera Theater, D.C. Jackson, Dir., Boulder
10/21,22/88 Le Nozze di Figaro Eng. Martin
2/17,18/89 Die Fledermaus Eng. Martin
4/13,14,15,16/89 Musical TBA
University of Northern Colorado Opera Theatre, C. Gerbrandt, Dir., Greeley
11/17,18,19,20/88 Showboat
2/23,24,25/89 Cos"i fan tutte Eng. Martin
4/20,22/89 La Boheme Eng.
7/89 8/89 Summer Musicals TBA
11/88 Scenes w.p.
CONNECTICUT
Connecticut Opera, G. Osborne, Gen.Dir., Hartford
10/13,15/88 La Boheme
11/17,19/88 Die Zauberflote
2/15,18/89 Romeo et Juliette
4/13,15m/89 Porgy and Bess
Goodspeed Opera House, M. Price, Gen.Dir., East Haddam
10/5-12/18/88 Ellis/Myers's Mr. Cinders Am.prem.
DELAWARE
OperaDelaware, E. Kjellmark, Mng.Dir., Wilmington
11/26 12/2,3/88 Verdi's Stiffelio Eng. Lawton/Muni; W. Evans; c: Lawton; d: Muni
2/14m,14,15,17,18m/89 Strouse's Charlotte's Web prem.; c: Swensson; d: Kimball
4/22,28,29/89 Carmen Eng.; c: Ganger; d: MeDonough
-107-
1988-89 SEASON
Washington Concert Opera, S. Crout, Gen.Dir., Lisner Aud., Washington
9/25m/88 I Capuleti ed I Montecchit conc.pf.; Hong, Mentzer; c: Crout
1988-89 La Serva padrona Eng.; tour to schools
Washington Opera, M. Feinstein, Gen.Dir., Kennedy Center, Washington
11/5,10,13m, 16,18,21/88 Toscat Morelli; Domingo, Diaz, Beni; c: Friihbeck de Burgos; d:
Menotti; at Opera House
11/12,14,17,20m,23,26/88 La Traviatat Miricioiu; Garrison, Raftery; c: Ajmone-Marsan; d:
Copley; ds: Conklin (San Francisco Opera prod.); at Opera House
12/31/88 1/6,8m,10,12,14,16,22m,27/89 n Barbiere di SivigliaT Swenson; Croft, Baerg,
West; c: J. Rescigno; d: Major; ds: Brown; at Eisenhower Theater
1/7,9,13,15m,17,23,29m 2/2,4/89 The Impresario & Abu Hassan Eng. Wheeler; Woods, de
la Rosa; Kuebler, Wildermann; c: Mauldin; d: Terleckyj; at Eisenhower Theater
1/21,24,26,30 2/3,5m/89 Paulus' The Postman Always Rings Twice South; Nolen, Brunner,
Sullivan, Green; c: Dunkel; d: Takazauckas; at Eisenhower Theater
2/18,21,24,27 3/2,5m/89 The Queen of SpadesT* in Russian; Troitskaya, Bonazzi; Popov,
Carlson, Green; c: Rostropovich; d: Vishnevskaya; ds: Brown; at Opera House
2/25,28 3/3,6,9,12m/89 La Forza del destinot S. Dunn, A. Baker; Ordonez, Dietsch,
Langan, Strummer; e: Kellogg; d: Frisell; at Opera House
FLORIDA
Gold Coast Opera, T. Cavendish, Gen.Mgr., Pompano Beach
ll/13m,15,18/88 The Pirates of Penzance
l/29m,31 2/3/89 The New Moon
4/2m,4,7/89 The Merry Widow
Greater Miami Opera, R. Heuer, Gen.Mgr., Miami
11/28,29,30 12/3,4m/88 Le Nozze di Figarot Coburn, Parrish; Laperriere; c: Waters; d:
Hampe
1/16,17,18,21,22m,24/89 Giordano's Fedorat Scotto; Mauro; d: Hebert; ds: Klein
2/13,14,15,18,19m,21/89 Die Walkttret Gessendorf, Polaski; Morris
3/13,14,15,18,19m,21/89 La Forza del destinot Mosca; Milnes
4/10,ll,12,15,16m/89 Les Contes d'Hoffmannt Mills, Hegierski; Gulyas, Estes
1988-89 Trouble in Tahiti Young Artists Touring Ensemble; 60 pfs.
Jacksonville University, College of Fine Arts, W. Vessels, Dir. Opera, Jacksonville
10/2-15,20-22/88 The Robber Bridegroom
New Music America—Miami Festival, Miami-Dade Community College
12/2-11/88 works by over 100 contemporary composers, incl. ca. 50 prems. & Am.prems.
North Miami Beach Opera/Broward Symphony Orchestra, L. Siegel, Mus.Dir., Miami Beach
1/29/89 La Boheme
3/31 4/2/89 n Trovatore
Orlando Opera, R. Owen, Gen.Mgr. & Art.Dir., Orlando
11/18,20,22/88 FaustT
12/8/88 Amahl and the Night Visitors
12/31/88 Luciano Pavarotti in Concert
2/10,12,14/89 Cavalleria rusticanat & Pagliaccit
4/14,16,18/89 Don Giovannit
Palm Beach Opera, A. Guadagno, Mus.Dir., West Palm Beach
12/9,11/88 Carment
1/6,9/89 Rigolettot
3/10,12/89 Andrea Cheniert; 3/14 in Fort Lauderdale
Pensacola Jr. College Summer Opera Wksp., S. Kennedy, Dir., Pensacola
10/28-30/88 Kiss Me Kate
Sarasota Opera, D. Allyn, Exec.Dir., Sarasota
2/4,7,9,12m,17,24 3/4/89 Rigolettot; 3/10,12 at Tampa Bay Performing Arts Center
2/11,14,16,19m,22,26 3/4m/89 Die Fledermaust Eng.
2/18,21,23,26m 3/1/89 Don Giovannit; 3/11 at Tampa Bay Performing Arts Center
2/25,28 3/2,5m/89 Catalani's La Wallyt
2/10 3/3/89 Young Artists' Concerts
2/27/89 Artists' Concert
3/13-24/89 The Toy Shop Children's Opera Company on tour
Tennessee Williams Fine Arts Center, W.L. Bell, Interim Dir., Florida Keys Community
College, Key West
12/8,11,15,16,17/88 Anything Goes
2/16,19,23,25/89 Stop the World I Want to Get Off
-108-
1 9 8 8 - 8 9 SEASON
GEORGIA
Alliance Theatre Company, R. Farley, Art.Dir., Atlanta
9/7-18/88 Kalmar/Ruby/Kaufman/Ryskind's Animal Crackers (eoprod. Huntington Theatre,
Boston)
Augusta Opera, E. Bradberry, Gen.Dip., Augusta
9/9,10,14,16,17,18/88 West Side Story
1/25,27,28/89 Lucia di Lammermoor Eng.
4/26,28,29/89 Madama Butterfly Eng.
Clayton State College Opera Wksp., L. Corse, Dip., Morrow
3/89 My Fair Lady
5/89 The Telephone & Corse's The Open Window
HAWAII
Hawaii Opera Theatre, R. Cribley, Gen.Mgr., Honolulu
2/3,5,7/89 The Merry Widow Eng.
2/17,19,21/89 Don Giovanni
3/3,5,7/89 Carmen
ILLINOIS
American National Opera (form. Lincoln Opera), N. Williams, Art.Dir., Chicago
10/88 Carmen 6 pfs.;
12/11/88 Fidelio
3-4/89 Cavalleria rusticana & Pagliacci 6 pfs.
5-6/89 The Marriage of Figaro 6 pfs.
Summer '89 The Merry Widow; Porgy and Bess w.p.; 10 pfs. in parks
Chicago Opera Theater, A. Stone, Art.Dir., Chicago
12/17,18,21111,23/88 Where the Wild Things Are w. Chicago Symphony Orchestra (New
York City Opera prod.); at Auditorium Theater
2/8,11,12m,17,19m,22,25/89 La Finta Giardiniera
3/29 4/1,2m,7,9m,12,15/89 Albert Herring
5/10,13,14m,19,21m,24,27/89 Romeo et Juliette
Chicago Symphony Orchestra, G. Solti, Mus.Dir., Chicago
10/6,7,9/88 Simon Boccanegra conc.pfs.; S. Dunn; c: Solti
1/26,27,28,31/89 Bart6k's Bluebeard's Castle conc.pfs.; Takacs; Haugland; c: Solti
5/18,19,20/89 La Damnation de Faust von Otter; K. Lewis, van Dam; c: Solti
Lyric Opera of Chicago, A. Krainik, Gen.Dir., Chicago
9/17,21,24,27,30 10/3,7,11/88 La Sonnambulat Gasdia, Gauci; Lopardo, Kavrakos; c:
Renzetti; d: Sequi; ds: Crisolini-Malatesta (Teatro San Carlo, Naples, prod.)
9/26 10/1,5,8,12,16m,21,25,28/88 La Traviatat Tomowa-Sintow; Rosenshein/Hadley, Pons/
Ellis; c: Bartoletti; d: Chazalettes; ds: Pizzi
10/10,14,18,22,26,31 11/2/88 Tannhausert Secunde, Zschau/Graham; Johns, Hagegard,
Rootering; c: Leitner; d: Sellars; ds: Tsypin/Ramicova
10/29 11/1,4,7,11,16,19,26/88 Falstafft* Daniels, Swenson, Home, San. Walker; Hadley,
Wixell, Brendel; c: Conlon; d/ds: Ponnelle (coprod. San Francisco &: Houston Grand
Opera)
11/12,15,18,23,27m,30 12/2,5,10/88 Don Giovannit Vaness, Mattila, McLaughlin; Winbergh,
Cowan, Ramey; c: Bychkov; d/ds: Ponnelle
11/25,29 12/3,7,12,16,19/88 Salomet Ewing, Fassbaender; King, Nimsgern; c: Slatkin; d:
Hall; ds: Bury (Los Angeles Music Center Opera prod.)
