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CENTRAL OPERA SERVICE BULLETINFALL, 1972

Sponsored by the Metropolitan Opera National Council

Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (212)799-3467

by the Metropolitan Opera National Council

>ntral Opera Service • Lincoln Center • Metropolitan Opera • New York, N X 10023 • (212)799-3467

CENTRAL OPERA SERVICE COMMITTEE

Honorary National Chairman' ROBERT L.B. TOBIN :

Nationar ChairmanELIHU M. HYNDMAN

National Co-ChairmenMRS. NORRIS DARRELL GEORCE HOWERTON

National Council Directors

MRS. AUGUST BELMONT O. DELTON HARRISON, JR.MRS. TIMOTHY FISKE MRS. ALLEN G. OLIPHANTCARROLL G. HARPER MRS. BOWMAN POND

Professional Committee

KURT HERBERT ADLER WALTER HERBERTSan Francisco Opera Houston & San Diego OperaPETER HERMAN ADLER RICHARD KARPNET Opera Pittsburgh OperaVICTOR ALESSANDRO JOHN M. LUDWIGSan Antonio Symphony Center Opera af-MinnesotaROBERT G. ANDERSON GLADYS MATHEWTulsa Opera Community OperaWILFRED C. BAIN MRS. LOUDON MELLENIndiana University Opera Soc. of Washington, D. C.GRANT BEGLARIAN RUSSELL D. PATTERSONUniversity of So. California Kansas City Lyric TheaterMORITZ BOMHARD MRS. JOHN DEWITT.PELTZKentucky Opera Association Metropolitan OperaSARAH CALDWELL JAN POPPEROpera Company of Boston University of California L. A.ROBERT J. COLLINGE GLYNN ROSSBaltimore Opera Company Seattle Opera AssociationEUGENE CONLEY JULIUS RUDELNorth Texas State University New York City OperaJOHN CROSBY GEORGE SCHAEFERSanta Fe Opera Saint Paul Opera AssociationWALTER DUCLOUX GEORGE SCHICKUniversity of Texas Manhattan School of MusicPETER PAUL FUCHS MARK SCHUBARTLouisiana State University Lincoln CenterROBERT GAY LEONARD TREASHNorthwestern University Eastman School of MusicBORIS GOLDOVSKY GIDEON WALDROPGoldovsky Opera Theatre The Juilliard School

// is with deep sorrow that Central Opera Service records the death of GdranGentele on July 18,1972.

His passionate dedication to the lyric theater was an inspiration to the entireworld of opera. We are left with the memory of his spirit, his warmth andhumanity, and with the challenge of fulfilling his vision of opera.

The Central Opera Service Bulletin is published quarterly forits members by Central Opera Service.Permission to quote is not necessary but kindly note source.

We would appreciate receiving any information pertaining toopera and operatic production in your region; please addressinquiries or material to: .

Mrs. Maria F. Rich, EditorCentral Opera Service BulletinLincoln CenterNew York, N.Y. 10023

Copies this issue: $2.00

CENTRAL OPERA SERVICE BULLETIN

Volume 15, Number 1 Fall, 1972

NEW OPERAS AND PREMIERES

AMERICAN OPERAS

The team of Stanley Silverman, composer, and Richard Foreman, librettist, hasgiven us their second surrealistic music theater piece. Named DOCTOR SELA-VEY'S (say C'est la vie) MAGIC THEATER (The Mental Cure), it was premieredat the Lenox Arts Center in Massachusetts last summer. The new work is similar tothe absurdist pop-art style of the team's first venture, Elephant Steps, which waspremiered at the neighboring Berkshire Music Festival in 1968. — A yet untitledcantata by Mr. Silverman, written under a Koussevitzky Foundation commission,will be premiered in April by the Lincoln Center Chamber Music Society, Basedon Joyce's Finnegan's Wake, the performance will feature sopranos Eileen Farrelland Beverly Sills.

Alva Henderson's new opera MEDEA (briefly mentioned in the Summer '72Blltn.) is based on the Robinson Jeffers play, which, in its Broadway run, starredJudith Anderson. The 32-year-old Californian composer was a member of the SanFrancisco Opera chorus while writing his first stage work, and it was this choruswhich helped him make the tape which ultimately led to the scheduling of thepremiere by the San Diego Opera Company. Grants from the National OperaInstitute and the Martha Baird Rockefeller Foundation will make the November 29production possible. It will feature Irene Dalis, for whom the leading role wasfashioned. The first European performance has been contracted for Spring 1973in Marseille.

The previously announced opera by Charles F. Hackett, DONA ROSITA, will haveits first performance by the Ithaca Opera Ass'n in cooperation with Ithaca CollegeOn October 20. Based On Lorca's play, Lay Titeres de Catchiporra, the composerfashioned the libretto after William Oliver's English version. Ken Baumann, direc-tor of the Ithaca Opera Ass'n, will stage the work, and David Berman of theIthaca College music faculty will conduct. The production costs are offset in partby a grant from the New York State Council on the Arts.

CHOCORUA is the story of an 18th century Indian chief who marries a whitewoman and tries to live among the English settlers. Written under a FrommFoundation commission and premiered on August 6 by the Berkshire Music Festi-val's Music Theatre Project at Tanglewood, the one-act opera is the result of thecollaboration of composer Robert Selig and librettist Richard Moore.

The well-known composer Julia Smith has been commissioned by the Opera Guildof Greater Miami to write an opera. She has chosen Juliette Low, founder of theGirl Scouts, as her central character. The work will be premiered by the Floridacompany on May 6, 1973. It is entitled DAISY.

AY, RACHEL is the title of Hans Werner Henze's latest opera, commissioned byNET Opera and presently in preparation for video taping under the composer'ssupervision. The original German libretto is by Hans Magnus Enzensberger, theEnglish adaptation by Mel Mandel. The first telecast is planned for Spring '73.

FLOWER AND HAWK is a mono-drama for soprano (Eleanor of Aquitaine) andorchestra by Carlisle Floyd. It was premiered by the Jacksonville Symphony onMay 16 for the city's sesquicentennial celebration and subsequently presented bythe Florida orchestra in New York's Carnegie Hall and at Washington's KennedyCenter. It was staged by Frank Corsaro and sung by Phyllis Curtin.

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The Cubiculo Theatre in New York presented Thomas Johnson's THE FOUR-NOTE OPERA in May. Based on the notes A,B,D, and E, the one-act parody isan amusing spoof of operatic conventions featuring a cast of five and a smallchorus.

Margaret Garwood, composer of The Trojan Women, will have her second opera,THE NIGHTINGALE AND THE ROSE, premiered in Philadelphia. The per-forming group will again be the Pennsylvania Opera Company of Chester, whichgave the first performance of Miss Garwood's other opera.

In July, the Whitney Museum's Systems Theatre offered twelve performances ofTHE SONG OF HIAWATHA, "a music drama for the entire family." Based onthe Longfellow poem, the new work, with music by Edwin Roberts and a librettoby Bill Tchakirides, is scored for piano and two-guitar accompaniment and waschoreographed by Claire Henry. The same creative team was responsible for TheHunting of the Snark, performed by the Systems Theatre earlier last season.

Center Opera of Minnesota's stage director Wesley Balk headed an experimentaltraining program for the Opera Workshop of the Aspen Music Festival. Hespecially created a "collage opera", based on five of Mozart's major operas, entitledTHE MAGIC ABDUCTION AND COSI MARRIAGE OF TUTTI GIOVANNI.It was performed by the workshop last summer.

Two operas written for children are THE GRANDMOTHER AND THE WITCHby LaVahn Maesch (music) and Karl Bratton (libretto), and RUMPELSTILTS-KIN by David Di Chiera. The first opera is based on an original fairytale andconceived for children's participation as well as for children's audiences. It wasperformed at the First Congregational Church in Appleton, Wisconsin, last Novem-ber. The second work represents a collaboration of the Di Chiera husband andwife team, with Karen Di Chiera responsible for the libretto. It will be premieredby the composer's own company, Overture to Opera, at the Detroit Youth Theatrein January 1973.

THE LIB: 393 B.C. by Theron Kirk is a one-act, 50-minute comedy based onAristophanes play Lysistrata. It was performed on May 5 at San Antonio Collegewhere the composer/librettist is on the music faculty. The opera has been publishedby Carl Fischer, Inc.

Other operas premiered at college or university opera departments include JULIAN,a drama in five scenes by Charles Fussell based on Flaubert's story. It was pre-sented on April 15 in Winston-Salem by Salem College which had commissionedthe work for its bicentenary celebration. The chorus and orchestra of the N.C.School for the Arts participated. — Xavier University in New Orleans offered thepremiere of John Duncan's GIDEON AND ELIZA last March. The one-act workwas programmed on a double-bill with The Medium. Meanwhile, the composer hasbeen commissioned to write another short opera for a workshop presentation inNew Orleans, using the French pirate, Jean Lafitte, as central character. — Edin-boro State College in Pennsylvania has scheduled the premiere of William Alex-ander's THE MONKEY'S PAW for November 13. The one-act opera will be heardtogether with Bernstein's Trouble in Tahiti. — Hawthorne's Scarlet Letter formsthe basis of yet another opera. This one, with music and libretto by Lewis Rosen,is called HESTER. The three-act work requires four leading singers—soprano,mezzo, tenor, and baritone— 12 supporting singers, a chorus, and dancers.

AMERICAN PREMIERES

The Newport Music Festival can always be relied on to present unknown andunusual works and it did not disappoint its audience this year. Russian composerCesare Cui's LE FILS DU MANDARIN (1859), a "salon opera," was performedon August 1 by members of the Metropolitan Opera Studio at Newport. Earlierduring the Festival, the same group presented concert excerpts of THE WRECK-ERS by Dame Ethyl Smyth. Dame Smyth, a nineteenth century English sufragette,set her story in eighteenth century Cornwall. Both operas were heard in the UnitedStates for the first time.

SHUNKAN, a Japanese Kabuki opera, has been scheduled for its Americanpremiere in March 1973 by Kuniaki Hata, director of the Opera Theatre ofColorado University in Boulder. It will be performed together with Moore's one-actThe Devil and Daniel Webster.

Bellini's first opera, ADELSON E SALVINI, was premiered in Naples in 1825.A revised version, discovered by musicologist Herbert Weinstock some time ago,was supposedly never performed. The Association for the Furtherment of BelCanto presented it at New York's Town Hall on September 12. Preview perform-ances were offered in Brooklyn and at Lincoln High School on September 3 and 6,respectively.

FOREIGN PREMIERES

The Hamburg State Opera has scheduled three new works for this season. OnDecember 6, it will give the first performance of a children's opera by ConstantinRegamey, MIO, MEIN MIO. Bruno Maderna will conduct. — The next premiereis scheduled for February 9 and will be a "multi-media play with music" by PierreHenry entitled KYLDEX 1. The work, which calls for audience participation, willbe produced in cooperation with the Norddeutsche and Westdeutsche Rundfunk.Choreography will be by Alwin Nicolais and costume designs by Pierre Cardin;the composer will conduct. — The premiere date of the previously announced operaby Walter Steffens, UNTER DEM MILCHWALD, after Dylan Thomas, has nowbeen set for May 5, 1973.

A comedy-thriller, NOCH EINEN LOEFFEL GIFT, LIEBLING, by SiegfriedMatthus had its premiere at the East Berlin Komische Oper on April 16; its firstperformance in West Germany will be in Darmstadt during the current season.Peter Hack's German libretto is based on Saul O'Hara's Risky Marriage. Previousoperas by the composer are Lazarillo von Tormes, Der letzte Schuss, and SpanischeTugenden. — Carl Orff's DE TEMPORUM FINE COMOEDIA (Das Spiel vomEnde aller Zeiten), originally announced for a premiere in Stuttgart last season, willnow receive its first performance during the 1973 Salzburg Festival. Herbert vonKarajan will conduct the opera-oratorio with the orchestra of the WestdeutscheRundfunk augmented by some twenty percussionists, soloists and a "mammothchorus."—•Berlin's Akademie der Kiinste will present APOLOGY by SylvanoBussotti this season. The composer's first opera, La Passion selon Sade, was per-formed in Palermo in 1965.

Britain's latest contributions to contemporary opera include ANTI-WORLD, anopera by the 25-year-old composer Nicola LeFanu, daughter of composer ElizabethMaconchy. This music theater piece, written for two singers, dancers, and aninstrumental chamber ensemble, was performed on June 29 by the Focus OperaGroup at Camden's Cockpit Theatre. On the triple-bill were also Birtwistle's Downby the Greenwood Side and Kagel's Sur seine. Anti-World was heard later atMoriey College together with Jeremy Dale Roberts' one-act RECONCILIATION.— Peter Maxwell Davies, composer of The Taverner, which was premiered lastsummer at Covent Garden, has been commissioned to write an opera for BBC,London. The premiere of this work, entitled BLIND MAN'S BLUFF, is scheduledfor May 29, 1973, at the Round House in London with the BBC orchestra underthe baton of Pierre Boulez. The story is based on Biichner's Leonce and Lena. —Covent Garden has announced the first live theater production of Benjamin Brit-ten's OWEN WINGRAVE for May 1973, featuring a cast almost identical to thatheard in the television premiere, i.e., Heather Harper, Janet Baker, John Shirley-Quirk and Peter Pears.

Swedish composer Lars Johan Werle, who previously wrote The Dream of Theriseand The Journey, will have his latest opera, TINTOMARA, premiered on January18, 1973, at the Royal Opera in Stockholm. — A new Flemish opera was heardduring the Flanders Festival in Ghent on September 9. KING XON IN HETLAND VAN DE ZON was written by Willem Breuker, Gilbert Deflo and StefaanVan den Bremt. —The Netherlands Opera will give the first performance of BrunoMaderna's SATYRICON in March 1973, scheduled on a double-bill with Ligeti's

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Aventures.—ADDIO GARIBALDI, A Musical Epic, by Girolamo Arrigo willbe heard for the first time this November. The Opera du Rhin will present it inStrasbourg, Colmar, and Mulhouse under the auspices of the Festival d'automnede Paris. It will be staged by the composer, whose other opera, Orden, was heardin Avignon in 1969.

Monteverdi's Ritorno d'Ulisse in patria forms the basis of Czech composer JanKlusak's ODYSSEUS' RETURN TO HIS NATIVE LAND, scheduled for apremiere in Olomouc this Fall. The composer is revising his earlier work, The Trial(1964) after Kafka, while also working on a new one-act opera, THE DOUBLE,after Dostoyevsky. — PETER THE GREAT is the central figure in Andre Petrov'slatest opera which has a libretto by Natalia Kazatkina and Vladimir Vasilyev. TheRussian composer previously wrote a ballet, The Creation of the World, which wasperformed in Moscow last year.

HIKARIGOKE (Luminous Moss) by Ikuma Dan was presented during the OsakaInternational Festival in April 72. The book by Taijun Takeda is a morality playcarrying an anti-war message. — Another Japanese opera, BLUE WOLF, a workabout Genghis Khan, was heard in the new Tokyo Festival Hall in Ueno onOctober 15.

In the last issue of the COS Bulletin, Aribert Reimann's monologue for sopranoand orchestra, INANE, was inadvertently listed as being premiered by the "Hel-sinki Opera." The producer is the Finnish Radio, the date for the performance isNovember 28, and it will feature the American soprano Joan Carroll. We thankKap. George Buckbee, member of the Finnish National Opera in Helsinki, directorof the Sibelius Academy Opera Studio and conductor at the Finnish television, fordrawing our attention to the error.

Rarely Performed Early Operas

GIASONE (Jason) is another opera by Cavalli which had a recent resurrection(Ormindo and Calisto). Premiered in Venice in 1649, it was "restructured" byMarcello Panni and performed in Genoa in April. — Vincente Martin y Soler'sL'ARBORE DI DIANA was revived in London by the Collegiate Theatre Operain July. The short opera, with a libretto by da Ponte, was composed for the weddingof Empress Maria Theresia and premiered in 1787.

NEWS FROM OPERA COMPANIES

Referring to last season's COS Directory of Opera Producing Companies, sevenmore organizations have expanded their budgets to over $100,000, one of the pre-requisites for inclusion in the COS A Listing and for eligibility to apply to theNational Endowment for the Arts for grants. They are the Harford Opera Theatreof Bel Air, Md., the Guild Opera Co. of Los Angeles, the Omaha Opera Co. inNebraska, Overture to Opera in Oakland, Mich., the Associate Artists Opera Co. ofBoston, the Tri-Cities Opera of Binghamton, N. Y., and the Light Opera of Man-hattan, performing Gilbert and Sullivan operettas exclusively. The HARFORDOPERA THEATRE (formerly Harford Theatre Ass'n) was assisted for the firsttime by a grant from the National Endowment. The newly professional summercompany, performing with a two-piano accompaniment, closed the past season withits most ambitious undertaking to date, eight performances of Wozzeck. — OVER-TURE TO OPERA also turned professional this year, with performances takingplace at the Music Hall Theatre in Detroit. The company is also continuing itseducational program under the auspices of the Detroit Grand Opera Ass'n.

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The HOUSTON GRAND OPERA has expanded its activities and is adapting someideas successfully initiated by the Seattle Opera Company. Thus, for instance, it ispresenting most of its operas with two casts — with international singers for theoriginal language, with American singers for the English translations. The Englishversions are used for their annual student performances (about 3 of each opera).In addition to this regular season, the company offered sixty in-school performancesof Bastien and Bastienne and an out-door Spring Festival of three productions inten performances.—The NEW YORK CITY OPERA, too, is presenting thisyear's new production of Don Giovanni in both the original language and English,using different casts, as is the FORT WORTH OPERA in its performances ofMadama Butterfly. This, of course, is reminiscent of the Metropolitan Opera's1952 La Boheme, when the new production was performed both in English andin Italian during that season.

The METROPOLITAN OPERA, in conjunction with Deutsche GrammophonGesellschaft, has announced the recording of its opening night production ofCarmen. This is the first time after a fourteen-year lapse that the company hascontracted to make any recordings. The discs, featuring the original cast, areexpected to be ready in February.

