Download Central Opera Service Bulletin - Winter, 1986-87

CENTRAL OPERA SERVICE BULLETIN
VOLUME 27, NUMBER 3
CONTENTS
NEtf OPFRAS AND PREMIERES
NEWS FROM OPERA COMPANIES
GOVERNMENT * NATIONAL ARTS ORGANIZATIONS
NEW AND RENOVATED THEATERS
EXHIBITS AND ARCHIVES
FORECAST
ATTENTION COMPOSERS. LIBRETTISTS, DESIGNERS
EDUCATION
EDITIONS AND ADAPTATIONS
ARTISTS MANAGERS
MUSIC PUBLISHERS
LATEST CAREER GUIDE SUPPLEMENT
WINNERS
COS NATIONAL CONFERENCE
COS INSIDE INFORMATION
COS ANNUAL U.S. SURVEY, 1985-86
COS SALUTES...
APPOINTMENTS AND RESIGNATIONS
ADDENDA TO DIRECTORY OF SETS & COSTUMES
BOOK CORNER
IN 1986 OPERA LOST...
LATEST ADDITIONS. ENGLISH OPERA TRANSLATIONS
PERFORMANCE LISTING. 1986-87 SEASON CONT.
Sponsored by the Metropolitan Opera National Council
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CENTRAL OPERA SERVICE BULLETIN
Volume~27, Number 3
Winter 1986/87
CONTENTS
New Operas and Premieres
News from Opera Companies
Government & National Arts Organizations
New and Renovated Theaters
Exhibits and Archives
Forecast
Attention Composers, Librettists, Designers
Education
Editions and Adaptations
Artists Managers
Music Publishers
Latest Career Guide Supplement
Winners
COS National Conference
COS Inside Information
COS Annual U.S. Survey, 1985-86
COS Salutes...
Appointments and Resignations
Addenda to Directory of Sets 6c Costumes
Book Corner
In 1986 Opera Lost...
Latest Additions, English Opera Translations
Performance Listing, 1986-87 Season cont.
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CENTRAL OPERA SERVICE COMMITTEE
Founder
MRS. AUGUST BELMONT
(1879-1979)
Honorary National Chairman
ROBERT L.B. TOBIN
National Chairman
MRS. MARGO H. BINDHARDT
National Vice Chairman
MRS. MARY H. DARRELL
Special in this issue:
THE 1987 COS NATIONAL CONFERENCE
Read about the new PRINCIPAL opera companies
THE 1985-86 COS OPERA SURVEY U.S.A.
Central Opera Service Bulletin » Volume 27, Number 3 > Winter 1986/87
Editor:
Assistant Editors:
Editorial Assistants:
MARIA F. RICH
CHERYL KEMPLER
JOHN W.N. FRANCIS
FRITZI BICKHARDT
NORMA LtTTON
Copyright 1987 Central Opera Service. All rights reserved.
Permission to quote need not be requested, but source acknowledgment should be made.
The COS Bulletin is published quarterly for its members by Central Opera Service. For
membership information see back cover.
Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera,
Lincoln Center, New York, NY 10023.
This issue: $4.00
ISSN 0008-9508
NEW OPERAS AND PREMIERES
BLACK SEA FOLLIES, like Nixon in China (see Vol.27, No.2), deals with
political ideologies and has a recent political head of state as a central
character. The work, conceived and directed by American composer Stanley Silverman, confronts Joseph Stalin with Dmitri Shostakovich, the opera's
protagonist. His music (and a song by Weill) was adapted to fit a new
text by Paul Schmidt. The opera was first heard in Stockbridge, Massaehussetts, on August 6, performed by the Music Theatre Group/Lenox Arts
Center, which brought it to its New York theater for November and December performances. — NIXON IN CHINA, by John Adams (music), Alice
Goodman (libretto), and Peter Sellars (scenario and staging), calls for the
impersonation not only of the American President and Chairman Mao but
also of their wives and their prominent political advisers. A lecturedemonstration was offered on November 2 and 3 at the Guggenheim Museum in New York; workshop readings are planned by the San Francisco
Concert Opera for May '87, and the stage premiere is scheduled for October 16, 1987, by the Houston Grand Opera, which will open the new Wortham Arts Center with Aida on the previous day.
American politics lends a contemporary setting to O.T., a full-length
opera based on Shakespeare's Othello. With the color line reversed, we
find an Irish-American politician, Owen Theodore Hulligan, running for
governor, and his love interest a beautiful black reporter. The action
leading to the betrayal is politically motivated intrigue playing on the
emotions of jealousy and love. Mirta T. Mulhare is the composer; she
also wrote her own libretto. The opera has a minimum of dialogue and
requires trained opera singers in the cast. It was premiered March 13,
1986, with three subsequent performances at the Maguire Theatre in Old
Westbury, NY, and will be given a concert performance in New York City
under the auspices of "Broadway Tomorrow" on April 26.
The above-named composer, John Adams, winner of the 1986 Kennedy
Center Friedheim Award, has also composed the music for three short
operas based on the "Coyote Stories." These American Indian legends
were edited for the stage by Barry Holstun Lopez. GIVING BIRTH TO
THUNDER, SLEEPING WITH HIS DAUGHTER, and COYOTE BUILDS NORTH
AMERICA were commissioned and will be premiered in February by the
Perseverance Theatre in Juneau, Alaska.
Dominick Argento has chosen Henry James' short novel THE ASPERN
PAPERS as the basis for his next opera. The role of the leading character,
the poet's former mistress who owns and guards his manuscripts, is being
written for Frederica von Stade. A premiere is tentatively planned by
the Dallas Opera for 1988.
An NEA grant to three performing groups—Voices of Change (Dallas), The
Chicago Ensemble, and The Twentieth Century Consort (Washington)—facilitated the creation and premiere of TANGO by Robert Xavier Rodriguez.
(See "Young People's Opera," below, for other titles by the same composer.)
The libretto is made up of news clippings, letters, and sermons from 191314, written at the height of the Tango craze. The 22-minute chamber
opera was first performed in Dallas on January 29, 1986, with tenor Paul
Sperry singing all three solo roles.
A 120-voice chorus participated in the premiere of Erie Blau's and Elliot
Weiss's DORI. The benefit performance on November 4 at New York's
Cathedral of St. John the Divine was narrated by Douglas Fairbanks, Jr.
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AMERICAN
OPERAS
NEW OPERAS AND PREMIERES
— MODESTA AVILA is the title of a new American folk opera by George
Siposs. The main character of this verismo tale is a 22-year-old girl of
Capistrano. The production, which played October and November in Westminster, California, was supported by grants from the local arts council
and the San Juan Capistrano and Orange County Historical Societies.
As part of American Music Week, November 3-9, 1986, the Afro-American
Museum in New York premiered Paul Wilson's HEAR I STAND. Opening
night of the two-act opera was on November 9. — Composer Julius
Hemphill and author/lyricist Paul Carter Harrison wrote ANCHOR MAN,
a blues operetta, commemorating the 20th-anniversary season of New
York's Negro Ensemble Company. — The latest musical version of Lewis
Carroll's wonderland, in a contemporary setting with a Puerto Rican
Alice, is entitled BROWN ALICE. With music and lyrics by Dexter Allgood
and book and direction by Marie Thomas, it was premiered in January '87
at New York City College's Davis Hall as part of the International Young
People's Series.
The life of ORLANDO DI LASSO inspired William Luce to write an opera
with this Renaissance man as the central figure. The Western Wind Vocal
Ensemble gave the premiere in New York at the off-Broadway CSC Repertory Theater last May, and is taking the work on tour this season. — The
two-act opera LAWS AND CHRYSIPPUS was created by composer Sam
Michael Belich in collaboration with librettist Sam Shirakawa. The December 4 premiere, with the composer conducting, took place at the Jesse
Isador Straus School in New York.
Lyricist Eric Townsend assembled his own Townsend Opera Players in
Modesto, California, on July 20 for a first staging of his OPERA LINE.
Incorporating famous opera arias, Russell Warner added original music and
Michael Christopher Fraser assisted with the lyrics. — Three operas
previously premiered and now in the American Music Center catalogue,
but not mentioned here before, are CATSMAN, a chamber opera by Sidney
Hodkinson, given by Texas Opera Theater on June 6, 1984; and from last
season, A CHANGE OF HEARTS by David Hollister, first performed by
the Medicine Show Theatre Ensemble in New York, and THE SHEPHERDS
by Frederick Koch, libretto by Seymour Reiter, first heard at the West
Shore Unitarian Chuch in Cleveland.
Last May, the Spanish Lyric Theatre (formerly Spanish Little Theatre) of
Tampa, Florida, produced the premiere of VIVA YBOR! The work was
especially written for the company in celebration of Tampa's Spanish,
Italian, and Cuban population living in Ibor, the Latin district of the city.
— New York's Repertorio Espafiol opened this season with HABANA—An
Anthology of Cuban Music from the 16th Century to the Present. It was
conceived and directed by Ren6 Busch, the company's artistic director,
who mounted ten performances from September through November.
Polly Pen wrote the words and music for SONGS ON A SHIPWRECKED
SOFA; it will be performed for the first time in May '87 at the Vineyard
Theater. — Composer Ron Weidberg and librettist Irwin Donald Nier,
creators of Dracula (1984), wrote THE MUSE OF EXCELLENCE, which
was premiered by Opera Uptown at' a concert of new American works at
Columbia University's Minor Latham Playhouse on November 2. — For
one week in November, New York's Blue Hill Troupe gave performances
of Richard Vitzhum's new A SLICE OF LIFE at TOMI. Stephen Sechrist
III is the librettist.
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NEW
OPERAS AND PREMIERES
The Ohio Arts Council gave a grant of $20,000 to the Lyric Opera Cleveland for the commissioning and pre-production expenses of Larry Baker's
HAYDN'S HEAD. The first performance of the one-act opera is scheduled
for next summer as part of the company's Al Fresco Festival. The other
work on the double-bill will be Menotti's The Medium.
COMMISSIONED
WORKS
Henry Mollicone has been commissioned by the Hidden Valley Opera in
California to write HOTEL EDEN, a three-act opera, with Adam, Eve,
Noah, and Sarah as guests in a modern, deluxe hotel. Judith Fein is the
librettist, and Robert Darling will be the dramaturge.
A famous horror figure from literature, stage and screen will now be
cloned for the operatic medium. Libby Larson has been commissioned by
the Minnesota Opera in St. Paul to write FRANKENSTEIN. A workshop
reading is planned by the company's composer/librettist program this
spring, and the premiere production will be given during the 1988-89 season.
After its success last season with Richard Wargo's The Music Shop, the
Greater Miami Opera commissioned the composer to write A VISIT TO
THE COUNTRY. A workshop reading is planned for this winter. These
two works and the earlier The Seduction of a Lady will constitute a
trilogy of one-acters based on stories by Chekhov. — The American
Chamber Opera plans the premiere of Alice Shields' SHAMAN for May
'87.
It will be staged at the Marymount Manhattan Theater together
with Dido and Aeneas.
American history is recalled by librettists Linda Peavy and Ursula Smith
and composer Eric Funk in their opera PAMELIA. Set in the 1860's, it
is based on the life of Pamelia Fergus, a pioneer woman who stayed behind in Minnesota while her husband went West for gold prospecting and
land acquisition. The three-act musical drama is scored for four principals,
two children, and a chamber orchestra and chorus. The Portland Opera
gave a reading of selected scenes last spring. - - Philip LaZebnik's and
Kingsley Day's STATE STREET also has a historical setting, that of
Chicago before the Great Fire. The Music Theater Workshop of Columbia
College in Chicago tried out the piece last summer, together with a new
rock musical, Douglas Post's THE REAL LIFE STORY OF JOHNNY DE
FACTO.
WORKSHOPS
In March '86, the Pennsylvania Opera Theater in Philadelphia held a
composer/librettist workshop where it developed THE BLACK ROSE OF
FOREST PERILOUS, music by David John Olsen, libretto by Leslie Brody.
— The two music theater pieces taken through the "First Stage" workshop
of the American Music Theater Festival between October 1 and 12 were
Eric Salzman/Michael Sahl's STAUF (first performed in 1976) and Joanna
Akalaitis/Jon Gibson's VOYAGE OF THE BEAGLE.
Basing their two-act jazz opera, SWEET MAN, on the American folk
ballad "Frankie and Johnny," composer Jerry Herst and writer Jack Sharpe
created a story of love and passion set in 1911. With most of the dialogue sung, the musical requires singing actors but not necessarily operatic
voices. The score and taped highlights are available from composer or
librettist for perusal. A first performance is contemplated for 1987.
—Alva Henderson, composer of The Last of the Mohicans, is working on
a three-act opera, ACHILLES; his new collaborator is librettist Janet
Lewis.
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WORKS IN
PROGRESS
NEW
OPERAS
AND PREMIERES
NEW MUSICALS Ford's Theater in Washington, DC, has scheduled the premiere of GANTRY,
a musical adaptation of the Sinclair Lewis novel, for March '87. Stan
Lebowsky has signed to write the music, John Bishop the book, and Fred
Tobias the lyrics.
JOKERS, which has its origin in the play The Gin Game, had a fourweek tryout period in October by Goodspeed at Chester, Connecticut,
Goodspeed Opera's smaller theater devoted primarily to new works.
Created by Hugo Peretti, the musical was completed after his untimely
death by his collaborators Luigi Creatore and George David Weiss. Martin
Charmin directed and Paul Trueblood conducted the series of performances.
The cast of ten included Kim Hunter and Ronny Graham.
Judd Woldin has written the music for an adaptation of LITTLE HAM,
Langston Hughes' satiric play of the 1930's. It is scheduled to open at
the George Street Playhouse in New Brunswick, NJ, on February 20.
The latest in the long list of Stephen Sondheim musicals, INTO THE
WOODS, was premiered at the Old Globe Theater in San Diego in December.
His recent collaborator, librettist James Lapine (Sunday in the Park with
George), also functioned as stage director, with Tony Straiges responsible
for set designs and Ann Hould-Ward and Patricia Zipprodt for the designs
of the costumes. The work, which combines several fairy tales into one
story, is scheduled for an initial six-week run in California.
The Arizona Theatre Company will give some forty performances in Tucson
and Phoenix of a new music theatre piece based on writings by Studs
Terkel. — The York Theatre Company has announced the first performance of Ed Dixon's SHYLOCK, on May 21 at the Church of the Heavenly
Rest, New York.
October brought ROMANTIC DETACHMENT to New York's Musical Theatre
Works. Russell Treyz wrote the book, John Clifton the music and lyrics.
This was followed by a production of a new musical, 212, by composer
Donald Siegal with book and lyrics by Victor Joseph.
The 1986 Richard Rodgers Developmental Grants were awarded to author
Michael John LaChiusa, librettist Wendy Lamb, and composer Russell
Walden for a triple bill of short musicals: BREAK, AGNES, and EULOGY
FOR MR. HAM. — Ms. Lamb and Mr. Walden also wrote JUBA, the
story of William Lane, the black tap dancer who confronts John Diamond,
the white jig dancer. AMAS, Rosetta LeNoire's theatre company in New
York, gave a workshop reading of the piece last summer.
Three new music theatre works on the AMAS program this season are
HOT SAKE WITH A PINCH OF SALT (October-November) with music by
Jerome Goldstein, book and lyrics by Carol Baker and Lana Stein, based
on A Majority of One; in February, DAZY with music by Lowell Mark
and book and lyrics by Norman Simon, Howard Berland, and John von
Hartz; and in April, PRIME TIME with music and lyrics by Johnny Brandon
and a book by Ra Shiomi. — PCPA Theaterfest in Santa Maria, California,
mounted a new musical with its advanced trainees. John Fletcher created
the book and lyrics, Larry Delinger the music for TWO DOPES ON A
ROPE, which was given twelve performances in Santa Maria and in Solvang.
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NEW
OPERAS AND PREMIERES
TOMORROW AND TOMORROW by Timothy Sullivan is the second Canadian
opera in recent years to receive its world premiere in t h e United S t a t e s .
(The other was Raymond Pannell's As Long as a Child Remembers, p r e miered in Arkansas last year.)
New York's Center for Contemporary
Opera has scheduled the work of the 24-year-old Toronto composer for
a first hearing on March 29. A t o t a l of three performances, incorporating
holograms and video, will take place at the Henry Street Settlement.
NEW CANADIAN
OPERAS AND
MUSICALS
Violet Archer, one of Canada's leading composers, had two one-act operas
performed a t Edmonton's Citadel Theatre last season. William Shookhoff
conducted t h e double-bill consisting of Sganarelle (1974), after Moliere,
and THE MEAL, in its world premiere. Next, Ms. Archer is completing
THE TAILOR OF GLOUCESTER after the story by Beatrix Potter.
Modern Girls Collective of Vancouver, BC, developed and premiered SEX
TIPS FOR MODERN GIRLS, book by Peter Eliot Weiss, last season at
the Vancouver Touchstone Theater. The ensemble brought their musical
to New York, giving t h e American premiere a t t h e Susan Bloch Theater
in September.
Banff Centre's Music Theatre Studio Ensemble continues to develop new
pieces with its resident composers and librettists. The most recent is a
television musical, KILLING TIME, created by composer Stephen McNeff
and librettist Ken Jones. — THE INJUSTICE DONE TO TOMMY TUCKER
by Bill Jordan received its first performance at the University of Calgary
on March 28, 1986. The one-act opera was heard together with The
Face on the Barroom Floor.
Reading through this season's list of performances on the musical circuit
it seems that special revues—anthologies reflecting the output of and
dedicated to one particular composer—have emerged in greater numbers
than ever before. There were those commemorating favorite composers
and librettists who had recently died, such as Harold Arlen and Alan Jay
Lerner; there were "All Hart," dedicated to Moss Hart, "Perfectly Frank"
(Loesser), "Cole" and "Cole Cafe" (Porter), "Joyous Noel" and "Oh,
Coward!", and "Berlin on Broadway" (Irving Berlin), not to be confused
with "Berlin to Broadway" (Kurt Weill). "Side by Side by Sondheim," an
anthology arranged by the composer himself, has been around for many
years, but "Bernstein Revued" is new this season, assembled by Stephen
Wadsworth, Mr. Bernstein's librettist, with assistance from the composer.
They have devised an original concept of connecting musical numbers by
showing brief pretaped segments of interviews, rehearsals, relevant places,
and the like.
REVUES AND
ANTHOLOGIES
Prolific Seymour Barab completed FATHER OF THE CHILD, An Entertainment for Christmas.
The story was suggested by the play Butterfinger
Angel, which William Gibson, author of The Miracle Worker, adapted into
a libretto for Mr. Barab. It was given workshop performances by After
Dinner Opera in fall 1985. In a lighter vein there is Barab's new / CAN'T
STAND WAGNER, given five performances in December '86 by New York's
Singers Forum. — On November 1, Sonoma S t a t e University in California
premiered Joann Feldman's THE COMPUTER KID'S MAGIC NIGHT—a fun
piece if the work lives up to its title's promise.
YOUNG
PEOPLE'S
OPERAS
Theatreworks/USA anounced the following new music theatre pieces for
production during the current season: MARTIN LUTHER KING, JR. by
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NEW
OPERAS
AND PREMIERES
Charles Strouse with a book by Leslie Lee; SHERLOCK HOLMES AND
THE RED-HEADED LEAGUE with music by Richard Cummins, lyrics by
Greer Woodward and a book by John Foster with Woodward and Cummins
as collaborating authors; and finally THE EMPEROR'S NEW CLOTHES by
Stephen Flaherty and Lynn Ahrens. This past summer Theatreworks
featured RIGHT IN YOUR OWN BACK YARD by John Forster and LOWS
BRAILLE with music by Anni Lebeaux, book by Cynthia Cooper and Joel
Vig, and lyrics by Jeanne Smulyan.
Children and animals—live or stuffed—always result in good chemistry.
Composer Alan Rea and his Sierra Chamber Opera gave some 100 performances of his THE OWL'S SECRET, while New York's Downtown Chamber
and Opera Players delighted its young audiences with the premiere of
Nicholas Scarim's THE OWL AND THE PUSSYCAT, after Edward Lear's
poem. — The Alaska State Arts Council and the Fairbanks Choral Society commissioned Ravonna Martin to write a children's opera resulting in
THE VELVETEEN RABBIT, first performed in Fairbanks in May by the
Choral Society with children as soloists. — Dallas Opera's Puppet Opera
Theater, which is part of the company's educational program, will open
its season in January with Robert Xavier Rodriguez's MONKEY SEE,
MONKEY DO. The libretto for the one-act opera is by Mary Dovan.
In addition to the above and the aforementioned Tango, Rodriguez also
created the fourth opera based on the O. Henry story THE RANSOM OF
RED CHIEF, this one written for the Lyric Opera of Dallas and performed
at Mesquite High School. — For its spring tour to North Carolina schools
beginning in February, Opera Carolina has commissioned jazz composer
Loonis McGlohon and librettist Charleen Swansea to create a new music
theater work, untitled as of this writing.
Kentucky's Blue Apple Players, whose programs are geared to family entertainment, opened the season on October 26 with its own THE MELTING
POT—An American Story, paying "tribute to the immigrants and the enduring power of the American dream." Next on the program was THE
THREE PIGS by producers Geraldine Snyder and Paul Lenzi, in which
"the sheriff/hero brings the famous desperados to justice."