12/17,20,30/88 1/2,7,10,15m,20,25/89 Aidat S. Dunn/Kasrashvili/Marc, Zajic; Giacomini/
Lamberti, Nimsgern, Giaiotti; c: R. Buckley; d: Joel; ds: Halmen; chorg: Barra
1/14,18,21,24,27,30 2/3/89 Rossini's Tancredit* Cuberli, Home, Ziegler; C. Merritt,
Galla; c: Bartoletti; d: Copley; ds: Stennett/Conklin (coprod. Los Angeles Music
Center Opera)
Northwestern University, Mason & Ragland Opera Theater, R. Alderson, Dir., Evanston
11/19,20/88 Hagemann's The Aspern Papers prem.
11/30/88 3/8 5/24/89 Scenes
2/23-26/89 L'Elisir d'amore 4 pfs.
5/9/89 One-act Operas TBA
Opera Factory, B. Lewis, Exec.Dir., Chicago
6/2,3,4 7/30,31 8/1/89 Luisa Fernanda zarzuela
Southern Illinois University at Edwardsville, Opera Players, R. Abraham, Dir., Edwardsville
11/13,14/88 Scenes w.p.
4/27,28,29,30/89 Les Contes d'Hoffmann Eng.
-109-
1988-89 SEASON
INDIANA
Ball State University Opera/Music Theater, P. Ewart, Dir., Muncie
10/19-22/88 Candide
4/5/89 Scenes
1/28/89 Dido and Aeneas conc.pf.
Indiana-Purdue University Opera Wksp., J. Meyers, Dir., Fort Wayne
3/89 La Serva padrona
Indiana University Opera Theater, C. Webb, Dean, School of Music, Bloomington
9/24 10/1,8/88 Don Pasquale
10/15,22,29 11/5/88 Die ZauberfHSte Eng.
11/12,19 12/3/88 Eugene Onegin Eng.
1/28 2/4,11,18/89 Man of La Mancha
2/25 3/4,25/89 Gianni Schicchi & Bluebeard's Castle
4/8,14,15,22/89 Les Contes d'Hoffmann
Indianapolis Opera, D. Pope, Gen.Mgr., Indianapolis
10/14,16m/88 La Traviata
12/9,llm/88 Hansel and Gretel
3/3,5m/89 La Fille du regiment
Whitewater Opera, C. Combopiano, Gen.Dir., Richmond
10/14,15/88 Lucia di Lammermoort
12/3m/88 Amahl and the Night Visitors 2 pfs.; 12/4,18 in Lawrenceburg & Connersville
2/17,18/89 Hansel and Gretel Eng.; 2/23 in Huntington; 2/24-3/11 7 pfs. in Fort Wayne
4/14,15/89 Le Nozze di Figarot; 4/21,22,29 6/17 tour to IN & OH
1988-89 tour: The Mikado
IOWA
Simpson College, Dept. of Music, R. Larson, Chmn., Indianola
10/7,8,9/88 Benjamin's Prima Donna & The Medium
2/17,18,19/89 The Merry Widow
University of Iowa Opera Theater, B. Glass, Dir., Iowa City
4/21,23/89 Carmen
7/28,30/89 A Midsummer Night's Dream
KANSAS
Kansas State University Opera Theatre, J. Langenkamp, Dir., Manhattan
10/13-22/88 Little Shop of Horrors
10/25/88 Scenes
2/16,17,18/89 Carmen
Wichita State University Opera Theatre, G. Gibson, Dir., Wichita
10/28,29 11/4,5/88 The Magic Flute Eng. Martin
2/4,5/89 Little Red Riding Hood w.p.
3/31 4/1,7,8/89 La Perichole Eng.; w.p.
KENTUCKY
Kentucky Opera, T. SmiUie, Gen.Dir., Louisville
9/3,6,llm/88 The Yeomen of the Guard* Smith, Livengood; Freeman, Reed, Havranek,
Hedlund; c: Bernhardt; d: Smillie; ds: Higgins/Hanaford; at Whitney Hall
9/4,7,10m/88 The Mikado Taylor, Meadows, Krueger; Ballam, Davies, Havranek, Samuelsen; c: Bernhardt; d: Smillie; ds: Sato; at Bomhard Theater
9/6,8,9/88 Trial by Jury & Cox and Box* Taylor; Ballam, Havranek, Everette & Rebilas,
Davies; c: Bernhardt <5c Berger; d: Reed; ds: Higgins/Hanford; at Bomhard Theater
10/22,25/88 Falstaff* Davis, Meadows; Stewart, Cortez, Everette; c: Gibson; d: Eaton;
ds: Shortt; at Whitney Hall
2/25,28 3/2m,2,3m,4/89 A Midsummer Night's Dream* Smith, Meadows; Wilson, Davies; c:
Bernhardt; d: Muni; at Macauley Theater
5/19,21m,23,25/89 Carmen Firestone, Davis; Ashbaker, Shaw; c: Robertson; d: Uzan
LOUISIANA
Baton Rouge Opera, H. Holt, Art.Dir., Baton Rouge
10/12,14/88 Manon
2/16,18/89 L'Elisir d'amore
4/20,22/89 Constantinides' Antigone prem.
6/22,24,29 7/1/89 Die Fledermaus
New Orleans Opera, A. Cosenza, Gen.Dir., New Orleans
10/12,15/88 Turandott J. Meier, Hynes; Mauro; c: Coppola; d: Hebert
11/9,12/88 Salomet Zsehau, M. Dunn; Johnson; c: Belamaric; d: Morelock
12/7,10/88 Un Ballo in mascherat Evstatieva; Prior, Pasquetto; c: Coppola; d: Morelock
2/22,25/89 Carment* South, Vergara; Algieri, Shaw; c: Nance; d: Uzan; ds: Gano
-110-
1988-89 SEASON
Shreveport Opera, R. Murray, Gen.Dir., Shreveport
11/18/88 The Chocolate Soldier
3/3/89 Hansel and Gretel Eng.
5/12/89 Carmen Eng.
MAINE
University of Maine Opera Wksp., L. Hallman, Dir., Orono
2/23-26/89 My Fair Lady
MARYLAND
Baltimore Opera, Baltimore
9/21,23m,26,29/88 Le Nozze di Figarot* Dahl, Haywood; Crafts, Duesing (coprod.
Pennsylvania Opera Theatre)
12/2,4m,7,10/88 La Bohemet Haymon, Forst; di Paolo, Busterud (Greater Miami Opera
prod.)
1/20,22m,25,28/89 ToscaT Neblett; Moldoveanu, Morris
4/28,30m 5/3,6/89 Les Contes d'Hoffmannt* set in 1920s; Mills, Lawton; Leech, Johnson
MASSACHUSETTS
Boston Academy of Music, R. Conrad, Art.Dir., Sanders Theater
11/25,26,27/88 Ruddigore
7/89 Chapi's El Duo de la Africana zarzuela
Boston Concert Opera, D. Stockton, Art.Dir., Boston
10/30 11/4/88 Aida
1/25,27,29/89 The Desert Song
3/1,5,7/89 Iolanthe
4/16,22/89 Rossini's Moise
Boston Lyric Opera, A. Ewers, Gen.Dir., Boston
9/30 10/2m/88 Massenet's Le Portrait de Manon Eng. Graham & Therese Eng. West, Hill;
Dixon, Maze & Milsom; Thompson, Davis; c: Balme; d: Weinmann
l/13,15m/89 Dialogues des Carme'IitesT Walters, Fuller, Harmon, Gilbertson; c: Balme; d:
Ewers
Boston University School of Music Opera, J. Haber & W. Graham, Co-Dirs., Boston
11/4-12/88 Guys and Dolls 10 pfs. (coprod. Boston University School of Theatre)
Bradford College Music Theatre Wksp., F. Schuetze, Dir., Bradford
10/14 12/8/88 Opera Scenes
MICHIGAN
Michigan Opera Theatre, D. DiChiera, Gen.Dir., Detroit
10/7,8#,9,12m,14,15/88 The Ballad of Baby Doe* Parrish, Munzer; Noble/Ludgin#; c:
Flint; d: Galterio (coprod. Dayton Opera); at Fisher Theatre
10/21-11/6/88 Kiss Me, Kate 17 pfs.; at Fisher Theatre
11/11-20/88 The Pirates of Penzance 11 pfs.; at Fisher Theatre
4/15,19,22/89 Normat* Sutherland, N. Thomas; Suarez; c: Bonynge (coprod. Opera
Pacific); at Masonic Temple
4/29 5/3,6/89 Le Nozze di Figarot Valente; at Masonic Temple
5/13,17,20/89 Carment Ciurca; at Masonic Temple
1-4/89 Die Fledermaus Community/Educational Tour
Michigan State University Opera Theatre, H. Jennings, Dir., East Lansing
2/3-5/89 The Yeomen of the Guard
Opera Company of Mid-Michigan, J. Lesenger, Art.Dir., Lansing
4/28,30/89 The Magic Flute
Opera Grand Rapids, R. Peterson, Art.Dir., Grand Rapids
10/27,29/88 Faust
4/13,15/89 The Student Prince
University of Michigan Opera Theatre, J. Lesenger, Dir., Ann Arbor
11/17,18,19,20/88 Suor Angelica & Gianni Schicchi Eng. Grossman
3/30,31 4/1,2/89 Le Nozze di Figaro Eng. Porter
12/3/88 4/8/89 Opera Scenes w.p.
Western Michigan University Opera Wksp., W. Appel, Dir., Kalamazoo
10/12,13,14,15,16,20,21,22/88 Anything Goes
2/9,10,11m, 11/89 Le Nozze di Figaro Eng. Martin
-111-
1988-89 SEASON
MINNESOTA
Minnesota Opera, K. Smith, Gen.Dir., Ordway Music Theater, St. Paul
10/21,23m,27,29/88 Don Giovannit Knighton; S eh i mm el, Opalach; c: Wolff
l/27,29m 2/2,4/89 Salomet* Migenes-Johnson, Elias; Cowan; c: Mester; d: Medak
4/21,23m,27,29/89 The Mikado* Burton; Siebert, Lehr
6/l,2,3,4m/89 Glass/Moran's The Juniper Tree* Keller, Nelson; McKeel; c: Johnson; d:
Krywosz; at the World Theater
3/89 Neiboer/Harper's Snow Leopard prem.; New Music Theater Ensemble; d: Krywosz
10-11/88 La Cenerentola Eng.; Keller; tour to schools
1-3/89 Tintypes; Die Fledermaus educational/community tour
3/28-4/29/89 MAX on tour incl. "A Dark and Stormy Night at the Opera"; "Opera Meets
the Real World"; "A Grand Night for Singing"
Minnesota Orchestra, E. de Waart, Mus.Dir., Minneapolis
9/10/88 Leontyne Price in Concert; c: de Waart
11/30 12/1,2/88 Boris Godunovt 1869 vers.; conc.pfs.; Treger, Howe; Riegel, Myers, R.