With the beginning of this season, the METROPOLITAN OPERA has inaugu-rated a new policy regarding box-office ticket sales. Upon proper identification,students may now purchase any unsold tickets half an hour before curtain time fora uniform price of $4.00. A special phone number has been set aside which maybe called the afternoon of the performance to ascertain the availability of studentrush tickets. — General admission, which in previous years has been sold fourweeks in advance, is now available only at 10 A.M. on the day of the performance;only one standing room ticket is sold per person. Other tickets are available at thebox-office four weeks in advance. Mail-orders are accepted at any time.

In response to the Ford Foundation program designed to wipe out past deficits andassure more balanced budgets in the future (see Fall '71 Blltn.), the DALLASCIVIC OPERA has been able to raise the matching funds required for the Fordgrant and is now embarking on an 11-point program. This includes an increase ofannual productions from three to four, an additional student performance incooperation with the Junior League of Dallas, coordinate planning of the nextthree seasons in order to offer a varied repertoire, the establishment of an inno-vative opera theatre for young Americans in cooperation with Southern MethodistUniversity to perform during the summer, a search for funds to commission anew opera for the U.S. Bicentennial, the strengthening of the subscription systemand establishment of an endowment fund, exploration of possibilities for coopera-tive ventures with other performing groups in the community (such as the DallasCivic Ballet), and, finally, an increase in administrative personnel in order torealize the above programs.

The SAN FRANCISCO OPERA'S Action Group, functioning like an opera guild,has five chapters in the Bay area: the South Peninsula Opera Action in Palo Alto,the Marin Opera Action, the East Bay Opera Action in Oakland, the Junior Leagueand the Jewish Community Center of San Francisco. Each offers its own series ofOpera Preview Lectures in conjunction with forthcoming San Francisco produc-tions. Some offer free attendance to members, others charge $1.00 or $1.50 perlecture. — Gottfried von Einem, composer of Besuch der alten Dame, came to theU.S. to supervise, and be present at, the American premiere of his opera in SanFrancisco. In addition, the Austrian Cultural Institute is organizing and sponsoringa lecture tour which will take the composer to universities in nine states.

The NEW YORK CITY CENTER FOR MUSIC AND DRAMA has furtherextended the number of its constituents to include the Alvin Ailey American DanceTheater and The Acting Company, a repertory group founded by last season's firstgraduates from the Juilliard School Drama Division, with John Houseman as itsartistic director. The previous members of the City Center group are the N.Y. CityOpera Co., the N.Y. City Ballet, the City Center Joffrey Ballet, the City CenterYoung People's Theatre, and the City Center Cinematheque,

The LYRIC OPERA REPERTORY COMPANY, a subsidiary of the Lyric OperaAss'n of Orange County in California, is presenting young singers at the Festivalof Arts Forum Theatre during the winter months. These performances are work-shop productions, designed to offer the singers opportunities for training and per-formance in a varied repertoire. At the close of the season, the best singer willreceive the Laguna Beach Auditions Award and will be presented in a Springconcert. — The Association performs musicals in early September at LagunaBeach's Irvine Bowl.

In an attempt to offer more exposure to its artists and to expand its season, theWOLF TRAP COMPANY has initiated "Coffee Concerts" to be given at theL'Enfant Theatre in Southwest Washington, D.C. Planned for Sunday afternoonsfrom October to December, the first series consists of fourteen recitals. Coffee willbe served after the concerts, affording the audience and the performer a chance tomeet socially and exchange ideas. While the first concert will be free of charge,tickets to subsequent ones will be $2.00.

PROMOTION and PUBLIC RELATIONS

One of the recognitions most sought after by any opera company is to have anOpera Week declared in its city in conjunction with the season's opening perform-ance or with some other festive operatic event. The SAN FRANCISCO OPERA'SGolden Anniversary season was thus inaugurated on September 11 with thedeclaration of Opera Week by Mayor Joseph Alioto. However, in this instance, itwas the company itself which offered the city the entertainment for the celebrationin the form of a noon concert in Union Square. An audience of over 10,000watched and listened to Joan Sutherland singing to the piano accompaniment ofher husband, Richard Bonynge, on a temporary stage in the Square. She wasfollowed by the San Francisco Boy's Chorus and the Sixth Army Band. Free giftswere distributed by costumed company members strolling among the audience andpassers-by, while partial opera sets and props decorated the street. At the openingceremonies, Kurt Herbert Adler was presented with a resolution of the State Senatesaluting the opera company and attesting to its great cultural influence in the state.— Thanks to a grant from Standard Oil of California, all eleven productions of theSan Francisco Opera's next season will be heard on live AM and FM stereo broad-casts on Tuesday and Friday evenings. The ten live broadcasts sent over KKHI,mark the first time that opera will be heard live in stereo over any radio station.

Texaco, sponsor of the METROPOLITAN OPERA live broadcasts for the 33rdconsecutive year, has also sponsored a live broadcast — in quadrophonic sound —of the opening night of the CHICAGO LYRIC OPERA, a performance of Verdi's/ due Foscari.

The SAN DIEGO OPERA GUILD was honored on the occasion of the inaugura-tion of its twenty-second season by Mayor Pete Wilson, who proclaimed June 4to 10 San Diego Opera Week.

Mayor Lyman S. Parks of Grand Rapids, Michigan, declared September 11through 16 Opera Week in honor of the six-year old OPERA ASSOCIATION OFWESTERN MICHIGAN. On September 15, the company began its season withLa Traviata.

Reducing the festivities from city-wide to a block long, August Heckscher, NewYork's Administrator for Cultural Affairs, renamed the city's Christopher StreetKURT WEILL STRASSE for one hour on September 24. Among the honoraryguests were the composer's widow, Lotte Lenya, and West Berlin's mayor, KlausScheutz, attending the dedication of a commemorative plaque placed on theTheater de Lys, where The Threepenny Opera had played for seven years.

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NEW COMPANIES HERE AND ABROAD

Los Angeles will have its own resident opera company, THE OPERA THEATREOF SOUTHERN CALIFORNIA. Although originally developed by Grant Beg-larian as an outgrowth of the Fine Arts Department of USC, the company has nowbeen incorporated as a non-profit organization and will be a professional groupunder the general directorship of George London. Performances will be held at thePasadena Civic Auditorium and two productions have been announced for thiswinter (see Performance Listing). Three operas are planned for the 1973-74season. Singers announced for the first two productions are drawn from the rostersof the Metropolitan Opera, the New York City Opera, and the San FranciscoOpera companies, and the emphasis seems to be on young American singers. Mr.London will direct at least one production to be conducted by Kenneth Schemer-horn, with set designs by Ming Cho Lee. The Pasadena Auditorium, with a seatingcapacity of 3000, will afford the company the opportunity to price tickets from$3.50 to $8.50, with student tickets available for $2.00. Danny Newman (seereport on the COS Washington Conference) set up the subscription and publicrelations program. The Opera Theatre, or TOT as the company will be known,will also develop a program in cooperation with the Opera Associates of the MusicCenter, arranging for panel discussions and lecture demonstrations to be presentedunder the aegis of the Music Center's Education Department. Among the membersof the board of directors of TOT are Grant Beglarian, David Ingalls and AlexanderSaunderson; Miss Dale Duffy of Santa Barbara is associate director. Grants fromthe National Endowment for the Arts, the Corbett Foundation, the Music CenterOpera Ass'n, as well as from private sources, made the venture a reality.

The core of the OREGON OPERA ENSEMBLE is a quartet led by soprano EileenFearn Manning, who doubles as manager of the group. Performing chamber operain English, the ensemble is augmented as needed by singers from the northwestregion, and is accompanied, in most cases, by a chamber orchestra (see Per-formance Listing).

Reminiscent of the Los Angeles development is the situation in Calgary, Alberta,where Alexander Grau, director of opera at the University of Calgary, has formeda fully professional opera company, the SOUTHERN ALBERTA OPERA ASSO-CIATION. It will perform at the 2750-seat multi-purpose Arts Centre, the JubileeAuditorium. The first production is scheduled for March 1973, with Toronto'sHerman Geiger-Torel as stage director. Two performances will be offered of eachproduction. The founding of the company was assisted by grants from the CanadaCouncil and the provincial Arts Council.

As reported in the Summer '72 Bulletin, French opera companies will becomemore regionally oriented. THE OPERA-STUDIO DE PARIS ET DE LA REGIONPARISIENNE (formerly the Op6ra Comique) will serve the capital and sur-rounding area; the OPERA DU RHIN will have its headquarters in Strasbourg,but also travel to Mulhouse and Colmar, and the Opera de Lyons will affiliatewith the company in Grenoble to form the OPERA D'AQUITAINE. — Mean-while, Rolf Liebermann is preparing his first season and his first own productionat the PARIS OPERA. The opening is scheduled for April 4, Orfeo ed Euridice,and Liebermann's first own production will be Le Nozze di Figaro. Two gala pre-view performances of the Mozart opera with the premiere cast (Janowitz, Freni,von Stade; Bacquier, van Dam; Solti) will be heard at the theater at Versailles.The first evening is reserved for President Pompidou and members of the Frenchgovernment; the second gala, on April 2, will be open to the public. Dailey-ThorpTravel is arranging a special eight-day tour from New York to include attendanceat both the Versailles preview of Le Nozze de Figaro and the opening night ofOrfeo ed Euridice (Pilou; Gedda). Miss Thorpe is no stranger to participants ofoperatic tours, having been in charge of the Metropolitan Opera Guild tours forthe last two years. She may be contacted at 654 Madison Ave., New York, N.Y.10021.

The PERGOLESI OPERA DI CAMERA is a new Italian touring group. Thechamber ensemble, with headquarters in Rome, has chosen for its first productiona double-bill of La Serva padrona and Mozart's L'Oca del Cairo.

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THE AMERICAN FRIENDS OF COVENT GARDEN AND THE ROYALBALLET is a new organization dedicated to establishing closer ties between Amer-ican and British opera enthusiasts. It is a membership organization with tax-deductible dues. Privileges include a subscription to the attractive Covent Gardenmagazine About the House and assistance in obtaining tickets on projected visitsto London. For further information contact the organization at Suite 900, 29Broadway, New York, N.Y. 10006.

FORECAST

The NEW YORK CITY OPERA'S '73 Spring season will offer two operas in theirNew York first performances. Ginastera's Beatrix Cenci was premiered duringthe opening week at the J. F. Kennedy Center under the baton of Julius Rudel,who will also lead the performances in his home theater. The Spanish-singing castwill feature Arlene Saunders in her return engagement to the City Opera afterten years singing leading parts in German opera-houses, and Justin Diaz; bothartists participated in the Washington premiere. Stage director and designers willalso be the same. The other opera is Henze's The Young Lord to be directed bySarah Caldwell. The production will include Patricia Wise and Muriel Green-spon, with Kenneth Riegel in the title role. The opera will be sung in Engish. Thethird new production of the Spring season is L'Incoronazione di Poppea in thesame version introduced last summer at the Caramoor Festival. The Monteverdiopera has recently enjoyed a considerable renaissance, both here and abroad, butthis will be the first fully professional, staged performance in New York City. Theten-week season will open on February 21; a complete schedule will be listed in thenext issue of the COS Bulletin. The company is also continuing its annual guestengagement at the Music Center in Los Angeles in November (see Perf. List.)and will return to the Kennedy Center in Washington for two weeks in May.

Opera in concert form will again be a feature attraction at the HOLLYWOODBOWL next summer. The two works on the program are Don Giovanni andLa Bohlme. — The Summer Festival '73 at Toronto's National Arts Centre willinclude performances of Beatrice et Binidict.

Carol Fox, general manager of the LYRIC OPERA OF CHICAGO, has announcednew productions in Chicago of Maria Stuarda, La Fille du rigiment and Siegfriedfor Fall 1973. Carmen, Rosenkavalier and La Boheme will be repeated fromprevious seasons.

The SAN FRANCISCO OPERA, too, has announced most of its repertoire fornext year, its fifty-first season. It will open on September 7 with a new productionof La Favorita with Marilyn Home. Another first will be Die Fledermaus, featur-ing Joan Sutherland as Rosalinda, and a first for the company will be a productionof Peter Grimes. Kurt Herbert Adler, general director, announced the followingoperas complementing the 1973 program: Rigoletto, Cosi fan tutte, Tannhauser,Boris Godunov, Elektra, La Traviata, Don Carlo and La Boheme.

The SALZBURG FESTIVAL, in addition to the aforementioned premiere of OrfFsDe Temporum fine comoedia under Karajan, will offer a new production ofIdomeneo under the musical direction of Karl Bohm. Le Nozze di Figaro andCosi fan tutte will be repeated from previous summers. — The SALZBURGEASTER FESTIVAL has announced a five-year plan: Tristan und Isolde andDas Rheingold for 1973; Die Meistersinger for 1974 and 1975, with the additionof Die Walkiire in 1975; Siegfried and Gotterddmmerung for 1976; and a newproduction of Parsifal for 1977.

Canadian seasons in 1973-74 will include Don Carlo in VANCOUVER, andTosca and Traviata in WINNIPEG, Manitoba.

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FINANCES, FEDERAL AND STATE MONIES

The NATIONAL ENDOWMENT FOR THE ARTS AND THE HUMANITIEShas received a total of $76.2 million in appropriations for Fiscal 1973, almost$4 million below the originally approved figure of $80 million. However, it willreceive an additional $5,314 million for the administration of its program, and,considering that the 1972 appropriation was about $20 million less, progress isheartening. So is the general attitude towards the arts, as reflected in the politicalplatforms of both major parties, each announcing strong endorsement and supportfor the programs of the NEAH, which, after all, was only founded in 1965. The'73 appropriations divide into $28,025 million to arts groups and individuals,$6,875 million to state arts councils, $34.5 million to the humanities, $7 millionin treasury funding (a $1 to $4 matching support), and $5,314 million for adminis-trative expenses. Meanwhile, the Partnership for the Arts has announced its goalfor 1974 as $100 million for the arts alone. The need for almost tripling the currentsum is readily understandable if one considers the proximity of the U.S. Bicen-tennial, at which time the arts must play an indelibly prominent role in the festiv-ities. Therefore, the Partnership's plans are for lobbying for $100 million for 1974,$150 million for 1975, and finally, $200 million for the year of the celebration.With Congress beginning debates on all appropriations for the next Fiscal yearright after the November election, it is vital to inform individual representativesand senators of their community's needs for support of arts programs.

Regarding opera programs, NEA has not made any major revisions in its Guide-lines for '73, and only applications from "major companies," i.e., those withbudgets over $100,000, are accepted. Favorable consideration is given to per-formances of opera in English, to productions of American works, special com-munity-oriented projects, and all other conditions outlined at the COS Conferencein Washington last year. As usual, deadline for application was September 1. Asmentioned in "News from Opera Companies," this year there are an additional7 companies with budgets over $100,000 which may be eligible to apply for grants.

In 1970, the National Endowment for the Arts, in a cooperative venture with theOffice of Education, initiated a program of placing professional artists withouteducational degrees into elementary and secondary schools. The project is chan-nelled through the boards of education under Title III and through state artscouncils. Begun as a pilot project with a $600,000 grant, it has now been expandedand will have $2.5 million at its disposal. It is regrettable to note that, at thiswriting, only seven states will include music in their general performing artsprojects under this program.

The National Endowment for the Humanities, which last year came to the rescueof the New York Public Library before it was forced to cut services drastically,has offered a grant of $750,000 to the research libraries of NYPL. The terms callfor a two to one matching grant, with the federal government giving one dollar foreach two raised by the libraries (up to $1.5 million) by June 1973. With variouslarger private donations already pledged, it is hoped that the very valuable musiclibrary will again be open to the student and scholar for longer hours, as it hasbeen in the past.

Following the financial crisis at the Kennedy Center, which also resulted in thediscontinuation of visitor's tours of the Center, the U.S. SENATE approved agrant of $1.5 million for the maintenance of this national showplace.

President Nixon vetoed an appropriations bill which would have granted $155million for two years to the Corporation for Public Broadcasting, the umbrellaorganization for the National Educational Television stations. Congress then passeda bill assuring a one-year support of $45 million. However, the reduced funds mayrequire a cut in productions, possibly effecting the NET Opera Theatre.

The appropriation for the NEW YORK STATE COUNCIL ON THE ARTS wasagain somewhat reduced this year. Albany approved a total of $14.3 million (com-pared to a previous high of $18 million), while the number of applications hadincreased to 1277. This figure is exclusive of applications received from creativeartists for aid from the State Arts Council-supported Cultural Council Foundation.

Under the auspices of the TENNESSEE ARTS COMMISSION, a touring programhas been developed which effectively services the State with both visual and per-forming arts. As part of this venture, the Memphis Opera Theatre and the operadepartment of Memphis State University are offering jointly a fully staged pro-duction of The Barber of Seville with piano or orchestral accompaniment at a costof $1500 and $2500, respectively. Non-profit community organizations within thestate interested in booking the company may apply at the Commission for sponsor-ship. The Memphis company also offers performances of Little Red Riding Hoodunder the same program; price quotes are available upon request.

Services

Not all assistance to the arts is in the form of cash — sometimes free services havebeen most helpful in filling particular needs. The Birmingham Symphony has beenusing free space offered by the Alabama Power Company for rehearsal and storage,thus saving on expensive rental fees. — Similarly, the Bishop Trust Company ofHawaii has turned over some office space in their new 15-story building to theHonolulu Symphony and Opera Theatre, which is also provided with space forthe construction and storage of sets and costumes, and with rehearsal halls by TheHawaii Corporation. Continental Airlines/Air Micronesia assisted in the transportof orchestra members and instruments for an eleven-concert tour to five islands.

An exchange of sevices was agreed to by the Cunard Steamship Lines and theRichmond Sinfonia. The musicians travelled at reduced rates to Bermuda, wherethey had concert engagements, in return for "open rehearsals" on board.