AMERICAN
PREMIERES
New York's Opera Shop a t t h e Vineyard, a company frequently presenting
t h e unusual, has announced t h e first U.S. performance of Giuseppe S a r t i ' s
/ DUE LITIGANTI for March ' 8 7 . Written t o a l i b r e t t o by Carlo Goldoni,
it was premiered at La Scala in 1782 under t h e full t i t l e of Fra due
litiganti il terzo gode. Its claim t o fame today is as the source of some
of Don Giovanni's dinner music in Act II of M o z a r t ' s opera.
A Handel work, heard here for t h e first time and possibly even a world
premiere, was performed by t h e Bronx Arts Ensemble under Kenneth C o o per on December 7. TIRSI, CLORI E FILENO d a t e s from Handel's t h r e e
years in Italy (1707-1710) and is a serenata—a brief opera or d r a m a t i c
c a n t a t a for chamber ensemble. There is no record of an earlier performance, and some of t h e music has not survived; Mr. C o o p e r ' s version
borrows from other Handel works to supply a missing o v e r t u r e , several
other musical numbers, and t h e trio finale. T h e l a t t e r , previously thought
to have been left unfinished, was found by Mr. Cooper with different
words in another Handel s e r e n a t a .
-6-
NEW O P E R A S A N D P R E M I E R E S
Antedating the Handel opera is Pietro Antonio Cesti's ORONTEA, given
its world premiere in Venice in 1649. The Skylight Comic Opera in
Milwaukee will bring the story of Orontea, Queen of Egypt, to its stage
next season in what will be the first professional performance in the
United States. Former American productions were limited to student
performances—at Cornell University in 1968 and UCLA in 1972.
Two British contemporary works were brought to the U.S. during the last
few months, both performed in New York churches. The Talking Band
and the French Roy Hart Theater collaborated in creating FURIES, an
avant-garde theater opera. It is based on Robert Lowell's translation of
the Oresteia, with music by Ellen Maddow, Harry Mann and Jonathan
Hart, and was first heard in Paris on October '85 and at New York's
Cathedral of St. John the Divine on May 2, 1986. — C.S. Lewis' The
Lion, the Witch and the Wardrobe appeared as NARNIA—The Musical at
New York's Christ and St. Stephen's Church in New York in October.
Jules Tasca and Thomas Tierney were responsible for the music, Ted
Drachman for the libretto.
Another British contemporary import will be given its American premiere
next June. It is THE BEAUTY AND THE BEAST, first staged at the
Batignano Festival in Italy in 1984 as La Bella e la Bestia. Written by
Stephen Oliver, whose Duchess of Malfi was performed at Santa Fe in
1978, the work is scheduled for four performances by the Opera Theatre
of Saint Louis with Colin Graham as stage director.
Composer Tony McCauley and librettist Dick Fossburg transformed the
classic play, The Front Page, into the musical, WINDY CITY. The Paper
Mill Playhouse in Millburn, NJ, offered the first U.S. production last
season. — The French/British musical, LES MISERABLES— an unlikely
subject for a musical, but an undisputed success in London—celebrated
its American opening at the Kennedy Center December 20 in the British
(Royal Shakespeare Company) production conceived by Trevor Nunn. The
Victor Hugo epic was adapted by writer Alain Boublil and composer
Claude-Michel Schonberg. A Broadway run will follow.
The previously announced American stage premiere of Szymanowski's KING
ROGER was postponed by the Long Beach Opera until January 26, 1988.
The dates left open have been filled by performances of Ariadne auf
Naxos. — The Cinnabar Opera in California will play Rodriguez' Tango
in place of the American premiere of KRAPP'S LAST TAPE by Mihalovici.
AMERICAN
PREMIERES
POSTPONED
The Deutsche Oper Berlin contemplates giving t h e world premiere of Marc
AMERICAN
Neikrug's LOS ALAMOS in t h e 1988-89 season. — T h e first G e r m a n - OPERAS ABROAD
language performance of Bernstein's A QUIET PLACE is scheduled for
March '87 in Bielefeld. The '86 performances a t t h e Vienna S t a a t s o p e r
were in t h e original English. — While audiences in Linz, Austria, were
t h e l a t e s t t o be offered t h e popular Menotti double bill of The
Medium/The
Old Maid and the Thief, it was t h e municipal opera house in Giessen that
gave the first German performance of his MARIA GOLOVIN. — Menotti's
THE BOY WHO GREW TOO FAST, coupled with Amahl, was performed
in December at the Sadler's Wells Theatre in London under the direction
of the composer.
The first British production of Sondheim's PACIFIC OVERTURES has been
programmed by the English National Opera for the 1987-88 season, while
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NEW
OPERAS AND
PREMIERES
Elizabeth Swados' THE INCREDIBLE FEELING SHOW was exported last
summer to Japan under the auspices of the International Youth Theatre
and the International Cultural Exchange Association of Japan. Staged
under the direction of Meredith Stein, the performances in Tokyo and
Osaka featured a cast of children from the United States, Japan and China.
NEW OPERAS
ABROAD
For the festive opening of its new opera house in Amsterdam, the Netherlands Opera commissioned and in September premiered a new Dutch opera.
Otto Ketting's one-act ITHAKA, sung with an English text by the composer
and Kees Hin, was presented on September 23, together with a new Dutch
ballet. Other special new productions during this inaugural season include
Zemlinsky's Der Kreidekreis.
The Norwegian National Opera in Oslo has announced the world premiere
of an opera by Norwegian composer Oddvar S. Kvam. / 13. TIME [In the
13th Hour] will have the first of eight performances on March 7. — Helsinki is planning a special event for the opening of its new opera house
projected for 1990. Aulis Sallinen has been commissioned to write a new
work which will carry the title KULLERVO, after a central figure in the
national Finnish epic Kalevala. — Stockholm's Royal Opera, which also
administers the "Live Marionettentheater", premiered there last April a
one-act opera, BALAGANTJIK by Jan Edvard Wallgren.
YAN TAN TETHERA, Harrison Birtwistle's 1985 television opera with a
libretto by Tony Harrison, had a live performance in August '86 when it
was presented by the Opera Factory as part of London's Summerscope
Festival. (See also "Book Corner.") The same performing ensemble also
premiered Nigel Osborne's Hell's Angels in January '86 (Vol.26, No.3), in
collaboration with the London Sinfonietta. — Francis Hodgson Burnett's
famous children's book, THE SECRET GARDEN, has been converted into
a British musical, as has Gaston Leroux's 1911 novel, THE PHANTOM OF
THE OPERA. The latter opened in October in London's West End in the
form of an Andrew Lloyd Webber musical, staged by Harold Prince. — In
celebration of the 850th anniversary of the dedication of Glasgow's St.
Columba Cathedral, the Scottish Opera had commissioned Kenneth Leighton's COLUMBA, a work on the life of the Scottish national saint. The
premiere was staged in February '86 at the Cathedral. The Royal Scottish
Academy of Music had previewed excerpts in 1981 with a student cast.
LE CYCLOPE by French composer Betsy Jolas was premiered at Avignon
last July 27 in a production that played Paris in November. Her earlier
opera, Le Pavilion au bord de la riviere (1975), was also first performed
in the French papal city. — Last March, Lyon heard the first performance
of LA GROTTE D'ALI, based on the Ali Baba story, with music by Australian composer Mark Foster. — On January 27, Andr6 Bon's PERSEPHONE
will receive its first production in Nancy and is scheduled for Orleans
later this season.
On April 8, the opera house in Geneva will give the world premiere of
Rolf Liebermann's latest opera, LA FORET. Anne Howells and Ruggero
Raimondi will assume the leading roles with Jeffrey Tate conducting.
CHRISTOPHER COLUMBUS by the Barcelona-born, American-resident
composer Leonardo Balada, with a libretto by the Argentine-born American
Tito Capobianco, has been accepted by the Gran Teatro del Liceu in
Barcelona for a gala world premiere on September 19, 1987. The command
NEW
OPERAS
AND
performance will take place before King Carlos and Queen Sofia of Spain,
and two world-renowned Spanish singers, Montserrat Caball6 and Jos6
Carreras, will portray the leading characters. Mr. Capobianco will be
the stage director, and the performance will be telecast throughout Europe.
It will inaugurate a five-year celebration of Columbus' arrival in America.
— Another Spanish composer, Josep Soler, enjoyed a premiere production
of one of his works in Barcelona when EDIPE I JOCASTA was presented
on May 22, 1986.
The year 1987 will bring two new operas onto the stage of La Scala.
On January 27, Flavio Testi's RICCARDO III will be heard for the first
time, conducted by Claudio Abbado and directed by Virginio Puecher, and
on July 7 Franco Mannino's IL PRINCIPE FELICE is scheduled by the
same company for its first staged production.
Hans-Jiirgen von Bose, whose Leiden des jungen Werther was premiered
in Schwetzingen and Hamburg in April '86, witnessed the first performance
of one of his short operas on June 11 when CHIMARE, based on a play
by Garcia Lorca, was mounted by the Aachen Staatstheater. Sharing the
bill was Bose's Der Blutbund (1977), also after a Spanish play. — On
April 20, Walter Zimmermann's opera DIE BLINDEN was premiered in Gelsenkirchen, and on the preceding day Klaus Obermayer's LOLA (for Lola
Montez) was produced in Passau, while on April 21 Wuppertal heard Krysztof Meyer's KYBERIADE for the first time. May 15 marked the premiere
of GRABBES LEBEN by Walter Steffen together with LETZTEN ENDES
by Holm Keller at Hamburg's Opera Stabile, which also staged Arghyris
Kounadis1 DER SANDMANN, after E.T.A. Hoffmann, in December. — The
Theater in der Lindemannstrasse in Dortmund presented the first performance of Hannes Sanger's musical, ELVIS, EIN AMERIKANISCHER TRAUM.
— Also during the past season, the Badisches Staatstheater in Karlsruhe
staged Rainer Kunad's DER MEISTER UND MARGARITA, based on Mikhail
Bulgakov's 1930 novel; the premiere was on March 9. And on June 15
the Stuttgart Kammertheater premiered CAFE EROS—eine dekadente
Revue by Hubert Stuppner, a psychoanalytical study.
This almost unending list of new German music theater works continues
into 1987 with Manfred Stahnke's HEINRICH IV in Kiel in March, Wolfgang
Rihm's OEDIPUS with Fischer-Dieskau in June, and (as listed above) American composer Marc Neikrug's LOS ALAMOS, planned for a first showing
by the Deutsche Oper Berlin in 1988. — The aforementioned Mr. Rihm
was also this year's winner of the Rolf Liebermann Prize of DM75,000
for his latest opera, DIE HAMLETMASCHINE after a play by Heiner Miiller,
to be premiered May 16 in Freiburg.
On November 5, the Wiener Kammeroper presented another new version
of Ionesco's The Bald Soprano, this one LA CANTATRICE CALVA by
Luciano Chailly.
From Czechoslovakia comes news of several recent operatic premieres:
Emil Hlobil's LE BOURGEOIS GENTILHOMME in Liberec in Spring '86,
and in the same city a children's opera, THE TALE OF THE GREAT
TURNIP by Jaroslav Kadlec; a 55-minute television opera, ETERNAL
FAUST, by LuboS FiSer with a libretto by Eva BezdSkova' and Jaroslav
JlreS; and finally a two-act comic opera, THE CLEVER MOUNTAINDWELLER, with MiloS Sedmidubsk;? writing both words and music.
— Violeta Dinescu, Romanian composer of Hunger und Durst, and 1986
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PREMIERES
NEW OPERAS AND PREMIERES
winner of the Carl Maria von Weber prize, had her latest children's opera,
THE 35th OF MAY OR KONRAD IS RIDING INTO THE SOUTH SEAS, pre-
miered in Mannheim on November 11. The composer spent the last semester in residence at Frostburg State College in Maryland.
The Australian Opera is planning a workshop reading of Edgar Bainton's
THE PEARL TREE for October '87. — Nick Rossi and his Studio Lirico
in Stia gave a workshop performance of 1L PRINCIPE BARBABLU by the
South African composer Hendrik Kofmeyr.
AWARD WINNERS Herbert Appelman's HEYDAY won the second annual award for a new
musical from the American Musical Theatre Festival in Carmel. This
netted the composer a cash prize of $1,000 and further development of
the piece in a three-week workshop. Information on the next competition
may be obtained from AMTF, Moss Hall, Dramaturg, P.O. Box I, Carmel,
CA 93921.
The 1982 chamber opera THE GENTLE BOY, by Philip Rhodes after the
Hawthorne story, won first prize at the '86 NOA Convention in Los
Angeles. Runners-up were Michael Ching's 1985 folk opera COCKS MUST
CROW and a new work, SPARK PLUGS, by Michael Granger. The Rhodes
opera will be presented next fall in a fully staged production by Florida
State University, on the occasion of the next NOA meeting in Orlando.
The British Music Society honored Paul Barker for his THE MARRIAGE
BETWEEN ZONES 3, 4, AND 5 when it was declared the best new British
opera of the season. It was staged by Opera Viva in London last year.
— The Friends of the Royal Academy of Arts in London selected Stephen
Oliver's EXPOSITION OF A PICTURE for a first performance on June
24, 1986. The one-act chamber opera calls for two singers and four
instrumentalists. — DIE HAMLETMASCHINE (see above) was awarded
the Rolf Liebermann Prize for 1986.
LATE NEWS
Romain Gary's novel Madame Rosa and the subsequent award-winning film
NEW MUSIC
THEATER WORKS of the same title form the basis for a new musical. ROZA, music by
Gilbert B6caud, book and lyrics by Julian More, was premiered at Center
Stage in Baltimore on December 12, directed by Harold Prince. — The
latest discoveries by the Music Theatre Group/Lenox Arts Center include
a new piece by the Vienna Lusthaus team, Richard Peaslee and Martha
Clarke, entitled THE HUNGER ARTIST and based on Kafka, to be tried
out in New York in the spring. The other work is THE VENDLER
TELEVISION PLAYHOUSE by composer David van Tigen and librettist
Susan Rice, scheduled for a first performance in June.
NEW OPERA
AMERICAN
PREMIERES
On February 12, the New York Shakespeare Festival will premiere THE
KNIFE, a new opera conceived by David Hare, with music by Nick Bicat
and libretto by Tim Rose-Price. The work attempts to deal with the
psychological and practical problems arising from a sex-change operation
of a heretofore family man. Mandy Patinkin will portray the central figure.
Robert Schumann's only completed opera, GENOVEVA, best known for its
overture, will be mounted in June in a fully staged production by the
Bel Canto Opera in New York. Victoria Bond will conduct these first
American performances. — The Early Music Ensemble, together with
the Los Angeles Baroque Orchestra, will give the first American stage
performance of Pureell's MASQUE IN TIMON OF ATHENS, on February
14, announced as its contribution to Valentine's Day.
[]
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NEWS FROM OPERA COMPANIES
Music director/conductor John Balme has assembled a new company in
Brookline, Massachusetts, THE LONG WOOD OPERA, performing at Newton
Highlands' Congregational Church. Two staged performances of La Boheme
inaugurated the season in November.
NEW
COMPANIES
The WASHINGTON CONCERT OPERA was founded by conductor Stephen
Crout with the purpose of presenting infrequently heard operas in concert
with renowned singers and, in case of foreign language operas, to present
them with projected English captions. The choice for the opening work
fell on Les Pecheurs de perles with a cast featuring Hei-Kjung Hong,
Jerry Hadley and Gaetan Laperriere under the baton of Mo. Crout; the
single performance is scheduled for a Sunday afternoon in May. The
company will use Lisner Auditorium, Washington Opera's first house prior
to the completion of the Kennedy Center.
Tenor Gary Glaze is the artistic director of the BERKSHIRE OPERA
COMPANY, which performs at the Cranwell Estate near Lenox in the
summer. After a tryout in 1985 with one short opera, the company
expanded last summer into six performances of an evening-filling double
bill. Rex Hearne is the company's general director.
Two new organizations were founded specifically to assist composers and
writers in the creation of new works. The ACTORS THEATER OF SAINT
PAUL has just received financial assistance from the National Institute
for Music Theater towards the residency of composer Randall Davidson
and playwright Amlin Gray, for them to develop a new music theater
piece. — THE WRITERS THEATRE on New York's Second Avenue is developing and trying out new pieces with a non-paying audience in attendance.
June featured a real estate musical, Haven't We Met?
The new AT&T Performing Arts Festival, organized under the American
National Theatre, provides for exchange programs between the La Jolla
Playhouse and the Kennedy Center. Plays and musicals premiere alternately on the East and the West Coast and, after a short run, play the other
location.
Going into its second season, OPERA LYRA of Ottawa has moved into
the National Arts Centre with its September production of II Barbiere di
Siviglia. The company's first performances in 1985-86 were staged at
the Carlton University Auditorium, and the spring '87 opera will be given
in concert form at the Technical High School. Diana Gilchrist is the
artistic director.
LES NOUVELLES VARIETES LYRIQUES in Montreal chose a favorite
Offenbach entertainment for their first production. Twelve performances
of Orphee aux enfers were offered during the month of December.
This item could be called "Expanding Company—Shrinking World".
It
started in Italy, in the small old town of Spoleto, and was grandly called
the FESTIVAL OF TWO WORLDS since it brought American financial supporters and American performers to Italy. After some years it became
truly of two worlds, with a related festival in Charleston, SC, the
SPOLETO FESTIVAL USA, or "Spoleto in Charleston". Now a third continent, Australia, has been added and with this "Spoleto in Melbourne" it
has turned into a Festival of Three Worlds. Its schedule is June in the
USA, July in Italy, and September in Australia. There is a lively exchange
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EXPANDING
COMPANIES
NEWS FROM OPERA COMPANIES
of productions across the oceans, and even the Washington Opera, another
home away from home for Mr. Menotti, got into the act by sending its
double-bill of The Medium/The Telephone to Melbourne for several
performances. This winter, too, there is an extra "Spoleto Comes to
Brooklyn", a chamber music festival in December at the Brooklyn Academy of Music in celebration of the composer's 75th birthday. Whether
this too will evolve into an annual event, only the future—or maybe Mr.
Menotti or Mr. Lichtenstein, BAM's director—can tell.
Evaluating the results of the 1985-86 COS Opera Survey USA, we find
that while performance numbers had again increased, audiences—particularly subscription audiences—as well as financial support have not kept
pace. There was "cause for concern" (see the Survey article of that title
in the November '86 Opera News). Therefore it is especially gratifying
to receive notices from many companies of increased advance and subscription sales for the current season, and of added performances in response
to audience demand. Leading this list is the METROPOLITAN OPERA
with many sold-out performances in the first quarter of its season. Higher
income from greater ticket sales has also been reported by the opera
companies in Washington DC, Miami, Kansas City, Cincinnati, Lexington
KY, and Dallas. (See also "Fund Raising & Promotion" below; also "Government & National Arts Organizations" for a new ticket sales program initiated by the Theatre Development Fund.)
Among the companies planning an increase in performances for the current
season is the CLEVELAND OPERA, which goes from two to three performances for each opera and from three to six for the "popular" work;
possibly this is in preparation for next season, when the company will
present five productions instead of four. — ARIZONA OPERA, which
will give two performances of each opera in its home town, Tucson, and
two of each in Phoenix, has added a fourth production this year; SARASOTA OPERA has added a Christmas production of Hansel and Gretel
with five performances for the first time this season, going from 15 to
20 presentations; OPERA COLORADO in Denver is offering an extra
Sunday matinee series resulting in four performances per production,
OPERA/COLUMBUS has added two performances, and PENNSYLVANIA
OPERA THEATER in Philadelphia an extra Wednesday matinee subscription
series; ATLANTA OPERA is scheduling a third production in its summer
program which will consist of nine performances this year, plus the
innovation of three preview dinners during the non-operatic winter months,
with each evening devoted to one of the summer operas. Already during
the past season, the BERKELEY OPERA in California had raised its
number of productions to three and the total performances to eighteen.
CANCELLED OR
REDUCED
SEASONS
On the debit side we must note the cancellation of the SAN FRANCISCO
OPERA'S summer season, at least until 1990 when the complete Ring will
again be presented. (This also meant the cancellation of the COS Conference scheduled for June in California to coincide with the company's
20th century opera program; for new dates see "Inside Information".)
— The 17-year-old LIGHT OPERA OF MANHATTAN was almost put out
of business due to the loss of its 300-seat auditorium and subsequent
move to the Cherry Lane Theater of only half that capacity. But for
once the city's zoning restrictions worked for and not against the arts;
the sale of the building housing the company's original home, the East
Side Playhouse, was canceled, and LOOM, after having already announced
its dissolution, reassembled its forces and opened in November with Babes
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NEWS FROM OPERA COMPANIES
in Toyland. The company's annual 300-plus operetta performances, especially of the Gilbert and Sullivan canon, would have been sorely missed
in New York.
Other companies cutting back the number of productions and/or performances include the ANCHORAGE OPERA, from three to two operas; TRICITIES OPERA in Binghamton, from four to three performances of each
of its three productions; and NEW ORLEANS OPERA, which reduced its
performances from three to two for each of its four operas. OPERA
DELAWARE with three operas has scheduled a season's total of six performances rather than the usual nine.