Lloyd, Howell; Dale Warland Chorus; c: de Waart
Minnesota Orchestra Sommerfest, L. Slatkin, Art.Dir., Minneapolis
8/12/89 Aida conc.pf.; c: Slatkin
Plymouth Music Series, P. Brunelle, Mus.Dir., St. Paul
2/89 Rimsky-Korsakov's The Snow Maiden
MISSISSIPPI
Mississippi Opera, F. Choset, Gen.Mgr. & Mus.Dir., Jackson
10/5,7/88 Falstaff
2/16,18/89 Romeo et Juliette
Opera/South, B. Schooley, Gen.Mgr., Jackson
11/2,3/88 Cavalleria rusticana Eng. Machlis
2/2,3/89 Kay's Juggler of Our Lady & Still's Highway #1 U.S.A.
University of Southern Mississippi Opera Theater, D. Holley, Dir., Hattiesburg
4/20-23/89 Cos"i fan tutte Eng. Martin
MISSOURI
Drury College Opera Workshop, R. Jackson, Dir., Springfield
4/15,16/89 Trouble in Tahiti & Dido and Aeneas
Lincoln University of Missouri, J. Adams, Dir. Opera Theatre, Jefferson City
12/3,4/88 Amahl and the Night Visitors
4/15,16/89 Princess Ida
Lyric Opera of Kansas City, R. Patterson, Gen.Art.Dir., Kansas City
9/17,19,21,23/88 Tannhauser Eng. Petrach
9/24,26,28,30/88 La Fille du regiment Eng. Martin; 8/26,27 at Missouri River Festival;
12 pfs. on tour
10/1,3,5,7/88 Don Giovanni Eng. Dent
4/15,17,19,21,23m/89 Carmen Eng. Petrach; d: R. Elias
4/29-5/15/89 Man of La Mancha 8 pfs.
Opera Theatre of Saint Louis, C. MacKay, Gen.Dir., Saint Louis
11/88 Miki's Joruri tour to Japan; projected Japanese captions; 3 pfs.
5/27,31 6/2,8,ll,17,20,24m/89 The Merry Widow Eng. Tracey
6/1,3,7,9,13,17m,25/89 Werther Eng. Tucker
6/10,15,21,23/89 Davis's Under the Double Moon prem.
6/14,16,18,22,24/89 Purcell's King Arthur
Repertory Theatre of Saint Louis, S. Woolf, Art.Dir., Saint Louis
9/7-10/7/88 Candide
University of Missouri Conservatory, M. Johnson, Dir. Opera/Mus. Theater, Kansas City
11/7-10/88 Gianni Schicchi & L'Heure espagnole
NEBRASKA
Opera/Omaha, M. Robert, Gen.Dir., Omaha
9/10,15,17m,23,25m/88 Handel's Partenope Eng. Palca/Wadsworth; Am.prem.; Kotoski,
Lane; Minter, Rickards, Sharp
9/14,17,24m/88 U. Zimmermann's Die weisse Rose Eng. Wadsworth; Am.prem. & Jandfiek's
The Diary of One Who Vanished Eng.; Flanigan; Kazaras & TBA; c: DeMain; d: Bogart
9/16,18m,20,22,24/88 "A Celebration of Bel Canto" concerts; c: DeMain
2/l,3,5m/89 Rigoletto
3/15,17,19m/89 Manon
3-4/89 The Threepenny Opera tour to schools
-112-
1988-89 SEASON
NEVADA
Nevada Opera, T. Puffer, Art. & Gen.Dir., Reno
10/21,22/88 Carmen
2/17,18/89 H.M.S. Pinafore
4/21,22/89 Madama Butterfly
NEW JERSEY
Ars Musica, I. Marchini, Mus.Dir., Paramus
5/89 Mascagni's Silvano Am.prem.; conc.pf.; c: Marehini
Creative Theater Inc., A. Gordon, Exec.Dir., Englewood
10/13-22/88 You're a Good Man, Charlie Brown
4/89 Annie
Monmouth Conservatory, F. Molzer, Dir. Opera, Little Silver
3/16,17,18/89 Peaslee's The Children's Crusade
New Jersey State Opera, A. Silipigni, Gen. & Mus.Dir., Newark
10/9,15/88 Puccini's Le Villit* & Mascagni's Zanettot Mazzeria; in New Brunswick;
10/23 in Englewood, 10/30 in Lakewood
2/26 3/4/89 Mascagni's Lodolettat* Spacagna; Kellum, Cowan
4/9,15/89 Samson et Dalilaht Cossotto
5/7,13/89 L'Elisir d'amoret Peters; Bergonzi, Elvira
10/9-16/88 Victorian Marionette Operas w.p.; in Cape May
11/88 Krasa's Brundibar Eng. Javora/Karas; in Trenton & on tour
Opera at Florham, C. Del Rosso, Dir., Fairleigh Dickinson University, Madison
11/18-20/88 Dvorak's Rusalka
5/19-21/89 Madama Butterfly
10/22 12/10/88 4/8/89 Scene Recitals
NEW YORK
Delaware Valley Opera, G. Krause, Gen.Mgr., Narrowsburg
11/19/88 Hoiby's Something New for the Zoo 3c Debbins' The Scheme prem.
Hofstra University Opera Theater, E. Dittemore, Dir., Hempstead
2/3,4,5/89 The Pirates of Penzance
National Grand Opera, M. Scuderi, Gen.Mgr., Green vale
10/22/88 Rigoletto Mazzola; V. Scuderi, Elvira
State University of New York Opera Theater, G. Burgess, Dir., Buffalo
11/88 J. Smith's Cynthia Parker (postponed from 5/88)
Syracuse Opera, R. Swedberg, Gen.Dir., Syracuse
10/14,16m/88 n Barbiere di Siviglia Eng.; Palmour; Eisler, Busterud; c: Cantrell; d:
McKee
11/18,20m/88 La Traviatat Telese; De Haan, Cooper; c: Caraher; d: Swedberg
4/7/89 Joan Sutherland in Concert
4/21,22,23m/89 Porgy and Bess c: Kosloff; d: Terleckyj
5/13,14/89 La Cenerentola Eng. Swedberg
Tri-Cities Opera, Binghamton
10/29,30m 11/4,5/88 Kismet
1/28,29 2/3,4/89 Gianni Schicchi & n Tabarro
4/22,23,28,29/89 Rigolettot
1988-89 OPERA-Go-Round tour: Rumpelstiltskin; Hansel and Gretel; Faun in the Forest;
abt. 100 pfs.
NEW YORK CITY
Academy of Ancient Music, C. Hogwood, Mus.Dir., London, U.S. tour
3/12/89 Handel's Orlando cone.pfs.; Kirkby, Dawson, Robbin; Bowman, D. Thomas; c:
Hogwood; at Avery Fisher Hall; 3/15 at Kennedy Center, Washington; 3/16 in Miami
Beach; 3/19 in Detroit; 3/22 in Pasadena; 3/23 in San Francisco
Amato Opera, A. A ma to, Dir., Amato Theatre, The Bowery
9/10,11,17,18/88 Gomes's Lo Schiavo Am. prem.; at Marymount Manhattan Theatre
9/24,25 10/1,2,7,8,9/88 The Magic Flute
10/22,23,29,30 11/5,6,11,12,13/88 Madama Butterfly
12/3,4,10,11,16,17,31/88 1/7,8/89 Falstaff
3/4,5,11,12,17,18,19 4/1,2/89 Le Nozze di Figaro
4/15,16,22,23,28,29,30 5/6,7/89 Cavalleria rusticana 6c Pagliacci
American Composers Orchestra, D.R. Davies, Mus.Dir., Carnegie Hall
10/9/88 Lost in the Stars conc.vers.; c: Davies
-113-
1988-89 SEASON
Bronx Opera Co., M. Spierman, Art.Dir., Lehman Center, The Bronx
1/7,8/89 Smetana's The Secret Eng.; Am.prem.; 1/13,14 at Hunter College, Manhattan
5/12,13/89 La Cenerentola Eng.; 5/19,20 at Hunter College
Brooklyn College of CUNY, Conservatory of Music Opera Theatre, R. Barrett, Art.Dir.,
Brooklyn
1988-89 The Most Happy Fella; Le Nozze di Figaro; L'ltaliana in Algeri
Broque Opera Co./Stage Struck Inc., M. King, Gen.Dir.
9/19-24/88 The Ring of the Fettuccines w.p.; 11 pfs.
Center for Contemporary Opera, R. Marshall, Dir., New York
10/25,27,29/88 Beeson's My Heart's in the Highlands stg.prem.; at Kathryn Baehe Miller
Theater, Columbia University
Juilliard American Opera Center, D. Lloyd, Dir., E. Alley, Adm., Lincoln Center
12/7,9,11/88 The Crucible
2/17,19/89 Puccini Opera Gala
4/12,14,16/89 L'Amico Fritz
Manhattan School of Music, L. Galterio, Dir. Opera
12/7,9,11/88 Busoni's Arlecchino & Stravinsky's Le Rossignol Eng. Craft
3/15,17,19/89 Offenbach's Robinson Crusoe
Metropolitan Opera, B. Crawford, Gen.Dir., J. Levine, Art.Dir., Lincoln Center
9/26#,29 10/3,8,11,15m, 18,22,27,31/88 l/17,21m,24/89 II Trovatore Marton/Millo/Mosca,
Cossotto/Zajic/M. Dunn; Pavarotti/TBA, Milnes/Pons, Wells/Cook/Plishka; e: Levine; d:
Melano; ds: Frigerio/Squarciapino
9/27 10/l,4,7,10,14,19,22m/88 Giulio Cesare* Battle/Kilduff, Troyanos/Dupuy, Dupuy/
Harris, Sar. Walker/Boozer; Gall, Robbins/Cook; c: Pinnock; d: Copley; ds: Pascoe/
Stennett (English National Opera prod.)