Mexico's Internal Revenue Service accepts works of art in lieu of taxes from itscreative artists for display in public and government buildings or state museums.

ARTS - AN INDUSTRY, and Other Economic Surveys

State Arts Councils are playing an ever-increasing role in the support of the Arts,according to a study completed earlier this year by the NATIONAL RESEARCHCENTER FOR THE ARTS. Based on the 1970-71 season, the study revealed thatof the $32 million distributed by state arts councils, the major share came from thefederal government (NEA); few councils were able to raise substantial fundsthrough their state legislatures. All receive some private support. Projects supportedby the state arts agencies were in three general areas: touring, assistance to artists,and technical assistance to arts organizations. The greatest number of grants wereawarded in the field of music; the largest percentage of money was spent in thevisual arts. Percentage figures pertaining to activities supported in rural versusurban areas were given as follows: 32% in urban areas, with an additional 5% ininner cities, 22% in rural areas, and 27% statewide. The Associated Councils ofthe Arts published the results of the study, which it had commissioned from theNRCA, an affiliate of the research firm of Louis Harris and Assoc, headed byJoseph Farrell (see Winter '72 BUtn.). Copies of STATE ARTS COUNCILS areavailable for $5.

The same research firm undertook a comprehensive survey entitled THE ARTS ASAN INDUSTRY which has just been published and offers a new insight into theeconomics of arts organizations. Commissioned by the N.Y. State Arts Council incooperation with the Performing Arts Ass'n of N.Y. State and the N.Y. State Ass'nof Museums, the study is, of course, limited to New York. Of approximately 3000existing organizations, 543 independent professional companies were chosen forthe project, all with operating budgets of at least $5,000. Although the 194-pagestudy is too lengthy to report on in detail (copies are available for $3 from theNCRA), some of the information it reveals is most important, and may be ofassistance to non-profit cultural companies, both as a guideline for their organiza-tion and as a reference to use when applying for aid.

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At the outset, the Research Center substantiates the statement that the arts areindeed an industry. In New York State alone $177 million was spent by the 543organizations during the 1970-71 season (for an unexplained reason, the Metro-politan Museum of Art budget was not included in these figures). Of this amount,$103 million went into payroll for over 31,000 employees, but, unlike the workforce of any other industry, an additional 27,000 people volunteered administrativeor artistic services to the researched organizations. Payroll expenses for servicesnecessary to operate the organizations would have been almost double had everyonereceived pay! In addition, it was found that salaries of trained administrativepersonnel, particularly administrative and artistic directors, were about half thatof their counterparts in industry. Thus, the grand total of $177 million spent inthe arts represents a very depressed figure, considering the required training of thepersonnel and the man-hours worked.

Another part of the report revealed that of the $177 million spent, about $23.5million was spent on goods and services within the community — a considerableamount in view of the fact that the State Council had given $8 million to theseorganizations, which, in turn, returned the money to the community manifold.This is an important argument when presenting a case for state or communitysupport, as well as for local support from major corporations, which are, no doubt,interested in increasing both the economic and cultural climates in their home town.Private and, in particular, corporate giving is on the rise, and in 1970-71 accountedfor 4Vi times the assistance from government (federal, state, local) sources.Approximately 65% of the budgets of performing arts organizations were retrievedfrom box office receipts, while the percentage in the visual arts was, naturally,considerably lower. Yet, over 10,000 free performances with an attendance of 7.5million were recorded. The study states that the total attendance of all artisticevents at the 543 organizations during the 1970-71 season was over 70 million, butit must be considered that these are not 70 million different individuals, but rather70 million seats (or standing room places) filled.

The report includes innumerable charts juxtaposing budgets, attendance, adminis-trative and artistic personnel, goods and services, performance schedules, fundraising, subscriptions and ticket prices, breakdown of budgets, and many others.It is hoped that this study can be repeated for several years, in order to indicatetrends, since no one year can be representative of the situation as a whole. It isfurther hoped that a sponsor may be found to facilitate a nationwide expansionof the survey, which would allow comparison between various areas of the countrywithin the same cultural field. Meanwhile, Mr. Farrell and his staff are to becongratulated upon the first decisive step toward treating the economics of the artson a business-equated level.

The National Endowment for the Arts has published a report designed to aid in-dividuals and organizations in determining their eligibility for assistance under anyof the various Endowment programs. Copies of OUR PROGRAMS — stocknumber 3600-0011 —may be obtained from The Superintendent of Documents,U.S. Government Printing Office, Washington, D.C. 20402. Enclose $1 withyour order.Besides the previously mentioned study on activities of State Arts Councils, theAssociated Councils of the Arts, 1564 Broadway, New York, N.Y. 10036, has thefollowing new Directories available: DIRECTORY OF NATIONAL ARTS OR-GANIZATIONS, Membership Associations Serving the Arts, and the DIREC-TORY OF COMMUNITY ARTS COUNCILS. The community Directory listsa total of 254 councils, identifying general areas of interest. Each publication ispriced at $3.

The Washington International Arts Letter has compiled and published the followingguides. MILLIONS FOR THE ARTS: Federal and State Cultural Programs, avail-able for $10.50, and an expanded second edition of GRANTS AND AID TOINDIVIDUALS IN THE ARTS, priced at $10.95. They may be obtained fromWIAL, 115 Fifth Street, S.E., Washington, D.C. 20003.

The Business Committee for the Arts at 1270 Avenue of the Americas, NewYork, N.Y. 10020, offers free copies of its pamphlets SALVATION, The UnitedWay?, THE ARTS AND THE CORPORATE PATRON, and 126 WAYS TOSUPPORT THE ARTS.

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Other recent surveys of special interest to the musical community include onecommissioned by the Partnership for the Arts on THE GROWING FINANCIALCRISIS OF SYMPHONY ORCHESTRAS. It was conducted by the managementconsultant firm of McKinsey & Co. in cooperation with the American SymphonyOrchestra League and was based on a cross-section of twenty-eight out of 1060symphony orchestras. Comparative figures regarding budgets, performances, at-tendance and income over the last ten years were collected and showed that, whileperformance and attendance numbers almost doubled (remaining constant in re-lation to each other), expenses have more than tripled over the same period.

The Association of College and University Concert Managers conducted a year-long study, sponsored by the National Endowment for the Arts and the MarthaBaird Rockefeller Fund for Music, which resulted in the REPORT OF THECONCERT ENVIRONMENT STUDY. It concluded with recommendations fortraining of administrators to function effectively as "ombudsmen for the arts," forimproved programs of support for the arts, for new priorities for the arts in thefields of broadcast and printed media, and for the reexamination of the goals ofeducation in respect to the arts.

The Canada Council and the Ontario Arts Council together sponsored a study onOPERA IN CANADA. It was conducted by the Earl of Harewood, formerly anadministrator of the Royal Opera at Covent Garden, director of the EdinburghFestival, and, at present, general administrator of the Sadler's Wells company. Thefifty-paee report presents detailed profiles of fourteen Canadian opera companiesand workshops and concludes each section with recommendations for alleviatingspecific problems. Ruby Mercer, editor of Opera Canada, assisted in the prepara-tion of the report.

JOBS, CONTRACTS, and PERFORMANCE RIGHTS

OPPORTUNITY RESOURCES FOR THE PERFORMING ARTS is the firstorganization devoted exclusively to filling administrative and technical positions inthe performing arts. Its director, Gary Fifield, explains that organizations may listany openings in administrative or technical positions with him for an annual feeof $25, while individuals who wish to know of employment opportunities mayregister with Opportunity Resources, located at 130 W. 56th St., New York, N.Y.,10019, for a fee of $10. Although its offices are in New York, the organization'sservices are national, and it aims to provide opera companies, symphony orchestras,theater and ballet companies, arts councils, foundations active in the arts, etc.,with qualified personnel in the fields of arts administration, accounting, publicityand public relations, fund raising, and secretarial work. While the organizationdoes not handle creative or performing artists (singers, actors, instrumentalists,directors, or designers), it does handle technical personnel, such as technicaldirectors, lighting technicians, stage managers, wig makers, costumers, and crafts-men. The founding of Opportunity Resources was facilitated by grants from theNational Endowment for the Arts, the New York State Arts Council, the Rocke-feller Brothers Fund, and the Edward John Noble Foundation.

Before leaving for what turned into the tragic vacation, Goran Gentele workedout an agreement with Metropolitan Opera orchestra musicians, signing a three-year contract with members of Local 802, the N.Y. chapter of the AMERICANFEDERATION OF MUSICIANS, one month before the previous contract expired.Besides a raise in base pay over the three years to $385 in the 1974-75 season andadditional pension plan benefits, special agreements included terms for television,film, and recording rights — which have already resulted in the first recording bythe company in fourteen years. While the musicians agreed to a possible maximumof fifty days on tour, their per diem allowance was increased to $35. — Mr. Gentele

had also begun negotiations with the other unions and virtually completed anagreement with members of the AMERICAN GUILD OF MUSICAL ARTISTSconcerning contracts for soloists. — Schuyler Chapin, acting general manager,recently announced ratification of a three-year contract by Local 1 of the THEA-TRICAL UNION, the stagehands union, and stated that negotiations with the fewremaining unions are progressing satisfactorily.

Meanwhile, contract talks between members of the American Federation ofMusicians and the League of New York Theaters, as well as with the KennedyCenter in Washington, were stalemated. While a strike was finally averted, thestalemate did result in a delayed opening of a musical at the Kennedy Center, atwo-day closing of Radio City Music Hall and near closing notices at seven currentBroadway musicals.

New Rights for Creative Artists

For the first time, property rights of stage directors and choreographers have beenrecognized, and a recent agreement attests to their rights to their creative efforts.A contract signed between the SOCIETY OF STAGE DIRECTORS ANDCHOREOGRAPHERS and the League of New York Theaters stipulates that thedirector and/or choreographer owns the rights to his portion of a production log,which henceforth may not be published without his consent. Royalties from suchguides have, in the past, been paid to author, composer and producer only. Thecontract also includes pension and welfare benefits for the first time. The jurisdic-tion of the union, which has 500 members, extends to Broadway, Off-Broadway,and regional theaters.

Another favorable first was achieved by COMPOSERS negotiating with televisionproducers concerning the rights to their music. CBS is the first network which hasagreed to return the rights to all music especially written for TV programs to thecomposers and to include provisions regarding these rights in future contracts.Composers, who are at present restricted in having their music performed atconcerts if such music was originally written for TV or film, are also hoping for asimilar agreement with other TV networks and with film producers.

The one area in which no progress can be reported is that of the general COPY-RIGHT LAW. Despite the introduction of bills for the revision of the antiquatedlaw, all of which were shelved by Congress, the present law has again been ex-tended, this time until December 1974.

NEW PERFORMING FACILITIES

Thanks to a $50 million endowment from the Bonfils Foundation, the City ofDenver is planning the construction of a Performing Arts Center. Income fromthe Endowment Fund is to cover building and maintenance costs. The Arts Centerwill have a symphony hall/opera house, and it is therefore with special regret thatthe demise of the Denver Lyric Opera has to be reported at this time.

The Walter P. Chrysler, Jr. Cultural Center is being built in Norfolk, Virginia.It will house two theaters, one with a seating capacity of 2470, the other with300 seats. The Center will also be the repository for the Chrysler Collection andcontain exhibit space, offices, and conference rooms.

On September 29, the University of Iowa opened a new Center for the Arts,designed by New York architects Harrison and Abramovitz. One of the two build-ings of the Center in Iowa City is the Music Building with two auditoriums.The Virgil M. Handier Auditorium seats 2670, the Clapp Recital Hall, 720; boththeaters have facilities for orchestra pits. The Hancher Auditorium is fitted withmodern technical equipment, and the large stage, with its side stages, is well suitedto opera productions. Dressing rooms, shops, and storage rooms for scenery andcostumes are also provided.

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Drake University in Iowa is also opening a Fine Arts Complex this Fall. The750-seat auditorium will be inaugurated with a performance of Falstaff onNovember 6 in Des Moines.

Plans are underway for the construction of the Westchester Premier Theater atthe intersection of the N.Y. State Thruway and the Cross Westchester Expressway.Designer Ralph Aswang's blueprints call for a 3200-seat, multi-purpose theaterwhich could accommodate plays, opera or musicals, symphony concerts and ballet,as well as recitals. Costs are estimated at $2.5 million; the tentative date forcompletion is 1974.

Fidelio is the opening production for the new Staatstheater in Darmstadt, WestGermany. The modern building, designed by Darmstadt's own architect, RolfPrange, has a marble fa?ade and is supposed to incorporate the most moderntechnical stage innovations. It is the first German theater to house two auditoriums(500 and 950 seats, respectively), rehearsal rooms, offices, and scenery and cos-tume shops all under one roof.

The Teatro Regio in Turino has been rebuilt after having burned down some fortyyears ago. / Vespri siciliani has been chosen for the opening in April 1973 withMaria Callas staging the opera and Giuseppe Patane conducting.

NEW TRANSLATIONSThe English translation of The Abduction from the Seraglio by Wesley Balk, used bythe Center Opera in Minneapolis and the Kansas City Lyric Theater, has been publishedby SEMA and is available from Alexander Broude, 1619 Broadway, New York, N.Y.,10019.

Completing his translation of the Ring cycle, Andrew Porter is working on an Englishversion of Siegfried for performance by Sadler's Wells in London next season. — Anothernew translation for Sadler's Wells was undertaken by British conductor Edward Downes.This one is of Prokofiev's War and Peace.

The use of the vernacular for television opera has resulted in an English translation ofThe Tales of Hoffmann by Edward Agate. It was commissioned for a BBC productionand is available from there. — Tom Hammond was responsible for the English versionof Hansel and Gretel used by CBC-TV Toronto.

A. W. Watts wrote the English version of Scarlatti's // Trionfo dell'onore for the operadepartment at the University of Manitoba in Winnipeg.

When the Manhattan School of Music performed Henze's Boulevard Solitude last Spring,it used a new English translation by Grete Weil.

Richard Barri, director of the Opera Theatre of N.Y., made his own English translationof Berlioz' Beatrice and Benedict for performances by his company.

Another French opera, Gounod's Philimon et Baucis, was performed by the NewEngland Opera Group as The Gift of God. The new two-act English version was con-ceived by Rafael de Acha and is available from him, c/o Centenary College, Shreve-port, La.

A new English translation of The Queen of Spades has been commissioned by thePaterson Lyric Opera for performances in November.

Ted Puffer, director of the Nevada Opera Company in Reno, has added two moreoperatic translations to his extensive list: Don Giovanni and La Traviata.

Two works by Kurt Weill were performed last summer, both with new English texts.The Threepenny Opera was heard at the Lake George Festival with words by Vando,The Yes Man (Jasager) at the Berkshire Festival in Tanglewood with a text by ArthurWaley and J. M. Potts.

Finnish composer Merikanto's Juha was recently published with both its original librettoand a singable English translation by George Buckbee. The opera, premiered in 1967,opened the September Festival in Helsinki.

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SETS AND COSTUMES FOR RENT

The following sets and costumes, designed and built within the last season, have beenregistered with Central Opera Service as available for rental. They are in addition tothose listed in the 1970 Directory of Sets and Costumes for Rent and in the Supplementwhich appeared in the Fall 1971 Bulletin.

Aida (sets) Edmonton Opera Ass'n, Alberta, Canada(sets) Kansas City Lyric Theater, Kansas City, Mo.(sets) Philadelphia Lyric Opera, Philadelphia, Penna.

Amahl and the Night Visitors (sets & costumes) Okla. College of Liberal Arts, Chick-asha, Okla.

Ariadne auf Naxos (sets) St. Paul Opera Ass'n, St. Paul, Minn.The Ballad of Baby Doe (women's costumes) Univ. of Wis., Oshkosh, Wis.The Barber of Seville (sets & costumes) Greek Theatre Ass'n., Los Angeles, Cal.Black Widow (Pasatieri) (sets) Seattle Opera Ass'n, Seattle, Wash.Carmen (sets) Greater Utica Opera Guild, Utica, N.Y.

(costumes) University of Utah, Salt Lake City, UtahCarmina burana (costumes) Hanover Opera Workshop, Hanover, N.H.Cavalleria rusticana (sets) Vancouver Opera Ass'n, Vancouver, B.C., CanadaCenerentola (sets) Opera Guild of Greater Miami, Miami, Fla.Chocorua (Selig) (sets & costumes) Tanglewood Music Theatre, Berkshire Music Center,

Lenox, Mass.Les Contes d'Hoffmann (sets) St. Paul Opera Ass'n, St. Paul, Minn.Don Pasquale (sets, Art Nouveau style) Assoc. Artists Opera, Boston, Mass.L'Elisir d'amore (sets & cart) Carnegie-Mellon Univ., Pittsburgh, Penna.Falstaff (sets) Indiana University, Bloomington, Ind.

(sets) Opera Society of Washington, D.C. (Oliver Smith)La Fanciulla del West (sets) St. Paul Opera Ass'n, St. Paul, Minn.Faust (costumes) Hanover Opera Workshop, Hanover, N.H.La Favorita (sets & costumes) Dallas Civic Opera, Dallas, Texas (della Corte/Hall)Fidelio (costumes) Dallas Civic Opera, Dallas, Texas (Hall)Die Fledermaus (sets) Associate Artists Opera, Boston, Mass,

(sets) Eastman School of Music, Rochester, N.Y.(sets) St. Paul Opera Ass'n, St. Paul, Minn,(sets & costumes) West End Opera Co., Alta Loma, Calif.