Rearranging operatic seasons has, in most cases, been an attempt to maximize subscription opportunities while economizing on artistic and technical
expenses. Frequently, these two considerations point in exactly opposite
directions: subscribers like their entertainment spread more or less evenly
over a long period, while opera economics favor a close-knit stagionelike season since salaries, fees, and expenses for performers and tech
personnel can thus be reduced, often considerably. In the United States,
only the four major companies have always played in repertory fashion.
As other opera companies grew slowly, evolving naturally into principal
and regional companies (see "COS Inside Information"), they generally
added single productions cautiously and scheduled them at wide intervals.
Some of these companies now program in clusters; for example, one offering a total of six productions may schedule them in pairs a t three different
periods, while another may program them in triplets twice a year. We
have reported on many experiments with schedules, and obviously no one
solution is right for every company, every community.
CHANGED
SEASONS
The Houston Grand Opera, for example, will be dividing its total of six
productions into three pairs, with performances scheduled for October/
November, January/February, and April/May in 1987-88, its first season
at the new Wortham Arts Center.
Beginning with the 1988-89 season, the SAN DIEGO OPERA will schedule
its four major productions at the Civic Theater between January and
April, with opening nights planned for January 2 1 , February 11, March
4, and April 15. The Civic Theater season in 1987-88, like the current
one, will present two operas in October/November and two in February/
March. Plans also include the continuation of recitals and special events
outside of subscriptions a t the Civic Theater, the Old Globe Theatre, and
elsewhere. In the spring, the San Diego Opera Ensemble will tour schools
and community centers with an abridged Don Pasquale.
Some changes in schedules as well as in the number of performances are
occurring this year due to the touring Houston Grand Opera production
of Porgy and Bess, shared by fourteen opera companies from Miami to
Portland (OR), from Los Angeles to Cleveland.
While some companies
have incorporated this production into their seasons as part of their subscription series, others offer it as a special attraction outside their regular
schedule with s e p a r a t e ticket sales.
The CANADIAN OPERA COMPANY has received a three-year grant of
$1.4 million from the Ministry of Youth in Ottawa under a "national skill
shortages program" which will enable it to add twelve more a r t i s t s t o its
a p p r e n t i c e and professional training/performing group,
t h e COC
13
NEW SUPPORT
FOR
EDUCATIONAL
ENSEMBLES
NEWS FROM OPERA COMPANIES
ENSEMBLE. These will include not only singers but also coaches and
apprentice directors. — The OMAHA MAGIC THEATRE has added a
Youth Workshop under Nebraska's "Excellence in Youth" program. Professional performers will visit Westside community schools, working with
students to develop their sense of sound and movement and to create
new plays or music theatre pieces. — Thanks to a special grant for
educational purposes, the ORLANDO OPERA can expand its touring program within its county, performing at more elementary schools and, for
the first time, at some secondary schools as well.
COMPOSER/
LIBRETTIST
WORKSHOP
Last summer, the MINNESOTA OPERA offered the "Opera Tomorrow" program in which young singers sampled excerpts from various new operas,
assisting the respective composers and librettists in developing and refining
their new creations. Continuing this project in March-April '87 in a
similar form, the company will assemble a New Music-Theater Ensemble,
again consisting of young performers who will work with composers and
librettists on new music-theater pieces, presenting scenes from some and
choosing one which will be produced complete at the end of the program.
TOURS ACROSS A heretofore little-known avocational opera group from Surry, Maine,
THE SEA
made international news when it announced preparations to take Boris
Godunov to the USSR. Headed by farmer/pianist Walter Nowick, who also
founded the SURRY OPERA, the company gave performances—in Russian
—in Tbilisi and in Moscow. Responding to special requests, the company
also performed selections from Porgy and Bess and other American vocal
music.
Intended as a neighborly gesture, a direct people-to-people
approach, this was not an officially endorsed tour and thus not subsidized
by government funds. It was the town of Surry and its 900 inhabitants
that raised $180,000 to cover the expenses. Thinking big is not new for
this company, which staged Aida the previous year.
The WASHINGTON OPERA'S Menotti double-bill of The Telephone/The
Medium journeyed to Australia in September to take part in the Spoletoin-Melbourne festival. The much-travelled dual production, staged by the
composer, had been taken to Edinburgh in 1985 and to Jerusalem for the
Israel Festival, and will be presented in San Diego's Old Globe Theatre
by the local opera company next spring.
One of the longest flights planned by Mini! and her Bohemian friends will
take them from San Francisco to Shanghai in March, when the SAN
FRANCISCO OPERA CENTER will give three performances of La Boheme
in that Chinese city. The visit has been arranged through the exchange
program of Sister Cities International, and it will include workshop sessions
and discussion groups with Chinese music students at the Conservatory.
Several Chinese singers have recently been among the winners at international competitions, and the visit of an American opera company and the
opportunity to exchange views and experiences must be of great interest
to the young oriental musicians. Workshops in stage techniques and other
related areas are also planned. The visiting ensemble will be accompanied
by local musicians—an orchestra made up of students and professionals
—and a closing concert will feature both American and Chinese performers.
A new agreement between L'OPERA DE MONTREAL and L'Opera de Lille
will facilitate the exchange of productions between these two Frenchspeaking cities. The first project will bring Les Contes d'Hoffmann from
France to Canada.
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NEWS FROM OPERA COMPANIES
Among recent foreign performing groups visiting the U.S. was THE
PAVILION OPERA COMPANY from England, a chamber ensemble that
performs in clubs and private homes, preferably in 18th- and 19th-century
settings. Cosi fan tutte was a practical choice for a work to be brought
to several American mansions last October.
On a recent tour, the BERLINER ENSEMBLE gave its only performances
on this continent on the occasion of an International Brecht Conference
at the University of Toronto. Four performances of Die Dreigroschenoper
were staged between October 21 and 25 at the Royal Alex Theatre.
In order to facilitate further visits by the Deutsche Oper Berlin to the
United States (the company played Los Angeles in 1985), the AMERICAN
BERLIN OPERA FOUNDATION has been formed. Individuals and corporations are invited to become Friends of the Deutsche Oper Berlin and
support programs which include, besides a projected guest appearance at
the Kennedy Center in 1989, the sponsorship of an American apprentice
singer and apprentice director with the company in Berlin (see "Career
Guide Addenda"), and the possible world premiere of an American opera
there. An announcement by Gotz Friedrich, the company's artistic and
general director, mentions a new opera, Los Alamos by Marc Neikrug, as
being considered.
The PENNSYLVANIA OPERA THEATER'S outreach program, Opera Around
Town, which brings "Hits from the Musical Stage" to twelve hospitals,
rehabilitation centers, and geriatric and psychiatric wards this winter, is
the basis for what may prove to be a very important and decisive study.
The program's therapeutic and entertainment effects on and their value
for recovering patients, and the degree of improvement in the quality of
long-term hospital confinement will be measured and evaluated.
OUTREACH TO
THE SICK AND
HANDICAPPED
Of particular interest to companies considering their first shadowed
production for the hearing-impaired will be a videotape made by the
BOSTON LYRIC OPERA during its 1986 shadowed performance of The
Barber of Seville. — GREATER MIAMI OPERA continues its outreach
program by bringing groups of the disabled to its dress reheasals. Special
audio cassette guides are available for visitors with reading difficulties.
— Now in its fourth year, the MICHIGAN OPERA THEATER'S special
program under the direction of Karen DiChiera is again offering its production of a musical in two signed performances for the hearing-impaired.
— Last season, the LYRIC OPERA OF KANSAS CITY joined other concerned opera companies with its own first performance interpreted for
the hearing-impaired.
As announced in the last Bulletin (Vol. 27, No. 2), the New York City
Opera signed its agreement with Local 802 of the AMERICAN FEDERATION OF MUSICIANS at an early date, insuring the orchestra's participation
through the 1989 season. — Recently, the Metropolitan Opera concluded
an agreement with the musicians union clearing the way for the first Met
recordings in many years: the complete Ring cycle with Deutsche Grammophon. Following close on its heels came the signing of a new three-year
contract between the musicians' union and the Met, almost a year before
the current one was to expire, extending the services of the orchestra
until summer 1990. As noted here before, labor relations in the arts
have certainly reached a turning point: the realization and understanding
that in the arts, labor and management interests must be the same—they
-15-
UNION
CONTRACTS
NEWS FROM OPERA COMPANIES
must fuse—for the art form and all those connected with it to survive
and flourish. Parts of the Met three-year agreement have been made
public and these include a five percent increase in the weekly base pay
in each of the three years, reaching about $1,000 in 1990. Other changes
affect retirement and pension regulations; for example, players retiring
after thirty years of service will now be eligible to receive half of their
1985-86 pay. It also adopted a new "85 rule" which allows musicians
under the official retirement age of 65 to retire without penalty if their
age plus years of service total 85 or more.
New York's free-lance musicians did not fare as well, but did settle after
a three-week strike against eight orchestras in and around the city, including the Opera Orchestra of New York and the St. Luke's Chamber
Orchestra. A three-year contract, recommended by Local 802 and ratified
by its members, assures the players a minimum of $109 per concert service
in 1989.
A three-year agreement was concluded between ACTORS EQUITY ASSOCIATION and the League of American Theaters and Producers, which
raises salaries and fees by 5i percent in the first two years and five
percent in the third year. Special benefit improvements were to take
effect immediately.
FUND-RAISING ^ story told in pictures will always make a greater impact than a story
AND PROMOTION ^ ° ^ ' n numbers—even though these numbers may themselves be most persuasive. The UTAH OPERA, in its annual brochure, presents its case for
support in a series of candid photographs representative of all, or at
least most, of the elements of opera production that together add up to
the overall expenses. The photos include the stage set of a past production,
a group of soloists, the chorus, the orchestra, stage crew, ushers, scores
and library, lighting supplies, make-up artists and costumers, and the
theater itself. The caption for each picture gives the cost of the particular category, summarily making up the companies expenses. In addition
there were two brief budget lists by percentages: "Where our money
comes from" and "How our money is spent." It is the most compelling
appeal for support that we have seen, and certainly the most informative
and appealing presentation.
Another way of effectively reaching your audience through the use of
the company magazine or brochure was impressively demonstrated by the
SEATTLE OPERA, which displayed, on an otherwise empty page, the facsimile of a check in the amount of $4,340,000—four million three hundred
forty thousand dollars—payable to the Seattle Opera and signed "Opera
Patrons". The almost superfluous caption elucidates: "That's the amount
Seattle Opera must raise this year. Please give generously."
Promoting subscription and single ticket sales by offering them as a
special privilege to a select group of "preferred customers" enhances their
attraction while flattering the addressee. Following this principle, the
WASHINGTON OPERA sent out oversized cards announcing a "Private
Sale" of subscriptions and single tickets for certain performances, with
three days designated for telephone orders. To qualify for this special
one-time service, the preferred customer gave the personal ID number
from the mailing label. The card also contained performance and price
information, while the volunteers, manning the special telephone lines,
could confirm the latest ticket availability.
-16-
NEWS FROM OPERA COMPANIES
A lively imagination is the name of the promotion game. Apropos performances of The Elixir of Love, OPERA/COLUMBUS arranged a silent
auction, and besides the obvious variety of potions—spirits as well as
ointments, beauty products and enticing perfumes—you could also bid on
having your message of love flown, on a banner, over the Ohio State
football stadium. Who could resist such temptation?
The terrible fire that destroyed the vast holdings of costumes and related
items of the NEW YORK CITY OPERA started the company on an urgent
fund drive to raise an initial $5 million. This goal was achieved evenbefore the originally set term of one year, only to reveal that an additional
$2 to 3 million was still needed to restore the loss. Appropriately, numerous leading American fashion designers have offered their aid to the company. They are designing special, opera-inspired gowns to be shown at
the New York City Opera Fire Fund Benefit, a black tie affair with
cocktails, dinner, and a fashion show on February 18. Just about all the
distinguished fashion houses will be represented. The price of admission
is $250.
Most companies find special ways to honor their supporters and patrons.
These are frequently gala affairs with festive dinners and entertainment,
such as the MET and CHICAGO LYRIC produce on the main stages of
their respective opera houses. These include musical entertainment supplied by their established, most distinguished, or their most promising
young artists. Special names are created for the groups of most generous
supporters and grantees, such as the Angels' Circle (Tri-Cities), Presidents'
Council (Calgary), and, depending on the size of the donation, the Maecenas, Founder's, Producer's, and Director's Forums (Pittsburgh). The PITTSBURGH OPERA also arranged a "Salute to Business and Industry" to show
its appreciation to its corporate supporters at a cocktail reception and
a special pre-opening performance of a new production; the Salute itself
was sponsored by Equibank Corporation. — The young patrons group of
OPERA/COLUMBUS, which has adopted the name "The Impresarios,"
recently included among its social functions a "Roaring Twenties" fundraising event.
To reach new audiences, NEVADA OPERA holds lunchtime Brown Bag
Concerts and recently offered "Pasta and Tosca," a dinner entertainment
held at a local Italian restaurant. — "Noche Azul" was the romantic
name for a Spanish evening cosponsored by OPERADELAWARE and the
Delaware Hispanic Arts and Humanities Society, featuring tangos as well
as zarzuela and opera selections in Spanish.
Food and entertainment spectaculars have replaced some of the more
traditional opera balls. The SAN DIEGO OPERA put a price tag of $500
per couple on an 18-hour opera spectacular scheduled around the season's
opening performance of Tosca. Included were a pre-performance cocktail
reception, post-performance supper and dancing, overnight accommodations
at the Westgate Hotel, Sunday brunch at the Fontainebleau, and valet
parking throughout the duration. And to think that part of the $500 was
tax-deductible, too. — On a more modest scale was OPERA CAROLINA'S
second annual benefit, "Guest Quarters' Best of Charlotte," for which
the Guest Quarters Hotel assembled delicacies from 35 of the city's select
restaurants to be sampled by the participants; music was supplied by
ensembles including a brass jazz band, a dance orchestra, bluegrass and
bagpipe players, and a Bach chamber group. An admission charge of $40
-17-
NEWS FROM OPERA COMPANIES
provided $25 for the opera company. — Similar to the New York Public
Library's benefit of "The Night of 100 Dinners," San Francisco's ARCHIVES
FOR THE PERFORMING ARTS organized almost continuous events
throughout a whole week, which could be attended collectively at a fixed
price or sampled individually. There were breakfasts, brunches, lunches,
teas, garden parties, dinners and suppers, offered at a variety of settings
from the wineries in Napa and Sonoma counties to the tennis courts of
Woodside, all sponsored by generous hosts. — To end this collection of
foods and eateries on a sweet note, we report on the LYRIC OPERA OF
KANSAS CITY's "Chocolate Plus Festival", where a prepaid admission of
$5.50, or an at-the-door price of $6.50, will let you taste the goods and
goodies of local and national confectioners to your heart's content—and
without a scale in sight.
Benefits should also be considered from the point of view of building
good will in the community and reaching out to people who may never
have been to the opera. The financial return may be considerably smaller
than with some grand "elitist" event, and the preparation no less involved
and time-consuming, but the return in the community's awareness and
appreciation of the company will do much for its efforts in advocacy and
visibility.
For instance, book and record sales—of items collected by
guild or women's committee members throughout the year plus donated
items from merchants offered at discount prices—have proven extremely
popular and rewarding, as reported by the KENTUCKY OPERA.
Mention must still be made of opera tours and opera cruises, and while
these are not novel ideas, they become ever more popular and ever longer
and far-reaching as travel to faraway places becomes an ever more preferred pastime. The complications of travel arrangements, and the frequent
inaccessibility of opera performances, particularly at the major music
festivals, make opera-oriented tours especially attractive—and profitable
to the beneficiary. The METROPOLITAN OPERA GUILD'S Travel Program
offers a choice of two tours for February: one to Australia and the
Orient, the other for a gala week in Austria to include the famous Viennese Opera Ball and opera performances at both theaters in Vienna, as
well as in Salzburg and, on a side trip, in Budapest. — The SAN JOSE
OPERA is taking advantage of the performances of Aida in Luxor (see
below) with a special tour to Egypt.
ANOTHER
Thanks to a generous bequest, the Opera Guild of the LYRIC OPERA
GUILD PROGRAM OF KANSAS CITY finds itself custodian of a sizeable operatic video
library, and as such is able to offer a most unusual service to its members.
Copies of some forty titles in both VHS and Beta format are stored in
the Guild Room and may be borrowed by Guild members for a maximum
of one week.
OPERA
COMPANIES
ABROAD
England's D'OYLY CARTE OPERA COMPANY, which had become a national landmark institution until it was disbanded in 1982, is being returned
to active duty. A recent bequest from Dame Bridget D'Oyly Carte will
put the company back on stage later this year.
Last summer, the GLYNDEBOURNE FESTIVAL received its first outside
financial support when IBM United Kingdom Trust sponsored the new production of La Traviata. — In recent years, Great Britain has followed
the American example in promoting corporate sponsorship of the arts, and
Covent Garden has had many gifts from major corporations. A recent
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NEWS FROM OPERA COMPANIES
addition among c o r p o r a t e a r t s g r a n t e e s is t h e National Westminster Bank,
which has become a primary sponsor of England's touring OPERA '80,
replacing the company's original supporter, the Arts Council of Great
Britain. — The American/Irish charity organization, the Ireland Fund,
has taken up some of the slack in funding of the WEXFORD FESTIVAL,
c r e a t e d through cutbacks by the Irish Arts Council.
With several German opera houses maintaining experimental stages for
new works, t h e opera house in Bonn plans to add just such a workshop,
t h e BONN OPERA STUDIO, under opera director J e a n - C l a u d e Riber; Udo
Zimmermann is t h e new composer-in-residence.
T h r e e major additions to the PICCOLO TEATRO DI MILANO (not to be
confused with La Piccola Scala) a r e planned by director Giorgio Strehler,
one s t r u c t u r a l and t h e others relating t o ensembles and programs. Under
t h e overall name of Citta del teatro, the organization will add II Teatro
Grande, which is t o be t h e future home of t h e Piccolo T e a t r o . A Teatro
Studio will be c r e a t e d for experimental works and for readings, developments and trying out of new works-in-progress, and finally, later this
season, a t h e a t e r school will open under the supervision of Mr. Strehler,
who divides his time between directing plays and directing operas.
PICCOLO
TEATRO DI
MILANO
Verdi's Aida will be taken on tour, this time from t h e land of its creator
t o t h e place of its action. In May '87, t h e ARENA DI VERONA production
will be seen on t h e banks of the Nile at the Temple of Luxor.
OPERATIC
HOMECOMINGS
The THEATRE DE LA MONNAIE in Brussels will send one of its Mozart
opera productions to Salzburg's L a n d e s t h e a t e r during t h e winter season.
The same production will be part of the Holland Festival next summer
and, also next summer, a Belgian Falstaff production will be seen at t h e
Aix-en-Provence Festival.
Opera Ebony, originally established in Philadelphia by the l a t e Sister
Elise, has been renamed OPERA NORTH, with a new a d d r e s s of 4401
Conshohocken Avenue, Philadelphia, PA 19131; t e l e p h o n e (215) 879-9029.
Malcolm P o i n d e x t e r remains t h e company manager. The o r g a n i z a t i o n is
no longer a f f i l i a t e d with Opera Ebony in New York, which is under t h e
d i r e c t i o n of Benjamin M a t t h e w s and music d i r e c t o r Wayne S a n d e r s .
NEW NAME
C a l g a r y O p e r a , 1011 First St. S.W., # 306, C a l g a r y , A l b e r t a T2R 1J2
Four C o r n e r s O p e r a ( w i n t e r address), 11859A Academy Rd., Philadelphia,
PA 19154; (215) 632-2070
Lyric Opera of Dallas, 2733 Oak Lawn, # 2 0 1 , Dallas, TX 75219; (214)
522-5653; T e r r y Hicklin, Gen.Dir., John Burrows, Art.Dir.
O p e r a de C a m e r a de P u e r t o Rico, 14 Candina St., C o n d a d o , PR 00907;
Luis P e r e i r a , Art.Dir.
Opera O r c h e s t r a of New York, 228 West 72nd St., # 2 R , New York, NY
10023
Opera Pacific, 17712 Mitchell, Irvine, CA 92714
O p e r a T h e a t e r of R o c h e s t e r , 130 East Main St., R o c h e s t e r , NY 14604,
A t t n : John W. C l a r k e
O r a n g e C o u n t y O p e r a , Inc., P.O. Box 1470, Sunset Beach, CA 90742
[]
CHANGES OF
ADDRESS
-19-
GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS
NEA
After much consideration and debate, appropriations for the NATIONAL
ENDOWMENT FOR THE ARTS for FY'87 were signed at $165.08 million.
While the figure is extremely low compared to the Endowment's historical
development of funding, it is at least near the highest amount recommended
for this year by the various agencies and committees—all bent on keeping
this part of the federal budget within stringent limits. The Administration's
recommendation had been for $144.9 million, the Senate Appropriations
Committee's for $159.95 million, and the House's for $165.66 million,
indicating a vote of confidence for the NEA. Last year the Endowment
had to settle for $158.53 million, reflecting a last minute reduction of
over four percent due to the Gramm-Rudman-Hollings across-the-board
cuts. The OPERA/ MUSICAL THEATER PROGRAM, under its director
Patrick Smith, is to receive $6.19 million in FY'87, or about 3.7 percent
of NEA's total appropriations.