9/28 10/lm,6,12,15/88 3/27 4/lm#,24# 5/l#/89 Das Rheingold E. Shade, Schwarz/Ludwig/
Dernesch, Svenden/Bean; Jerusalem/Clark, Hiestermann/Delamboye/Clark, Sotin/Morris,
Mazura/Patrick/Wlaschiha; c: Levine; d: Schenk; ds: Schneider-Siemssen/ Langenfass
9/30 10/5,8m,13,17,20,24,28 ll/3,8,12m/88 2/14,18m/89 Lucia di Lammermoor GruberovaV
Aliberti/Devia; Araiza/Kraus/Bergonzi/Lima, Schexnayder/G. Quilico, Howell; c: Mliller;
d: Donnell; ds: Colonnello
10/21#,25,29m 11/2,5/88 4/19,22m#,29# 5/6#/89 Gotterdammerung* Behrens/Altmeyer/
Polaski, Harries, Ludwig/Dernesch; Hofmann/Neumann/Johns, Raffell, Mazura/Patrick/
Wlaschiha, Salminen/Maeurdy; c: Levine; d: Schenk; ds: Schneider-Siemssen/Langenfass
10/26,29 ll/l,5m,9,12,15,18,24,28, 12/3m/88 1/31 2/4m,9/89 II Barbiere di Siviglia Battle/
Dubinbaum/Murray; Blake/Matteuzzi/Gonzalez, Nucci/Pola/Hampson, Dara/Desderi, R.
Lloyd/ Furlanetto; c: Weikert; d: Cox; ds: Wagner/Zipprodt
ll/4,7,10,16,19>22,26m,29 12/2,5,10m,13/88 Cavalleria rusticana & Pagliacci Dimitrova/
Amara, Dubinbaum; Mauro, Pola/Fondary <5c Tokody/Soviero; Mauro/Giacomini, Pons,
Baker/Schexnayder; c: Siciliani; d: Zeffirelli/Melano; ds: Zeffirelli
11/11#,14,19m,23,26,30 12/3,6,9,14,17m,22/88 Carmen Studer/Sighele, Nafe/Vergara/Horne;
Lakes/Luchetti, Lafont/van Dam; c: Domingo; d: Mills; ds: Bury
11/17,21,25 12/1,7,10#,17/88 4/8,12,15#, 18,22/89 Madama Butterfly Watanabe/Mitchell,
Boozer; Lamberti/Glassman/Lima, Nucci/Schexnayder; c:Chung; d: Melano; ds: Nagasaka
12/8#,12,16,20,23,28,31#/88 1/3,7m,12,18,21,26 2/2/89 Aida* Mitchell/Millo, Cossotto/
Toczyska; Domingo/Bartolini/Popov, Milnes/Fondary, Plishka, Kavrakos; c: Levine/
Badea; d: Frisell; ds: Quaranta/Saligeri
12/15,19,24,27,31m/88 1/4,7,10,13/89 Le Nozze di Figaro Alexander/Te Kanawa, Hong/
Hendrieks, von Otter/Mentzer; Hampson, Cheek/Raimondi, Van Allan/Capecchi; c:
Elder; d/ds: Ponnelle
12/21,24m,26#,29#/88 1/5,9,14/89 Hansel and Gretel Eng. Kelley; Blegen/Haddon, von
Stade/Harris, J. Martin/Nadler, Napier/Amara; Noble; c: Perick; d: Merrill/Donnell; ds:
. O'Hearn
12/30/88 1/2,6,11,14m,19,23,28/89 Die Fledermaus Eng. dialogue; Daniels, Bonney/Mills,
Troyanos/Dernesch; Rosenshein/Glassman, Hagegard, Duesing/Parce, Hornik/Malas; c:
Rudel; d: Schenk; ds: Schneider-Siemssen/Hall
1/16#,20,25,28m 2/1,4,8,11,16,21/89 Bart6k's Bluebeard's Castle* & Schonberg's
Erwartung* Norman/Ciesinski; Ramey/Devlin & Norman; c: Levine; d: Jarvefelt; ds:
Schavernoch/Hass
1/27,30 2/3,7,llm,15,18,23/89 Don Carlo M. Price/Millo, Troyanos/Ciurca; Shicoff/Mauro,
Weikl/Schexnayder, Raimondi/Plishka, Rootering; c: Levine/Epstein; d: Dexter; ds:
Reppa/Diffen
-114-
1988-89 SEASON
Metropolitan Opera (continued)
2/6,10,13,17,22,25m,28 3/3/89 Idomeneo M. Martin/Upshaw, Vaness/Griffel, von Stade/
Quittmeyer; Jerusalem/Jenkins; c: Stivender; d/ds: Ponnelle
2/20#,25 3/1,4,7,llm,17,22/89 Salome* Marton/Ikonomou, Dernesch/M. Dunn; Cassilly/
Clark, Rosenshein/Baker, Weikl/Devlin; c: Janowski; d: Lehnhoff; ds: Rose
2/24,27 3/4m,8,ll,15/89 La Boheme Izzo d'Amico/Esperian, Neblett/M. Merritt; Domingo,
Coni, Plishka/Cheek; c: Santi; d/ds: Zeffirelli
3/2,6,10,14,18m,23/89 Werther Upshaw/Blackwell, Kuhlmann/Dupuy; Shicoff/Rosenshein,
Weikl/Noble, Capecchi; c: Fournet; d: Deiber; ds: Heinrich
3/9,13,18,21,25m,29 4/1,5/89 Eugene Onegin Freni, San. Walker/Boozer; Hadley/Shicoff,
Hynninen/Carlson, Ghiaurov/Sotin; c: Litton; d: Igesz; ds: Gerard/Diffen
3/16,20,25,28,31* 4/6,10,13,20/89 Rigoletto Hong/Jo, Ciurea/San. Walker; Lima/Hadley,
Nueci/Burchinal, Rootering/Moll; e: Santi; d: Dexter; ds: Moiseiwitsch
3/24,30 4/4,8m#,25# 5/2#/89 Die Walkttre Behrens/J. Meier/Polaski, Norman/E. Shade/
Gessendorf, Ludwig/Derneseh; Lakes/Schunk, Morris/Sotin, Salminen/Moll; c: Levine; d:
Schenk; ds: Schneider-Siemssen/Langenfass
4/3,7,11,14,17/89 Billy Budd King/Cassilly, Allen, Rootering; c: Fulton; d: Dexter; ds:
Dudley
4/15#,22m#,27# 5/4#/89 Siegfried Behrens/Polaski, Upshaw, Svenden/Bean; Hofmann/
Johns, Hiestermann/Clark, Sotin/Morris, Wlaschiha/Mazura, Salminen/Macurdy; c:
Levine; d: Schenk; ds: Schneider-Siemssen/Langenfass
4/21,26,29m 5/3,6m/89 L'Elisir d'amore Battle; Pavarotti, Nucci/G. Quilico, Plishka; c:
Renzetti; d: Merrill; ds: O'Hearn
# nonsubscription performances
New York City Opera, B. Sills, Gen.Dir., NY State Theater (see also "Performance Listing,
1987-88 Season")
9/1,2,3m,3,4m,6,7,8,9,10m,10,llm/88 Naughty Marietta
9/15,21 10/lm,7,16/88 Rigolettot* Esham/O'Flynn/Donahue, Marsee/Eckhart; Leech/
Hartfield, Burehinal/Ellis/Wangerin; c: Boncompagni; d: Capobianco; ds: Toms
9/16,27 10/9/88 The Merry Widow Eng.
9/17m,22 ll/5,13m/88 Lucia di Lammermoort
9/17,25m,29 10/5,11/88 Reise's Rasputin* prem.; Cusack; Garrison, H. Price, Cheek; c:
Keene; d: Corsaro; ds: Colavecchia
9/18m,25 10/1,4/88 Die Zauberfietet
9/18,24m/88 La Traviatat
9/23 10/2m,8m,23,29m/88 Toscat
9/30 10/16m,22,28 11/3/88 n Barbiere di Sivigliat* Mills/Woods/Hauman; Wilson/Kelly/
Cousins, Orth/Woodman, Opalach/McKee, Dworchak/Peterson/Doss; c: Comissiona; d:
Mansouri; ds: Heeley
10/2,9m,12,18/88 The Ballad of Baby Doe c: France; d: Levine
10/8,14,20 11/2,11/88 Carmenf
10/15m,19,25 11/6,10/88 Mefistofelet
10/15,22m/88 La Bohemet
10/21,27 11/1,9,12/88 Attilat c: Comissiona; d: Mansouri
10/23m,29 11/4,8/88 Le Nozze di Figarot
10/30m ll/5m, 13/88 Cavalleria rusticanat <5c Pagliaccit
10/30 ll/6m,12m/88 The Turn of the Screw c: Keene; d: Mann
11/15,16,17,18,19m,19,20m,20/88 The New Moon
New York City Opera National Company, N. Kelly, Adm.Dir., B. Sills, Gen.Dir.
1/20-3/19/89 La Traviatat 44 pfs. on tour
New York Opera Repertory Theatre, L. Gibbs Gore, Gen.Dir., City Center Theater
1/11,13,15/89 Thomas/Masteroff's Desire Under the Elms prem.
Spring '89 Trefousse/Overmyer's The Composing of the Heliotrope Bouquet rdg.
Next Wave Festival, Brooklyn Academy of Music, H. Lichtenstein, Pres., Brooklyn (10/1912/17/88)
10/20,21,22m,22,23m,25,26,27,28,29m,29,30m/88 Breuer/Telson's The Warrior Ant (coprod.