Gianni Schicchi (sets) Kansas City Lyric Theater, Kansas City, Mo.The Good Soldier Schweik (sets & costumes) Center Opera of Minn., Minneapolis, Minn.Hansel and Gretel (sets) Portland Opera Ass'n, Portland, OregonL'Incoronazione di Poppea (sets & costumes) Center Opera of Minn., Minneapolis, Minn,

(sets & costumes) Tanglewood Music Theatre, Berkshire Music Center, Lenox, Mass.Little Sweep (Britten) (sets) University of Oklahoma, Norman, Okla.Lucia di Lammermoor (sets & costumes) Dallas Civic Opera, Dallas, Texas

(sets) Opera Gala Guild, Florida Symphony, Orlando, Fla.Lucrezia Borgia (sets) Edmonton Opera Co., Alberta/Vancouver Opera Ass'n, Van-

couver, B.C., CanadaDie lustige Witwe (sets) R. L. Grosh, Los Angeles, Cal.*Madama Butterfly (sets) Opera Guild of Greater Miami, Miami, Fla.

(sets) Philadelphia Lyric Opera, Philadelphia, Penna.(costumes & wigs) Illinois State University, Normal, 111.

Mahagonny (sets & costumes) Tanglewood Music Theatre, Berkshire Music Center,Lenox, Mass.

Manon (sets) Opera Guild of Greater Miami, Miami, Fla.Manon Lescaut (sets) Opera Guild of Greater Miami, Miami, Fla.Maskarade (Nielsen) (sets & costumes) St. Paul Opera Ass'n, St. Paul, Minn.Masque of Angels (Argento) (costumes) Arizona State Univ., Tempe, Ariz.The Medium (sets) University of Oklahoma, Norman, Okla.Le Nozze di Figaro (sets & costumes) Center Opera of Minn., Minneapolis, Minn.

(sets) Edmonton Opera Ass'n, Edmonton, Alberta, CanadaL'Occasione fa il ladro (sets & costumes) Sonoma State College, Rohnert Park, Calif.Pagliacci (sets) Vancouver Opera Ass'n, Vancouver, B.C., CanadaLes Picheurs de perles (sets) Philadelphia Lyric Opera, Philadelphia, Penna.

(costumes) Riverside Opera Co., Riverside, Cal.

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The Play of Daniel (costumes) Texas Tech Univ., Lubbock, Tex. (des: T. West)Rigoletto (sets) Opera Gala Guild, Florida Symphony, Orlando, Fla.Der Rosenkavalier (sets) Portland Opera Ass'n, Portland, OregonThe Saint of Bleecker Street (sets) Kansas City Lyric Theater, Kansas City, Mo.Summer and Smoke (Hoiby) (sets & costumes) St. Paul Opera Ass'n, St. Paul, Minn.La Traviata (sets) Opera Company of Boston, Boston, Mass.

(sets) Edmonton Opera Ass'n, Edmonton, Alberta, Canada(sets & some costumes) Greater Utica Opera Guild, Utica, N.Y.(sets) University of Tennessee, Knoxville, Tenn.

A Village Romeo and Juliet (sets & costumes & projection) Opera Society of Washington,D.C./Seattle Opera Ass'n, Wash./St. Paul Opera, Minn.

Die Walkure (sets) Indiana University, Bloomington, Ind.

Gilbert and Sullivan operettas:The Gondoliers (sets) Hingham Civic Chorus, Hingham, Mass.

(costumes) Redlands Bowl, Redlands, CaliforniaThe Yeomen of the Guards (sets) Kansas City Lyric Theater, Kansas City, Mo.

The College Conservatory of Music at the University of Cincinnati informs us that itoffers for sale its set and costumes designed and executed for its opening production atthe Corbett Pavilion of the Cavalli opera La Calisto. Designed by Paul Shortt, it featuresmetal and black lacquer and includes 3 metallic "cloud" hangers and 2 flying machines.

Following is a list of additional rental companies recently active in opera (for originallist see 1970 Directory)

American Costume Co., 830 18 St., Denver, Colo. 80202 (cost.)Arizona Costume House, 4240 N. 19 Ave., Phoenix, Ariz, 85015 (cost.)Costume Studio, 2422 A Broadway, Lubbock, Texas 79401 (cost.)Grosh, R. L., 4114 Sunset Blvd., Los Angeles, Calif. 90029 (sets)Hickory Costume, 46 3rd St., N.W. Hickory, N.C. 28601 (cost.)James Miller, 3415 Reily Lane, Shreveport, La. 71105 (sets)Jack Mullane, 714 11 St., N.W., Washington, D.C. 20001 (cost.)Scott Costumes, 1121 Tuscarawa, Canton, Ohio 44702 (cost.)

WINNERS A N D COMPETITIONS

EVELYN PETROS, a coloratura-mezzo from San Francisco, was the first-prize-winnerat the 1972 San Francisco Opera auditions. She received the $1500 James SchwabacherMemorial Award. Other winners were tenor WILLIAM HARNESS from Seattle — the$1000 Florence Bruce Award, soprano VICTORIA WHIPPLE from Utah —the $500William Kent, Jr. Memorial Award, and soprano JEANETTE HALLWOOD fromDallas — the $250 // Cenacolo Award given in memory of the late Gaetano Merola.They were chosen from ten finalists auditioning on the stage of the War Memorial OperaHouse on June 26. All finalists were invited to participate in the Merola Opera Programduring the summer, and some winners were featured at a concert at San Francisco'sStern Grove. The training program culminated in a staged opera performance at the PaulMasson Winery in Saratoga where the two winners of the Merola Program were an-nounced. Bass-baritone MICHAEL GALLUP from Los Angeles received the $1000Gropper Memorial Award, and Miss WHIPPLE won her second prize, the $500 KarlKritz Memorial Award.

First prize of the CBC Talent Festival went to ANNA CHORNODOLSKA from Winni-peg ($2000), and second prize to ANN COOPER ($1000). Miss Cooper is a formerMetropolitan Opera National Council district winner. — Miss Winifred Cecil's Joy ofSinging competition was won by soprano ELLEN VINCENT. She will be presented ina debut recital at New York's Tully Hall in October. -

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The Wolf Trap Foundation has announced the first recipients of awards given under thefoundation's fellowship program, which is co-sponsored by area residents. The threewinners, each of whom received a cash grant of $1000 and a contract for the 1972summer season at Wolf Trap's Filene Center, were 20-year-old soprano REBECCALITTIG from Alexandria, Va. — the Mark Johnson Memorial Fellowship; 28-year-oldtenor HOWARD HENSEL from Alexandria — the Service League of Northern VirginiaFellowship; and 21-year-old bass-baritone EARL M. GRANDISON, JR., from Baltimore— the Etta and Henry Wanger Foundation Fellowship. Last summer's Wolf Trap Com-pany of 100 young singers and dancers was assembled from over 3500 applicants audi-tioned in 26 cities. For this year's audition centers and dates, address the ProductionCoordinator, Wolf Trap Foundation, 1624 Trap Rd., Vienna, Va. 22180.

The Cleveland Institute of Music awarded both the Boris Goldovsky Prize in Opera andthe Max Berman Prize for Outstanding Performance to MARGARET EAVES for herperformance in The Turn of the Screw.

This summer, the International Vocal Competition of the Vienna Festival, in its firstyear, named three winners in both the men's and women's categories. First prizes wentto Romanian tenor EMIL GHERMAN and Russian dramatic soprano OLGA BUSINA,second prizes to Hungarian baritone ISTVAN GATI and Lebanese coloratura-sopranoSONA GHAZARIN, and third prizes to Russian baritone ASARIK ABBASOW andBelgian RIA BOLLEN. As another result of the competition, Mr. Gherman and MissGhazarian were awarded contracts by the Vienna Staatsoper, and Miss Bollen willparticipate in a concert at the Musikvereinssaal.

OPERA America will hold its 1972 auditions in Dallas on December 10 and 11. Partici-pation is only through recommendation by members of OPERA America, and eachproducer may recommend two singers who have sung with his company.

(See COS Inside Information regarding a new amendment to the Awards for Singersbrochure.)

Composers and Conductors

Composers may apply for grants for special projects at the Cultural Council Foundation'sCreative Artists Public Service Program. The Foundation is sponsored by the. New YorkState Council on the Arts and is located at 250 W. 57 St., New York, N.Y, 10019. Arepresentative portfolio of work must be submitted with the application, as well as abiography and list of accomplishments. Grants average about $3000; registered studentsare not eligible.

The New England Chamber Opera Group is looking for a one-act opera scored forchamber orchestra, a maximum of 8 singers, and no chorus. It should not call for specialeffects requiring a complicated production. New England composers are invited to submitworks to the group at 517 Commonwealth Ave., Newton Center, Mass. 02159, beforeMarch 30, 1973, for possible production during the 1973-74 season. The winning operawill also draw a cash prize.

Two new Competitions for Young Conductors have been organized. One is sponsoredby Sir Georg Solti and the Chicago Symphony Orchestra and is open to Americanconductors born after January 1, 1943. The first prize offers $2500 and an appearancewith the Chicago Symphony, the second prize $1500, and the third prize $1000; inaddition, second and third prize winners will conduct the Chicago Civic Orchestra. Formore information, write to the Chicago Symphony, 220 S. Michigan Ave., Chicago, 111.60604. — An international Young Conductors Competition is being sponsored by theRupert Foundation of Zurich in cooperation with the London Symphony. The competitionis open to conductors between 20 and 30 years of age, and the committee requests thatapplicants have previous conducting experience with professional or amateur groups of"reasonable standing." The first prize is a £2000 scholarship and an allowance to travelwith the orchestra for one year, with a number of public appearances assured. Applica-tions must be received before December 31 at the Rupert Foundation, c/o Michael Kaye,27 Baker St., London W 1, England. Finals will be held at London's Royal Festival Hallin March 1973.

APPOINTMENTS

Following the tragic automobile accident of the Metropolitan Opera's new GeneralManager Goran Gentele in Sardinia in July, the Board of Directors named SCHUYLERG. CHAPIN, former assistant manager, to the position of Acting General Manager (seeJune '71 Blltn.). FRANCIS ROBINSON is the Assistant Manager, with CHARLESRIECKER and MICHAEL BRONSON as Artistic and Technical Administrators, re-spectively. WILLIAM H. HADLEY is Director of Finance, and Miss EVA POPPERis the Executive Assistant. Mrs. Gentele, who was an actress before her marriage andwho often worked with her husband on productions, plans to make her home in NewYork and might work for the Metropolitan Opera in a consultant capacity.

The Business Committee for the Arts has elected FRANK STANTON, vice-chairmanof CBS, as its new Chairman, succeeding Robert O. Anderson. G. A. McLellan is Presi-dent of the organization.

ROBERT NEWMAN SHEETS was elected Chairman of the National Assembly ofState Arts Agencies.

NORMAN L. FAGAN, former Director of Education at the Kennedy Center andExecutive Director of the West Virginia Arts and Humanities Council, was appointedDirector of Performing Arts and Public Media for the National Endowment for theArts. Mr. Fagan succeeds DOUGLAS RICHARDS, who recently founded an arts man-agement consultant firm in Phoenix, Arizona. — Another new appointment announcedby NEA is that of FANNY TAYLOR to the newly created post of Director of ProgramInformation. This is Miss Taylor's second term with the federal agency. She was NEA'sfirst Program Director for Music in 1966-67. In order to fill the new post, she has takenan indefinite leave of absence from the office of Executive Director of the Associationof College and University Managers. WILLIAM M. DAWSON was named ActingExecutive Director.

The Music Educators National Conference named JACK E. SCHAEFFER to a two-yearterm as President of the organization. Dr. Schaeffer, who is Director of Music Educationin Seattle's public schools, in turn chose four new chairmen to serve during his tenure:Avery L. Glenn (Brigham Young University), George H. Wilson (Roosevelt University),Edith Savage (San Diego State College) and Wiley L. Housewright (Florida State Uni-versity). CHARLES H. BENNER of the University of Cincinnati is the new President-Elect and will succeed Dr. Schaeffer in 1974.

LIONEL C. EPSTEIN has been elected President of the Opera Society of Washington,D.C., succeeding Hobart A. Spalding who will remain on the Board of Directors. IanStrasfogel is the company's General Director; Mr. Jean-Pierre Marty is no longeraffiliated with the organization.

British author, musicologist, and translator ANDREW PORTER is guest critic for TheNew Yorker for the current season, following Winthrop Sargeant's retirement. Mr. Porter,music and dance critic of London's Financial Times, is on a one-year leave of absencefrom the newspaper.

LEONARD BERNSTEIN was named Honorary Patron of the 1973 Vienna (Austria)Youth Music Festival with ISAIAH JACKSON as Director. The three-week festivalwill be devoted to 1) classical music, 2) band music, and 3) jazz. — Other Europeanappointments include that of RUDOLF GAMSJAEGER who, in addition to directingthe Vienna Staatsoper, will also head the Volksoper in order to coordinate the seasonsof both houses. — MICHAEL GIELEN, Music Director of the Netherlands Opera,named GOETZ FRIEDRICH, assistant to Walter Felsenstein in East Berlin and a stagedirector at Bayreuth, as Chief Producer of the Dutch company beginning September '73.

Changes in managerial positions include KENNETH K. CASWELL, former manager ofthe San Antonio Symphony and Opera, to Business Manager of the San Diego Opera,while EDWARD PURRINGTON, formerly of Santa Fe, has become the new Manager inSan Antonio. — The Houston Grand Opera may be the company with the youngest Gen-eral Director. Twenty-eigh-year old baritone DAVID GOCKLEY has succeeded WalterHerbert who now devotes his full time to the San Diego Opera. Mr. Gockley has beenwith the Texas company since 1970, where Charles Rosekrans is principal conductor. —The Harford Opera Theater in Bel Air, Maryland, has named DUNCAN H. MAC-KENZIE to the newly created position of General Manager. Saul Lilienstein continues as

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Artistic Director of the company, which plans expanded activities for next summer. —ROGER R. JONES is the new General Manager of the Honolulu Symphony and OperaTheatre. His previous positions were with the Dallas, Cincinnati, and Oakland symphonyorchestras. He succeeds RICHARD CORNWELL, who left to head Associated PacificArtists, a new booking agency for the performing arts in the South Pacific. — The pro-motion of DIANA CLARK, former Production Assistant at the Dallas Civic Opera, toAssistant General Manager, was announced by Lawrence Kelly, General Manager.—BRIAN HANSON, Administratvie Director of the Vancouver Opera Ass'n in Canada,has been named the company's General Manager.

Metropolitan Opera bass LORENZO ALVARY, who had been named Associate ArtisticDirector of the Opera Guild of Greater Miami (see Summer '72 Blltn.), was appointedGeneral Manager of the organization after the death of the company's founder/director,Arturo di Filippi. Begun in 1941, the group has performed continuously since that time,always under the guidance of Mr. di Filippi.

Following are various Music Directors and Conductors in new positions: MARSHALLWILLIAMSON, who has been with the Metropolitan Opera Studio since 1965, as MusicDirector of the Studio, succeeding John Ryan; — JOHN GIORDANO, Music Directorof the Fort Worth Symphony and the Youth Orchestra for the 1972-73 season, alsonamed artist-in-residence at North Texas State University; — DANIEL LEWIS, Professorof Music at USC, to Music Director of the Pasadena Symphony succeeding RichardLert, who retired; — IRWIN HOFFMAN to Permanent Conductor of the Belgian Radioand TV Symphony Orchestra, in addition to his positions as principal conductor atChicago's Grant Park and Music Director of the Florida Gulf Coast Symphony.

Academia

JOHN GOLDMARK has been named President of Mannes College of Music. He joinedthe faculty in 1939 and has recently been instrumental in affiliating the school withMarymount Manhattan College in a student/course exchange program. Marymount willalso take over some business duties for the music school and will build a 255-seattheater to be shared by Mannes and Marymount. Mr. Goldmark succeeds Hubert Doris,who remains a trustee of the College.

Composer and educator NORMAN DELLO JOIO has been appointed Dean of theSchool of Fine and Applied Arts at Boston University. Among his many activities heis in charge of the Contemporary Music Project for Creativity in Music Education. —Composer/conductor LUCAS FOSS has joined the faculty of the Manhattan School ofMusic as Composer-in-Residence. — ABRAM CHASINS has been named Musician-in-Residence at USC in Los Angeles where he will offer a forum for discussion betweenprofessional musicians and students. HANS BEER, Chairman of USC's Opera Depart-ment, will head an enlarged educational program in cooperation with George Londonand The Opera Theatre. — MICHAEL TILSON THOMAS has been named VisitingAdjunct Professor of Music at the State University of New York at Buffalo; he isMusic Director of the Buffalo Philharmonic. — HARRIET SIMONS was appointed tothe dual position of Director of the University Chorus (open to all registered students)and of the University Choir (participation by audition only) at the State University ofNew York at Buffalo. — DAVID BAMBERGER, a former member of the New YorkCity Opera, is the new Chairman of the Music Theater Department at the Conservatoryof Music at Oberlin College, Ohio. — RAFAEL DE ACHA has become Director of theOpera Workshop and Assistant Professor of Voice at Centenary College of Louisianain Shreveport. — VICTOR FELDBRILL, formerly of the Winnipeg Symphony, hasbeen appointed Conductor-in-Residence at the University of Toronto Conservatory ofMusic. — HERALD STARK was named Professor and Music Director of the OperaTheater at the University of Iowa and awarded the Fisher Chair of Opera, establishedthrough a grant by the Gramma Fisher Foundation. — Soprano JANET WINBURNALCORN has joined the Voice Faculty of the Cleveland Institute of Music.