Sixty arts groups shared in the $21.5 million disbursed by NEA through
the '86 Challenge Grants Program II.
The awards, distributed to
organizations in 23 states, the District of Columbia, and one in France,
ranged from $100,000 to $1 million. The current format, however, will
be phased out gradually over the next five years with the last grants to
be made in 1991. NEA examined the current program and, deciding that
changes were needed, announced a new format for Challenge Grants III
to begin in 1988. The new program will address areas not presently
covered by the various NEA departments, and will include venture capital
and special projects. Further information for this '88 program will be
published as it is received.
NASAA
The NATIONAL ASSOCIATION OF STATE ARTS AGENCIES has compiled
a list of state appropriations for the arts, indicating increases and
decreases compared with last year's, and showing per capita arts council
budgets. Those arts agencies with more than $7 million at their disposal
are New York ($49 million plus $15 million from the National Heritage
Trust), Massachusetts ($18.2 million), New Jersey ($13.4 million), Florida
($12.7 million), California ($12.6 million), Michigan ($11.4 million), Puerto
Rico ($10.5 million), Ohio ($9 million), Illinois ($8.7 million), and
Pennsylvania ($7.8 million). While the total picture showed an average
increase in State Arts Agency funds of about 10.7 percent, some states
recorded increases as high as 150 percent (Maryland), 88 percent (Iowa),
69 percent (Colorado), and 53 percent (Virginia). The largest decreases
occurred in Tennessee (61.7 percent, due to the omission of one special
gift), Alaska (45 percent), Texas (38 percent) and Missouri (36 percent).
And finally, the states with the highest per capita arts appropriations
are Alaska ($4.20), the District of Columbia ($3.78), Puerto Rico ($3.22),
Massaehussetts ($3.13), New York ($2.73), Guam ($2.55), and Hawaii ($2.16).
Begun with an initial $10 million grant from the Ford, Andrew Mellon,
and Rockefeller Foundations, the NATIONAL ARTS STABILIZATION FUND
has selected Kansas City as the second city where the fund will be
working with a local committee to set up its system of aid to resident
arts organizations. The Fund's activities were launched in 1983 with a
pilot program in Boston (see Vol. 25, No. 1).
The results of a recent study by the INDEPENDENT SECTOR have been
published in a booklet particularly recommended for distribution to members
of boards of directors and other volunteers active in the arts. It is
available from I.S., 1828 L Street, NW, Washington, DC 20036, for $5 per
-20-
GOVERNMENT & NATIONAL ORGANIZATIONS
single copy, $2.50 each on orders of 2-10 copies, and $1 each on orders
of 11 or more. The booklet also includes the Independent Sector's predictions for a-doubling of volunteer time and of charitable giving by 1991.
Three major arts service organizations have become neighbors—and more
—moving into the older part of the Equitable Center Building at 1285
Avenue of the Americas, between 51st and 52nd Streets in New York
City. Now the AMERICAN COUNCIL FOR THE ARTS, the CENTER FOR
ARTS INFORMATION and the VOLUNTEER LAWYERS FOR THE ARTS
jointly occupy space on the third floor. With financial assistance from
the Reed Foundation, they have established and share a collaborative
research library of some 15,000 volumes, and by pooling their knowledge
and resources they have formed a loosely organized umbrella organization,
THE ARTS RESOURCE CONSORTIUM. Because of their non-profit service
status, Equitable Real Estate Group has given them special financial consideration in its rental agreement. The arts-oriented Equitable Center
also houses a branch of the Whitney Museum, and its public areas are
decorated with several contemporary murals and sculptures.
SERVICES TO
THE ARTS
The TKTS kiosk on Times Square in New York has become a well-known
landmark to New Yorkers as well as to visitors from out of town. Created
and maintained by the THEATRE DEVELOPMENT FUND, it and the two
other TKTS stations in Brooklyn and downtown Manhattan sell at half
price remaindered tickets to theatre, music and dance events taking place
that same day. This has been an extremely successful operation, with
ticket sellers as pleased as ticket buyers. Now TDF is establishing a
nationwide system for ticket information about any performing arts event
in New York City. It will operate under the name of NYC/On Stage, using
a toll-free 800 telephone number, with an intricate and sophisticated
computer program developed by Voicetek Corporation. The caller will
be directed to use different additional digits for information on plays,
musicals, Broadway shows, Off-Broadway shows, music events including
major and smaller opera productions, and dance performances, and will
then hear a complete list of relevant performances and up-to-date
information on openings, closings, and ticket availability. Information on
how to order the various tickets will also be supplied. (The installation
has just been completed for New York City 587-1111.) TDF hopes to have
a ticket ordering service for major credit card holders incorporated into
its system within six to twelve months, so that receiving information and
ordering tickets may be accomplished with a single telephone call.
TELEPHONE
TICKET
SERVICE
A cooperative of non-profit groups has formed the Telecommunication
Cooperative Network (TCN) to create a low-cost telephone service for
not-for-profit organizations exclusively.
UNIVERSAL SWITCHBOARD
(UNIS) of TCN claims to save up to twenty percent over the commercial
long distance discount rates. TCN is also developing other services such
as electronic mail capabilities. For more information contact TCN, 505
Eighth Avenue, suite 1805, New York, NY 10008, telephone (212) 714-9780.
TCN
Consultant services to performing arts organizations, with particular CONSULTANCIES
specialization in electronic media projects, are offered by Robert R.
Porter (31 West 75th Street, #3A, New York, NY 10023). His expertise
is based on experience gained in former positions with the Opera Theater
of Syracuse, the New York City Opera, the New York State Arts Council
and, for the last eight years, with the Chamber Music Society of Lincoln
Center. — GIBBS COMMUNICATIONS (P.O. Box 3562, Philadelphia, PA
-21-
GOVERNMENT & NATIONAL ORGANIZATIONS
19122) announces free services to non-profit arts organizations in the
fields of promotion and marketing, education, and the training of young
artists. This new Gibbs Out Reach Program promises that the only costs
charged will be for subcontracted services and out-of-pocket expenses.
CANADA
COUNCIL
The CANADA COUNCIL has c r e a t e d a Glenn Gould International Prize
for an Exceptional Contribution to Music and Its Communication.
A
committee headed by Council chairman Maureen Forrester will consider
nominations and select t h e individual who earned national or international
recognition for his or her activities t h a t significantly benefitted music
and its communication. A cash prize of $50,000 will be presented in a
formal ceremony in October 1987.
CHANGES OF
ADDRESS
American Council for t h e A r t s , 1285 Ave. of t h e Americas, 3rd fl., New
York, NY 10019
C e n t e r for Arts Information, 1285 Ave. of t h e Americas, 3rd fl., New
York, NY 10019
Chamber Music America, 545 Eighth Ave., New York, NY 10018 (212)
244-2772
National Assn. of Teachers of Singing (NATS), 2800 University Blvd. No.,
Jacksonville, FL 32211; (904) 744-9022
National Music Council, 45 W. 34 S t r e e t , # 1010, New York, NY 10001
(212) 563-3734
Volunteer Lawyers for t h e Arts, 1285 Ave. of t h e Americas, 3rd fl., New
York, NY 10019
CONFERENCES
11/21-25/86
12/14-17/86
12/14-17/86
12/18-22/86
1/9-11/87
2/7/87
6/1-4/87
6/10-13/87
6/20-24/87
10/15-18/87
10/21-24/87
10/21-24/87
11/2-8/87
11/87
12/17-21/87
1/88
2/25-27/88
National Guild of Community Schools of t h e Arts,
Washington, DC
National Society of Performing Arts Administrators, New
York, NY
Chamber Music America, Hebrew Arts School, West 67th
St., New York, NY
Ass'n of College, University and Community Arts Administ r a t o r s (ACUCAA), New York, NY
OPERA America, Dallas, TX
Literary Managers and Dramaturges of America, Symposium,
Columbia University, New York, NY
International Society of Performing Arts Administrators
(ISPAA), International Congress, London, England
American Symphony O r c h e s t r a League, Waldorf Astoria
Hotel, New York, NY
National Association of Local Arts Agencies (NALAA),
Portland, OR
College Music Society, New Orleans, LA
Central Opera Service National Conference, New York, NY
National Assembly of S t a t e Arts Agencies (NASAA), Nashville,
TN
American Music Week (annually—designated by NEA & AMC)
National Opera Association, Orlando, FL
Association of College, University and Community Arts
Administrators (ACUCAA), New York, NY
OPERA America, Houston, TX
Opera Guilds International, San Diego, CA
-22-
[]
NEW AND RENOVATED THEATERS
The Glimmerglass Opera Theater in Cooperstown, New York, has announced NEW THEATERS
the opening of its new opera house for next summer; there will be a gala
concert with Frederica von Stade and Alan Titus on June 27. With the
initial planning begun less than three years ago, the completion of the
ALICE BUSCH OPERA THEATER has kept remarkably to its original schedule. Designed by Hugh Hardy of Hardy Holzman Pfeiffer, the barn-like
exterior fits into the rural setting, while the interior features two-level
seating including parterre boxes, accommodating a total audience of 920.
The orchestra pit can hold up to 80 players; there is a full height stage
house as well as adequate wing space on either side of the stage, and a
24-foot high proscenium. The side walls of the vestibule and public areas
can slide open, to take advantage during intermissions, weather permitting,
of the view of the lake and the surrounding countryside.
The Philadelphia Orchestra, which has performed at the ACADEMY OF
MUSIC since its founding 86 years ago, has announced plans for the
construction of a new concert hall near the Academy, at the intersection
of Broad and Spruce Streets. Completion is projected for 1991. At the
same time, the Academy is to undergo a renovation and modernization of
its technical facilities for use by opera and ballet/dance companies and
for musical theater productions. The new hall has been budgeted at $60
million, the renovation of the Academy at about $8 million.
CARNEGIE HALL reopened as scheduled on December 15 in all its new
and shining glory, in spite of workmen bustling and hammering until that
very afternoon. A ribbon-cutting ceremony was followed by a gala performance with the New York Philharmonic under Zubin Mehta with star soloists who were joined by surprise guests Leonard Bernstein and Vladimir
Horowitz. The central figure of the evening, however, was Isaic Stern,
who almost singlehandedly had saved the hall from demolition threatened
in the late 1950's. — The former Carnegie Recital Hall, now renamed
WEILL RECITAL HALL, also benefitted from the renovation with a new
stage and lighting system; its seating capacity remains just under 300.
The MAJESTIC THEATER, two blocks from the Brooklyn Academy of
Music, will be remodeled to open next fall as part of the BAM theater
complex. The renovation will give the theater flexibility to be used with
a thrust stage and a seating capacity between 450 and 900. The first
production, scheduled to open on October 13, 1987, will be Peter Brook's
stage version of the Hindu epic, Mahabharata, translated into English.
This nine-hour play with music, having run for one year in Paris, is booked
into the Majestic for three months. The Academy plans to use the Majestic for its own productions for about four months out of the year.
Columbia University announced plans for the renovation of its 63-yearold McMILLAN THEATER. Refurbishing the 700-seat hall will include
the installation of new lighting and sound systems and central air conditioning. The cost is estimated at $2.5 million. A grant of $1 million
from a private foundation will give the hall its new name, the GILBERT
AND KATHRYN BACHE MILLER THEATER. In the 1940's, the theater
was the site of many important concerts and opera performances, particularly of contemporary music, including several world premieres.
Another small concert/recital hall in New York is to be refurbished for
use by music, theater, and dance ensembles, and for film. It is the 400seat auditorium of the FRENCH INSTITUTE, the Alliance Francaise. The
-23-
RENOVATIONS
NEW AND RENOVATED THEATERS
Florence Gould Foundation has donated $1 million towards this project,
to be completed by spring '87.
In San Francisco, the GHIRARDELLI SQUARE CINEMA will be converted
into a performing arts space for use by the Pocket Opera Company and
the Waterfront Theater, which will share the facility as resident ensembles.
The 450-seat hall will also be suitable for recitals, dance performances,
seminars, and other functions. (See also "Exhibitions" for Tivoli Theatre.)
— The ANCHORAGE OPERA will be moving into a newly renovated
movie theater with a thrust stage. While the company used to perform in
a 625-seat house, the new facility will limit the audience to 520.
NEW THEATERS Last September, Amsterdam opened its new opera house, HET MUZIEKABROAD
THEATER, built at a cost of $73 million (US), with premieres of two new
Dutch compositions, the opera Ithaka and the ballet Zoals Orpheus. The
semi-circular auditorium sports a state-of-the-art stage with the latest
technical and lighting equipment. The orchestra pit can accommodate up
to 120 musicians, and the theater seats an audience of 1,614.
A new Finnish opera house is on the drawing board, to be built in Helsinki
on lakefront property donated by the city. The opening is projected for
1990, at which time a new national opera, Kullervo, commissioned for
the occasion from Aulis Sallinen, will be premiered. This new home of
the FINNISH NATIONAL OPERA will have a seating capacity of 1,400.
Construction of Paris's much debated OPERA DE LA BASTILLE has finally
resumed—after all work had been halted because of enormous overruns
on the budgeted cost—but not before the dismissal of the original architect
and the adoption of a much simplified design. The new reduced scale
eliminates, for instance, workshops for sets and costumes.
On November 5, London's Royal College of Music opened its newly completed BRITTEN OPERA THEATRE with a performance of A Midsummer
Night's Dream. The new opera house is conceived in the traditional form
with a three-tier auditorium holding just over 400.
COVENT GARDEN A grand plan for renovation and expansion, approved by the officers and
RENOVATION
trustees of the ROYAL OPERA, COVENT GARDEN, is currently being
considered for approval under the city ordinances. The proposal includes
the removal of two smaller adjoining buildings in order to enlarge the
site. Rents from shops and offices in the new parts of the building would
help to defray costs that will otherwise accrue to the opera house. The
proposed improvements include new side and rear stages, renewed stage
machinery, an enlarged orchestra pit, and more rehearsal space. A second
entrance to the opera house with its own foyer is also deemed necessary.
If approved, work could start in 1991. During the two-year renovation
the company would perform at the Theatre Royal Drury Lane.
CORRECTION
The design as well as the acoustics and theatre consultancy for Thunder
Bay Community College, Ontario, were the responsibility of ARTEC CONSULTANTS. Eight different architects joined to form the Associated Architects for the Thunder Bay Community Auditorium; Garwood-Jones was
not among them (see Vol. 27, No. 2).
CHANGE OF
ADDRESS
SRO Consultants have moved to Georgia: 1395 Marietta Parkway, Building
500, suite 100, Marietta, GA 30067; (404) 423-1811.
[]
-24-
EXHIBITS AND ARCHIVES
The Museum of Broadcasting in New York organized a program, THE
METROPOLITAN OPERA: THE TELEVISION AND RADIO LEGACY, which
could be viewed and heard at the East 53rd Street location last September
through November. Celebrating 55 years of the Met's recorded history,
the museum offered screenings and replays of 51 radio programs and 36
television productions, beginning with the December 1931 Hansel and
Gretel and including the 1966 "Farewell to the Old House on 39th Street".
The Archives for the Performing Arts at San Francisco's War Memorial
Opera House devoted this winter's exhibit (it opened October 24) to THE
TIVOLI OPERA HOUSE, 1875-1913. Subtitled "Music-Mad San Francisco",
the show documented the colorful and prestigious history of the littleknown opera house that presented Mascagni conducting Cavalleria rusticana and Zanetto and Leoncavallo conducting Pagliacci, that offered a
twelve-month operatic season, and accumulated a record number of performances between 1879 and 1906—over 4,000, compared to a total of 255
performances by the Grand Opera House between 1875 and 1906, when
both theaters were destroyed by the earthquake. Begun as a beer garden
in 1875, the Tivoli added a concert hall with a gallery and a total seating
capacity of 1,000 four years later, opening on Eddy Street with the then
one-year-old H.M.S. Pinafore. Already the following year the theater
was enlarged to accommodate an audience of 2,000, and by 1882 it was
performing grand operas in continuous runs, such as 37 performances of
Faust, 32 of R Trovatore, 28 of Der Freischiltz, and 21 of Un Ballo in
maschera. An unheard-of achievement, certainly by today's standards of
"opera as popular entertainment." The Tivoli operated as a stock company
with a fine roster of resident performers rather than on a star system,
although exceptions did occur. When the gas-lit theater was condemned
as a firetrap in 1903, a new, larger (2,700 seats), more elegant theater
was ready to open on the corner of Eddy and Mason Streets. It was
there that Luisa Tetrazzini made her American debut as Gilda in 1905,
establishing a tradition for San Francisco which was later upheld by Kurt
Herbert Adler, who introduced a number of important singers to American
audiences there. Another new Tivoli Opera House was opened to replace
the one destroyed by the earthquake and fire, but at that time the moving
pictures made their inroads into live entertainment, and in 1913 the Tivoli
was converted into a movie palace. Although the Tivoli was finally demolished in 1950, many other such movie palaces have been reclaimed for
their original purpose of presenting opera, operetta, and musical productions. The Archives' exhibit included photographs, artifacts, documents,
programs and press clippings.
The library of the University of Wisconsin in Madison has received the
TAMS-WITMARK COLLECTION OF MUSICAL THEATER PERFORMANCE
MATERIAL. It will be catalogued according to the Archives and Manuscripts Control Format, using the OCLC data base, and will be available
through the Network Library System. The collection consists of some
25,000 American and European printed items from the 19th and early 20th
century, representing the company's early stock of rental music: piano/
vocal and full scores, parts, libretti, prompt books, etc. for grand opera
from Bellini to Wagner and for light opera and operetta from Gilbert and
Sullivan and Johann Strauss to the early musicals of Jerome Kern.
[]
-25-
FORECAST
SUMMER '87
SANTA FE OPERA'S schedule continues the company's policy of presenting
a varied repertoire, including one opera each by Mozart and Strauss: Le
Nozze di Figaro, Die schweigsame Frau. Drawing on works from the
baroque, classic and modern periods, the company will also stage Ariodante,
Madama Butterfly and Shostakovich's The Nose in English.
Between May 22 and June 5, Charleston, SC, will hear Rameau's Plat6e
and Strauss's Salome, produced by the SPOLETO FESTIVAL USA.
The CINCINNATI OPERA summer season will bring back its 1985 production
of Leoncavallo's Zazd. The two other operas to be heard at the Music
Hall in the summer will be Madama Butterfly and II Barbiere di Siviglia.
Les Contes d'Hoffmann was the company's March production, and Turandot
will be offered in November for two performances plus an abridged student
matinee.
This year's two Ring cycles at the SEATTLE OPERA have been moved
from June to August (see "Performance Listing"), thus affording visitors
the opportunity of a coinciding summer vacation in the Northwest.
Opening its 54th season on July 11, CENTRAL CITY OPERA has announced
two operas and one operetta for its '87 program: Madama Butterfly, Don
Pasquale, and The Vagabond King. — Opera performances at the ASPEN
MUSIC FESTIVAL will include The Rake's Progress, The Tender Land,
and La Cenerentola, to be conducted by Jorge Mester, Murray Sidlin, and
Claudio Scimone respectively. — Preceding these performances in
Colorado is the June program of the FOUR CORNERS OPERA in Durango,
this year reduced to one production: Man of La Mancha.
Four productions, representative of different periods, styles, and cultures
but unified by Shakespearean themes, make up the season of the CHAUTAUQUA OPERA in upstate New York. The young artists at Chautauqua will
have the opportunity to perform in Rom6o et Juliette, A Midsummer
Night's Dream, Falstaff, and Kiss Me Kate. All the works will be sung
in English.
THE NEWPORT FESTIVAL plans to bring opera back to Rhode Island next
summer by offering performances of one Handel and one Mozart opera:
Agrippina and Die Entflihrung aus dem Serail.
After successfully presenting L e e Hoiby's The Tempest in a world premiere
last summer, DES MOINES METRO OPERA in Indianola, Iowa, will again
mount an ambitious program in 1987: Der fliegende
Hollander, The Turn
of the Screw, and La Boheme.
The fortieth season of t h e PITTSBURGH CIVIC LIGHT OPERA opens July
7 at Heinz Hall, and will include Sweet Charity, Kismet, Peter Pan and
t h r e e other musicals t o be announced.
EUROPE
SUMMER ' 8 7
The GLYNDEBOURNE FESTIVAL, playing from May 24 t o August 22, has
been lengthened by one week and has added one more opera t o its schedule
—six instead of t h e previous five. There will be new productions of La
Traviata (conductor Bernard Haitink; director Sir Peter Hall; designer
John Gunter), and L'Enfant
et les sortileges/L'Heure
espagnole (Simon
Rattle; Frank Corsaro; Maurice Sendak), as well as revivals of Carmen,
Cosi fan tutte, Capriccio, and Porgy and Bess.
-26-
FORECAST
July 25 through August 28 are the dates of the BAYREUTHER FESTSPIELE,
in a summer between Ring productions. The operas scheduled for this
year are Lohengrin, Parsifal, Tristan und Isolde, Tannhduser, and Die
Meistersinger von NUrnberg under the batons of Peter Schneider, Daniel
Barenboim (two operas), Giuseppe Sinopoli, and Michael Schj6nwandt, and
staged by Werner Herzog, Gotz Friedrich, Jean-Pierre Ponnelle, and
Wolfgang Wagner (two operas), respectively.