American Music Theater Festival, Yale Repertory Theater, Spoleto Festival U.S.A., &
Colonus, Inc.); at Majestic Theatre
10/25,26,27,28,29,30m/88 Tango Varsoviano Teatro del Sur, Buenos Aires; at Lepercq
Space
12/2,3,4m,6,7,8,9,10/88 Byrne/Wilson's The Forest at Opera House
-115-
1988-89 SEASON
Opera Ensemble of New York, J. Sheehan, Exec.Dir.
10/5,7,9m/88 Weisgall's WiU You Marry Me? prem. & The Stronger
Opera Northeast, D. Westwood, Art.Dir.
11/4/88 The Merry Widow Eng.; in Stores, CT
Opera Orchestra of New York, E. Queler, Mus.Dir., Carnegie Hall
10/27/88 Bellini's Beatrice di Tenda conc.pf.; Anderson, Zseller; Kiurkciev, Tumagian
1/29/89 Giordano's Fedora conc.pf.; Marton, Blackwell; Giacomini
3/6/89 Bellini's n Pirata conc.pf.; Millo; Morino, Coni
Orchestre de Paris, D. Barenboim, Mus.Dir., Avery Fisher Hall
2/17,20/89 Tristan und Isolde Act 2; conc.pfs.; Behrens, W. Meier; Lakes, Tomlinson; c:
Barenboim
Orpheus Chamber Orchestra, J. Fifer, Exec.Dir., Carnegie Hall
11/19/88 Cone. incl. Ariodante exepts.; Valente, Troyanos
n Piccolo Teatro dell'Opera, B. Elliott, Gen.Dir., Brooklyn Academy of Music
10/12,13,14/88 Rameau's Platee c: Richman; d: Pascal (postponed from 5/88)
Playwrights Horizons, A. Bishop, Art.Dir., West 42nd St.
1988-89 M. Rodgers/Barer's The Griffin and the Minor Canon (coprod. Music-Theater
Group/Lenox Arts Center)
Singers Forum Foundation, D. Galon, Adm.Dir.
9/7-10/20/88 Scenes in Concert w.p.; 8 pfs.
12/2-18/88 The Most Happy Fella
NORTH CAROLINA
East Carolina University Opera Theatre, C. Hiss, Dir., Greenville
10/7,8/88 Scenes
2/16-19/89 Offenbach's L'Isle de Tulipatan & Gianni Schicchi
Greensboro Opera, P. Fuchs, Art.Dir., Greensboro
11/4/88 Don Giovanni
National Opera Co., D. Witherspoon, Gen.Dir., Raleigh
1988-89 tour: Le Nozze di Figaro; La Cenerentola; Don Pasquale; Hansel and Gretel all
Eng.; abt. 100 pfs.
Opera Carolina, B. Chalmers, Gen.Dir., Charlotte
9/28 10/1/88 Aidat Fernandez; Gray; c: Rosekrans
11/17,19/88 L'Elisir d'amore Eng. Martin; Arnold; McKee; c: Rosekrans
2/9,11/89 The Beijing Operat
4/13,15/89 Die Fledermaus Eng. Martin; Thomson; Pedrotti; c: Rosekrans
1988-89 Liebl's The Ransom of Red Chief Education/Outreach Program
Piedmont Opera Theatre, N. Johnson, Gen.Dir., Winston-Salem
9/16,18m,20/88 Lucia di Lammermoort
4/7,9m,ll/89 Le Nozze di Figarot
Young Artists Opera Theatre, P. Russell, Art.Dir., Greensboro
10/88 La Boheme
NORTH DAKOTA
Dickinson State University Opera Workshop, E. Brown, Dir., Dickinson
9/23,24/88 La Serva padrona & Bastien und Bastienne
9/22,25/88 The Telephone & The Medium
Fargo-Moorhead Civic Opera, D. Martin, Art.Dir., West Fargo
10/28,29/88 La Traviata
1/13,14/89 The Barber of Seville
5/89 TBA
OHIO
Capital University Conservatory of Music, W. Florescu, Dir. Opera/Music Theater,
Columbus
3/18,19/89 The Old Maid and the Thief & The Medium
Cincinnati Opera, J. de Blasis, Art.Dir., Cincinnati
6/22,24/89 Don Cartot
6/29 7/1/89 Co* fan tuttet
7/6,8/89 La Traviatat
7/13,15/89 Romeo et Juliettet
Cleveland Opera, D. Bamberger, Gen.Dir., Cleveland
10/14,15,16m/88 La Bohemet Holleque; c: Effron
12/2,3,4m/88 Hansel and Gretel Eng. Bache; 4 pfs.
2/10,ll,12m/89 Rigolettot Donahue; R. Clark/Karel
3/31 4/l,2m/89 Les Pficheurs de perlest* Garrison; c: Bergeson
5/12-21/89 My Fair Lady c: Allers; 11 pfs.
-116-
1988-89 SEASON
Dayton Opera, D. DiChiera, Art.Dir., Memorial Hall, Dayton
10/21,22,23m/88 The Ballad of Baby Doe* Parrish, Munzer; Ludgin; c: Flint; d: Galterio
(coprod. Michigan Opera Theatre)
12/2,3,4m/88 The Pirates of Penzance 5 pfs.
3/3,5,7,10/89 Aidat
Ensemble Company of Cincinnati Opera (ECCO!), J. de Blasts, Art.Dir., Cincinnati
1988-89 tour: "ECCO! Sings Shakespeare"; Amahl and the Night Visitors; Sid the Serpent
Who Wanted to Sing; Opera Scenes (with/without residences)
FindHay College Musical Theatre, M. Anders, Dir., Findlay
2/22-26/89 Godspell 5 pfs.
Ohio State University Opera/Music Theater, R. Stephens, Dir., Columbus
11/16,18/88 The Consul
2/14-19/89 Fiddler on the Roof
5/11,13,14/89 Carmen Eng. Goldovsky
Opera/Columbus, M. Harrison, Gen.Dir., Columbus
10/13,14,15/88 Don Carlot* Rom, Baniewicz; Johannsson, Elvira, Halfvarson, Ventriglia;
c: Armenian; d: de Blasis
11/17,18,19/88 Toscat Niska; Sebastian, Fortune; c: Silipigni
3/16,17,18/89 Salomef* Barlow, Elias; Neil, Opthof; d/ds: Oswald
4/20,21#,22/89 Faustt* multi-media prod.; Thigpen; Kelen/TBA#, Cooper, Petkov/Hines#;
c: Fournet; d: Uzan/Harrison
Players Youth Theatre Columbus, J. McCann, Mng.Dir., Columbus
11/4-6,11-13,18-20/88 The Lion, the Witch and the Wardrobe
1/13-15,20-22,27-29/89 Winnie the Pooh
4/7-9,14-16,21-23/89 The Reluctant Dragon
Toledo Opera, J. Meena, Art.Dir., Toledo
11/19/88 Rigolettot
2/18/89 The Magic Flute Eng.
Youngstown State University, Dana School of Music, D. Vogel, Dir. Opera, Youngstown
11/88 2/89 Operatic Scenes
5/89 Don Pasquale 4 pfs.
OKLAHOMA
Central State University Opera, K. Creed, Dir., Edmond
10/27,30/88 Scenes
11/18-20/88 Musical TBA
4/14,16/89 Cos\ fan tutte Eng. Martin
Oklahoma City University, C. Zrnic\ Dir. of Opera and Musical Theater, Oklahoma City
10/88 Die Fledermaus Eng.
11/88 Larson/Rubins' Brownstone
2/89 n Barbiere di Siviglia
10/88-4/89 Community/Education Program: Scenes; Operas TBA
Tulsa Opera, M. Smart Ruffner, Gen.Mgr., Tulsa
11/5,10,12/88 Suor Angelica & Pagliacci Soviero; Dietseh, Busterud/Ellias; c: Coppola; d:
Scotto & Uzan
2/7,9/89 Samson et Dalila conc.pf.
4/4,9,11/89 Romeo et Juliette Dobish; Di Paolo; c: J. Rescigno; d: Uzan
5/6,11,13/89 Susannah Holleque; Livingston, Wells; c: Waters; d: de Blasis
OREGON
Eugene Opera, J. Toland, Gen.Dir., Eugene
10/28,30m/88 La Bohemet
4/28,30m/89 Cosl fan tutte
Musical Company, S. Smith, Exec.Dir., Portland
9/23-10/16/88 The Boy Friend
11/18-12/11/88 The Wizard of Oz
2/17-3/12/89 Sherlock Holmes
4/14-5/7/89 Kismet
Portland Opera, R. Bailey, Gen.Dir., Portland
10/1,5,8/88 Tosca
11/12,16,19/88 Les PScheurs de perles
3/11,15,18/89 Don Giovanni
4/29 5/3,6/89 The Merry Widow Eng.
-117-
1988-89 SEASON
PENNSYLVANIA
American Music Theatre Festival, M. Samoff, Gen.Dir., E. Salzman, Art.Dir., Philadelphia
(See also "Performance Listing, 1987-88 Season")
9/21-10/2/88 Glass/Hwang/Sirlin's 1000 Airplanes on the Roof Am.prem.; d: Glass
(eoprod. Donau Festival, Austria & Meta Media Festival, Berlin); 14 pfs.
10/2-23/88 AMTF Cabaret 12 pfs.
Indiana University of Pennsylvania Music Theatre, S. Mantel, Dir., Indiana
11/11,13/88 Le Nozze di Figaro Eng. Martin; w.p.