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BOOK CORNERCharles Osborne, author of The Complete Operas of Verdi, has selected, trans-lated and edited LETTERS OF GIUSEPPE VERDI, published by Holt Rinehartand Winston. It seems almost incredible that this is the first book devoted to Verdi'sletters in an English translation, especially since the composer himself kept a recordof all his important letters (Copialettere) and was a prolific and very expressiveletter writer. Mr. Osborne's selection includes much of the composer's most reveal-ing correspondence concerning his private life as well as his thoughts on his ownand other composers' music. The letters are arranged in chronological order,covering the years 1849 to 1901. The 266 pages offer an enticing appetizer to whatone can only hope will be a larger and more inclusive later edition. The book ispriced at $7.95 and contains some photographs.A complete collection of letters is represented in ALB AN BERG: LETTERS TOHIS WIFE, translated, edited and annotated by Bernard Grun. This collectionappeared in the original German in 1966 (see 5/67 Blltn.), and its translation isa most valuable addition to musical literature in English. The 439-page book spansthe years between 1907 and 1935 and offers a great insight into the composer'spersonality, his thoughts and emotions. Published by St. Martin's Press, it sells for$15 and includes a few delightful drawings by the composer.The last biography written by Herbert Weinstock before his untimely death wasVINCENZO BELLINI, His Life and His Operas. As in all other books by thesensitive and knowledgeable author, there is a wealth of authentic informationhere. The biographical section is interesting reading, while the description ofindividual operas offers excellent reference material. A must for any opera library.Alfred Knopf is the publisher of this illustrated 553-page book; its price is $15.The Chilton Book Company has published the third and last volume of NormanDel Mar's study of RICHARD STRAUSS. Subtitled "A Critical Commentary onHis Life and Works", this volume is devoted to his songs. The biographical partbegins with the death of Hugo von Hofmannsthal in 1929 and closes with thecomposer's death in 1950. Appendices include a list of his songs, a catalogue ofhis works, principal events in the composer's life, a discography and a bibliogra-phy. The three volumes form a most informative, admirable and worthy monumentto one of the giants in music. Just as Volumes I and II, it is priced at $13.95 andcontains many illustrations in its 551 pages.MASSENET by James Harding is a delightful biography and study of Paris duringLa Belle Epoche. At the same time, it includes expert and detailed evaluations ofMassenet's stage works, aided by musical examples and performance annals.Available at $8.95, the 225-page book is published by St. Martin's Press.A book of great interest to opera buffs as well as professionals is Janos Liebner'sMOZART ON THE STAGE. The author, who is both a practicing musician anda musicologist, discusses in detail all of Mozart's twenty-five stage works individu-ally and in relationship to each other. The book is copiously documented byreferences to Mozart's letters and contains many musical examples. The 250-pagebook is published by Praeger and priced at $10.THE LIFE AND DEATH OF MOZART by Michael Levey is yet another Mozartbiography. The author, although not a musician, devotes much space to the com-poser's opera seria, and thus the book may be of some interest to the opera-orientedreader. Generally, it does not offer any new insights. The 278-page book, publishedby Stein and Day, includes a list of other books for "Further Reading" on Mozart;the price of this one is $8.95.Despite a rather trite title, THEME AND VARIATIONS, the 192-page bookauthored by Yehudi Menuhin, will be of great interest to many. Following a brief"personal introduction," the book consists of articles dealing with individual com-posers and such varied subjects as "Music's Contribution to Humanity" and the"Critic's Role". The author also gives much thought to education, the environment,and universal philosophy. Published by Stein and Day, the book is priced at $6.95.Although addressing itself to the subject of the American musical, Lehman Engel'sWORDS AND MUSIC will be of interest to opera librettists as well as to operacomposers. The experiences and views of the successful Broadway director mayprove applicable to the shaping of successful opera productions. The MacmillanCompany published the 355-page book, listed at $7.95.

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THOSE FABULOUS PHlLADELPHIANS, The Life and Times of a GreatOrchestra, by Herbert Kupferberg, first published in 1969 (see 1/70 BUtn.), is nowavailable in a soft-cover edition, priced at $3.45.OPERA, a primer written by one of the most prolific authors on the subject, DavidEwen, is the first in the Mainstreams of Music series. It is handsomely illustratedand may serve well as an introduction to the subject. The 269-page book is pub-lished by Franklin Watts, Inc., and sells for $9.95.Two different The Great Composers series, one published by Praeger Publishers,the other by Thomas Y. Crowell Company, are aimed at young readers. Recentadditions in the first series include HAYDN by H. C. Robbins Landon (100 pages;$6.95), and in the second series, WAGNER by Elaine Padmore (100 pages;$4.95).In COMPOSERS OF TOMORROW'S MUSIC, David Ewen offers a "non-technicalintroduction to the musical avant-garde movement." The 175-page book deals withthe development of modern music from Ives to Cage and Partch, via Schoenberg,Varese and Stockhausen. With its rather popular approach, the book may makesome converts. The publisher, Dodd, Mead and Co.; the price, $5.Composer, musicologist, and teacher Abram Chasins offers a witty and profes-sionally knowledgeable study of the current musical scene in MUSIC AT THECROSSROADS, published by The Macmillan Co. Discussing today's problems asthey relate to the performer as well as to the educator, he analyzes various theories,endorsing some, rejecting others, always showing a light touch even when treatingserious subjects. The price of the 239-page book is $5.95.TWENTIETH-CENTURY VIEWS OF MUSIC HISTORY offers a collection of34 articles by well-known scholars, critics, and composers who each contributedone or more essays on a particular development in music history. William Hayscollected and edited the anthology, which includes articles by Edward Dent on"Italian Opera in the Eighteenth Century" and Eric Salzman on "Revolution inMusic." Most of the selections have appeared in print before. Published by CharlesScribner's Sons, the 470-page book is available in hardcover for $12.50, in paper-back for $5.95.First published in 1937, ESSAYS IN MUSICAL ANALYSIS by Donald FrancisTovey has been reprinted in paperback by Oxford University Press. Volume 5 isdevoted to vocal music and offers a thorough and scholarly study of selected vocalcompositions. The 256-page book is available for $2.95.Alvin H. Reiss, editor of Arts Management and author of the Arts ManagementHandbook, has written CULTURE AND COMPANY, published by TwaynePublishers, 31 Union Square West, New York, N.Y. 10003. "A Critical Study ofan Improbable Alliance" — that between the arts and corporations — Culture andCompany presents considered analyses of present conditions and future trends.The 298-page book should be helpful both to foundation and corporation execu-tives and to arts administrators as a guide to better understanding of each othersproblems, hopefully leading to new avenues of cooperation. In this light, its priceof $8.95 is a small investment indeed.The Institute of Arts Administration of Harvard University has published CASEHISTORIES IN ARTS ADMINISTRATION. Copies may be ordered from theInstitute at 75 Sparks St., Cambridge, Mass. 02138 for $17.50.The 1972 Edition of THE MUSICIAN'S GUIDE has been published and representsnot only a revision but an expansion of the previous (1968) edition. Its editor,Gladys Fields, has collected an abundance of information on musical activities andorganizations here and abroad. In more than 1000 pages, the Guide lists 4379music publishers, 1625 books on music published within the last 3 years, interna-tional competitions in all fields of music, close to 1200 colleges, etc. In addition,space is devoted to suggestions for a "Basic Record Library," a "Basic BookLibrary," and to such diverse subjects as "Certified Music Teachers," "PulitzerPrize Winners," and "Old Instrument Experts." It is published by the MusicInformation Service, Inc., 310 Madison Ave., New York, N.Y. 10017, and costs$39.50 plus postage.THE MUSIC YEARBOOK 1972-73, published by The Macmillan Press, London,is edited by Arthur Jacobs and is an equally comprehensive collection of informa-tion, with special emphasis on the musical scene in Great Britain. The first partof the 750-page reference book is devoted to articles, the second part to a Directory

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covering trade and business associations, first performances and debuts in Englandin 1971, names of solo artists performing in the United Kingdom in 1971, Englishtranslations of foreign language operas (see also COS Listing), and a specialshorter section on international organizations. The book is available both in hard-cover and paperbound. The next issue will be the 1973-74 edition, which may beordered at this time from Macmillan, 4 Little Essex St., London WC2R 3LF,England.

Two guide books for students and professionals are REHEARSAL GUIDE FORTHE CHORAL DIRECTOR by Jack Boyd and WORD-BY-WORD TRANSLA-TIONS OF SONGS AND ARIAS, Part II — Italian, by Arthur Schoep and DanielHarris. Dr. Boyd is Director of Choral Activities at Abilene Christian College inTexas; the 217-page book has been published by Parker Publishing Co., WestNyack, N.Y. — The translation book is a companion piece to the 1966 Part I —German and French Songs and Arias by Messrs. Coffin, Singer and Delattre. Dr.Schoep is Director of the Opera Theatre at North Texas State University in Denton,Mr. Harris is head of the Voice Department at the University of Miami in CoralGables. Their 575-page book with original text and translations is published byScarecrow Press, Metuchen, N.J. Its price is $15.

See Arts — An Industry and Other Economic Surveys for additional new publi-cations. — For latest amendments to COS DIRECTORIES see page 24.

NEW COS MEMBERSAlbuquerque Opera Theatre, Dr. Edward T. Peter, Albuquerque, N.M.Alliance of Arizona Opera Guilds, Mrs. Gilbert Hall, Pres., Phoenix, Ariz.Allison, Patti, Creve Coeur, MissouriBew, Jonalyn H., St. Petersburg, FloridaBlankenship, Barbara, Cardiff by the Sea, CaliforniaBlum, Mrs. Edwin H., Pres., Louisiana Council for Music and Performing Arts,

New Orleans, La.Bogart, Marie, Princeton, New JerseyBogin, Abba, New York, New YorkCalifornia, University of, at Riverside, Library, Riverside, Calif.Chia, Mr. and Mrs. Francis D., Piscataway, New JerseyClauss, Edwin, Herbert Barrett Management, Inc., New York, New YorkConley, Dr. James F., Florentine Opera Co., Milwaukee, WisconsinDavidsen, Rita, Brooklyn Heights, New YorkDavidson, Ann Louise, Alabama State University, Montgomery, AlabamaDelta College Music Dept., Loren Cady, Chm., University Center, MichiganDriver, Robert B., Jr., Baltimore, MarylandEckhart, Janis, Hollywood, CaliforniaGibson, David, Peter Wolf Associates, Inc., Dallas, TexasHarris, Mildred, Carle Place, New YorkHaynes, Edward, New York, New YorkKlinger, Judith, Hollywood, CaliforniaLawson, Isabel, Newport Beach, CaliforniaLondon Opera Centre, James Robertson, C.B.E., Dir., London, EnglandMangham, William D., Lake City, FloridaMcLoughlin, John E., Seton Hall University, South Orange, New JerseyMcMullan, Veronica R., Norwich, VermontMode, Caroline, Greenwich, ConnecticutNebraska, University of, at Omaha, Gene Eppley Library, Omaha, NebraskaPackage Publicity Service, Inc., Bernard Simon, Pres., New York, New YorkPeters, Alton E., New York, New YorkRoberts, Tittica, Herbert Barrett Management, Inc., New York, New YorkSmith, Don, Atlanta, GeorgiaUihlein, Mrs. Erwin C, Florentine Opera Co., Milwaukee, WisconsinVandekieft, Kathleen, Florence, South CarolinaWyatt, Roland, New York, New York

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COS INSIDE INFORMATION

REGIONAL DIRECTORS

We are delighted to announce the appointment of ten new COS Regional Directorsand the reappointment of five others. Through this expanded activity, CentralOpera Service will be able to strengthen its regional involvement with professionalcompanies, community and workshop groups. The Regional Directors plan toarouse the awareness of the general public, stimulating community interest andpride in the opera performances available within each region. They will assist inarranging regional conferences with the dual purpose of bringing together practicingprofessionals to discuss mutual problems and offering supporting patrons an oppor-tunity to gain insight into the complexities of opera production. The Directors willwork in cooperation with the COS professional committee members within eachregion, as well as with the National Council Regional Chairmen. Following is thelist of COS Regional Directors and the area each represents.

NEW ENGLAND Me., Mass., N.H., R.I., Vt. — Miss Mary Davenport, Brook-line, Mass.

EASTERN Conn., N.J., East N.Y., East Pa. — Mrs. William B. Ansted, Jr., NewYork, N.Y.

MIDDLE ATLANTIC Del., B.C., Md., Va. — Hobart A. Spalding, Washington,D.C.

SOUTHEAST Fla., Ga., N.C., S.C. — Miss Blanche Thebom, Atlanta, Georgia

GREAT LAKES Mich., West N.Y., North Ohio, Ont., West Pa. — Mrs. Peter D.Knowles, Buffalo, N.Y.

TRI-STATE South Ind., Ky., South Ohio, W.Va. — Mrs. Sarkes Tarzian, In-dianapolis, Ind.

MID-SOUTH North Ala., East Ark., North Miss., Tenn. — George Osborne,Memphis, Tenn.

GULF COAST South Ala., La., South Miss. — Mrs. Edwin H. Blum, New Or-leans, La.

UPPER MIDWEST Iowa, Manitoba, Minn., Neb., N.D., S.D., Wis. — Mrs.Timothy Fiske, Excelsior, Minn.

MIDWEST West Ark., Ka., Mo., Okla. — Robert G. Anderson, Tulsa, Okla.

SOUTHWEST N.M., Texas — E. H. Corrigan, Jr., Laredo, Texas

ROCKY MOUNTAIN Colo., Utah, Wyo.— Mrs. Richard W. Hanselman, Denver,Colo.

NORTHWEST Alaska, B. C, Idaho, Mont., Ore., Wash. — Mrs. Herbert Ripley,Seattle, Wash.

WESTERN Ariz., Cal, Nev. — Dr. James R. Gibbons, Los Angeles, Cal.San Diego District Dir. — John Patrick FordLos Angeles District Dir. — Michael GianniniNevada District Dir. — Ted Puffer, Reno

PAN PACIFIC Hawaii, Australia — Mrs. Robert G. Hite, Honolulu, Hawaii

CENTRAL ///., North Ind. — to be announced

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INDIANA CONFERENCE

The COS Conference held September 28 to 30 at Indiana University in Bloom-ington was a highly successful event. The attendance reflected a complete nationalrepresentation, with 121 delegates from twenty-two states — from Florida toCalifornia — and Canada. Fifty-two opera companies and workshops were repre*sented, two arts councils, various national arts organizations, and a number ofopera patrons and individuals active in the operatic field (technicians, managers,singers and directors). Although the Conference leaned heavily on the technicalaspects of opera production, it was gratifying to hear that opera patrons enjoyedthe opportunity to look behind the scenes, gaining a better understanding of theopera producer's problems, while the professionals were eager for more detailedinformation along various lines.

A brief recapitulation of the sessions follows. The September 28 morning sessionwas devoted in greater part to familiarizing the registrants with the functions ofCOS and to answering specific questions on the aims and purpose of the organiza-tion, as well as discussing possible expansion into new territories. In the afternoon,the new Musical Arts Center was toured — a remarkable theater visually, acousti-cally, and technically. Staff members connected witkthe different parts of the housevolunteered as guides, and the visits to backstage areas, lighting control booth,riggings, and ballet and rehearsal rooms elicited much interest and admiration. Aprogram of operatic arias and ensembles presented the students (and, by implica-tion, the faculty) to great advantage, and demonstrated the talent that has beendrawn to this, the largest opera department at any academic institution in the U.S.

The September 29 morning session was held in the University's TV studio, and acolor video tape of a new opera, Mishkin by John Eaton, was shown in its entirety(a CPB commission). Since the composer employed electronic music as well as analmost instrumental treatment of the voice, subsequent controversy centered aroundthe importance of the intelligibility of the words in a television opera versus thecomposer's freedom of musical expression. Taping and some interesting, newcamera techniques were the subjects of questions answered in detail by the elec-tronic engineer, technicians, director, and cameraman.

That afternoon, the stagecraft technicians demonstrated their own skill and thetheater's excellent facilities. The greatest interest was evoked by the varied use ofdifferent plastic materials for sets, props, and costumes — possibly because it wasthe one area where even a small workshop can afford to experiment. A paper onthe use of plastics in stagecraft, prepared by USITT, was distributed to the dele-gates, as well as one on lighting, the latter prepared by Kliegl Bros. — Fridayevening, September 29, the Conference registrants attended a performance of DonCarlos in the Musical Arts Center.

The final session on Saturday morning was an exchange of ideas between two stagedirectors and two conductors on the subject of their individual roles and particularspheres of influence. Areas of agreement were: the general lack of sufficientrehearsal time for director and conductor, the need for a general director to matchconductor and director with sympathetic understanding, and, ultimately, the neces-sity for good will to provide cooperation between the two.

NEW COS PUBLICATIONS

Central Opera Service is pleased to announce the publication of the latest amend-ment to the 1969 edition of the AWARDS FOR SINGERS brochure. It is avail-able for 500; the original brochure and the September '72 Amendment may beordered for $1.

Due to the great demand for the 1971 DIRECTORY OF OPERA PRODUCINGCOMPANIES AND WORKSHOPS in the U. S. and Canada, COS is now updatingthe listing and will publish the changes and additions in an Amendment. Price ofthe original 1971 publication $5, of the November 1972 OPCW Amendment $1.

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FINAL PERFORMANCE LISTING, 1971-72 SEASONAlt performances are staged with orchestra unless marked "cone, pf." or "w.p."(with piano). — * following an opera title indicates new production. — Perform-ances and news items once announced will not be relisted at the time of per-formance.

ALABAMAUniv. of Alabama Opera Theater, Sylvia Debenport, Dir., University3/10, 11, 13/72 Hansel and Gretel w.o.

ALASKAAnchorage Lyric Opera Theater, D. Ehling, Dir., Anchorage10/22, 23, 24/71 Opera excerpts (Trovatore & Figaro) Eng.4/21, 22, 28, 29, 30/72 Rigoletto Eng. Machlis; 5/6 in Nome

ARIZONAUniv. of Arizona Opera Theatre, E. Conley, Dir., Tucson5/13/72 // Ballo delle ingrate & The Unicorn, Gorgon and Manticore w.o.Spring '72 Scenes 5 pfs. on tour, also television (see also Summer Bulletin)

CALIFORNIACalif. State Univ. at Fullerton, Opera Theatre, D. E. Scott, Dir.12/11, 12, 13/71 Opera Scenes w.p.5/4, 6/72 The Diary of a Madman & Act II La Traviata & Suor Angelica Eng.