A new Ring production,
conducted by Daniel Barenboim and directed by Harry Kupfer, will be
unveiled in 1988.
The SALZBURGER FESTSPIELE will honor its once rejected native son
with three operas, Don Giovanni, he Nozze di Figaro, and Die Entfiihrung
aus dem Serail. In addition, there will be Monteverdi's II Ritorno d'Ulisse
in patria, Strauss's Capriccio, and the Salzburg premiere of Schoenberg's
Moses und Aron, the latter staged by Ponnelle and conducted by James
Levine. — Austria's BREGENZER FESTSPIELE will mount Les Contes
d'Hoffmann on its stage on the lake—which will surely make the Venetian
act particularly effective—and will bring Ernani to the stage of the
Festspielhaus, the latter featuring Aprile Millo, Luis Lima and Paata
Burchuladze.
La Traviata, Aida, and Madama Butterfly will fill t h e ARENA DI VERONA
between July 4 and August 27. — Aida will also be seen in Finland,
where it opens the SAVONLINNA FESTIVAL on July 4. The other operas
on this year's program a r e Die Zauberflbte,
Orphee aux enfers, Sallinen's
The King Goes Forth to France, and The Rape of Lucretia, with a closing
date of August 2. — A performance of Cimarosa's rarely heard Le
Astuzie femminili will be the culmination of t h e one-month study program
in July at the FESTA MUSIC ALE STIANA, headed by director Nick Rossi.
Continuing its progress towards a new complete Der Ring des Nibelungen,
the METROPOLITAN OPERA will add Das Rheingold and Siegfried to the
repertoire, t h e former opening in October, the l a t t e r in February. The
third new production will bring Sutherland and Pavarotti in II Trovatore.
The season will open with Otello (Domingo in t h e title role), and will
include three more Verdi operas—La Traviata, Macbeth, and Luisa Miller.
Puccini is represented by La Boheme, Tosca, and Turandot with Dimitrova,
Donizetti by L'Elisir d'amore, and the Italian Mozart by Cosi fan tutte.
German will be heard in such diverse operas as Die Entfiihrung aus dem
Serail, Lulu, Ariadne auf Naxos, the bilingual Fledermaus, and the return
of t h e current season's new production of Die Walkiire. The schedule is
completed by four French operas— Manon, Werther, Pelleas et Melisande,
and Les Contes d'Hoffmann— and the Russian
Khovanshchina.
It will be the longest season in the history of t h e LYRIC OPERA OF
CHICAGO, opening September 18 and closing on February 6 with an unprecedented number of productions and performances—nine operas in 71 showings. Le Nozze di Figaro and Die Fledermaus will be new productions,
the former staged by Sir Peter Hall, sets by John Bury, and given with
English projected captions, the l a t t e r staged by Giulio Chazalettes,
designed by Ulisse Santicchi, and sung in an English translation. A first
for Chicago will be Philip Glass's Satyagraha in a production borrowed
from the Netherlands Opera, as will be Lulu, sung in German and accompanied by English captions in a production imported from Turin and staged
by the controversial Yuri Lyubimov. II Trovatore with Pavarotti will
open the season, which will also include La Forza del destino, Faust, and
L'ltaliana in Algeri (the first on loan from San Francisco, the last from
-27-
1987-88
SEASON
FORECAST
the Met), and which will close with Tosca as staged by Italo Tajo, following a growing trend of singers as stage directors. Projected captions
will be supplied for all the foreign language operas. Besides music director
Bruno Bartoletti, conductors include Dennis Russell Davies, Andrew Davis,
Christopher Keene, Sir John Pritchard, James Conlon, Michael Tilson Thomas, Jean Fournet, and Gabriele Ferro. The complete schedule and casts
will be published in the next issue.
Seventeen evening-filling productions—or nineteen separate works, counting individual operas on double bills—will make up the 1987 season of
the NEW YORK CITY OPERA. Opening on July 7 with a one-week run
of The Student Prince, the company will unveil three new productions
during its summer season: Cavalleria rusticana &. Pagliacci, Die Zauberflbte, and The Desert Song. Returning to the repertoire after one or
more seasons' absence are Tosca, La Rondine, and Sweeney Todd, and
returning from last year's program are the classics La Traviata, La
Boheme, Madama Butterfly, Faust, and Le Nozze di Figaro. Continuing
into the fall and until the close of the season on November 15, the City
Opera will mount, for the first time and in new productions, Mozart's
L'Oca del Cairo together with Knussen/Sendak's Where the Wild Things
Are, and add revivals of Turandot, Casanova, Die Fledermaus and The
Rake's Progress. This will be the company's first season under the music
direction of Sergiu Comissiona.
Two new productions will be unveiled by the SAN FRANCISCO OPERA
next fall— Fidelio and La Traviata. Also on the program are Die Zauberflb'te, Nabucco, and Madama Butterfly. Later that season the new production of Traviata will also be presented by the WASHINGTON OPERA,
which will open with Romeo et Juliette followed by Madama Butterfly.
Next season will be of special significance to the HOUSTON GRAND
OPERA, which will open in the fall at its new home, the Wortham Theatre
Center. As mentioned elsewhere in this issue, the company is changing to
a schedule of paired productions with the first two works, one classical
grand opera, Aida, and one contemporary opera in a world premiere, Nixon
in China, playing in October/November. Mirella Freni, Stefania Toczyska,
Pl&cido Domingo, and Ingvar Wixell will be heard in the Verdi opera under
the baton of Giuseppe Sinopoli and directed by Pier Luigi Pizzi, while in
the contemporary work John DeMain and Peter Sellars will be in charge
of the pit and stage respectively. The January/February schedule will
offer Cosi fan tutte with Dennis Russell Davies conducting, alternating
with La Rondine, staged by Lotfi Mansouri. One French and one German
opera round out the season in April/May. Manon will feature Angela Maria
Blasi and Francisco Araiza as the ill-fated lovers, while Tannhauser will
present Eva Marton as both seductress and virginal heroine opposite Klaus
Kbnig's portrayal of the Minnesinger. Julius Rudel, Otto Schenk and
Gunther Schneider-Siemssen will watch over musical, dramatic, and scenic
matters. In addition to these six productions at the Wortham Center,
the company will give ten performances of The Abduction from the Seraglio
at the Cullen Theatre. This will be the only opera to be sung in an
English translation; all other foreign language operas will be performed
in the original with projected English captions.
The PITTSBURGH OPERA, also moving into a new house—the Benedum
Center—next October, will perform Turandot in its opening week; the
new production features Ghena Dimitrova. Carman, too, will be given in
-28-
FORECAST
a new production with Agnes Baltsa and Jose Carreras, staged by Grischa
Asagaroff. — Because of the new Center, the CIVIC LIGHT OPERA
has scheduled one of its productions for November for the first time. The
musical will be Cats.
One French and three Italian operas will make up the 1987 fall season
of the DALLAS OPERA. Opening with Tosca on November 5, the season
will continue with L'ltaliana in Algeri with Marilyn Home as the pert
heroine, Werther with Alfredo Kraus as the melancholy hero, and will
close December 19-27 with Turandot, personified by Johanna Meier.
Popular operas by Verdi, Donizetti, and Gounod make up the repertoire
of the SAN DIEGO OPERA next season. October-November will bring
Rigoletto and L'Elisir d'amore, and February-March Faust and II Trovatore.
In addition, the company will present solo recitals by Carol Vaness, Tatiana
Troyanos and Hftkan Hagegard, and close the season on March 9 with the
Verdi Requiem.
Next season at the Ordway Theatre in St. Paul, the MINNESOTA OPERA
plans four performances each of Die Fledermaus, Rigoletto, Rusalka, and
a to-be-announced Rodgers and Hammerstein musical, the latter to be
prepared in collaboration with the Ordway Music Theater. — The MINNESOTA ORCHESTRA, under its music director Edo de Waart, will join the
local operatic scene in Minneapolis with Das Rheingold, though in unstaged
performances. Two concerts in April '88 will feature Diane Curry, Peter
Sehreier, Roger Roloff, Helmut Pampuch, and Julian Patrick.
June '88 will bring a full production of the rarely-staged Oberon by Weber
to the stage of the OPERA THEATRE OF SAINT LOUIS. — Rigoletto
and The Saint of Bleecker Street are the two operas which will be performed in November and February by the MISSISSIPPI OPERA in Jackson,
and Don Giovanni will occupy opening night at OPERADELAWARE.
For the first time, the CLEVELAND OPERA will offer five new productions
next season instead of its usual four, including two of a lighter variety:
Carmen, H.M.S. Pinafore, he Nozze di Figaro, Turandot, and West Side
Story. — The NATIONAL GRAND OPERA in Greenvale, NY, has announced
a performance of Andrea Chenier with Atarah Hazzan and Vasile Moldoveanu for December '87.
The LYRIC OPERA OF KANSAS CITY will open and close next season
with operas by two Strausses. Der Rosenkavalier, together with The
Marriage of Figaro and Madama Butterfly, will play the company's fall
season with the Mozart opera also going on tour. The spring program,
as always consisting of two productions, will feature the second staging
of Hoiby's The Tempest and close with Die Fledermaus.
L'OPERA DE MONTREAL'S first production of the 1987-88 season will be
a new staging of Otello with Adriana Vanelli and Maurice Stern, Alfredo
Silipigni conducting. Also on the program are La Cenerentola, Carmen,
and Don Giovanni, one opera less than last year. — The MANITOBA
OPERA in Winnipeg has also announced next season's program, which will
consist of three productions: The Merry Widow, II Trovatore featuring
Leona Mitchell, and Rom4o et Juliette.
[]
-29-
ATTENTION COMPOSERS, LIBRETTISTS, DESIGNERS
COMPOSERS AND The International Competition for Opera and Ballet Compositions in
LIBRETTISTS
Geneva, Switzerland, has as its 1987 subject BALLET FOR LARGE ORCHESTRA. As always, the competition carries no restrictions as to the
nationality, residency or age of the composer. The work must be unpublished and not yet performed. There are no specifications regarding the
length, but it should be scored for large orchestra, and the adjunction
of electronic music or musique concrete is permitted, as is the addition
of speakers or singers (up to four soloists) or a mixed chorus. Application
deadline is September 30, 1987, and forms may be obtained from Concours
International de Musique de Ballet, Maison de la Radio - Case 233, 66
boulevard Carl-Vogt, CH-01211 Geneva 8, Switzerland. The first prize
is 20,000 SFr and a performance; additional prizes may be awarded at
the discretion of the judges.
The eighth NEW MUSIC AMERICA FESTIVAL, the annual conference and
performance festival for composers, will be held in Philadelphia in October
1987.
Each year it is held in a different location; Los Angeles was its
last site in 1986.
The MINNESOTA OPERA'S former "Opera Tomorrow" program has been
discontinued in favor of the company's NEW MUSIC-THEATER ENSEMBLE,
which will meet for six weeks in March-April '87 to develop new opera/
musical theater pieces.
— The PENNSYLVANIA OPERA THEATER
continues its composer/librettist's workshops in three two-week sessions.
OPPORTUNITIES FOR COMPOSERS is a 17-page publication compiled by
and available from the American Music Center. Similar to the COS
Career Guide for Young American Singers, the composers' guide is divided
into different sections: Domestic Competitions and Grants, Foreign Competitions, and Artists Colonies and Workshops. It is available for $8 ($5
for AMC members) from AMC, 250 West 54th Street, suite 300, New
York, NY 10019. An updated edition will be published quarterly.
A ten-month advanced training program for composers and librettists/
lyricists is offered by the San Francisco Center for Dramatic Arts.
Entitled PLAYWORKS, this musical theater program has been designed
for the development of new works, with the composers, librettists/lyricists
and stage directors in residence (see also "Education").
In order to promote and promulgate the music of Czechoslovakia, Alan
Houtchens has founded THE CZECH MUSIC SOCIETY, Alan Houtchens,
President, 720-C West Victoria Street, Santa Barbara, CA 93101.
DESIGNERS
Local 829, the New York chapter of UNITED SCENIC ARTISTS ASSOCIATION, has announced the addition of two more dates to its usual one
annual date for membership examination. The Track A exam is for those
already working professionally, with a minimum of two years of active
employment; it consists of an interview and a review of the applicant's
portfolio and past activities. The Track B exam is the traditional
examination for newcomers and students, consisting of an interview, review
of the portfolio, and a home project.
Track A
Track B
1/25/87 or 9/20/87
Scenic artist
5/2,3 and 5/30,31/87
Scenic designer
2/1/87 or 9/27/87
5/16,17/87
Costume designer
1/31/87 or 9/26/87
5/9,10/87
Lighting designer
1/24/87 or 9/19/87
[]
4/25,26 and 5/16,17/87
-30-
EDUCATION
A new model program, ARTISTS AND SCHOLARS IN RESIDENCE, is being
developed by the New York State Council for the Humanities. This dual
program permits pairing of an artist and an art expert with knowledge
of the art form's history, society and culture. This project, funded by
the New York State Council on the Arts under its Arts in Education program, calls for the collaboration of the two New York State Councils
and the New York Foundation for the Arts, which maintains an artistsin-resideney program.
ARTISTS-INRESIDENCE
Teachers College of Columbia University has established a nine-month
certificate program for accomplished performing artists who wish to
become artists-in-residence or otherwise perform in schools. The program
offers seminars and field work sessions, and does not include instruction
in the artist's own performance field. A fee of $750 is charged for the
certificate course, which may also be taken for four graduate credits.
For further information contact Grace E. Shen, Program Administrator,
Department of the Arts in Education, Box 139, Teachers College, Columbia
University, New York, NY 10027.
In October and November, the Greenwich House Music School was the
scene of the first LEONARD WARREN MASTER CLASSES. Three outstanding operatic artists shared in the teaching of bel canto sessions:
Martina Arroyo, Carlo Bergonzi, and conductor Eve Queler. At the conclusion of the classes, a $1,000 prize and participation in a concert were
awarded to the best of the registered students (see "Winners"). The
classes are planned as an annual event, and auditions are held in early
September for a maximum of twelve places. There is an audition fee of
$10. — A ten-session workshop was again offered in October by the
FESTIVAL OF LEARNING AND PERFORMING at Loyola Marymount College in Orange, California. These master classes, organized under director
Susan Brenner, were led, among others, by Henry Holt, Giorgio Tozzi,
Martin Bernheimer, and Randal Hoey.
MASTER
CLASSES/
ADVANCED
TRAINING
THE CLEVELAND INSTITUTE OF MUSIC joins Lyric Opera Cleveland in
a newly created program for singers between the ages of 18 and 26.
From June 21 through August 8, the Institute will offer intensive advanced
training, coordinated with the company's summer performances, where the
young singers will participate in the chorus, understudy solo roles and
possibly also assume small parts. In this first year, the program will be
open to eight singers who will receive a modest stipend for the seven
weeks. George Vassos, Chairman of the CIM Voice Department, and
Michael McConnell, the Lyric's Executive Director, head this new project.
The NATIONAL FOUNDATION FOR ADVANCEMENT IN THE ARTS, which
makes awards to outstandingly gifted high school juniors and seniors with
promise for a professional career in the arts, has initiated an extension
of its programs which should prove to be of particular significance to
young singers. Since most voices have not yet matured or fully developed
at age 17 or 18, a follow-up on talented vocalists seems especially important. These awardees may now return to the Foundation after 4 or
5 years, if they have developed further in their pursuit of a professional
career and need cash funds. The Charles Cinnamon Achievement in the
Arts Award can make available cash amounts under $1,000 for immediate
use by these young artists. Applications submitted in 1987 may come only from artists who won initial prizes before 1984. — Another new
NFAA program, this one of interest to instrumentalists, is the New World
-31-
NFAA
EDUCATION
Symphony Orchestra, which is being organized for training and performances to begin with the 1987-88 season.
NEWS FROM
WORKSHOPS
The North Dakota State University in Fargo has resumed opera performances with Robert Olson as director of the opera theater. Two performances of Cost fan tutte and an evening of scenes were staged last
season; a musical will be added this year. — The three production
awards given annually to academic opera workshops by the National Opera
Association went to 1) Marilyn Tyler, director of opera studies at the
University of New Mexico in Albuquerque; 2) Sylvia Debenport, director
Lyric Opera, Arizona State University in Tempe; and 3) Thomas Machen,
director of opera at Memphis State University. These awards were made
on the basis of submitted tapes.
FOR COMPOSERS The CENTER FOR DRAMATIC ARTS, formerly the San Francisco School
AND WRITERS of Dramatic Arts, joins various California (and Banff) institutions in
offering training for creators as well as for performers in the theater
arts. The CDA's ten-month Musical Theater Training is oriented towards
developing composers, playwrights/librettists and lyricists. Several short
courses such as Vocal Production or Musical Auditions, which meet one
evening a week, will be of interest to singers. The Roy Hart Theatre
Voice Workshop took place on two days in November, and may become
an annual program. For further information contact the Center at Fort
Mason Center, Bldg. C, San Francisco, CA 94123.
NEW THEATER
SCHOOL
The two-year-old NATIONAL THEATRE CONSERVATORY is the educational extension of the Denver Center Theatre Company and, as an affiliate
of the American National Theatre and Academy, is also the officially recognized national theater school of ANTA. Its three-year training program
awards a Master of Fine Arts degree to its graduates. Admission is by
auditions, which are held in various major cities; application deadline is
February 1. "The program described in this brochure is unreasonable.
Its challenges will require a dedicated individual to expand extraordinary
effort to meet its demands successfully." This opening statement on the
conservatory's brochure indicates the demands made on students and
obviously serves to discourage all but the extremely gifted and totally
dedicated. In addition to the graduate degree program, the school under
artistic director Donovan Marley offers evening courses and a summer
symposium for students and teachers. Further information may be obtained
from NTC, 1245 Champa, Denver, CO 80204.
DOCENT
TRAINING
The DAYTON OPERA'S outreach program is staffed by young volunteers
who accompany the performers to the schools or community centers and
function as lecturers and narrators. These volunteers, named docents,
go through a structured training program given by the opera company.
Six sessions consist of opera appreciation training and are open to the
public for a fee; additional lectures and discussions for docents only deal
with specific problems that these volunteers may be encountering.
TEACHING
DEVICE
FOR THE
VISIONIMPAIRED
A music teaching device for students with severely limited vision has
been developed and tested, although not as yet manufactured. The musical
score is projected from slides onto a television-like screen, which is
placed in front of the player or singer on top of the piano or wherever
the music stand would normally be. The device has a fast on/off switch
and a brightness control knob. For more details contact Richard Martin
Friedmar, 2426 Drummond Road, Toledo, OH 43606, (419) 473-3333.
[]
-32-
EDITIONS AND ADAPTATIONS
A new musical edition of NIOBE, REGINA DI
TEBE (Niobe, Konigin von Theben) (1688) by
Abbate Agostino Steffani was prepared by
Ludger R6my for a performance in Heidelberg
last October. — Out of Handel's Italian period
(the first decade of the 18th century) came
TIRSI, CLOR1 E FILENO, which was heard in
a version completed by Kenneth Cooper and
presented by him with the Bronx Arts Ensemble
in what may have been the work's world
premiere (see also "American Premieres").
When Strauss's DIE AGYPTISCHE HELENA was
heard at the Santa Fe Opera last summer, it
was performed in the revised version first
performed in Salzburg in 1933.
Two Mozart operas were presented in adaptations for children's performances. L'OCA DEL
CAIRO (The Goose from Cairo) was reduced
to 45 minutes and five characters by John
Edward Niles for the Opera Theater of Northern
Virginia, while The Impresario (Der Schauspieldirektor) went through a much more extensive
metamorphosis, emerging as THE CHICAGO
Nick Langham Smith is working on a realization IMPRESARIO when produced this season by the
of Debussy's unpublished opera, RODRIGUE ET Sierra Chamber Opera in California. Together
CHIMENE. Excerpts from the work were pre- with a changed text, William Monson provided
sented in Milan in June '86 at the time of the the opera with musical additions taken from
Pelleas et Melisande performances at La Scala. other Mozart works, while deleting some parts
of the original.
Verdi/Rossini scholar Philip Gossett has collaborated with David Rosen on a new critical edi- While changes—even totally new texts—for
tion of the Verdi Requiem. This will constitute older works are not uncommon, it does come
the third of 37 planned volumes in the new as a surprise to find the initially highly
Verdi edition, a joint project of the University successful Cole Porter musical ANYTHING
of Chicago Press and the house of Ricordi, GOES in need of a new text. Whereas the
Milan.
The first live performance of the original was created by P.G. Wodehouse,
Requiem in the critical edition took place in Howard Lindsay and Russell Crouse, the latter's
Chicago under Claudio Abbado in November, son, Timothy Crouse, and John Weidman are
with Margaret Price, Lucia Valentini-Terrani, furnishing a new libretto for a premiere at the
Taro Ichihara, Gwynn Howell, and the Chicago Vivian Beaumont Theatre at Lincoln Center in
fall '87.
[]
Symphony Orchestra and Chorus.