2/22,25/89 The Mystery of Edwin Drood
Opera Company of Philadelphia, M. Everitt, Gen.Dir., Philadelphia
11/21,25/88 Dvorak's Rusalka
1/16,20/89 Fidelio
3/27,31/89 Luisa Miller
Pennsylvania Opera Theater, B. Silverstein, Art.Dir., Shubert Theater, Philadelphia
10/29 11/2,4,5/88 The Crucible* Rensink, Longacre, Hale; d: Montel; 10/27m preview
3/3,4,8,10,11/89 Candide* Hinchman; Longaere, Kalm; at Port of History Theater; 3/lm
preview
5/13,17,19,20/89 Don Giovanni* Eng.; Stolz; 5/llm preview
Philadelphia Orchestra, R. Muti, Mus.Dir., Academy of Music, Philadelphia
2/10,14,17m/89 Nabucco conc.pfs.; 2/20 at Carnegie Hall, New York
Pittsburgh Opera, T. Capobianco, Gen.Dir., Benedum Center, Pittsburgh
10/l,4,7,9m/88 Aidat Connell, Bumbry; Popov, Fox, Dworchak; c: Alcantara; d:
Capobianco
10/22,25,28,30m/88 La Bohemet Andrade, Page; Leech, Nolen, Pittsinger; c: Bakels; d:
Aragon
11/5,8,11/88 Salomet Sundine, Evans; Ulfung, Broeheler; c: Alcantara
4/l,4,7,9m/89 Les Contes d'Hoffmannt Esham, Harris; Leech, Cheek; c: Alcantara; d:
Capobianco
5/6,9,12,14m/89 The Merry Widowt Eng.; Murphy, Munro; Blake, Evans, Castel; c:
Bergeson; d: Capobianco
5/22,25,28m,31/89 Werthert Kuhlman; Pavarotti, Carlson; c: Plasson; d: Capobianco
PUERTO RICO
Opera de Camera, L. Pereira, Gen.Dir., Condado
12/3,4,10,11/88 The Toy Shop
3/89 The Old Maid and the Thief 3 pfs.
SOUTH CAROLINA
Bob Jones University Opera Ass'n., School of Fine Arts, D. Gustafson, Dean, Greenville
3/14,16,18/89 Mefistofelet
TENNESSEE
Chattanooga Symphony & Opera Ass'n., A. Valentine, Gen.Mgr., Chattanooga
10/15/88 Aida
4/15/89 The Mikado
Knoxville Opera, R. Lyall, Gen. & Art.Dir., Knoxville
10/28,30m/88 La Traviatat
4/7,9m/89 Coe/Bailey's Rachel prem.; Zambalis; Stephens; 4/15,16 in Nashville
Opera Memphis, R. Driver, Gen. & Art.Dir., Memphis
10/27,29/88 La Traviata
12/1,3/88 Hansel and Gretel
2/23,25/89 La Fille du regiment
TEXAS
Abilene Collegiate Opera, J. Middleton & D. Brock, Co-Dirs., Hardin-Simmons Univ.,
Abilene
2/3,4,5,7/89 The Ballad of Baby Doe
Austin Lyric Opera, W. Ducloux, Art. & Mus.Dir., Austin
10/18,19/88 La Traviatat Wolf; W. MacNeil, Reeve
1/13,14/89 Die Fledermaus Eng.; M.J. Johnson, Beardsley, Komlosi; Bologna, Hartman,
Brandstetter
5/6/89 "Festival of Stars"
Da Camera Society, S. Luca, Dir., Cullen Theater, Wortham Center, Houston
10/1/88 L'Histoire du soldat w. Houston Ballet
10/22/88 Jan«S6ek's The Diary of One Who Vanished
-118-
1988-89 SEASON
Dallas Opera, P. Karayanis, Gen.Dir., N. Rescigno, Mus.Dir., Dallas
ll/3,6m,8,12/88 Don Carlof S. Dunn, Troyanos; Johannsson, Noble, Plishka, Hines
ll/19,22,25,27m/88 Argento's The Aspern Paperst* prem.; Soderstrom, von Stade, Ka.
Ciesinski; Rosenshein, Stilwell, Halfvarson; c: Rescigno; d: Lamos; ds: Conklin
11/17-20/88 Central Opera Service Conference; Dallas Opera/Southern Methodist Univ.
Opera Symposium
12/3,6,9,llm/88 Carment Erickson, Bumbry; Merighi, Otey
12/16,18m,20,23/88 Die Zauberflotet Hynes, Nador, Gamberoni; Lopardo, Melbye,
Halfvarson; c: Rescigno; d: Cox; ds: Hockney (Glyndebourne Festival prod.)
3/14/89 Marilyn Home Concert
4/18/89 Mirella Freni Concert
Fort Worth Opera, J. Ramos, Gen.Dir., Ft. Worth
ll/18,20m/88 Faustt
l/13,15m,17,19,21m/89 The Barber of Seville Eng. Martin
3/3,5m/89 Madama Butterflyt
1988-89 tour Little Red Riding Hood Southwestern Opera
Houston Grand Opera, D. Goekley, Gen.Mgr., Houston
10/14,16m,19,22,25#,27,28#,30m 11/2/88 Carment Friede, Cioromila/Firestone#; Malagnini/
Ashbaker#, McFarland; c: DeMain; d: Kahn; ds: Conklin/Greenwood
10/20,23m,26,29 ll/l,4#/88 Le Nozze di Figarot* Blasi, Bohman, Mentzer; R. Hayward,
Allen, Loup; c: Eschenbach/Holmquist#; d: Jarvefelt; ds: Oberle
11/29 12/1,3,4m,7,9,llm,13,15,17,18,21,22m,23,24m/88 Hansel and Gretel* Eng. Bache;
Bunnell/James, Castle/Koyle, Means; Damsel/Demler; c: Salemno; d: Micciche; ds:
Montresor
1/27,28,29m 2/1,2,4m,4,7,9,10m,10,12m,15,16/89 Showboat c: J. Lee; d: Kahn; ds: Senn/
Pond/Maginnis; at Brown Theater
2/3,5m,8,11,14,17/89 Un Ballo in mascherat S. Dunn, Dahl, Gilmore; Dvorksy, Nucci; c:
DeMain; d: Asagaroff; ds: Brown (Washington Opera prod.)
4/21,23m,26,29 5/2,5/89 Dialogues des Carmelitest* Greenawald, Sweet, Grissom, Ka.
Ciesinski, Gorr; Stenborg; c: Salemno; d: Hebert; ds: Schneider-Siemssen/Klein; at
Brown Theater
4/27,30m 5/3,6,9,12/89 Otellot Tokody; Domingo, McFarland; c: DeMain; d: Friedrich; ds:
Sehneider-Siemssen/Skalicki (coprod. Los Angeles Music Center Opera)
McLennan Community College Opera Workshop, L. Landsfeld, Dir., Waco
11/21,22/88 Scenes
4/89 Rutter's The Reluctant Dragon
Opera Guild of San Antonio, Opera in Schools Project, San Antonio
1988-89 school tour Hansel and Gretel Eng.; abrgd.
12/88 Amahl and the Night Visitors 6 pfs.
Opera Theatre of San Antonio, J. Williams, Gen.Mgr., San Antonio
11/11,13m,15/88 Don Giovanni
3/10,12m,14/89 The Mikado
5/26,28m,30/89 Carmen
Texas Opera Theater, D. Gockley, Gen.Mgr., Houston
Spring '89 tour Hansel and Gretel; "America Sings"
Texas Tech University Music Theater, J. GiUas, Dir., Lubbock
10/21,22/88 Carmina Burana w. Choral Dept.
3/2-6/89 The Beggar's Opera 6 pfs.
1988-89 Opera Scenes
University of Houston Opera Theatre, B. Ross, Dir., Houston
11/18,20/88 A Midsummer Night's Dream
3/3,5/89 Rise and Fall of the City of Mahagonny
4/28,30/89 Warwick's Twins prem. & Tickets, Please!
University of Texas-El Paso Music Theater, L. Woodul, Dir., El Paso
11/7/88 Opera TBA
2/23-26/89 II Barbiere di Siviglia Eng.
West Texas State University Opera Theater, R. Hansen, Dir., Canyon
4/20-23/89 Albert Herring
UTAH
Brigham Young University Opera Theater, C. Robison, Art.Dir., Provo
10/28,29 11/1-5/88 Carmen
12/1,2/88 Operatic Scenes
3/1-11/89 Big River
2/89 6/89 TBA
-119-
1988-89 SEASON
Utah Opera, G. Peterson, Gen.Dir., Salt Lake City
10/13,15,17,20,23m/88 Lucia di Lammermoort Peters; Serbo, Hanson; c: Lipton; d: Glas
l/19,21,23,26,29m/89 Le Nozze di Figarot Telese, Clarey; Lusmann, Gardner; c: Minde;
d: Boerlage
5/ll,13,15,18,21m/89 Die Fledermaust c: Nadler
VERMONT
Middlebury College, N. Nail, Dir. Opera Program, Brattleboro
1/14,16,18,20,21/89 Hansel and Gretel w.p.
Opera North, L. Burkot, Art.Dir., Norwich
12/3,4,9,10,11,12/88 Hansel and Gretel Eng.
VIRGINIA
Southwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke
9/23,24,27/88 Pagliacci & Gianni Schicchi
Virginia Opera, P. Mark, Gen.Dir., Norfolk
10/21,23m,28,30m/88 Faustt Zhu; Drews; 11/4 in Richmond
ll/25,27m 12/2,4m/88 Die Zauberflotet Fleming; Davies; 12/9 in Richmond
l/20,22m,27,29m/89 Anna Bolenat Mims, Lerner; 2/3 in Richmond
3/3,5m,10,12m/89 La Traviatat Goetz; Lopez-Yanez; 3/17 in Richmond; 3/24 in Charlottesville
WASHINGTON
Opera Northwest, J. Arsenault, Art.Dir., Bainbridge Island
10/14,15,16/88 The Face on the Barroom Floor & Gallantry
Spring '89 Don Giovanni Eng. Arsenault
Seattle Opera, S. Jenkins, Gen.Dir., Seattle
9/17,18m#,20#,21,23,24,28/88 La Traviatat Vaness/Morgan#; McCauley/Wolverton#, Brandstetter/Cooper#; c: Agler; d: Bakman; ds: Gano (New Orleans Opera prod.)
10/29,30m# 11/2,4#,5/88 Romeo et JulietteT Gamberoni/Philibosian#, S. Graham; Cole/
Kunde#, Garcia; c: Manahan; d: Uzan; ds: Girard (L'Opgra de Montreal prod.)