Withers; w.p.5/5, 7/72 Comedy on the Bridge & The Old Maid and the Thief w.p.7/20, 21, 22, 23/72 The Telephone & The Medium w.o.Calif. State Univ. at Long Beach, Music Theatre, H. Lampl, Dir.11/3-6, 10-13/71 Musical4/26-29/72 Albert Herring7/29, 30/72 The Scarf & La Cambiale di matrimonioHollywood Bowl, E. Fleischmann, Mgr., Los Angeles7/11/72 Aida Norman, Dunn; Craig; cond.: Levine; cone. pf.9/9/72 Rigoletto Neblett; Carreras, Milnes; cond.: Levine; cone. pf.M t San Jacinto College Opera Workshop, Ann Ayars, Dir., Gilman Hot

Springs4/7, 9, 15, 21, 23/72 La Cenerentola Eng. Martin; w. 2 ps.Opera Repertory Group, M. Warenskjold, Dir., Sherman Oaks11/12, 13 12/5/71 2/27 3/4/72 Abduction from the Seraglio on tour w.p.; 12/5 w.

Brentwood-Westwood Symphony; Eng.1/27, 29/72 The Impresario Eng. Warenskjold4/9 5/20/72 The Maid Mistress & Scenes, w.p.5/5, 6/72 Sunday Costs Five Pesos & Scenes, w.p.Palm Springs Opera Co., Lily Pons, Art Dir., S. Petroff, Gen. Mgr.12/10, 11/71 Die Fledermaus Eng. Petroff3-4/72 Hansel and Gretel 12 pfs. on tour to schools; Eng. Bache; w.p.San Fernando Valley State College Opera Theatre, D. Scott, Dir., Northridge12/71 Cos) fan tutte Eng. Martin; 6 pfs.3/72 Falstaff Eng. Kallman; 6 pfs.6/72 Cavalleria rusticana & Comedy on the Bridge Eng. Scott & Schmolka; 4 pfs.7/72 Musical 4 pfs.San Francisco Opera, Merola Opera Program7/16/72 La Boheme cone, pf., at Stern Grove; Grayson, Allison; Harness, Myrvold;

cond.: Wilson7/30/72 Opera Concert at Stern Grove; cond.: Adler.8/12, 13/72 Italian Girl in Algiers Eng.; at Paul Masson Winery, Saratoga; Petros;

Acord; cond.: Wilson; dir.: OstwaldSan Francisco Talent Bank, Mrs. A. Crapsey, Dir.11/16/71 Die Fledermaus Eng. Page; w.p.2/2, 3/72 L'Occasione fa il ladro Eng. Ashbrook; w.o.3/21/72 Pimpinone Eng. Page; w.o.8/19/72 Die Fledermaus Eng. PageSigmund Stern Grove, Golden Anniversary Celebration for San Francisco

Opera8/20/72 Die Fledermaus, spec, adapt, w. guest artists during Prince Orlofsky's party

including Albanese, Amara, Turner, Warenskjold; Jagel, Melchior, Schwabacher,Thomas; Roger Stevens. Cast: Emoed-Wallace, Matsumoto; Sullivan, Wagner;cond.: Holt; dir.: Hager

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1971-72 SeasonStockton Opera Ass'n, L. Underwood, Din, Stockton9/19/71 "Moonlight-Musicale" Scenes, w.p.3/11, 12, 18, 19/72 // Trovatore Eng. MacFarren; w.o.Univ. of the Pacific Opera Theatre, L. Underwood, Dir., Stockton12/10/71 Opera Scenes, w.p.5/13/72 Opera Scenes, w.o.

COLORADOAspen Music Festival, Wheeler Opera House8/10, 11, 12/72 Balk's adapt, of Mozart operas: The Magic Abduction and Cost

Marriage of Tutti GiovanniUniv. of Colorado Opera Workshop, K. Hata, Dir., Boulder2/25, 26/72 The Merry Wives of Windsor Eng. BlattUniv. of Northern Colorado Opera Guild, C. Schmitz, Dir., Greeley12/2, 3, 4/71 Help, Help, the Globolinks! 7/20, 21, 22/72 Rigoletto Eng. Martin2/72 Musical 6 pfs. 8/72 Musical 3 pfs.4121112 Down in the Valley

CONNECTICUTHartt Opera Theater, T. Capobianco, Dir., Uniy. of Hartford4/26, 27, 28, 29/72 The Consul (see also Winter '72 Blltn.)

DISTRICT OF COLUMBIAWashington Civic Opera Assoc. and National Symphony Orch., Washington5/26, 27/72 Don Pasquale Eng. Mead6/17/72 La Cenerentola

FLORIDAJacksonville Symphony Orchestra, W. Page, Mus. Dir., Jacksonville5/16/72 Floyd's Flower and Hawk prem., Curtin; dir.: Corsaro; des.: EvansOpera Arts Assoc, Inc., Dolores McReynolds, Dir., Merritt Island2/25-27/72 Madama ButterflySpanish Little Theater, R. Gonzalez, Dir., Tampa11/21/71 // Soldado de Chocolate3/19/72 Buscando un Amor 4111/72 student pf.5/21/72 El Duo de la AfricanaUniversity Opera, £ . S. Anderson, Dir., Univ. of South Florida, Tampa1/26, 27, 28 2/2, 3, 4/72 Cavalleria rusticana w.p., Eng. Machlis5/18, 19, 20, 25, 26, 27/72 The Marriage of Figaro w.o., Eng. Dent; cond.: Hoff-

man; dir.: GoldovskyGEORGIA

DeKalb College Opera Theater, Mrs. G. Huff, Dir., Clarkston1971-72 The Telephone; Le leu de Robin et Marion Eng., Milhaud vers.; // Tabarro:

all w.p.INDIANA

De Paul Univ. Opera Theatre, T. Fitzpatrick, Dir., Greencastle2/17, 18, 19/72 The Marriage of Figaro Eng. MartinIndiana Arts and Science Council w. South Bend Symphony11/19, 20/71 Orpheus in the Underworld Z. Fisher, cond.

IOWANorthwestern College, Opera Workshop, Orange City4/72 Owen's A Fisherman Called PeterUniv. of Iowa Opera Theater, H. Stark & R. Eckert, Dirs., Iowa City11/17, 18/71 Hansel and Gretel w.p.; Eng.4/25, 27, 29/72 Don Giovanni w.o; Eng. Auden-Kallman7/18, 19, 21, 22/72 Madame Butterfly Eng. Martin; w.o. (Summer Fine Arts Festi-

val prod, by Opera Theater & Drama Depts.)KANSAS

Kansas State College Opera Theater, L. W. Siegle, Dir., Pittsburg3/1, 3/72 The Ballad of Baby Doe w.o. 7/5, 12, 19/72 Scenes w.o.Kansas State Univ. Opera Theater, J. Langenkamp, Dir., Manhattan11/4/71 Opera Scenes w.p.3/6, 7, 9, 10/72 La Boheme w.o.

LOUISIANALouisiana State Univ. Opera Theater, P. P. Fuchs, Dir., Baton Rouge11/3,4/71 Albert Herring4/20, 21/72 The Tales of Hoffmann

— 26 —

1971-72 SeasonNorthwestern State University Opera Theater, R. Cage, Dir., Natchitoches11/4, 5/71 Sister Angelica & Gallantry Eng. Withers5/11, 12/72 Opera Scenes in the RoundUniv. of Southwestern Louisiana Opera Guild, G. S. B. Griffin, Dir., Lafayette11/3, 5/71 Don Pasquale & Pagliacci Eng. Goldovsky & Machlis3/7, 9, 10/72 The Consul4/21, 29/72 Gallantry & Sweet Betsy from Pike workshop prod. w.p. (Gallantry

taped for cable TV)Xavier Univ. Opera Workshop, G. Brown, Dir., New Orleans3/22-25/72 The Medium & John Duncan's Gideon and Eliza prem.

MARYLANDUnited Baptist Church, Baltimore5121172 A Fisherman Called Peter

MASSACHUSETTSThe Lenox Arts Center, L. Austin & O. Smith, Co-Dirs.8/12-15, 19-22/72 Silverman's Doctor Selavy's Magic Theater prem.; Tivy; Primus,

McGrathTanglewood Music Theater Project, Ian Strasfogel, Dir., Berkshire Music

Festival, Lenox8/2, 3, 6/72 Weijl's The Yes-Man Eng. Potts & Selig's Chocorua prem.8/13, 14, 16/72 The Coronation of Poppea Eng. Dunn; Curtis edition

MICHIGANDetroit Symphony Orchestra, S. Ehrling, Mus. Dir.2/26/72 Hoist's The Perfect Fool 2 pfs. Young People's Series4/20, 22/72 Die Walkure excerpts; cone. pfs.The Piccolo Opera Company, Marjorie Gordon, Dir., Detroit1971-72 season: The Music Master, A Quiet Game of Cribble, Cost fan tutte, A

Goafs Tale, The Merry Widow, Rigoletto, Die Fledermaus, Little Red RidingHood, Rumpelstiltskin (some w.p., some w. local orchestras, some cone, pfs.);tour: Mich., Minn., Ohio, Penna., Fla.

Summer Music Theater, Detroit Symphony, in public parks8/24, 27, 31/72 Rigoletto excerpts; Eng.8/25, 29/72 Madama Butterfly excerpts; Eng.Univ. of Michigan Opera Theatre, Blatt & Herbert, Co-Dirs., Ann Arbor8/18, 19, 21, 22/72 Cosl fan tutte Eng.

MISSISSIPPIUniv. of Miss. Opera Theatre, L. Fox, Dir., University3/16, 17/72 Pagliacci

MONTANAMontana State Univ. Opera Workshop, £. Cowan, W. Wilcox, Co-Dirs.,

Bozeman1/17, 18, 19/72 Die Fledermaus Eng. Martin; w.o. 5/72 Opera Scenes w.p.Univ. of Montana Music Theatre, J. D. Lewis, Dir., Missoula12/11/71 Madama Butterfly Seattle Opera prod. 5/25, 26, 27, 28/72 Albert Herring

NEW HAMPSHIRENew Hampshire Music Festival, Center Harbor and Meredith7/9-8/19/72 Concerts, incl. The Marriage of Figaro cone. pf.

NEW JERSEYFair Lawn Summer Festival Symphony, D. Shapiro, Mus. Dir., at Memorial

Jr. H.S.6/25/72 Die Fledermaus cone. pf.Opera Theatre of New Jersey, A. Silipigni, Art. Dir., Newark8/2/72 Die Fledermaus Peters, Janzen, Kitsopoulos (for 71-72 schedule see Summer

•71 Bulletin)Princeton Opera Ass'n, I. Chichagor, Dir., Princeton10/31/71 Hansel and Gretel Eng.; 2 pfs.3/10/72 Musical5/28/72 Olga Gorelli's Between the Shadow and the Dream at St. James Church,

Pennington7/14, 15, 21, 22/72 Carmen at Washington Crossing ParkTrenton State College Opera Workshop, B. Steele, Dir.3/9, 10.il/72La5o/iaOTe

— 27 —

1072-72 SeasonNEW YORK CITY

Arioso Productions Inc., N. Clark & M. CToole, Co-Prods.11/71-5/72 La Boheme abbrev. Eng. vers. by Clark/Michon for school prod.; 12 pfs.12/71-5/72 Carmen abbrev. Eng. vers. by Clark/Michon for school prod.; 11 pfs.11/71-4/72 Hansel and Gretel short Eng. vers. in schools; 9 pfs.11/71-5/72 'The Opera Scene" 9 pfs.; "An Introduction to Dance" 9 pfs.; "Opera—

A Dramatic Experience" 30 pfs.All pfs. in high schools or elementary schools in N.Y.C.; 3 pfs. in Rockland

County.Brooklyn Lyric Opera, spons. by Internat'l Opera Co., Mamaronek8/27/72 La Traviata adaptation; Kessler; R. Myrvik, N. Myrvik, Murray, cond.:

BoginCubiculo Theatre, E. Steinman, Cond.5/72 Johnson's The Four-Note Opera (opening 5/16) prem.Inwood Chamber Opera Players, Susanne Edelman, Dir., at Brooklyn's

Borough Hall6/15/72 Opera ExcerptsInterstate Opera Ass'n, E. Papay, Mus. Dir., in Central Park7/29 8/6, 12/72 Barber of SevilleJacksonville Symphony, at Carnegie Hall5/19/72 Floyd's Flower and Hawk Curtin; cond.: Page; dir.: Corsaro; des.: EvansNational Ass'n of Negro Musicians Convention, Commodore Hotel8/16/72 Aida Floyd, Jones; Williams, Walker, Matthews, Thompson; cond.: Lee;

w. Symphony of the New World; Harlem Chorale; cone. pf.Naumburg Concerts, E. Buckley, Cond., Central Park Mall9/4/72 Beatrice et Benedict cone, pf., Reichenbach, Belling, Godfrey; Walker,

MetcalfN.Y. Lyric Opera Co., at Universalist Church, D. Johnston, Dir.6/20 7/9, 11, 15/72 Don Pasquale Eng.; cond.: Booth; dir./des.: Charlet6/27 7/13, 29/72 Tosca 7/18, 25, 27/72 Madama ButterflyOpera Co. of Nassau, Y. La Selva, Art. Dir.10/24/71 Rigoletto at Temple Israel, Great Neck7/16/72 Madama Butterfly at Eisenhower Park, Nassau County7/30/72 Rigoletto at Eisenhower Park8113172 La Boheme at Eisenhower Park 8/20/72 Turandot at Eisenhower ParkThe Opera Ensemble of N.Y., Mrs. R. E. Buehre, Dir.1/16/72 Cost fan tutte w.o. (see prev. listing)Opera Theatre of N.Y. Inc., R. Barri, Dir., tour9/71-1/72 Opera Scenes, 9 pfs. 10/12 11/10/71 Biatrice et Binidict Eng. Barri9/1 10/28, 31/71 Otello 10/15 11/17/71 Leaves of GrassOpera Workshop, Inc., Miss J. LaPuma, Dir.6-8/72 Summer program at Community Center and city parks: Lucia di Lammer-

moor, Cost fan tutte, Tosca, Carmen, La Gioconda, Don Giovanni, Norma,Un Ballo in maschera

Queens Opear Assoc, J. Messina, Dir., in N.Y.C. Parks8/5, 12/72 Aida8/19, 26/72 Carmen Matisse, Kessler/Mirasola; Puig/McCray, Hook/Murray,

cond.: BoginSt James Presbyterian Church, Dorothy Maynor, Dir. of Music6/11/72 Owen's A Fisherman Called PeterStaten Island Lyric Opera Co., T. LoMonaco, Mgr. & Art. Dir.6/10/72 ToscaStuy vesant Community Opera, S. Sweeney, Dir.5/20 7/29/72 Madama Butterfly w.p.; at Church of the Covenant; dir./des.: Russ8/25/72 ToscaSystems Theatre, Whitney Museum of American Art7/20, 22, 23, 27, 28, 29, 30/72 Roberts' The Song of Hiawatha prem.

NEW YORKHudson Valley Opera Theater, Inc., Mrs. J. Jessup, Dir., Hyde Park5/20/71 The Impresario & Old Maid and the Thief w.p.11/4/71 Opera Scenes2/15/72 Dido and Aeneas cone, pf., w.o.4/15, 17/72 Hansel and Gretel Eng. Bache; w.p.

— 28 —

1971-72 SeasonLong Island Opera Showcase, B. Hart, Dir., Franklin Square, summer program7/19/72 Cavalleria rusticana & Pagliacci in Syosset-Woodbury Community Park7/26/72 The Marriage of Figaro in MassapequaLyric Opera Co. of L.I., M. Signorelli, Exec. Dir., Bayport8/11/72 // Trovatore (see also prev. listings)Opera Company of the Syracuse Symphony Orch., F. Prausnitz, Mus. Dir.5/17, 18, 20/72 Amelia Goes to the Ball & PagliacciOpera da Camera, F. Lorr, Exec. Dir., Mineola3/28/72 The Medium in Bayshore5/24/72 The Medium & La Serva padrona Eng. Grossman; in Port Washington11/71-5/72 La Serva padrona 50 pfs. staged w.o. in schools; 21 pfs. by "Opera

Team" in schools3-5/72 The Medium 12 pfs. staged w.o. in schoolsSUNY at Oneonta, Opera Workshop, W. Cole, Dir.1/72 Opera Scenes, for Educational TV Station, w.p.3/26, 27, 28/72 The Old Maid and the Thief w.p.5/16/72 Opera Scenes, w.p.SUNY, Univ. Opera Studio, Muriel Wolf, Dir., Buffalo11/18-21/71 Les mamelles de Tiresias & // retablo de Maese Pedro4/20-23/72 Milhaud's Trois Opiras Minutes (Ariadne Abandoned, Liberation of

Theseus, The Abduction of Europe)NORTH CAROLINA

Catawba College, Music & Drama Depts., Mrs. Brodner, Chm., Salisbury11/10-13/71 The Mikado2/10-12/72 Musical5/3-6/72 Down in the Valley & Trouble in TahitiElon College Music Dept, T. Cofield, Mus. Dir., Elon2/18, 19/72 La Perichole Eng. ValencyNational Opera Co., A. J. Fletcher, Prod., Raleigh, touring company1971-72 La Bohime Eng. Martin; 27 pfs.1971-72 Martha Eng. Baum/Ronell; 24 pfs.1971-72 Die Fledermaus Eng. Martin; 3 pfs.Salem College, Music Dept, Winston-Salem4/15/72 Fussell's Julian prem.; composer conductingUniv. of N.C. Opera Theatre, R. Porco, Dir., Chapel Hill10/22-24/71 Musical2/25, 26/72 The Impresario & The Old Maid and the Thief

OHIOMount Union College, R. Lindstrom, Mus. Dir., Alliance4/13, 14, 15/72 Cavalleria rusticana & The MediumOhio State Univ. Opera Theater, R. Hickfang, Dir., Columbus3/12 4/15/72 Jeanne dArc au bCcher6/2, 3/72 Cosi fan tutte Eng. Martin; w. Columbus Symphony8/2-5, 9-12/72 The MikadoOhio University Opera Theater, F. Dybdahl, Dir., Athens1/28, 29/72 The Telephone & Hin und zuriick & Gallantry3/10, 11, 12/72 Little Red Riding Hood & Gianni Schicchi Eng. GrossmanSpringfield Civic Opera Co., M. Kommel, Prod. Coord.7/14, 15/72 The Pirates of Penzance (see also prev. listing)Wittenberg Univ. Opera Theater, M. G. Chang, Dir., Springfield5/25, 26, 27, 28/72 L'Heure espagnole & ScenesYoungstown State Univ., Dana School of Music Opera Workshop, D. Vogel,

Dir.11/22/71 Opera Scenes, w.p.5/26, 27 6/2, 3/72 The Barber of Seville Eng. Martin

OKLAHOMAOklahoma City Symphony Society, G. Fraser Harrison, Mus. Dir.4/20/72 La Bohime Bruno, Witkowska; Riegel, Cossa, Beni, Harrower; dir.:

Moriarty; Eng. MartinOREGON

Univ. of Oregon, Opera Workshop, L. Maves, Dir., Eugene4/29, 30/72 Cosi fan tutte Eng. Martin6/3/72 Pimpinone & A New Life for Wally prem.