ARTISTS MANAGEMENT
Marvin Y. Schofer, former Executive Vice Pre- now with offices in the ASCAP Building at
sident at ICM Artists, has founded his own 1900 Broadway, has announced a cash award
management firm in New York, CLASSICAL of $5,000 to a non-profit arts organization or
ARTISTS INTERNATIONAL, located in the for- to an individual presentor of concerts who has
mer offices of Shaw Concerts, 1995 Broadway, made a considerable contribution towards the
suite 901, New York, NY 10023, (212) 769-0099. promotion and popularization of recital proMichaela Deren Gold, the widow of Sheldon grams. The Association of College, University
Gold who founded and led ICM Artists, joined and Community Arts Administrators (ACUCAA)
Mr. Schofer as Director of Artists and Attrac- will administer the award, select the individual
tions, and Seymour Rosen, former Managing Di- or company, and bestow the prize on the winner.
rector of Carnegie Hall and now Dean of the
School of Performing Arts at the University of SPECIAL ARTS ENTERPRISES INC., Steven Del
Arizona, is the third Director of CAI; his is Russo, Executive Director, specializes in reprethe position of consultant. Before his eight senting handicapped performers. Besides many
years with ICM, Mr. Schofer was with Columbia individual musicians, he also manages the CARE
Artists Management and with Sol Hurok. The SELVE ENSEMBLE, which can be booked with
new firm is affiliated with London's Enter- either its concert program or any of its six
tainment Corporation.
existing productions. SAE can be reached at
97-07 Horace Harding Boulevard, suite 10F,
[]
Harold Shaw, President of SHAW CONCERTS, Elmhurst, L.I., NY 11368; (718) 592-8950.
-33-
MUSIC PUBLISHERS
BELWIN MILLS PUBLISHING CORP., which was
acquired by Columbia Pictures in 1985, has
named THEODORE PRESSER, Inc., Bryn Mawr,
PA, the exclusive representative of its musical
rental catalogues (including United Artists
Music and Casa Musicale Sonzogno) and agent
for the related performance rights. All ancillary licensing, such as film or TV rights, remains
with Belwin Mills. The publishing house also
announced that it will continue to acquire new
American works. (Please make the necessary
notation in your copy of the Directory of Operas
and Publishers.)
CARL FISCHER, Inc., is now the sole U.S. distributor of the Frederick Harris Music catalogue, containing primarily choral but also
instrumental scores, among them works by
Canadian composers.
As the American representative of UNIVERSAL
EDITION, EUROPEAN AMERICAN MUSIC DISTRIBUTORS of Valley Forge, PA, is also the
exclusive agent in the U.S. of Kurt Weill's
compositions. These include the Lionel Salter
English translations of Der Protagonist and Der
Zar Idsst sich photographieren (erroneously attributed to another publisher in our last listing
of English translations). The next Weill opera
to be reprinted by Universal is the one-act
Royal Palace (1925), while EAM is preparing a
critical edition of the composer's Happy End
with the original German text and the English
translation by Michael Feingold, edited and
supplied with critical notes by Gary Fagin and
Kim Kowalke. The Kurt Weill Foundation in
New York, of which Mr. Kowalke is president,
is sponsoring the preparation of a Weill catalogue, compiled and edited by Mario Mercado,
and to be pubished by EAM.
Jeffrey Bishop's children's opera, The Dead
Moon, is published by and available from
OXFORD UNIVERSITY PRESS, New York City
(not MagnaMusie-Baton—another error that
crept into the last Bulletin). — MAGNAMUSICBATON, St. Louis, is indeed the publisher of
James Meyer's Rumpelstiltskin as well as of
Harold Blumenfeld's latest work, Fourscore.
ROYCROFT EDITION (487 Ridge Avenue, East
Aurora, NY 14052) has begun an ambitious
opera/choral score subscription plan.
Each
month Roycroft will publish and distribute facsimile vocal scores of three operas and two or
three nondramatic choral works; ultimately the
series is to encompass 108 operas and 97 choral
pieces. The first package, mailed in December,
included Fidelio, Madama Butterfly, and Mefistofele, as well as Bach's Mass in B Minor and
the Mozart Requiem. The subscription is for
a 36-month cycle but can be interrupted or
dis-continued at any time; the monthly cost is
$14.95 plus sales tax and $3.50 for shipping
and handling. — The latest operatic full score
published by DOVER PUBLICATIONS is of Das
Rheingold, available for $12.95.
JOSEPH PATELSON MUSIC HOUSE, which
retains its West 56th Street location opposite
the stage entrance to Carnegie Hall despite
the giant buildings going up all around it, is a
music publisher as well as a music retailer. It
has published a facsimile of the first edition
of the piano/vocal score of Thomas's Hamlet,
for sale at $50. Also available in Patelson
editions are various anthologies of operatic
arias, arranged by voice category and priced
at $12.50 each.
The GREATER MIAMI OPERA has a stock of
opera scores and choral and orchestral parts
which it will rent to other companies: Andrea
Chenier, Un Ballo in maschera, II Barbiere di
Siviglia, Carmen, Cosi fan tutte, Die Entfiihrung
aus dem Serail,
Ernani, Faust, La Fille du
regiment, Der fliegende Hollander, La Gioconda,
L'ltaliana in Algeri, Lucia di Lammermoor, Macbeth, Madama Butterfly, Manon Lescaut, Mefistofele, Les Pecheurs de perles,
Rigoletto,
Samson et Dalila, Tosca, La Traviata, and II
Trovatore.
The HOUSTON GRAND OPERA
offers for rent scores and parts for Don Carlo,
L'Elisir d'amore, Fidelio, Die Fledermaus,
Otello, Rigoletto, Die Zauberflote; the SAN
DIEGO OPERA lists Aida, La Cenerentola, II
Trovatore; and BALTIMORE OPERA offers Les
Contes d'Hoffmann and Falstaff.
[]
-34-
LATEST CAREER GUIDE SUPPLEMENT
(lists new information since Addenda in Vol. 27, No. 2)
To be used with Career Guide for Young American Singers (Fifth Edition) published in 1985.
Only entries marked "insert" are new and complete listings.
All others, marked with page
numbers only, contain only information which differs from the original entry; those details not
amended here remain the same.
Complete Addenda to the 1985 edition of the Career Guide may be ordered for $2.50 prepaid.
A copy of the Guide with Addenda is $9.50, postage included.
GRANTS FOR CANADIAN ARTISTS
Vancouver Opera Guild (page 4) — Deadline: 4/30/87
1684 West 60 Ave., Vancouver, BC V6P 2A6; Mrs. R.M. LePage
REGIONAL, NATIONAL AND INTERNATIONAL COMPETITIONS
IN THE UNITED STATES & CANADA
CALIFORNIA
Henry Holt Scholarship Auditions (page 5)
Deadline: 3/11/87; competition: 3/28/87 at Foothill College, Los Altos Hills
Victor Fuchs Memorial Awards (page 6) — Deadline: 3/20/87
Zachary Society National Opera Awards (page 6)
Deadline, New York: 2/13/87; auditions: 3/9-13/87
Deadline, Los Angeles: 4/10/87; auditions: 4/27/87; finals (Los Angeles): 5/31/87
New York winners receive round trip flight to Los Angeles and 4 days' housing to participate
in finals. — Awards to semifinalists: Audition for German agent in Los Angeles
DISTRICT OF COLUMBIA
National Symphony Orchestra Young Soloists' Competition (page 7)
Deadline: 2/2/87; competition: 3/7,8/87
Application: add — Application must include a self-addressed stamped envelope.
Requirements: add — Applicant must provide piano reduction for accompanist and a solo part for
judges. All contestants will work with an accompanist to be furnished by the National Symphony.
Required repertoire: add — English and at least one other language required.
ILLINOIS
Illinois Opera Guild, Auditions of the Air (insert page 8)
c/o DePaul University, School of Music, 804 West Belden Ave., Chicago, IL 60614; Adele
Szymanski, Executive Director of Auditions
Age limit: 20-33 as of 5/87; Deadline: 4/1/87; semifinals: 6/18,19/87; finals: 6/20/87
Requirements: U.S.-resident citizen, must not have sung a leading role with a major opera
company. Completed application form with tape cassette of at least 3 operatic selections
in original keys and languages. Birth certificate to be shown at semifinals.
Accompanist furnished on request.
Prizes: 1st: $5,000 and appearance at a Chicago Grant Park concert and a WGN special radio
broadcast; 2nd: $2,000; 3rd: $1,000
INDIANA
MacAllister Awards for Opera Singers (page 8)
Indiana Opera, 7515 East 30 St., Indianapolis, IN 46219
Deadline: 2/20/87
MARYLAND
Rosa Ponselle International Vocal Competition for Aspiring Young Artists (page 9)
Rosa Ponselle Foundation, Elayne Duke, Pres., "Villa Pace," Stevenson, MD 21153
Age limit: 21-32 as of 11/15/87; Fee $35
Deadline for North and South American applicants: 3/15/87; for others: 4/30/87
Fourth Competition: Semifinals: 11/16/87; finals: 11/19/87 (both at Tully Hall, New York, NY)
Preliminary auditions: 4/6-30/87 in Toronto, Oberlin, Chicago, Bloomington IN, New York
City, San Francisco, Los Angeles, Houston, Washington DC; 6/6/87 in Milan, Italy
Prizes: Eight awards from $1,000 to $15,000 and three medals; also three ROSA study awards.
-35-
NEW YORK
Artists International Presentations, Inc. (page 12)
Young Musicians Category
Deadline: 3/9/87; competition: 4/87; no fee
Artists International Distinguished Artists Award Auditions
Deadline: 3/9/87; competition: 4/87; no fee
The Ferruccio Busoni Society, Inc. (insert page 12)
telephone: (212) 757-7876
—International Voice Competition in New York
Next competition: 1986-87; contact Society for dates. Age limit: 17-30
East & West Artists Vocal Competition (page 13) — Deadline 4/1/87; competition 5/87
Harvey Electronics Vocal Competition (insert page 13)
23 West 45th St., New York, NY 10036; (212) 575-0527
Write for application forms.
Age limit: 18-35; Deadline: 4/15/87; competition: 5/26/87; finals at Alice Tully Hall: 5/26/87
(broadcast)
Requirements: U.S. citizen; Fee: $25; no reviewed New York City debut.
Prizes: 1st: $5,000; 2nd: $3,500; 3rd: $2,000; 4th: $1,000
Carnegie Hall International American Music Competition (page 13) (formerly International
Competitions for Excellence in the Performance of American Music)
Kristin Kuhr, Dir., replaces W. Rouder
Deadline: 2/16/87; Semifinals: 9/21,22/87; finals: 9/26,27/87
Joy in Singing Award (page 13)
Joy in Singing, 1 West 72nd St., New York, NY 10023, attn. Secretary; Paul Sperry, Director
Song literature only
Prize: New York debut recital.
Metropolitan Opera National Council Auditions (page 14)
1986-87 Regional Auditions: add Southwest (San Antonio) 2/22/87
Musicians Emergency Fund (page 15)
Annual; Age limit: 24-33; Deadline: 3/20/87; competition: 5/12-22/87
Requirements: Must have sung one major role with regional opera company and/or professional
concert performance in the past 24 months; must be resident of New York State or studied
there for one year immediately prior to '87 auditions.
Prizes: 1st: $10,000 Paul Cravath & Vera Cravath Gibbs Memorial Award; 2nd: $5,000; 3rd: $2,000;
additional contractual awards.
OHIO
American Opera Auditions (page 17)
Deadline: 2/28/87; auditions: Cincinnati, 4/18/87; New York City, 5/11-13/87
Requirement: U.S. citizen, or resident or student in U.S.
Awards: Operatic debut performance in Italy (L'Azienda Teatrale Alessandrina), role preparation
and round trip paid as well as modest living stipend while in Europe.
PENNSYLVANIA
Opera Company of Philadelphia/Luciano Pavarotti International Competition (page 17)
Next competition tentatively scheduled for 1987-88
The Minna Kaufmann-Ruud Scholarship (insert page 18)
Chatham College, Dept. of Music, Pittsburgh, PA 15232
— Distinguished Performance Award
Annually. In 1986, prizewinners were chosen by the Pittsburgh Opera and Pittsburgh Chamber
Opera. No details about competition requirements and deadlines available at press time.
CANADA
Concours International de Musique de Montreal (page 19)
Next vocal competition: 1989
Edward Johnson Music Foundation National Vocal Competition (page 20)
Open to Canadian (not U.S.) singers.
Age limit: women born 5/1/57-5/1/67, men born 5/1/54-5/1/67; Competition: 5/1/87
-36-
FOREIGN COMPETITIONS
BELGIUM
Concours International de Chant Lyrique de Verviers see International Competition of Lyrical
Singing (page 21)
Deadline: 8/15/87; competition: 9/14-20/87
Concours Musical International Reine Elisabeth de Belgique (insert page 21)
Secretariat du Concours Reine Elisabeth, 20, rue aux Laines, B-1000 Bruxelles
Next voice competition: 5/10-29/88
BULGARIA
Concours International de Jeunes Chanteurs d1 Opera (Sofia) (page 22)
Deadline: 2/15/88; Competition: 6/17-7/1/88
CZECHOSLOVAKIA
Prague Spring International Music Competition (page 22)
Last vocal competition: 1986; next vocal competition not yet announced
FRANCE
Concours International de Chant de Paris (page 23)
Next vocal competition: 1988
Concours International de Chant de la Ville de Toulouse (page 23)
Deadline: 9/15/87; Competition: 10/4-10/87. Prizes: 85,000 Fr. total
HUNGARY
Concours International de Musique de Budapest (page 25)
Next Erkel - Kodaly Singing Competition: 9/7-20/87
Age limit: under 35 on 9/7/87; Deadline: 3/31/87
Prizes: 1st: 100,000 forints; 2nd: 60,000 fts; 3rd: 30,000 fts; special prizes.
ITALY
Concorso Giuseppe Borgatti (page 25)
Competition: 9/22-27/87
Concorso Valentino Bucchi per Giovani Musicisti (page 25)
Next vocal competition: 1989
Concorso Internazionale "Citta di Ercolano" (page 26)
Competition: 4/8-12/87
G.B. Viotti International Music Competition (page 27)
Societa del Quartetto, Casella postale 127, 1-13100 Vercelli
Age limit: 32; Deadline: 9/15/87; Competition: 10/1-24/87
Concorso Internazionale per Voci Verdiane (page 27)
Age limit: 35; Deadline: 5/31/87; Competition: 6/10-20/87
Prizes now include an operatic performance in Busseto by the finalists, and advanced training
for 12 singers chosen by the jury.
NETHERLANDS
's-Hertogenbosch International Singing Competition (page 27)
Age limit: born after 12/31/54; Deadline: 7/1/87; Competition: 8/28-9/9/87
Prizes: 1st, 5,000 Fl; 2nd, 3,000 Fl; special prizes for opera, song, Dutch and modern
repertoire.
SPAIN
Concurso Internacional de Ejecucion Musical Maria Canals de Barcelona (page 28)
Age limit: 18-35; Deadline: 1/23/87; competition: 3/23-4/7/87
SWITZERLAND
International Competition for Musical Performers (Geneva) (page 28)
Age limit: 30 for women, 32 for men; Deadline: 5/31/87; Competition: 8/28-9/16/87
Prizes: Cash prizes totaling 130,000 SFr, recordings, broadcasts, and concert engagements
U.S.S.R.
International Tchaikovsky Competition (page 28)
15 Neglinnaya Street, Moscow
Age limit: 18-34; Deadline: 1/15/90; Competition: 6/14-7/10/90
-37-
OPERA/MUSICAL THEATER COMPANIES IN THE UNITED STATES AND CANADA
For current addresses and other information about opera companies across the United States
and Canada, see the latest edition of the COS publication Opera/Musical Theatre Companies
and Workshops in the United States and Canada, available for $9.25 including postage.
Los Angeles Music Center Opera (insert page 32)
135 N. Grand Ave., Los Angeles, CA 90012; (213) 972-7282; Peter Hemmings, Exec.Dir.
AGMA contract; season: October-November; productions/performances: 5/15
Marin Civic Light Opera (insert page 32)
P.O. Box 4118, San Rafael, CA 94918; (415) 472-2622; M. Rios, Mus.Dir.
Honorarium paid; productions/performances: 4/64
Opera Pacific (insert page 32) — Opening 1987
17712 Mitchell, Irvine, CA 92714; (714) 474-8000; David DiChiera, Gen.Dir.
San Diego Opera (page 33) — Ian D. Campbell, Gen.Dir.
—San Diego Opera Ensemble of young singers
Program: 9-12/87; tour of educational, outreach, community programs; includes abridged operas
West Bay Opera (insert page 34)
P.O. Box 1714, Palo Alto, CA 94302; (415) 321-3471; Maria Holt, Gen.Dir.
Honorarium paid; season: October, February, May; productions/performances: 3/17
COLORADO
Four Corners Opera (page 35)
Winter address: 11859A Academy Rd., Philadelphia, PA 19154; (215) 632-2070
CONNECTICUT
Stamford State Opera (page 36) — DELETE ENTRY; merged with Connecticut Grand Opera
FLORIDA
Opera-a-la-Carte (page 37) — DELETE ENTRY; company discontinued
Pensacola Chamber Opera (page 38) — DELETE ENTRY
MICHIGAN
Michigan Opera Theatre (page 43) 6519 Second Ave., Detroit, MI 48202; (313) 874-7850
—Masters Residency Program in Classical Vocal Performance: see under OPPORTUNITIES FOR
SINGERS UNDER 21 at end of this listing
NEW YORK
Opera Theatre of Rochester (page 48) — 130 East Main St., Rochester, NY 14604; John W. Clarke
Singers Theatre (Shrub Oak) (page 48) — DELETE ENTRY
OHIO
Cincinnati Opera (page 53)
—Ensemble Company of the Cincinnati Opera (ECCO!)
Deadline: 2/15/87; Auditions for 1987-88: New York, early April '87; Cincinnati, late April '87
Dayton Opera (page 54)
—Dayton Opera Out Reach (DOOR) Program
Audition: Summer
Eight-week training and residency program for 5 singers and 1 coach, in February-March. 55
performances in school programs and parts in one of the Company's productions. Weekly
stipend of $250.00; transportation and housing provided.
Requirements: Apply for auditions with resume and photograph.
Required repertoire: 1 selection in a foreign language, 1 from an American musical
Lyric Opera Cleveland, Al Fresco Festival (insert page 54)
P.O. Box 06198, Cleveland, OH 44106; (216) 231-2484; Michael McConnell, Exec. & Art.Dir.
Honorarium paid; season: July-August; productions/performances: 2/9
OKLAHOMA
Tulsa Opera (Addenda page 11)
—Tulsa Opera Center: Auditions advanced from July to 4/4/87
RHODE ISLAND
Rhode Island Civic Chorale and Orchestra (page 57) — DELETE ENTRY; no opera performances
-38-
INSTITUTES FOR ADVANCED TRAINING
UNITED STATES & CANADA
COLORADO
Aspen Opera Theatre Center (page 64) (formerly Aspen Music Festival Opera Theatre Center)
winter address: 250 West 54th St., 10th fl. east, New York, NY 10019; (212) 246-5648
Write or call in December for application and deadline information.
Auditions are held in January in New York City, Rochester NY, Ann Arbor, Chicago, Denver,
Houston, San Francisco, and Los Angeles.
MINNESOTA
Minnesota Opera Institute (page 64)
Deadline: 5/1/87; tuition $600; $100 early deposit
CANADA
Canada Opera Piccola/Advanced Training Opera Centre (insert page 65; formerly page 62)
3737 Oak St. #103, Vancouver, B.C. V6H 2M4; (604) 736-1916; Pierette Alarie 5c Leopold Simoneau,
Co-Dirs.
L'OpeYa de Montreal/Atelier lyrique (insert page 65)
1157 rue Sainte-Catherine Est, Montreal, P.Q., Canada H2L 2G8; (514) 521-5577; Raffi Armenian,
Mus.Dir., Yvonne Goudreau, Dir.
Instruction and own productions; also limited participation in performances of main company.
EUROPE
AUSTRIA
Graz - American Institute of Musical Studies (AIMS) (page 65)
Audition fee: $30; $10 for full-time students of institutions hosting auditions.
Auditions: Houston, 11/26/86; Philadelphia, 12/2/86; Dallas, 1/11/87; Atlanta, 1/19; Orlando,
1/23/87; Albuquerque, 1/28; Norman, OK & Seattle, 1/31; San Francisco, 2/1; Los Angeles,
2/2; Bloomington, IN, 2/6; Kalamazoo, 2/11; Washington, DC, 2/13; Cincinnati, 2/14; Columbus,
2/15; Austin, 2/20; Montreal, 2/24; Boston, 2/25,26; New York City, 2/27-3/1; Winston-Salem,
3/4; Minneapolis, 3/7; Boulder, 3/9; Chicago, 3/30
GERMANY
Deutsche Oper Berlin (insert page 67)
American Berlin Opera Foundation, 666 Fifth Ave., 21 fl., New York, NY 10103; attn. Amy Sperling
Age limit: 18-32; Deadline: 2/15/87; auditions: spring '87, place to be announced
Requirements: U.S. citizen or permanent resident; completed vocal schooling, not under
management. Send resume, snapshot and formal photo in costume, repertoire performed and
studied, 2 letters of professional recommendation, $15 fee.
Apprenticeship with Deutsche Oper Berlin, 9/1/87-7/12/88; stipend of $10,000 and round trip
flight New York-Berlin.