1/14,15m#,18,20#,21,25/89 Der fliegende Hollandert* Zschau/Mengedoht#; Jenkins/
Kazaras#, Roloff/Patrick#; c: Schwarz; d: Wadsworth; ds: Lynch/Ramicova
2/22,26m#,28 3/2#,4,5/89 Werthert* baritone vers.; Henry, Ziegler/Livengood#; Duesing,
McGuire; c: de Almeida; d: Zambello; ds: Jampolis
4/29,30m# 5/3m,5#,6,10/89 Madama Butterflyt Daniels/Hartliept, Garber; Rosenshein/de
Haan#, Laperriere; c: Bradshaw; d: Cazan (Eugene Opera prod.)
8/3-19/89 Die Meistersinger* Donath, Svenden; Heppner, Delamboye, Roloff, Patrick; c:
Michael; d: Rochaix; ds: Maret; 6 pfs.
University of Washington School of Music, V. Liotta, Dir. Opera, Seattle
11/10-13/88 Les Contes d'Hoffmann
2/13-19/89 Sing for Your Supper revue; w.p.
2/28-3/11/89 The Juniper Tree 11 pfs.
5/12-14/89 The Mikado
12/8/88 3/15 6/6/89 Opera Scenes Wksp.
WISCONSIN
Florentine Opera of Milwaukee, J. Gage, Gen.Dir., Milwaukee
11/17,19,20m/88 Carment Forst/A. Baker; Kalt, Elvira; c: Peters; d: Symcox
12/88 Hansel and Gretel
3/16,18,19m/89 Manon Lescautt Rom/V. Thomas; Johannsson, Parce, J. McKee; c: J.
Rescigno; d: Ewers
4/27,29,30m/89 Faustt Esham/Gibbons, Tabachnik; Gulyfis, Bogart, Wroblewski; c: J.
Rescigno; d: Uzan
Madison Opera, R. Johnson, Mus.Dir., Madison
11/11,13/88 A Little Night Music
4/5,6,7/89 Le Nozze di Figaro Eng. Martin
Skylight Comic Opera, C. Cabot, Gen.Dir., Milwaukee
9/18m,20,21,23,24,25m/88 Die Fledermaus Eng.; W.S. Gilbert adapt.; d: Zambello; at Papst
Theatre
10/26,28,29,30m 11/2,4,5,6,9,11,12,20m,27m/88 Monteverdi's n Ritorno d'Ulisse in patria
Eng.; d: Wadsworth
ll/13m,16,19,26/88 L'Incoronazione di Poppea Eng.; d: Wadsworth
11/18,23,25/88 Monteverdi's L'Orfeo Eng.; d: Wadsworth
12/7-31#/88 The Fantasticks 17 pfs.; at Vogel Hall
-120-
1988-89 SEASON
Skylight Comic Opera (continued)
1/25-2/19/89 The Threepenny Opera Eng.; 18 pfs; 2/23-3/19 joint tour with Opera/Omaha
in WI, IL, IA, & OH; 11 pfs.
3/15-4/9m/89 Oh Coward! Revue; 18 pfs.
5/3,5,6,7111,10,12,13,14,17,19,20,211X1,24,26,27,28111/89 Oliver's Mario and the Magician
Am.prem. <5c Offenbach's Ba-ta-clan Eng.
University of Wisconsin School of Music, K. Moser, Dir. of Opera, Madison
10/7,8/88 Mahagonny Songspiel & Hin und zuriick Eng. & Milhaud's L'Enlevement
d'Europe Eng.
12/2,3m,7,8/88 Hansel and Gretel Eng. Bache
2/24,26m 3/3,4/89 L'Incoronazione di Poppea Eng.
4/21,22,27,28,29/89 Sweeney Todd
WYOMING
University of Wyoming Opera Theater, F. Gersten, Dir., Laramie
4/23,25,27,29,30/89 Le Nozze di Figaro Eng.
CANADA
Banff Centre School of Fine Arts, Music Theatre Program, J. Metcalf, Art.Dir., Banff,
Alta.
11/1-12/6/88 Metcalf's Tornrak work-in-progress; w.p.
2/22,23,24 3/1-4/1/89 The Threepenny Opera (coprod. Canadian Stage Co.); in Banff &
on tour
3/89 Minifest incl. Stokes/Gunderson's We're Not Robots, You Know <5c Beckwith/
Reaney's All the Bees & All The Keys
3/23,24,25/89 Johnny Johnson w.p.
Calgary Opera, D. Speers, Gen.Mgr. & Art.Dir., Calgary, Alta.
9/13/88 Gala Tribute to Brian Hanson cone; Dahl, H. Thomson, Forst; Di Paolo, Monk;
at Singer Concert Hall
10/20,22,24/88 Carment* Collins, I. Jones; Barasorda, Otey; c: Speers; d: Ewers (coprod.
Edmonton Opera)
1/19,21,23/89 Un Ballo in mascherat Craig, San. Walker; Di Paolo, Monk; e: StewartKellogg; d: Strasfogel
3/16,18,20/89 Die Zauberflote Eng. Porter; Welhasch, Rosales; Pedrotti, Cox; c: Bedford;
d: Walsh
Canadian Opera Company, L. Mansouri, Gen.Dir., Toronto, Ont.
10/1,7,11,13,16m,19/88 Don Carlost 5-act vers. in French; Mitchell; Ordonez, Laperriere,
Garrard; c: Kellogg; d: Mansouri
10/8,12,14,17,20,23m/88 The Queen of Spadest in Russian; Haggander, Forrester; Algieri;
c: Bonynge; d: Nieuwenhaus (San Francisco Opera prod.)
1/14,15m,19,20,23,24,28 2/1,3/89 Toscat Evstatieva; Marusin, Braun; c: Bradshaw; d:
Mansouri
1/21,25,27,30 2/2,5m/89 The Makropulos Caset Can.prem. in Czech; Sundine; Opthof; c:
Klobucar; d: Sb'derstrom/Mansouri; ds: Bauer-Ecsy (San Francisco Opera prod.)
4/5,8,13,16m,18,21/89 Andrea Cheniert Millo; Mauro, Monk; c: Rudel; ds: Skalicki (San
Francisco Opera prod.)
4/7,10,11,14,15,19,20,22,23m/89 Die Zauberfldtet D. Brown/Swenson, Wolf; DuBois, Baerg;
c: Peters; d: Mansouri (New York City Opera prod.)
6/15,16,17,18,20,21,22,23,24/89 La Bohemet Terrell, N. Wilson; Baerg, Laperriere
11-12/88 Les Contes d'Roffmann Canadian Opera Co. Ensemble tour
Cosmopolitan Opera Ass'n, M. Strano, Art.Dir., Toronto, Ont.
11/18,19,20/88 La Traviata
Edmonton Opera, I. Guttman, Art.Dir., R. Hallam, Gen.Mgr., Edmonton, Alta.
10/88 All-Canadian Gala Concert
11/24,26,28/88 Romeo et Juliette Thorngren; Schwisow, Pedrotti; c: Bradshaw
1/26,28,30/89 Carmen Kolomyjec, Vergara; Algieri; c: Agler; d: Mattaliano
3/9,11,13/89 L'Elisir d'amore Dahl; Margison, Laperriere, Corbeil; e: Bennett
5/4,6,8/89 Aida Neblett; Popov, Garcia, L. Quilico
International Choral Festival, Toronto, Ont.
6/1/89 Boris Godunov conc.pf.; Nesterenko; Poliansky Choir; c: Rozhdestvensky
Manitoba Opera, B. Lang, Adm.Dir., Winnipeg, Man.
11/12,15,18/88 Rigolettot Donahue; Fowler, Tumagian; c: Vernon; d: Mattaliano
2/4,7,10/89 Salomet Kr. Ciesinski, Castle; Neill, Pedersen; c: Pallo; d: Guttman
4/15,18,21/89 Carment Kolomyjec, Vergara; Barasorda, Peterson; d: Ewers
-121-
1988-89 SEASON
National Arts Centre English Theatre & Tapestry Music Theatre, Ottawa, Ont.
5/4-20/89 Miller/Foster's Playground
National Arts Centre Opera & Orchestra, G. Chmura, Mus.Dir., Ottawa
4/26,28/89 Madama Butterfly conc.pfs.; Mitchell, Graham; Margison, Monk; e: Mannino
Opera Atelier, M. Pynkoslci & J. Zingg, Co-Dirs., Toronto, Ont.
11/88 Monteverdi's L'Orfeo Roman, Antony, M. Braun
L'Opera de Montreal, J.-P. Jeannotte, Art.Dir., B. Uzan, Gen.Dir., Montreal, P.Q.
9/13,17,20,24,28 10/1/88 Madama Butterfly* Kineses, Beaupre; Johannsson, Baerg; c:
Tabachnik; d: Oswald; ds: Oswald/Lapiz
11/22,26 12/1,3,7,10/88 Fidelio Andersson-Palme, Parent; McCray, Boutet, Charbonneau,
Braun; c: Satanowski; d: Oswald; ds: Oswald/Lapiz
1/24,28 2/2,4,8,11/89 La Boheme Soviero, Parent; Kelen, Laperriere, Corbeil, Letourneau;
c: Silipigni; d: Uzan; ds: Girard
4/11,15,20,22,26,29/89 Dialogues des Carmelites Welhasch, S. Miller, Parent, Taylor,
Beaupr6; c: Fournet; d: Mansouri; ds: Skalicki/Malabar (Canadian Opera Co. prod.)
L'Opera de Quebec, G. Belanger, Art. & Mus. Dir., Quebec City, P.Q.
10/22,25,27,29/88 Manon c: Belanger
5/13,16,18,20/89 Samson et Dalila e: Belanger
Opera Hamilton, D. Lipton, Art.Dir., Hamilton, Ont.
9/29 10/1/88 n Trovatoret Mauro; c: Lipton
2/2,4/89 "Popera Three" conc.pfs.
4/27,29/89 Don Pasquale
Opera in Concert, S. Hamilton, Prod., Mallett Theatre, Toronto, Ont.