— 29 —

1971-72 SeasonOregon Opera Ensemble, £. F. Manning, Mgr., Portland912\m The Deluded Bridegroom at the Old Church10/71 Chanticleer12/17, 18/71 Amahl and the Night Visitors at the Old Church2/12, 18, 19/72 Trouble in Tahiti 2/12 in Corvallis4/21, 22/72 Trial by Jury & Scenes from G. & S.6/16, 17, 18/72 Slow Dusk

PENNSYLVANIAHarrisburg Civic Opera Ass'n, K. Landis, Mus. Dir.12/10/71 1/20/72 Excerpts Hansel and Gretel at East Mall and for Late Start

Program12/26, 27, 28/71 Hansel and Gretel at Community Theater2/26, 27 4/8/72 Old Maid and the Thief 2/17 excerpts for Late Start Program4/12 5/29/72 "An Evening at the Opera" Scenes5/19, 20/72 Cavalleria rusticana at Community TheaterThe Opera Workshop Inc., R. Flusser, Art. Dir., Sewickley8/16/72 The Consul all pfs. in Pittsburgh8/18/72 Scenes from Magic Flute & Cenerentola .8/25/72 The Turk in Italy Eng. GoldovskyPhiladelphia Musical Theatre, T. Capobianco, Dir., Philadelphia Musical

Academy4/7, 9/72 Dialogues of the Carmelites w.p.5/19, 21/72 Le Convenienze ed inconvenienze teatrali & The Innocent w.o.; Eng.

AshbrookRittenhouse Opera Society, M. Farnese, Dir., Philadelphia4/9 5/10, 12, 13/72 Leoncavallo's Zingari5/10, 12, 13 7/18, 24/72 Schubert's The Conspirators Eng. Barker/TrevelyanTemple Univ. Opera Theatre, J. Parella, Dir., Philadelphia12/10, 11/71 Amelia Goes to the Ball3/25/72 The Marriage of Figaro Eng. Martin; w.p.

RHODE ISLANDNewport Music Festival, G. Sauls, Art. Dir., Newport (7/27-8/12)8/1, 5/72 Cui's Le Fib du Mandarin Am. prem.8/3/72 Dame Smyth's The Wreckers cone, excerpts; both perf. by members of Met

Opera StudioTENNESSEE

Univ. of Tennessee Opera Theatre, E. Zambara, Dir., Knoxville11/30 12/2, 4/71 Cos\ fan tutte Eng. Martin; w.p.2/22, 25, 26/72 Trial by Jury & II Campanello Eng.; w.p.5/18, 20/72 La Traviata w.o.7/17-22/72 Musical

TEXASBaylor Univ. School of Music, D. Sternberg, Waco4/13, 15, 18, 20, 22/72 Peter GrimesSan Antonio College, Music and Drama Depts., San Antonio5/5/72 Kirk's The Lib: 393 B.C. prem.; mus. dir.: Kirk; st. dir.: RossUniv. of Houston Opera Workshop, S. Harbachick, Dir.11/23/71 Opera Scenes w.p.3/3, 5/72 Comedy on the Bridge & Down in the Valley w.o.

UTAHBrigham Young Univ. Opera Theater, B. B. Curtis, Dir., Provo11/10-13/71 Die Fledermaus w.o.4/19-22/72 Pagliacci & Gianni Schicchi w.o.7/13, 14, 15/72 The Merry Widow Eng.; w.o.

VIRGINIALynchburg College Opera Workshop, R. Ellinwood, Dir.5/19, 20, 21/72 Gallantry & The Telephone w.p.

WASHINGTONCapitol Music Club, Olympia8/71 The Ballad of Baby Doe stgd.8/4, 5, 8, 9, 11, 12/72 Carry Nation cond.: EkeSeattle Gilbert and Sullivan Society, J. J. Gutteridge, Dir.7/6, 7, 8, 13, 14, 15/72 Iolanthe 8 pfs.

— 30 —

1971-72 SeasonWEST VIRGINIA

Oglebay Institute Opera Workshop, B. Goldovsky, Dir., Wheeling8/4, 13, 17, 18/72 Opera Scenes w.p. 8/10/72 Albert Herring w.p.

WISCONSINFlorentine Opera Co., Music Under the Stars, Milwaukee8/4, 5/72 La Traviata Montalvo; Lewis, Quilico; cond.: Anello; dir.: Pitman des.:

Klemmt/ MalabarCANADA

Banff Festival Week, Banff, Alberta8/13/72 Willan's Deidre cond.: StrombergHamilton Opera Co., L. Hepner, Art Dir., Hamilton, Ont4/72 The Bartered BrideManitoba Opera Ass'n, w. Winnipeg Symphony, P. Gamba, Mus. Dir.,

Winnipeg2/24, 26/72 // Trovatore cone, pf.; Krilovici, Allen; Lavirgen, Sardinero, MichalskiUniversity of Alberta, Music Dept, Edmonton, Alberta3/7, 8/72 Riders to the Sea & A Game of Chance cond.: A. Stromberg

* * *PERFORMANCE LISTING, 1972-73 SEASON cont.All performances are staged with orchestra unless marked "cone, pf." or "w.p."(with piano). — * following an opera title indicates new production. — Perform-ances and news items once announced will not be relisted at the time of per-formance.ARKANSAS

Univ. of Arkansas Opera Workshop, M. Worthley, Dir., Fayetteville10-11/72 Dido and Aeneas; Little Harlequinade; L'Heure espagnole cone, pfs., w.p.3/73 The Bartered Bride 4 pfs. w.o., and 2 pfs. in Helena, Ark.

CALIFORNIACalif. State Univ. at Fullerton, Opera Theatre, D. Scott, Dir.12/1, 2, 3/72 Die Fledermaus Eng. Martin, w.o. 5/4-7/73 Opera Scenes w.p.Calif. State Univ. at Long Beach, Music Theater, H. Lampl, Dir.1/10-13/73 VElisir d'amore 5/17-20, 24-26/73 MusicalNew York City Opera at The Music Center, Los Angeles11/15, 24/72 Don Giovanni11/16/72 The Makropoulos Affair 11/21, 30/72 Maria Stuarda11/17, 19/72 Lucia di Lammermoor 11/22, 25 12/2m/72 Carmen11/18, 29/72 La Traviata 1 l/26m/72 Susannahll/19m 12/3m/72 La Boheme 11/26 12/2/72 Rigoletto11/20, 31/72 Der Rosenkavalier 11/28 12/3/72 Les Contes d'HoffmannThe Opera Theatre of Southern California, G. London, Gen. Dir., Pasadena

Civic Audit2/2, 6, 8/73 Eugene Onegin Neblett, Quilling; Reardon, Sundquist; cond.: Scher-

merhorn; dir.: London; des.: Lee5/2, 4, 6/73 Don Pasquale Matsumoto; Chapman, Fredricks, Glaze; cond.: DorschSan Fernando Valley State Coll., Opera Theatre, D. Scott, Dir., Northridge12/72 Albert Herring 6 pfs.4/73 Of Mice and Men 6 pfs.San Marino Orchestra, San Marino12/10, 15/72 Caldwell's A Gift of Song

COLORADOColorado Springs Opera Ass'n, J. J. Baird, Gen. Dir.10/27, 28/72 Susannah3/9, 10/73 Manon Lescaut5/3, 4/73 The Abduction from the SeraglioUniv. of Colorado Workshop, K. Hata, Dir., Boulder3/2, 3/73 Japanese Kabuki opera Shunkan Am. prem. & The Devil and Daniel

Webster w.o.CONNECTICUT

Hartt Opera Theater, T. Capobianco, Art Dir., Univ. of Hartford12/6,7, 8, 9/72 La Bohime4/12, 13, 14, 15/73 Orpheus in the Underworld1972-73 The Headless Horseman School tour

— 31 —

1972-73 SeasonThe New Haven Opera Society, H. Glaz-Redlich, Prod.10/19, 22m/72 Don Pasquale Eng., Catani-Soviero; Parke, Gustern; cond.: Brieff;

dir.: Brenda LewisDELAWARE

Wilmington Opera Society, C. Suppa, Mus. Dir.12/1, 2, 8, 9/72 Cavalleria rusticana & Pagliacti3/30, 31 4/6, 7/73 Lucia di Lammermoor cond.: Suppa; dir.: Frankenberger

DISTRICT OF COLUMBIAJ. F. Kennedy Center, "The Old and the New Series," 8/30-9/10/729/4, 6/72 // matrimonio segreto pf. by Rome Piccolo Opera9/7/72 Paisiello's The Barber of Seville pf. by Rome Piccolo OperaNational Symphony Orchestra, A. Dorati, Mus. Dir.10/24, 25, 26/72 Bluebeards Castle cone, pf.; R, FreniOpera Society of Washiongton, Ian Strasfogel, Gen. Dir., J. F. Kennedy Center12/15, 17, 18, 19/72 Mahagonny cond.: Schuller; dir.: Strasfogel; des.: Schmidt2/2, 4, 6, 10/73 Cost fan tutte Wells, Stapp; Holloway; dir.: Balk3/5, 7, 9, 11/73 The Rake's Progress Mandac, Killebrew; Shirley; dir.: Strasfogel4/6, 8, 10/73 L'lncoronazione di Poppea Titus; cond.-: Callaway; dir.: Corsaro

FLORIDACivic Opera of the Palm Beaches, P. Csonka, Dir.11/17, 19m/72 La Bohime3/16/73 La Traviata MoffoFlorida Atlantic Univ. Opera Theater, R. Wright, Dir., Boca Raton1/26, 28/73 La Boheme3/9, 11/73 Pagliacci & choral selectionsFort Lauderdale Symphony, E. Buckley, Mus. Dir.1/9/73 Massenet's Herodiade Simon, Altaian; Riegel, Clatworthy, Voketaitis; cone.

Pf.Opera Arts Ass'n, Inc., Dolores McReynoIds, Din, Merritt Island11/22, 24, 26/72 The Barber of Seville Eng.2/21, 22, 23/73 ToscaOpera Repertory Group, Amelia Smith, Gen. Mgr., Civic Auditorium,

Jacksonville11/18, 19, 20m/72 Tosca Pecorello; Talley-Schmidt, Doe; cond.: Smith; dir.: Ballis2/24, 25, 26m/73 Cinderella Eng. Csonka/Theslof; Steffan, Leef, Doe, Smith; cond.:

Csonka; dir.: Harder5/19, 20, 21m/73 Faust Eng.; Brown, Demas; Halley, Collins; cond.: Smith; dir.:

CollinsPalm Beach Opera Studio, P. Csonka, Dir.11/2, 4, 5/72 Madama Butterfly w.p.1/73 Die Fledermaus 3 pfs. w.p.

GEORGIAValdosta State College Opera Theatre, J. Haas, Dir.5/73 Schumann's Manfred 2 pfs.

ILLINOISChicago Symphony Orchestra, Chicago/New York, G. Solti, Mus. Dir.12/3, 6/72 La Damnation de Faust Veasey; Burrows, Soyer; cone. pf.4/30 512173 Gotterdammerung Act III; Dernesch, Altaian; Thomas, Gramm, Tal-

vela; cone. pf.Southern III. Univ., Marjorie Lawrence Opera Theater, Mary E. Wallace,

Dir. Mus. Prods., Carbondale11/17, 18/72 Treemonisha w. SIU Black American Studies Program11/30/72 Opera Scenes3/2, 3, 4/73 Don Giovanni5/15/73 Opera Scenes

IOWADrake University Opera Theatre, M. Hall, Dir., Des Moines11/3, 4, 10, UI72Falstaff opening of new Fine Arts ComplexSioux City Symphony Orchestra, L. Kucinski, Mus. Dir.HI4172 La Traviata Eng.

KANSASFort Hays Kansas State College, Dept of Music, P. Goeser, Dir., Hays2/1, 2, 3, 4/73 Carmen Eng. Card-Houston, w.o.

— 32 —

1972-73 SeasonLOUISIANA

Centenary College Opera Dept., R. de Acha, Dir., Shreveport11/26, 28/72 Cinderella w. Shreveport Symphony, cond.: Shenaut3/30, 31 4/1/73 L'Enfant et les sortiliges & Trial by Jury1972-73 Two evenings of Opera ScenesLoyola Univ. Opera Workshop, A. Cosenza, Dir., New Orleans10/7, 8/72 The Barber of Seville 5/25, 26, 27/73 Opera ScenesXavier Univ. Opera Workshop, G. Brown, Dir., New Orleans10/72 Colgrass' Virgil's Dream & The Old Maid and the Thief11/72 The Turn of the Screw 2/73 Faust

MARYLANDThe Baltimore Opera Co., Rosa Ponselle, Art Dir., R. Collinge, Gen. Mgr.10/26, 28, 30/72 Aida Cruz-Romo, Chookasian; Morell, Martinoiu, Morris; cond.:

P. H. Adler; dir.: Lucas2/22, 24, 26/73 The Saint of Bleecker Street Craig, Simon; di Virgilio, Berberian;

cond.: Wilson; dir.: Rizzo4/5, 7, 9/73 Andrea Chenier Tucci, Garabedian; Khanzadian, Edwards; cond.:

CoppolaMASSACHUSETTS

New England Chamber Opera Group, R. de Acha, Dir., Maiden11/72 Mavra & Marriage by Contract {Cambiale di matrimonio)1/73 Arlecchino & Gounod's The Gift of the Gods (PhiUmon et Baucis) Eng. de

Acha5/73 The Abduction from the Seraglio all prod. w.o. in 4 pfs.Opera Company of Boston, Sarah Caldwell, Art. Dir., Boston1/26, 28/73 The Bartered Bride* Eng.; Costa2/16, 18/73 The Barber of Seville* Eng.; Sills, Greenspon; Malas4/13, 15/73 The Rise and Fall of the City of Mahagonny*Sill, 14/73 Don Carlo Cruz-Romo; Alexander, Gramm, Dooley

MICHIGANDetroit Symphony Orch., S. Ehrling, Mus. Dir.10/28/72 Aida cone, pf.; Galvany; MalamoodOpera Ass'n of Western Michigan, J. White, at Calvin College, Grand Rapids11/15, 16, 20, 22, 23/72 La Traviata Sinka; Mazzolini, Poulimenos; cond.: Alcan-

tara; dir.: AppelOverture to Opera, D. DiChiera, Gen. Dir., The Music Hall Theatre, Detroit9/28m, 30 10/6, 7/72 Cosl fan tutte Eng.; Davis, Riddell, Windham; Conrad,

Ostendorf, Roe; cond.: Byrd; dir.: Bloom; des.: Smith10/27, 28 ll/2m, 4/72 Tosca Eng.; Curtin; Hindsley, Holgate/Ingham; cond.:

Byrd; dir.: Lockwood; des.: Dusincki/Warda; 2 pfs. in Flint & Kalamazoo12/7m, 8, 15, 16/72 The Telephone & The Medium Greenspon; cond.: Byrd; des.:

Aston/Dusincki/Warda1972-73 Opera Scenes 35 pfs. in schools1/73 DiChiera's Rumpelstiltskin prem., 2 pfs. Detroit Youth TheaterThe Piccolo Opera Co., Marjorie Gordon, Dir., Detroit1972-73 season (tour Mich., Ind., Iowa, Ohio) Cosl fan tutte, Die Fledermaus,

Hansel and Gretel, The Music Master; others to be announcedMINNESOTA

Duluth Symphony Orchestra, F. Caleb, Gen. Mgr., corrected schedule9/15, 16/72 Tosca Ross; di Virgilio, Quilico; cond.: Buckley; dir.: Lucas

MISSISSIPPIMississippi Opera Ass'n, Barbara White, Prod. Dir., Jackson11/28/72 Romeo and JulietOpera/South, Sister M. Elise, Dir., D. Ardoyno, Mgr., Jackson11/17, 19m/72 Kay's The Juggler of Our Lady & Still's Highway 1, U.S.A. dir./des.:

Dorr; cond.: Margaret Harris4/73 CarmenUniv. of Miss., Opera Theatre, L. Fox, Dir., University11/29, 30/72 Hill-Hawkins' Canterbury Tales12/22, 23/72 Amahl and the Night Visitors 3/29, 30 4/5, 6/73 The Mikado

MISSOURISouthwest Missouri State College Opera Workshop, D. Emanuel, Dir.,

Springfield3/21, 22, 23, 24, 25/73 Die Walkure

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1972-73 SeasonNEVADA

Nevada Opera Co., T. Puffer, Dir., Reno11/10, 11/72 Carmen2/9, 10/73 La Traviata4/6, 7/73 Don Giovanni

NEW JERSEYGlassboro State College Opera Workshop, J. R. Shaw, Dir.11/16, 17, 18/72 The Marriage of Figaro312,3173 The MikadoSpring '73 Otello del Monaco; in affiliation w. North Jersey Opera SocietyNew Jersey Symphony Orchestra, H. Lewis, Mus. Dir., Newark/New York12/9, 13/72 Pfitzner's Palestrina excerpts; Carson, Altmeyer; Gedda; cone. pf.2/4, 8/73 Massenet's Cendrillon & Der Rosenkavalier excerpts; Home, Grist, von

Stade; cone. pf.Opera Theater of New Jersey, A. Silipigni, Art. Dir., Newark10/20/72 Attila Gencer, Gratale; Bardelli, Hines1/21/73 Cavalleria rusticana & // Tabarro Barrera, Gratale; Domingo, Shinall2/25/73 Madama Butterfly Kirsten; Campora, Kitsopoulos5/1/73 Otello Albanese; Miranda, Ferraro, Taddei; benefit pf.Paterson Lyric Opera Theatre, A. Boyajian, Art. Dir.11/4/72 The Queen of Spades Eng.; w.p.4/28/73 Don CarloRidgewood Gilbert and Sullivan Opera Co., J. Edson, Mgr.11-12/72 Iolanthe tour

NEW YORKGreater Utica Opera Guild, Judith Sullivan, Mgr., Utica11/11, 18/72 The Barber of Seville4/7, 14/73 Suor Angelica & Cavalleria rusticanaIthaca Opera Ass'n, K. Baumann, Dir., at Ithaca College10/20, 21/72 Hockett's Dona Rosita prem.; cond.: Berman; dir.: BaumannOpera Theater of Rochester, R. Rosenberg, Dir.11/3/72 Summer and Smoke w. Rochester Phil, at Eastman11/26/72 Amahl and the Night Visitors at Christ Church1/26/73 The Elixir of Love w. Roch. Phil, at Eastman5/31/73 to be announcedThe Singer's Theater, Martha Guinsberg Pavilion, Crompond9/2/72 Pergolesi's The Perfect Wife & The MediumState Univ. of N.Y. at Oneonta, Opera Workshop, W. Cole, Dir.12/2, 3, 4, 5/72 Hansel and Gretel

NEW YORK CITYAfter Dinner Opera Co., R. Flusser, Dir., "When This You See, Remember

Me"9-11/72 Rorem's Childhood Miracle & Martin's Ladies' Voices & Kupferman's

In a Garden & Kalmanoff s Photograph & Schwartz's Look and Long & Rorem'sThree Sisters Who Are Not Sisters N.Y. State tour to schools, 7 pfs. (10/4/72 atLoeb Center, N.Y.C.)