ITALY
Accademia Musicale Chigiana (insert page 68)
Via di Citta 89, 53100 Siena; summer courses; write for catalogue
Bel Canto Foundation Seminar (page 68) — No scholarships for 1987
Studio Lirico (page 68)
Apply to: Nick Rossi, Adm.Dir., Studio Lirico, Palagio Fiorentino, Stia (AR)
Deadline: 2/15/87; Studio: 6/21-7/19/87
Program: In conjunction with Festa Musicale Stiana; opera for 1987: Cimarosa's Le
femminili.
Astuzie
SWITZERLAND
Zurich - International Opera Center (page 68) — Zurich Opera, Falkenstr. 1, CH-8001 Zurich
Auditions: 5/87 in New York City and Chicago. Tuition: 6,000 SFr. plus living expenses.
-39-
OPERA/MUSIC THEATER APPRENTICE PROGRAMS IN FIELDS OTHER THAN SINGING
UNITED STATES & CANADA
MINNESOTA
Minnesota Opera (page 70)
—Minnesota Opera Institute
Deadline: 5/1/87; tuition $600; $100 early deposit
NEW MEXICO
Santa Fe Opera (page 70) — Deadline: 3/2/87
For production apprentices. Interviews held in New York City, Evanston IL, Richmond VA and
Long Beach CA. Do not submit resume without application form.
NEW YORK CITY
Central Opera Service (insert page 71)
Metropolitan Opera, Lincoln Center, New York, NY 10023; (212) 957-9871; Maria F. Rich,
Executive Director
Program: 3-month summer and 6-week winter internships for students in arts administration.
Theatre Communications Group, Inc. (insert page 71)
355 Lexington Ave., New York, NY 10017; (212) 697-5230
—TCG Director Fellows
For continued development of young professionals with early-career status; NEA-supported under
leadership grants; Deadline: 1/30/87
Requirements: U.S. citizen or permanent resident; must have directed at least 1 production with
a professional theatre
Six fellowships given at $15,000 each; fellows are assigned to a "master director" to further
artistic development; grant period starts 6/1/87.
— Alan Schneider Director Assistance Program
Supported by the Alan Schneider Memorial Fund
Requirements: Experienced director with little national visibility; by nomination (dates to be
announced)
Provides directing opportunities and subsidizes fees for work with non-profit companies
OHIO
Cincinnati Opera (page 71) — Deadline: 3/1/87
Dayton Opera (insert page 71)
125 E. First St., Dayton, OH 45402; (513) 228-0662; Dennis Hanthorn, Managing Director, David
DiChiera, Artistic Director
— Dayton Opera OutReach (DOOR) Program
Audition: Summer
Eight-week training and residency program for 1 coach/accompanist and 5 singers, FebruaryMarch. Weekly stipend of $250.00; transportation and housing provided.
Requirement for coach/accompanist: piano sight-reading test.
PENNSYLVANIA
Pittsburgh Opera Center (page 72) — Young Stage Directors' Program
Program no longer connected with Carnegie-Mellon University.
Deadline: December; Age limit: 18-33; Requirement: U.S. citizenship.
Workshop period: 5/11-6/14/87
Pittsburgh Opera Festival/Opera Workshop (page 72) — DELETE ENTRY; company discontinued
VIRGINIA
Wolf Trap Opera Company (page 72) — add Francis Rizzo, Art.Dir.; Deadline: 3/31/87
Apprenticeships expanded to include stage management and scenery, props, lighting,
wardrobe, and makeup.
EUROPE
ITALY
Studio Lirico (page 68)
Apply to: Nick Rossi, Adm.Dir., Studio Lirico, Palagio Fiorentino, Stia (AR)
Deadline: 2/15/87; Studio: 6/21-7/19/87
Program: Offers full-tuition scholarship to I administrative assistant, 1 assistant stage director,
1 assistant stage manager. Some knowledge of Italian helpful. In conjunction with Festa
Musicale Stiana; opera for 1987: Cimarosa's Le Astuzie femminili.
-40-
OPPORTUNITIES FOR SINGERS UNDER 21
CALIFORNIA
Blanche Thebom Award for the Outstanding Young Singer of the Year (insert after page 72)
1216 19th St., San Francisco, CA 94107
Age: 15-20; Deadline: 11/1/86; Competition (San Francisco Conservatory): 11/16/86; performance
(Herbst Hall): 11/22/86
Requirements: Born in U.S., Bay-area resident for at least 3 years; entry through recommendation
by qualified organizations only
Required repertoire: 2 arias from opera and 1 from oratorio in the original languages and keys; 1
selection to be sung in English
DISTRICT OF COLUMBIA
The Itzhak Perlman Scholarship (for voice students with a disability) (insert after page 72)
"Very Special Arts," Education Office, Kennedy Center, Washington, DC 20566
Age limit: under 21
Requirements: Cassette of vocal performance, letter of recommendation from teacher or other
sponsor, and biography.
FLORIDA
National Foundation for the Advancement of the Arts (insert after page 72)
100 North Biscayne Blvd., Miami, FL 33132; (305) 371-9470
National scholarship program for high school students; cash awards; the best are designated as
Presidential Scholars, with a visit to the White House.
Age: 17-18
MICHIGAN
Michigan Opera Theatre (insert after page 72)
6519 Second Ave., Detroit, MI 48202; (313) 874-7850
—Masters Residency Program in Classical Vocal Performance
Co-sponsored by Detroit Council for the Arts.
Age limit: 16-21
Master classes, 7/7-8/14/87. Academic credits for currently enrolled high school students. By
audition only.
Fee: Free to Detroit students, $50 for all others
LATE ADDITION
The Royal College of Music in London offers, for the first time, summer courses for American
students, scholars and professional musicians from July 4 to 25. Further information and
registration forms may be obtained from UCLA Extension, UCLA/Royal College of Music Program,
Room 414, Box 24901, Los Angeles, CA 90024.
[]
-41-
WINNERS
Singers
At the third annual Rosa Ponselle International
Vocal Competition for Aspiring Young Singers
in 1986, once again no first prize of $15,000
was awarded, and the money was divided between the Lyric Opera of Chicago's Center for
American Artists and the Houston Grand Opera
Studio. KEVIN SHORT, a 25-year-old bassbaritone from Washington, DC, won the silver
medal and second prize of $10,000; coloratura
soprano CHERYL PARRISH of Texas took the
bronze medal and the $8,000 third prize; and
Canadian TRACY DAHL, also a coloratura
soprano, received the Maria Jeritza Prize of
$4,000.
The Elisabeth Rethberg Award of
$2,000 went to dramatic coloratura soprano
DeLAINE MORROW of Denver, and the $1,500
Tito Gobbi Award to KEVIN MAYNOR, bass of
Mt. Vernon, NY. Four other young artists were
given $2,000 ROSA Study Grants: ANGELIQUE
BURZYNSKI of California; HAO JIANG TIAN
of Beijing, China; JACALYN BOWER of Oregon;
and NICHOLAS KAROUSATOS of New York
City.
NICHOLAS KAROUSATOS also won the Musicians Emergency Fund competition, receiving
the $10,000 Paul Cravath and Vera Cravath
Gibbs Memorial Award and an additional $7,000
in performance contracts. JUDY BERRY, soprano, won the second prize of $5,000, and
bass JOSE GARCIA the third prize of $2,000.
DEANNE McBROOM of Charleston, SC, and
GALE JOHNSON ODOM of Shreveport.
The Liederkranz Foundation has presented its
Scholarship Awards for 1986. In the general
category, DeLAINE MORROW won the first
prize, $3,000; JUDY BERRY won $2,500;
RICHARD COWAN and DEBORAH PARKER,
$2,000 each; SANDRA MOON, $1,500; and
VICTORIA LIVENGOOD, MARILYN ALTMAN,
STAN BLAIR, SUSAN GONZALEZ, and ROSA
VENTO each won $1,000. The special awards
for Wagnerian voices went to soprano ELAINE
BUNSE ($2,750), tenors GEORGE GRAY ($2,200)
and EDWARD CROOK ($2,000), and soprano
MELISSA THORBURN ($1,000).
Indiana Opera Theatre has announced the
winners of its 1986 MacAllister Awards for
Opera Singers. The first prize of $10,000 was
taken by 34-year-old tenor MICHAEL SYLVESTER; second was MARK BAKER, tenor, who
received $5,000; and JENNIFER LARRIMORE,
27-year-old mezzo, won $3,000.
Finalists
receiving $1,000 were KIMBERLY BARBER,
JOHN CIMINO, MARK DOSS, RUTH GOLDEN,
MARCUS HADDOCK, RAY JACOBS, and LEE
VOLTA.
Artists International Presentations has awarded
the 1986 first prize in voice in the Young
Musicians category to soprano ENA FREEMAN.
She will be presented in concert at Weill
(Carnegie) Recital Hall in March 1987.
Opera Index, Inc./The New York Opera Club
has announced the winners of its annual competition. First was JOSE GARCIA (see also above) The three winners of the Amato Opera Scholarwho won the Francis Connolly Memorial Award ship Competition, held by the Amato Opera
of $1,500. The others, each receiving $1,000, Circle, were all sopranos: CHRISTINE SPRINwere sopranos RUTH GOLDEN and GURCELL GER ($500), LUVADA HARRISON-DAVIS ($300),
HENRY, mezzo MEREDITH PARSONS, tenor and KATHLEEN CUVELIER ($200).
RICHARD BURKE, and bass-baritone KURT
LINK. $500 study grants were awarded to At its November conference, the National Opera
JEAN GLENNON and AMANDA HALGRIMSON, Association (NOA) selected its 1986 prizesopranos, and REBECCA RUSSELL, mezzo- winners. In the Scholarship category, 24-yearold baritone LEROY VILLANUEVA won the
soprano.
$1,000 Constance Eberhart Memorial Award,
Chicago was the scene of the 1986 National and also received partial scholarships to the
Association of Teachers of Singing Artists American Institute of Musical Studies in Graz,
Convention, and of NATS' annual awards Austria, the Banff Centre Music Theatre Studio,
ceremony.
The first prize, $5,000 and a and Studio Lirico in Stia, Italy. The second
scholarship to the American Institute of Musical prize of $500 went to soprano MARY ANN
Studies in Graz, went to mezzo-soprano DEBRA BOZZUTI. The winners in the Artists Division
KAY FITZGIBBON of Ypsilanti. In second place were JEAN LOFTUS, mezzo-soprano from Syraand winning $2,500 was JAMES DAVID ROBIN- cuse, who was awarded $1,000 and a $1,500
SON, baritone of Fort Worth. The Eleanor AIMS scholarship, and LaVONNE ALEXANDER,
Steber Music Foundation Award of $2,500 was soprano from Sylmar, CA, who came in second.
won by BARBARA CUSTER, soprano, of Portland, OR, while soprano CHARLEEN AYERS of La Serva padrona was presented last August
Wichita won the $1,500 Mary Wolfman Scho- by American Opera Auditions of Cincinnati
larship Award. Runners-up were sopranos
featuring two recent winners of its competition,
-42-
CYNTHIA AARONSON (1985) and ROBERT
VIOLETT (1986). Two other winners in 1986,
Korean-born New York resident soprano CHUN
HEUI-YUNG and baritone VICTOR BARRETT of
Winchester, VA, were assigned leading roles in
Lucia di Lammermoor, scheduled for September
at the Teatro Comunale di Alessandria, Italy.
The San Francisco Opera Center opened its
1986-87 series of Schwabacher Debut Recitals
on December 7 with a joint program by mezzo
KATHRYN COWDRICK and tenor ROBERT
SWENSON. Further recitals are to be given by
soprano NIKKI LI HARTLIEP (1/11), baritone
BEN HOLT (2/15), and tenor JOHN DAVID
DeHAAN (3/22). Artists presented in the
Schwabacher Recitals are chosen from former
participants in some of the Center's programs
for young singers.
Greenwich House Music School chose one winner
from each of its three master classes (see
"Education"): sopranos SUSAN GONZALEZ and
MARGARET LEE, and tenor CRAIG SCHULMAN. They will share the $1,000 Leonard
Warren Opera Master Class Award.
Santa Fe Opera named its Outstanding Apprentices at the close of the 1986 season. A joint
first prize went to soprano MARYTE BIZINKAUSKAS, mezzo JULIA DAVIDSON, and bass
DONALD SHERILL. Chosen in the next round
were sopranos JANE MUNSON, LISE SOFFER,
and REBECCA KWART, baritone DAVID RICE,
and bass HENRY RUNEY. The Judith Raskin
Memorial Award was given to soprano
GENEVIEVE WHITE, and that of the National
Federation of Music Clubs to mezzo CAROLE
EVERETT. Two technical apprentices (wigs
and make-up) were also singled out: REBECCA
WATSON and PAUL TAZEWELL.
ECCO!, the Ensemble Company of the Cincinnati Opera, has engaged six new members for its
1986-87 program: sopranos MARILYN ALTMAN
and PAMELA BATHURST, mezzo ANN FOX
CONRAD, tenor EDWIN ANDERECK, and
baritones DAVID SMALL and CHRISTOPHER
ARNESON.
Opera Carolina's resident artists for the 198687 season are sopranos KIMBERLY PARSONS,
JENNIFER ROBINSON, and BETH SCHWARTZ;
mezzos ALICIA MARIA HELM and KAREN
NESTVOLD; tenors RICHARD FRACKER and
JAMES TAYLOR; and baritones DAVID BUDGELL and GREGG LAUTERBACK.
GREGORY MacLEOD, tenor, has won the
Vancouver Opera Guild's 1986 Career Development Grant of $2,500. — Baritone GREGOIRE
LEGENDRE of L'Opera de Montreal's Atelier
Lyrique received an award of $1,000 from Aria
Magazine and the Royal Bank as the Atelier's
best young singer of 1986. The award was
first given in 1985, when the winner was soprano YOLANDE PARENT.
At the prestigious International Tchaikovsky
Competition in Moscow, New York soprano
BARBARA KILDUFF shared the second prize
in voice for women with ANA-FELICIA FILIP,
a mezzo from Romania. Each received a silver
medal and $1,400. First prize went to Soviet
mezzo NATALIA YERASOVA. All winners in
the men's vocal division were Soviet artists:
baritone GRIGORI GRITSYUK (first) and basses
ALEXANDER MOROZOV (second) and BARSEG
TUMANYAN (third).
In Munich, BARBARA KILDUFF received first
prize in the women's division at the 1986
International Music Competition of the Bavarian
Radio. In the men's division, all three winners
represented the U.S.A.: countertenor DEREK
RAGIN of Newark, NJ finished first, baritone
JACOB WILL of California was second, and
SAMUEL COOK of Houston came in third.
American bass MARK DOSS of Chicago won
first prize at the 26th Concorso Internazionale
per Voci Verdiane di Busseto last year. Among
his prizes are an appearance in a Verdi
production in Busseto and a possible contract
with the Vienna State Opera through Claudio
Abbado.
Soprano HELEN BICKERS of Georgia was third
at the Internationaler Belvedere Wettbewerb
fur Opernsanger in Vienna. First place went
to soprano YOLANTA WROZYNA of Poland and
second to bass TEODOR CIURDEA of Romania.
This year no first prize was awarded at the
's-Hertogenbosch International Singing Competition, but two Americans, baritone NED BARTH
and tenor KURT STREIT, were the winners in
second place, as was the Canadian mezzo SANDRA GRAHAM in the women's division. — Miss
GRAHAM also received third prize at the international singing competition in Toulouse, where
two Americans placed first and second in the
men's category: DANIEL WASHINGTON and Mr.
BARTH.
Of the four awardees selected by the Viotti
International Music Competition in Vercelli last
year, one was an American: tenor SAMUEL
COOK of Chicago.
At the American Institute of Musical Studies
(AIMS) in Graz, Austria, the Meistersinger
Competition sponsored by Mobil Oil Austria was
won by tenor MARK HESTER. Sopranos HELEN
(continued on page 73)
-43-
CENTRAL OPERA SERVICE NATIONAL CONFERENCE
New York City, October 21-24, 1987
OPERA AT THE CROSSROADS
The annual growth of Opera in the United States has been phenomenal; the past season has not been an exception as far as the increase in the number of performances
is concerned.
But—subscriptions have lagged, financial support has diminished.
Are we at the crossroads with decisions to be made regarding
repertoire - marketing - fundraising
the role of management, the role of the board of directors
opera/musical comedy training of singers
The 1987 Central Opera Service National Conference will seek a variety of creative
suggestions in answer to these current, urgent problems.
As always, COS is gathering the leaders and experts in the field to offer imaginative
discussions on these vital topics, and you, the audience, are invited to ask questions,
and to listen and observe how new ideas are born and innovative policies are shaped.
If you have attended previous COS National Conferences, you will remember the excitement and stimulation they create—if you have never attended, you will not want
to miss this opportunity.
We promise you an inspiring, informative and entertaining event.
Many leading American opera companies will be represented by their artistic or general administrators or officers. In addition, we have invited Frank Hodsoll, Chairman
of the National Endowment for the Arts, as well as officers of some national foundations and corporations with active grants programs in the arts. And last but certainly
not least, you will meet some of your favorite performers.
Opening Thursday afternoon, October 21, with a reception for COS delegates hosted
by the Metropolitan Opera Association, the Conference is scheduled to coincide with
new or particularly interesting productions at the Met and the New York City Opera:
At the Metropolitan Opera:
Das Rheingold (new 1987)
Die Walkiire (new 1986)
Wanon (new 1987)
Tosca
L'Elisir d'amore
At the New York City Opera:
The Magic Flute (new 1987)
Faust
The Rake's Progress (new 1984)
Turandot (new 1985)
Cavalleria rusticana & Pagliacci (new 1987)
As always, a limited number of tickets will be available for Conference registrants.
Ticket order forms will be attached to the COS Conference Registration.
Meetings will be held at the Essex House, and rooms have been reserved there and
at the nearby Mayflower Hotel for COS Conference delegates at reduced rates.
Conference registration forms and hotel reservation cards will be mailed in the
spring. (Nonmembers please request copies.) Meanwhile,
Mark the dates - Reserve the time - Plan to attend!
-44-
COS INSIDE INFORMATION
We are delighted to announce these new dates for the next COS National
Conference, replacing those of June '87 previously published. Unfortunately, the summer program in California had to be abandoned when the
San Francisco Opera cancelled its summer season. We sincerely hope
that we have not inconvenienced our members and other faithful conference
delegates too much, and that the announcement of the change of date
and place has come in good time for everyone to rearrange their schedules.
NATIONAL
CONFERENCE
We feel that the coming Conference will be of particular importance and
look forward to our members' attendance and participation. Detailed information, accompanied by registration forms, hotel reservation cards and
opera ticket order forms, will be sent to all members and the complete
COS mailing list in the spring. Nonmembers are invited to request copies.
A completely new edition of the COS Directory of OPERA/MUSICAL
NEW COS
THEATER COMPANIES AND WORKSHOPS IN THE UNITED STATES AND PUBLICATIONS
CANADA, 1986-87 has been published and is available for $8.00 plus $1.25
for postage a n d handling. It includes t h e names of executive a n d a r t i s t i c
d i r e c t o r s , information on performance s p a c e s , and adjusted codes reflecting
t h e companies' budgets according to t h e l a t e s t available figures from t h e
1985-86 season (see also "Principal Companies" below).
A new and updated list of all titles available for Projection of English
Captions, either on slides or on computer t a p e , may be ordered for $5.00.
Also priced a t $5.00 is t h e complete List of U.S. Repertory,
1985-86. This
is arranged by t h e following c a t e g o r i e s :
1. Standard or classical—282 t i t l e s ; 6,324 performances
2. American and foreign contemporary—378 t i t l e s ; 4,756 performances
3. Musicals at opera companies, and light opera & nonprofit t h e a t e r s
—301 t i t l e s ; 6,993 performances
ADDENDAS for t h e following COS Directories have been updated and t h e
new editions reflect t h e latest changes, additions and deletions:
Addenda/Directory of Sets and Costumes (24 pp) $6.00 (orig.w.add. $14.00)
Addenda/Directory
English Translations (18 pp) $6.00 (orig.w.add. $12.50)
Addenda/Career
Guide for Young Singers (17 pp) $2.50 (orig.w.add. $ 9.50)
The above prices include postage; for overseas orders please add $2.00.
A publication price list is available upon r e q u e s t .
With t h e expansion of t h e o p e r a t i c universe in t h e United S t a t e s and t h e
g r e a t e r diversification of opera companies, we found t h a t a more r e p r e s e n t a t i v e classification of opera organizations was needed. Many have o u t grown t h e generally a c c e p t e d concept of "regional companies", and a new
designation for b e t t e r identification seemed required. In t h e COS listing
of opera companies all those with budgets over $1 million were designated
as G or Grand opera companies, with t h e result that t h e four major
houses a r e sharing this identification with American companies t h a t , a l though still referred to as regional, do not fit either categorization.
After careful consideration and consultation with various professionals,
Central Opera Service has identified and established a new category—that
of the PRINCIPAL OPERA COMPANY. It comprises all professional companies with budgets between $1 million and $10 million, budgets that must
-45-
PRINCIPAL
OPERA
COMPANIES
COS INSIDE INFORMATION
have been at that level for at least two consecutive seasons. Other prerequisites are an annual minimum of three productions, each in at least
three performances, and the main auditorium seating at least 1,000. Subsidiary companies are not included. Light opera companies with budgets
over $1 million, operating as nonprofit organizations, will be designated
as Principal Light.