11/5,6/88 Pelleas et Melisande Welhasch/Landry; McLean/DuBois, Cross/Kelly
12/10,11/88 Cendrillon Beaupre/Maguire, J. Stilwell/Barber, Humphreys/Balkan;
Barcza/Timney; c: R. Cooper
l/29m/89 Special Choral Concert
2/18,19/89 L'Amico Fritz Kolomyjec/Gregory, Swanston/Sadegur; Heppner/Kriter,
Fanning/Coyea
4/1,2/89 Bellini's II Pirata Bogle/Kastellitz; Margison/Schade, Goerz/Lichti
Opera Lyra, J. Aster, Art.Dir., Ottawa, Ont.
9/8,10,12,14,16/88 La Boheme Eng. Pearlman; Bogle, J. Stilwell; Margison, Barcza; c:
Jackson; d: Aster; ds: Kristmanson; at National Arts Centre; 9/21,23 in Kingston
11/29/88 Kurt Weill Concert
2/14/89 French Romantics Concert
3/28/89 Verdi Concert
5/2/89 Sondheim, Webber & Co. Concert
7/89 Die Zauberflfite w.p.
Spring '89 Young People's Program; tour to schools
Summer '89 The Telephone w.p.
L'Orchestre symphonique de Montreal, C. Dutoit, Mus.Dir., Montreal, P.Q.
5/1,3/89 Der fliegende Hollander conc.pfs.; Hass; Frey, Heppner, Estes, Korn; c: Dutoit
5/23,24/89 Das Land des Lachelns conc.pfs.; Boky; DuBois; c: Dutoit
5/30,31/89 La Damnation de Faust Carlson; Cole, Plishka, Oland; c: Dutoit
12/13,14/88 "Viennese Evening" Putnam; Dickson; c: U. Mayer
1/25,26/89 "Great Broadway Success" Terrell; Jones; c: Kunzel
Pacific Opera Victoria, T. Vernon, Art.Dir., Victoria, B.C.
9/22,24,27,29 10/1/88 The Barber of Seville Eng. Goldovsky; Prata; Fanning, Turgeon; d:
Robertson
11/30-12-3-88 Les Contes d'Hoffmann Eng.; 4 pfs.
2/16,18,21,23,25/89 Der fliegende Hollandert Jeans; Heppner, Opthof; c: Vernon; d:
Symcox
Toronto Operetta Theatre, Toronto, Ont.
10/5,7,8/88 The Gypsy Princess c: Vernon; 10/16,17,18 in Kitchener
University of British Columbia Opera Theatre, F. Tickner, Dir., Vancouver, B.C.
11/25,26/88 Scenes
3/21,22,24,25/89 Le Nozze di Figaro
University of Toronto, Opera Division, J. Fraser-Craig, Mus.Dir., Toronto, Ont.
11/25,26/88 5/2,4,6/89 Opera Scenes
3/3,4,10,11/89 La Canterina & Tchaikovsky's lolanthe c: Evans <5c Fraser-Craig/Greer; d:
Albano & Fisher
-122-
1988-89 SEASON
Vancouver Opera, B. McMaster, Art.Dir., Queen Elizabeth Theatre, Vancouver, B.C.
10/22,25,27,29/88 Don Giovanni Weidinger, Graham; Margison, Baerg, Corbeil, Ens; d:
Walsh
1/21,24,26,28/89 Ariadne auf Naxos Eng.; M.J. Johnson, Kilduff, Forst; Relyea, Pedrotti;
d: Havergal; ds/c: Craig
2/25,28 3/2,4/89 Rigoletto Patterson, Stilwell; O'Neill, Maxwell, Ens
4/22,25,27,29/89 La Traviata* Ginzer; Dale, Mora; d: Jarvefelt
1988-89 school tour The Barber of Seville Eng.; Musical TBA
[]
-123-
CENTRAL OPERA SERVICE
Metropolitan Opera
Lincoln Center
New York, NY 10023
(212) 957-9871
LIST OF PUBLICATIONS
1. Directory of Operas and Publishers (Vol. 18, Nos. 2 <!c 3), in two parts
Detailing the musical material for 3,000 operas written by 1,028 composers, available from 135
publishers. By composer, cross-referenced by title.
2. Directory of American Premieres 1962-68 (Vol. 11, No. 2) For sequels see #5 & #6
A listing of the 400 operas which received American premieres during that period.
(A sequel to The Handbook of American Premieres by Julius Mattfeld.)
2.00
(1.00)
3. Directory of American Contemporary Operas (Vol. 10, No. 2) For sequels, see #5 6c #6
A listing of the 1,000 operas written between 1930 and 1966 in the U.S. Includes names of composer
librettist, and information on premiere, length of work, original book, orchestration, publishers, etc.
By composer, cross-referenced by title.
5.00
(1.25)
4. Directory of Foreign Contemporary Operas (Vo. 12, No. 2) For sequels, see #5 & #6
A listing of the 1,500 operas written between 1950 and 1968 outside the U.S. Information as in #3.
5.00
(1.25)
5. Directory of American and Foreign Contemporary Operas 1967-75 (Vol. 17, No. 2)
A sequel to #2, #3, #4. Details information on 398 American and 552 foreign operas, and on 112
American premieres. Information as in #3.
8.00
(1.50)
6. Directory of American and Foreign Contemporary Operas 1975-80 (Vol. 22, No. 2)
A sequel to #2, #3, #4, #5. Details information of 455 American and 449 foreign operas, and on
96 American premieres. Information as in #3.
8.00
(1.50)
7. Directory of Children's Operas and Musicals (Vol. 24, No. 4)
Details on over 1,600 operas and musical theatre pieces suitable for performance for or by
children. Suggested age groups, source of materials, and comments by producers or quotes from
reviews are included. By composer, cross-referenced by title and subject.
12.00
(2.00)
8. Directory of English Translations (Vol. 16, No. 2) with latest addenda
Listing the availability of some 2,000 English translations of over 500 operas by 220 composers.
By composer, cross-referenced by title.
—Addenda only
10.50
(2.00)
5.00
(1.00)
9. Directory of Sets and Costumes for Rent {Vol. 21, No. 2) with latest addenda
A listing of some 2,000 sets and/or costumes available for 500 operas, operettas, and musicals;
indicates rental source. Includes stage size or set size and trucking requirements.
—Addenda only
12.00
(2.00)
5.00
(1.00)
8.00
(1.75)
10. Career Guide for the Young American Singer (Vol. 25, No. 4) fifth edition (1985), with latest addenda
Listing national and international competitions, grants for study, apprentice programs for singers,
statements on auditions and hiring policies by American opera companies, apprentice programs for
artists other than singers.
-Addenda only
3.00
(.95)
11. Directory of Opera/Musical Theatre Companies and Workshops in the U.S. and Canada
A current listing of addresses, telephone numbers, and names of managers and/or artistic directors
for more than 1,100 producing organizations. Codes indicate type and size of company. Available
information on auditoria included. Revised annually (fall).
10.00
(1.65)
12. Mailing labels, self-adhesive, over 1,100, for #11—sorted by company/workshop name within cities
and states.
—Sorted by zip code
60.00
(3.00)
65.00
(3.00)
4.50
(.50)
7.50
(.50)
15. Directory of Selected Opera Films (Vol. 19, No. 2)
Listing 187 operatic films available from 83 American distributors, with emphasis on educational
films. By composer, cross-referenced by title. Includes biographical films.
6.00
(1.25)
16. Guide to Operatic Music Suitable for Performance in or by Religious Institutions
Listing 90 operas or operatic excerpts suitable for performance in churches, synagogues, and
other religious institutions.
2.00
(.50)
each 12.00
(2.00)
18. Back Issues, COS Bulletin
News issues beginning with Vol. 9, No. 1
each 4.00
(1.25)
19. Binders black vinyl, holding 8-10 issues of the COS BULLETIN
each 5.00
(2.50)
13. English Captions
A listing of English captions available for proscenium projection.
14. Opera Repertory USA: Annual Repertory Lists
Titles, composers, and numbers of performances of standard and contemporary
operas and of musicals, 1967 to present.
each year
17. Transcripts of COS National Conferences
Topics: a) Training and Career Development of the Young Singer; b) Concepts of Stage
Direction in the T80s/Career Development of the Young Director; c) Tourism, Opera, and the Arts;
d) 1985 International Symposium; e) Opera at the Crossroads
FOR OVERSEAS AIRMAIL/PRINTED MATTER ADD $3.00 TO ABOVE POSTAL CHARGES
Non-Profit Organization
U.S. Postage
PAID
Metropolitan Opera
Association
CENTRAL OPERA SERVICE
BULLETIN
Metropolitan Opera Assn., Lincoln Center
New York, N.Y. 10023
Opera America
Martin Kagan, ExecDir.
777 14th St. NW, Suite 520
Washington, DC 20005
ADDRESS CORRECTION REQUESTED
MEMBERSHIP
INFORMATION SERVICES
Central Opera Service will either supply specific information requested or will suggest
sources where information may be acquired. This is a coooperative information exchange
service on:
Repertory, Translations, Performances, Musical Materials, Scenery, Costumes, Props.
PUBLICATIONS, SURVEYS AND SPECIAL LISTINGS
Quarterly Bulletin. Lists of: Opera Producing Companies in the U.S. and Canada. Annual
Performances; Premieres in the U.S.; Available English Translations; Career Guide for the
Young American Singer; Directories of American Contemporary Operas and Foreign
Contemporary Operas, etc. (Request latest COS publication list.)
MEETINGS
Central Opera Service National Conference
Central Opera Service Regional Conferences
CLASS OF MEMBERSHIP
COMPANY/INSTITUTIONAL MEMBERSHIP
COS Bulletins, Full Information and Research Service,
One Special Publication annually, Position Assistance
INDIVIDUAL MEMBERSHIP
COS Bulletins, Information Service
INDIVIDUAL SERVICE MEMBERSHIP
As above with Position Assistance Service
MUSIC LIBRARIES
COS Bulletins, Conference Announcements
U.S. $50.00
$20.00
$35.00
$15.00
ENROLLMENT BLANK
Name of Organization or Individual
Name and Title of Officer
Address
City, State, Zip Code
Check enclosed
$15 O
$20 U
$35 D
$50 O
Please make checks payable to Central Opera Service
(add $10 for overseas postage)
Date
19

Summer, 1988 - CPANDA: Cultural Policy and the Arts National

Transcription

Similar documents