Amato Opera Theatre, Inc., 25th anniv. season, A. Amato, Pres.9/15*. 16, 17m, 23, 24m, 30m, 30 10/7, 8m/72 Cos) fan tutte Eng.10/13, 14, 21, 22m, 28m, 28 11/4, 5m/72 Tosca10/29/72* Opera Highlights—Alumni Guests11/10, 11, 18, 19m, 25m, 25 12/2, 3m/72 ia Traviata11/24 12/27, 28/72 4/24/73 Hansel and Gretel12/8, 9, 10m, 16m, 16, 23m, 23, 30m, 30, 31*/72 Die Fledermaus Eng.12/17/72* Opera Pot-Pourri\2129112 The Mikado2/llm*, 16, 17, 24, 25m 3/3m, 3, 10, l lm/73 Don Pasquale Eng.3/16, 17, 24, 25m, 31m, 31 4/7, 8m/73 Cavalleria rusticana & Pagliacci4/13,14, 21, 28m, 28 5/5, 6m, 12, 13m/73 The Marriage of Figaro Eng.5/18, 19, 26, 27m 6/2m, 2, 9, 10m/73 Manon*Gala performancesAss'n for the Furtherment of Bel Canto, S. Zucker, Dir.9/12/72 Bellini's Addison e Salvini prem., cone. pf. at Town Hall; previews 9/3, 6

— 34 —

1972-73 SeasonBel Canto Opera, T. Sieh, Dir., at Madison Avenue Baptist Church9/23, 24, 30 10/1/72 Lucrezia Borgia w.p.11/4, 5, 11, 12, 18, 19/72 The Pearl Fishers w.p.12/2, 3, 9, 10/72 Dido and Aeneas w.p.1972-73 5 more productions to be announcedBrooklyn College Opera Theater, K. Kope, Dir.11/14, 15m, 15/72 Cinderella12/15, 16, 17/72 FidelioClarion Concerts, N. Jenkins, Mus. Dir., Tully Hall10/31/72 La Pietra del paragone Bonazzi, Elgar, Wolff; Diaz, Foldi, ReardonGoldovsky Opera Theater, B. Goldovsky, Dir., pfs. on tour9/30-11/20/72 Rigoletto Eng. Goldovsky-Caldwell3/5-12/73 Albert Herring10/16-26/72 3/26-4/11/73 Opera HighlightsInterstate Opera Ass'n, Damrosch Park, Lincoln Center9/16/72 Hammond's The Friend prem. & Pagliacci w.p.Metropolitan Opera Ass'n, S. Chapin, Acting Gen. Mgr., Lincoln Center9/19, 25, 30m 10/7, 12, 20/72 3/6, 10m, 15, 23, 31/73 Carmen* cond.: Bernstein;

prod, conceived: Gentele; dir.: Igesz; des.: Svoboda/Walker9/20, 23m, 29 12/26, 30/72 1/6 2/8/73 Madama Butterfly9/21, 27 10/9, 19 11/4, 12/72 3/31m 4/4, 10, 16/73 Romdo et Juliette9/22, 28 10/2, 14, 18/72 1/4, 13, 23, 27 2/2, 5/73 Un Ballo in maschera9/23,26 10/4, 13, 21m, 25 11/16,20 12/14/72 2/19 3/3, 10/73 Don Giovanni9/30 10/5, 11 11/3/72 1/1, 9, 13m, 24/73 La Traviata10/3, 7m, 10, 21, 27, 30 11/8, 23 12/2, 6/72 4/6, 12, 21/73 Lucia di Lammermoor10/6, 14m, 23 11/1,7, 13, 18,30/72 1/20,30 2/9, 14, 24m 3/1/73 Aide10/16, 28m 11/6,22 12/1,8,16, 18,28/72 1/10, 16, 20m, 27 2/1/73 La Bohime10/17, 24, 28 l l /4m, 10, 15, 25m/72 La Sonnambula10/26 11/2, l lm, 14, 25, 29 12/9, 15, 23m/72 Die Zauberflote10/31 11/9, 18, 21, 27/72 Orfeo ed Euridice11/17, 28 12/4, 12, 22/72 Siegfried* cond.: Leinsdorf; dir.: Weber, based on

Karajan version for Salzburg; des.: Schneider-Siemssen/Wakhevitch11/24 12/2m, 7, 16m, 19/72 Die Walkure12/5, 9m, 13, 20, 23, 29/72 2/2, 5, 8/73 Otello12/11, 21, 25, 30m/72 1/17 2/3/73 Faust12/27/72 1/3, 12, 18, 26 3/17, 27 4/3/73 Pique Dame in Russian12/31/72 l/6m, 11, 15, 19, 22/73 La Fille du regiment1/25, 31 2/3m, 7, 13, 17, 23 3/3, 12/73 Macbeth1/29 2/6, 10m, 16, 22, 28 3/19, 26/73 Rigoletto2/12, 17m, 21 3/9, 13, 21/73 Norma2/15, 20, 24, 27 3/7/73 Salome2/26 3/8, 14, 20, 24m, 30/73 Peter Grimes3/2, 5, 17, 24, 29 4/11, 17, 21/73 // Trovatore3/16, 22, 28 4/5, 9, 14m, 18/73 Der Rosenkavalier4/2, 7m, 13, 19/73 // Barbiere di Siviglia4/14,20/73 Tosca2/10 4/7/73 Guild Benefit Galas

sop.: Altmeyer, Amara, Arroyo, Azuma, Blegen, Boky, Caballi, Cruz-Romo,Curtin, DePaul, Di Franco, Freni, Grist, Hunter, Janku, Jones, Kabaivanska,Kirsten, Kubiak, Lorengar, Maliponte, Mathis, Moffo, Moser, Nilsson, Norden,Ordassy, Peters, Pracht, Price, Robinson, Ross, Rysanek, Schroder, Scotto, Stratas,Sukis, Sutherland, Tebaldi, Tucci, Vaughan, Weidinger, Zylis-Gara; mezzos:Baldani, Baldwin, Bumbry, Casei, Chookasian, Cortez, Cossotto, Dalis, Dunn,Elias, Forst, Godfrey, Grillo, Home, Kraft, Love, Ludwig, Miller, Minton, Myhal,Rankin, Resnik, Sinclair; ten.: Alexander, Anthony, Bonisolli, Brilioth, Burrows,Carelli, Cassilly, Castel, Corelli, Cossutta, Di Giuseppe, Domingo, Franke, Gedda,Goeke, K6nya, Kraus, Lewis, MacWherter, McCracken, Nagy, Pavarotti, Schmorr,Shirley, Stolze, Tagliavini, Thomas, Tucker, Ulfung, Velis, Vickers; bar.: Berry,Boucher, Christopher, Colzani, Cossa, Dooley, Gibbs, Gobbi, Goodloe, Guarrera,Harvuot, Krause, MacNeil, Manuguerra, Meredith, Merrill, Milnes, Neidlinger,Prey, Quilico, Reardon, Sereni, Stewart, Uppman, Walker, Wixell; basses: Adam,Alvary, Best, Corena, Dobriansky, Flagello, Ghiaurov, Giaiotti, Gramm, Hines,Karlsrud, Macurdy, Michalski, Morris, Plishka, Raimondi, Sgarro, Siepi, Sotin,Soyer, Tozzi, Vinco. - ,

1972-73 SeasonLittle Orchestra Society, T. Scherman, Art Dir., Philharmonic Hall10/25/72 Richard Strauss Program: Scenes from Daphne, Intermezzo, Die Frail

ohne Schatten, Die dgyptische Helena Carron, Tynes, Jung, Gabrieli; W. Lewis,McCray, Jones; semi-staged

12/20/72 L'Enfance du Christ Vanni; Berberian, Riegel, Metcalf4/4/73 Symphony concert1/13 2/17 3/4/73 Concerts for Young PeopleManhattan School of Music, John Brovralee Opera Theatre, G. Schick, Pres.12/9, 10/72 The Marriage of Figaro Eng. Martin3/17, 18/73 The Italian Girl in Algiers5/12, 13/73 The Mother of Us AllManhattan School of Music, Preparatory Division4/7, 8/73 Humperdinck's Konigskinder Eng.; cond./dir.: Cynthia AuerbachMusica Sacra, R. Westenburg, Mus. Dir., Central Presbyterian Church10/9,10 11/6 12/10/72 2/12 3/12, 13 4/9, 10, 30 5/1/73 Choral concerts1/15, 16/73 Carmina buranaOpera Laboratory, K. Newbern, Mus. Dir., 92 St Y School of Music12/72 Don Giovanni5/73 The CrucibleOpera Orchestra of N.Y., Inc., Eve Queler, Mus. Dir., Camegie Hall12/7/72 Verdi's / Lombardi Scotto; Carreras, Plishka, Marini; Sarah Lawrence

Chorus; cone. pf.3/22/73 Zandonai's Francesco da Rimini Kabaivanska, Wisehart; Domingo, Manu-

guerra, Saetta, Chapman; Schola Cantorum; cone. pf.Operas for Young People, B. Goldovsky, Dir., Metropolitan Museum of Art10/28/72 The Magic Flute cone. pf. w. narration12/9/72 Rigoletto1/13/73 The Barber of SevilleN.Y. Philharmonic, P. Boulez, Mus. Dir., Lincoln Center (see also Summer

Blltn.)3/29, 30m, 31 4/3/73 Haydn's L'Incontro improvviso Niska, Armstrong, Shuttle-

worth; Shirley, Velis, Malas; cond.: Boulez; cone. pf.Paul Hill Chorale, Tully HaU9/24/72 Concert incl. excerpts from Sousa's El Capitan

NORTH CAROLINA .Catawba College, Music and Drama Depts., Mrs. Brodner-Cline, Salisbury11/8-12/72 Gianni Schicchi5/2-5/73 MusicalWinston-Salem Symphony, J. Iuele, Mus. Dir.3/73 La Traviata

OHIOColumbus Symphony Orchestra, E. Whallon, Mus. Dir.12/1, 2/72 La BohimeDayton Opera Ass'n, L. Freedman, Gen. Mgr.9/30/72 The Magic Flute (for casts, see Toledo)1/27/73 Samson et Dalila4114173 CarmenSpringfield Civic Opera Co., M. Kommel, Prod. Coord.11/18/72 The Student Prince4/14/73 // Trovatore Eng. DentToledo Opera Ass'n, L. Freedman, Gen. Dir., Toledo10/7, 8/72 The Magic Flute Russell, Randazzo; Porretta, Walker, Moscona, Cro-

foot; cond.: Woitach; dir.: Freedman1/20/73 Samson et Dalila Dunn; Moulson, Sordello; cond.: Coppola; dir,: Freedman4/7, 8/73 Carmen Elias; Theyard, Opthof; cond.: Grossman; dir.: Freedman

OKLAHOMAUniv. of Oklahoma Music Theater, B. Govich, Dir., Norman11/6-12/72 Canterbury Tales

OREGONOregon Opera Ensemble, Eileen F. Manning, Mgr., Portland10/72 H.M.S. Pinafore 4/73 archy and mehitabel12/72 Amahl and the Night Visitors 6/73 Pimpinone2/73 The Medium & The Telephone 1972-73 La Serva padrona Northwest tour

— 36 —

1972-73 SeasonPENNSYLVANIA

Edinboro State College Opera Workshop, E. J. Klausman, Dir.11/13/72 Alexander's The Monkey's Paw prem. & Trouble in Tahiti4/4-7/73 MusicalPennsylvania Opera Co., J. Parkinson, Gen. Mgr., Chester10/8/72 Rigoletto pfs. at Widener College, Chester12/17/72 Madama Butterfly114/71 The Girl of the Golden West4/8/73 CarmenSpring '73 Garwood's The Nightingale and the Rose prem., spec. pf. in Philadelphia7/13/73 Opera pf. at Longwood Gardens Outdoor Theater, sponsor: Hadley Fdtn.Philadelphia Grand Opera Co., M. Leon, Pres., Philadelphia10/27/72 // Trovatore w. artists from the Parma Opera, Italy11/17/72 Cavalleria rusticana & Pagliacci1/12/73 Die Fledermaus2/9/73 The Barber of Seville3/9/73 Andrea Chinier

RHODE ISLANDRhode Island Opera Theatre, M. Ruffino, Dir., Barrington/Providence10/21/72 Madama Butterfly 10/28 in Newport12/10/72 Hansel and Gretel tour to schools, about 60 pfs.2/10/73 The Barber of Seville

TENNESSEEMemphis Opera Theater, G. Osborne, Art. Dir., at Memphis State University10/26/72 Boris Godunov Simon; Hines, East12/2/72 Susannah Shade; Ludgin1/27/73 Lucia di Lammermoor Sills; Shirley4/26/73 Un Ballo in maschera Caballe, Little; MartiUniv. of Tennessee Opera Theatre, E. Zambara, Dir., Knoxville11/9, 11, 12/72 Elixir of Love Eng., w.p.2/15, 16, 17/73 Die Fledermaus Eng., w.p.5/17, 19/73 Macbeth y/.o.Univ. of Tennessee Opera Theatre, M. Jewett, Dir., Martin11/30 12/1, 2/72 The Threepenny Opera 2/73 5/73 Opera Scenes w.p.

TEXASFort Worth Opera Ass'n, R. Kruger, Gen. Mgr. & Mus. Dir.12/1, 3/72 The Tales of Hoffmann Eng. Martin; Welting, Thomson, Krebill; Alex-

ander, Devlin; dir.: Hebert; des.: Naccarato/Mess1/19, 20, 21/73 Elixir of Love Eng. Martin; Shelle; Stewart/Rosenshein, Malas,

Fiorito; dir.: deBlasis; des.: Heymann3/2, 3, 4/73 Madama Butterfly (3/3 Eng. Martin) Azuma, Forst; Stewart, Fredricks,

Castel; dir.: Hebert4/13, 15/73 // Trovatore Carson, Chookasian; Domingo, Quilico; dir.: LucasSouthern Methodist Univ. Opera Theatre, T. Hayward, Prod., Dallas3/27, 29, 31 4/4, 6, 8/73 Le Nozze di Figaro Eng. Dent; cond.: Jones; dir.: Clay

CANADACalgary Philharmonic Orchestra, Calgary12/6/72 Aida cone. pf.L'Operadu Quebec, Montreal and Quebec City10/9, 11, 14, 16, 19, 21, 26*, 28*, 30*/72 Rigoletto Lebrun; Duval, Glossop; cond.:

Bonavera; dir.: Maestrini; des.: Rinfret/Lacourse12/9, 11, 15, 17, 23/72 Salome Schroeder-Feinen, Dunn; Nagy, Nimsgern; cond.:

Mehta; dir.: Merrill; des.: Heinrich3/4, 7, 10, 12, 15, 17, 29*, 31*/73 Cavalleria rusticana & Pagliacci Thomson;

Lavirgen, Quilico; cond.: Decker; dir.: Maestrini; des.: Prevost/Lacourse4/30 5/2, 5, 7, 10, 12, 17, 19, 21/73 Romio et Juliette Boky, Gu6rard; Liccioni,

Corbeil, Laplante; cond.: Deslauriers; des.: Negin/Lacourse*in Quebec CitySouthern Alberta Opera Ass'n, A. Gray, Dir., Calgary3/30, 31/73 La Bohime Pellegrini, Protero; Mauro, Gray, Corbeil; cond.: Minde;

dir: Geiger-TorelToronto Symphony Orchestra, S. Ozawa, Cond., National Arts Centre10/31 11/3/72 Berlioz' Romio et Juliette Braun

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