Grand Opera Companies (arranged in alphabetical order by state):
CA—San Francisco Opera
IL—Lyric Opera of Chicago
NY—Metropolitan Opera
NY—New York City Opera
Principal Opera Companies:
CA—Los Angeles Music Center Opera
CO—Opera Colorado, Denver
DC—Washington Opera
KY—Kentucky Opera, Louisville
MD—Baltimore Opera
MI—Michigan Opera Theater, Detroit
MO—Lyric Opera of Kansas City
NC—Opera Carolina, Charlotte
OH—Cincinnati Opera
OK—Tulsa Opera
PA—American Music Theatre Fest.
PA—Pittsburgh Opera
TX—Houston Grand Opera
WA—Seattle Opera
ALT A—Edmonton Opera
ONT—Canadian Opera Co., Toronto
CA—San Diego Opera
CT—Connecticut Opera, Hartford
FL—Greater Miami Opera
LA—New Orleans Opera
MA—Opera Company of Boston
MN—Minnesota Opera, St. Paul
MO—Opera Theatre of St. Louis
NM—Santa Fe Opera
OH—Cleveland Opera
OR—Portland Opera
PA—Opera Co. of Philadelphia
TX—Dallas Opera
VI—Virginia Opera, Norfolk
ALTA—Calgary Opera
BC—Vancouver Opera
PQ—L'Opera de Montreal
Principal Light Opera/Musical Companies (incomplete):
CA—Long Beach Civic Light Opera
CA—San Diego Civic Light Opera
CA—San Jose Civic Light Opera
CT—Goodspeed Opera House
PA—Civic Light Opera, Pittsburgh
TX—Theater Under the Stars
PUBLICITY
With production and publicity costs rising continuously, and with greater
EXCHANGE:
demand for more sophisticated public relations, the rental or exchange
A NEW SERVICE of press/publicity material especially prepared for individual operas seems
as viable as it is practical—the same as the exchange and rental of sets,
costumes, or projected English captions.
As a result of discussions at the last OPERA America Conference in January '87, COS will be collecting information from opera companies on
their PUBLICITY MATERIAL FOR SPECIFIC OPERAS available for rent
or sale. These may be radio or television spots, artwork, press material,
posters, banners—any kind of advertising material for individual operas
where the new company's name can be substituted for your own.
While information on such items will be requested on the next COS questionnaire, we invite companies to send us information on available material
right away. Be sure to include all details you would wish to know if
you were planning to rent or buy such filmed, taped, written or drawn
artwork. We shall compile and publish a listing as soon as sufficient
offers have been received, and make this list available to opera companies.
We shall, of course, also be pleased to answer any inquiries, and will
update our compilation as additional information is received.
-46-
COS INSIDE INFORMATION
The year 1987 will mark the thirty-fifth anniversary of the METROPO- ANNIVERSARIES
LITAN OPERA NATIONAL COUNCIL, the parent organization of Central
Opera Service. The National Council, the Regional Auditions Program,
and COS itself (founded two years later) were created by Mrs. August
Belmont and were her children, whom she watched and nurtured and
brought along until they grew into healthy mature adults. All of us who
knew her and loved her will always remember that no chore was too small
to receive her attention, no accomplishment too insignificant to be noticed
and to receive her approval, praise, and thanks. She would be pleased
to see the flourishing of MONC's successful activities and, on this thirtyfifth anniversary, we salute her gratefully for her vision of opera—and
also salute the men and women who have led the Council in various
capacities and made it the valued and respected organization it is today.
The year 1987 is also an anniversary year for Central Opera Service.
Twenty-five years ago Robert L.B. Tobin was named COS National Chairman (adding "Honorary" to the title twelve years later), and he, in turn,
asked Maria F. Rich, a volunteer in 1962, to come on the staff of the
organization, where she continues to serve as Executive Director.
New to the COS staff this winter is JOHN W.N. FRANCIS, who joined
the organization as Administrative Assistant. His background in music,
research, publishing and computerese makes him well suited for the manifold activities and demands of the job. We are indeed fortunate to have
him, as we are in Cheryl Kempler, our knowledgeable Assistant to the
Director, head of membership and research for the last three years. This
introduction also serves as reminder that any of us will be happy to
answer our members' inquiries.
NEW STAFF
MEMBER
We must note with great sorrow the passing of our faithful volunteer,
Mr. EGON KLEIN. For more than ten years, he could be seen twice a
week arriving early and delving into ever-growing memo books to keep
the COS information on European seasons current. This was his department
and he developed the books with dedication, diligence and great knowledge,
building a reference archive which is much needed and frequently consulted. In the little time we would take for private talk he would tell of
the legendary performances he saw in his native Vienna, performances
for which he had kept the opera programs but did not need the documents
to remember the "unforgettable Jeritza, or Mayr, or Piccaver." We shall
miss him dearly; the six large and unique books full of information on
opera in European centers, information he had gathered and recorded for
COS will be a living testimonial to his work for COS and to his love of
opera.
[]
IN MEMORIAM
-47-
CENTRAL OPERA SERVICE ANNUAL U.S. SURVEY
STATISTICS 1985-86
Opera/Musical Theatre Companies and Workshops
PERFORMING CROUPS*
84-85
83-84
82-83
10-81
74-75
70-71
64-65
170
602
404
168
576
379
154
491
406
144
488
399
127
456
436
54
335
418
40
269
376
27
296
409
na
280
167
1,176
1,123
1,051
1.031
1.019
807
685
732
447
Standard repertoire
Contemporary foreign repertoire
Contemporary American repertoire
sub-total
6,324
564
4,192
11,080
6.502
603
3,537
10,642
5.884
621
3,916
10,421
5,909
596
4,188
10,693
5,475
555
3.653
9,683
4,097
677
1,654
6,428
3.332
504
1,410
5,246
2.643
1,533
na
4,176
1.844
1,373
na
3,217
Musicals (exclusive of commercial theatres)
Total
6,993
18,073
4.983
15,625
2,787
13,208
2,749
13,442
2,251
11,934
na
na
na
Standard
Contemporary (foreign)
Contemporary (American)
sub-total
282
64
314
660
261
53
264
578
254
61
261
576
278
64
248
590
263
62
234
559
209
71
107
387
158
67
99
324
167
164
na
331
103
107
na
210
Musicals
301
961
242
820
129
705
120
118
677
na
na
na
na
na
na
na
na
116
121
101
96
88
16
35
na
na
58
39
27
16
27
31
24
24
28
25
14.4
14.1
13.04
12.7
11.1
$270.3
5.0
46.1
S256.5
4.9
43.2
$236.7
4.7
38.4
$212.4
4.9
41.6
$161.6
4.9
42.4
J32T4
$304.6
$279.8
$258.9
$208.9
Companies: over $100,000 budget
Companies: other
College/University workshops
Total
54-55
NUMBER OF PERFORMANCES
NUMBER OF OPERAS PERFORMED
Tolalt
World Premieres
Premiere Readings (not incl. in World Prems.)
American Premieres
Attendance (in millions)
EXPENSES (in millions)
Companies: over $100,000 budget
Companies: J25.0OO-J99.999 budgets
All others
Total
•DETAIL OF PERFORMING CROUPS
Companies:
Companies:
Companies:
Companies:
budget
budget
budget
budget
over
over
over
over
$1 million
$500,000
$200,000
$100,000
Companies: budget over $50,000
Companies: budget over $25,000
sub-total
Orchestra/ Festival/Chorus
Small Companies/Avocational/Clubs, etc.
Theatres (non-profit)
sub-total
Total Companies
College/University Workshops
Total Producing Organizations A Performances
Tio
number of companies
1985-86
1984-85
39
36
62
33
170
30
64
33
168
48
45
93
49
48
97
186
227
509
102
194
183
479
772
744
11
8.0
11
6.0
na
ne
number of performances
1985-86
1984-85
8,755
6.867
404
379
2,842
2.727
1.176
1.123
18,073
15.625
MISCELLANEOUS
Light repertoire of opera companies, workshops, and non-profit Ihcntres included above
862
Gilbert 4 Sullivan (14)
847
Classical operettas (31)
6,993
Musicals (301)
8.702
In addition to regular season:
Companies: community/educHtional
5.669
166
service programs
153
224
73
52
Academia: community/educational programs
258
124
102
Academia: scene programs
Academic - joint programs w. companies
Academic - Opera/Mus.Th. degree programs
na
na
1.076
583
4,983
6,642
5,511
394
383
76
57
57
Projected English Captions 85-86: 290 sets for 105 different operas used by 75 comps (84-85: 181 sets, 53 comps; 83-84: 12 sets).
tAn annual listing of the complete US. Repertory is available from Central Opera Service.
It is arranged by standard,
contemporary and musical works, showing the number of performances; world premieres, readings and American premieres are
especially indicated. Copies are available at $5.00 including postage.
An
analysis
of
the season
may bo found
in Vlaria
F.
-48-
Rich's opera
survey
article
in Opera
Sews.
November '86.
COS SALUTES...
...DORLE J. (Mrs. Dario) SORIA of the Metropolitan Opera Guild and
Contributing Editor of Musical America, and CHARLES WADSWORTH,
Artistic Director of the Chamber Music Society of Lincoln Center, who
each received the title of "Chevalier of the Order of Arts and Letters",
awarded by the French Ministry of Culture.
...conductor LEONARD SLATKIN, Music Director of the St. Louis Symphony
and of the 4-week Viennese Sommerfest of the Minnesota Orchestra, who
received the Austrian Republic's Silver Declaration of Honor, bestowed
on him in the form of a silver medallion by the Austrian Ambassador.
...HARVEY LICHTENSTEIN, Executive Director of the
of Music, recipient of the West German Government's
the Order of Merit "for his outstanding contribution to
between the Federal Republic of Germany and the
presenting German artists to American audiences.
Brooklyn Academy
Officer's Cross of
cultural relations"
United States by
...the musicians among the 25 personalities chosen by the MacArthur
Foundation for its "Genius" awards of $200,000-300,000 over a five-year
period: composer and educator MILTON BABBITT; composer, author and
CUNY's professor emeritus GEORGE PERLE; and composer and teacher
CHARLES WUORINEN.
...the following musical artists who were among the 87 distinguished
foreign-born New York residents awarded the Liberty Medal by Mayor
Edward Koch at the Statue of Liberty ceremonies last July: LICIA
ALBANESE, ZINKA MILANOV, JARMILA NOVOTNA, ZUBIN MEHTA, GIAN
CARLO MENOTTI, and FRANCO ZEFFIRELLI.
...the 1986-87 awardees of the New York City Mayor's Award for Arts
and Culture, including AT&T Chairman JAMES OLSEN for support to
several performing arts organizations; LAWRENCE WIEN, benefactor of
Lincoln Center; and ROSETTA LeNOIRE, Executive Director of the AMAS
theatre company.
...MARILYN HORNE, JON VICKERS, and Maestro JAMES LEVINE, recipients of the 1986 Arturo Toscanini Artistic Achievement Awards.
...composers RICHARD WERNICK and BERNARD RANDS (first prize),
JOHN ADAMS (second prize), and JOSEPH SCHWANTNER (third prize),
winners of the 1986 Kennedy Center Friedheim Awards.
...composer RADIE BRITAIN, who was named Fellow of the American
Institute of Fine Arts, as well as "Woman of the Year", by the National
League of American Pen Women.
...the selection of the 18th annual Arts Management Awards which were
given, for the first time, in the same field and for the same type of
position: THOMAS HALL, Managing Director of San Diego's Old Globe
Theatre, was named Arts Administrator of the Year, and PETER W.
CULMAN, Managing Director of Baltimore's Center Stage, was given the
Career Service Award.
...RUTH FELT and her management, SAN FRANCISCO PERFORMANCES,
as first recipient of the $5,000 Harold Shaw Award to a performing arts
presentor in recognition of support for recital presentations.
-49-
COS SALUTES
...personages and organizations on the occasion of special anniversaries:
CHRISTOPHER COLUMBUS (1492-1992), whose quincentenary will spur
great festivities with some emphasis on the U.S./Spanish heritage. A
five-year celebration in Spain will be inaugurated in September '87 by
the world premiere of Balada's opera, Christopher Columbus (see "New
Operas Abroad").
...playwright and librettist SIR WILLIAM S. GILBERT, on the 150th
anniversary of his birth (November 1836), and playwright EUGENE O'NEILL,
whose 100th anniversary will be celebrated next year.
...the 100-year-old Teatro alia Scala in Milan, which will celebrate its
centennial with a new production of Otello with PMcido Domingo, eonducted by Carlos Kleiber.
...the following composers in special anniversary years during this season:
the late HEITOR VILLA-LOBOS (100th birthday), MIRIAM GIDEON and
LOUISE TALMA (80th birthdays), LOU HARRISON and GEORGE ROCHBERG (70th birthdays), IAIN HAMILTON (65th birthday), and HANS
WERNER HENZE (60th birthday).
...a half-century of representing, protecting, and negotiating for singers,
dancers, stage directors and stage managers by AGMA, the American
Guild of Musical Artists, established 50 years ago with Lawrence Tibbett
as its founding president, and now with Nedda Casei in that office.
...and a half-century of OPERA NEWS, the leading American publication
on opera, sponsored by the Metropolitan Opera Guild, and a salute to its
three editors during those 50 years, the late MARY ELLIS PELTZ, FRANK
MERKLING, and ROBERT JACOBSON.
...the 50-year-old CARMEL BACH FESTIVAL, the oldest summer music
festival on the west coast; and the 30-year-old AUSTRALIAN OPERA,
sharing the anniversary with its attractive and unusual SIDNEY OPERA
HOUSE.
...the 30-year-old HOUSTON GRAND OPERA, which had its birthday party at Jones Hall last summer and will continue the celebration with its
opening production at the new Wortham Performing Arts Center next
October. More kudos are in order for the company's videotaped performance of Treemonisha, an Emmy recipient in the category of Outstanding
Special Class Programming from the Academy of Television Arts and
Sciences.
...an unlikely combination of companies at their quarter-century milestones:
Ellen Stewart's LaMAMA EXPERIMENTAL THEATER CLUB; DEUTSCHE
OPER BERLIN in West Berlin; and the SCOTTISH OPERA in Glasgow.
...two major arts service organizations on their silver anniversaries:
AFFILIATE ARTISTS, for its achievements on behalf of young artists and
community support, and THEATRE COMMUNICATIONS GROUP (TCG), for
its achievements on behalf of American theatre, its creators, producers
and performers.
...the OPERA ORCHESTRA OF NEW YORK, celebrating its 15th anniversary.
[]
-50-
APPOINTMENTS AND RESIGNATIONS
Federal/Regional/State Agencies
The National Assembly of State Arts Agencies
(NASAA) elected GARY YOUNG Chairman; he
is the Executive Director of the Connecticut
Commission on the Arts. — Arts Midwest, a
nine-state consortium of agencies formed to
promote the arts and local artists, elected the
Executive Director of the Ohio State Arts
Council, WAYNE LAWSON, as its Chairman.
National Arts Organizations
ANN SHERIDAN SMITH has joined Opera America as Executive Development Officer. Her previous positions were with the National Symphony
Orchestra and the National Institute for Music
Theater; prior to 1981, she was Chairman of
the NEA Dance Panel and of the Ohio Arts
Council. — After six years as Public Information Officer of Opera America, ELLEN BLASSINGHAM has resigned from that post. — BEN
KRYWOSZ will also be leaving Opera America
where he headed "Opera for the 80's and
Beyond" (see below). He will become Artistic
Director of Minnesota Opera's New Music
Theater Ensemble.
The California Confederation for the Arts
(CCA) chose ROBERT WALKER, Business
Manager and Director of Planning with the San
Francisco Opera, as President. CCA's aims include consciousness raising for government and
private support of the arts in the state, functioning as a conduit for information and for Changes in officers' positions at Broadcast
arts advocacy, and working towards managerial Music Inc. (BMI) were, in part, prompted by
efficiency of state and private arts agencies. the resignation of President EDWARD CRAMER
— HOLLY SIDFORD, formerly with the Massa- after many years in that office. He has been
chussetts Council on the Arts, was named Exe- succeeded by FRANCES W. PRESTON, but will
cutive Director of the New England Foundation remain affiliated with the licensing organization
as consultant on legislative matters. Dr. BARfor the Arts.
BARA PETERSON (Mrs. Roger Roloff) has adAmong the recent appointees heading state arts vanced to Assistant Vice President of BMI's
agencies are GAETHA PACE, Executive Direc- Concert Music Division.
tor of the Idaho Commission on the Arts, JOHN
SHELTON, formerly with the Idaho Commission, The Association for Classical Music elected as
now Deputy Director of the Nevada State Coun- its President CHERYL BELL, Senior Vice Presicil on the Arts, BARBARA NEAL, Acting Exe- dent of the American Savings Bank, and named
cutive to the Colorado Council on the Arts and JOHN SANTUCCIO, Manager of the New York
the Humanities following the resignation of Exe- Philharmonic, Treasurer. — ARTHUR BARcutive Director ELLEN SOLLOD, and JOSEPH TOW, the new Associate Director at Theatre
KYLE WALLS and JOANNE CHOW WINSHIP Communications Group, served with TCG from
named to the posts of Executive Director with 1976 to 1984, and spent the last two years as
the State Arts Council of North Carolina and Artistic Director of the New Playwright's
the Vermont Council on the Arts, respectively. Theatre in Washington, DC.
Correction
Need we tell COS readers that it is PATRICK
SMITH who is Director of the Opera-Musical
Theater Program of the National Endowment
for the Arts? Indeed not, but we do apologize
for the gaffe. The now famous Miss Benda is
Program Secretary; Janet Brenner is Assistant
Program Director.
Following the decision of adding a training orchestra to the activities of the National Foundation for Advancement in the Arts, came the
announcement of the appointment of Dr.
JEFFREY N. BABCOCK as Vice President for
Professional Activities. He has organized and
administered the summer training institute for
orchestral and chamber music of the Los Angeles Philharmonic, and will also become Executive Director of the newly recruited New World
Symphony Orchestra, the NFAA's young people's
training and performing ensemble.
Canadian Arts Organizations
LOUISE LAPLANTE succeeded Franz Kraemer,
who retired, as Head of Canada Council's Music
Section. — The Canadian Conference on the
Arts, another arts organization with CCA as HOWARD KLEIN, Director of the Rockefeller
its acronym, has engaged MICHELLE d'AURAY Foundation's arts support program, which,
as National Director.
She succeeds Brian thanks to his foresight, courage and imaginaAnthony, after having served with various cul- tion, has become one of the most important,
tural and government agencies. Her immediate influential and trend-setting grant making
superior at CCA is President Claudette Fortier. projects in the U.S., has announced his early
—
Following John Miller's resignation as retirement. On the Foundation's staff since
Executive Director, the Canadian Music Center 1967, he has been in charge of the arts program
has chosen SIMONE AUGER as his successor. for the last thirteen years and, quoting from
-51-
The New York Times, ". . . he has been one monia Baroque Orchestra of San Francisco.
of the most innovative and influential patrons
of the contemporary artist." Among the arts Since the beginning of this season, the Toledo
projects supported by Rockefeller grants were Opera has been under the Artistic Direction of
Opera America's "Opera for the 80's and Be- JAMES MEENA, formerly of the Pennsylvania
yond", the Meet the Composer program, BAM's Opera Festival in Pittsburgh. Meanwhile, Mr.
Next Wave Festival, and New World Records. Meena's predecessor, JOHANN VAN DER MERNow that he is no longer with the Foundation, WE, moved from Ohio to Arizona as Resident
some of his programs will be phased out over Music Director of the Arizona Opera (Glynn
the next two to five years and new guidelines Ross, General Director), conducting perforfor arts programs will be oriented more towards mances in Tucson and Phoenix. — The Opera
Ensemble of New York, with John Sheehan as
international- and intercultural projects.
Executive Director, has engaged RICHARD
SNYDER, formerly with Opera Theatre of Saint
Opera Companies: Officers
Except for the reelection of LAWRENCE KYTE, Louis, as Administrative Director. — PATRIJr., as Chairman of the Board, the Cincinnati CIA HICKLIN has joined Dawin Emanuel, GeneOpera has elected a new slate of officers: ral and Artistic Director of the Springfield (MO)
KINGSTON
FLETCHER,
President;
PAUL Regional Opera, as the company's AdministraSTUHLREYER, Executive Vice President; tive Director.
HARRY ROSSI, Vice President/Development; FAYE BAILEY is the new General Manager of
STUART FINE, Vice President/Marketing; MRS. the Virginia Opera in Norfolk, of which Peter
THOMAS HOFFMANN, Vice President/ECCO!; Mark is General and Artistic Director, and
JAMES BAIRD, Vice President; and GEORGE JOSEPH CONLIN has joined the Palm Beach
KRAL, Treasurer.
Opera as General Director, replacing Herbert
Benn. — The Tri-Cities Opera in Binghamton,
JAMES A. NOE, Jr. was elected President of NY, has signed GERALD BLOUNT-BIERLY for
the Board of the New Orleans Opera, succeeding the post of Administrative Director, which he
the late H. Lloyd Hawkins, Sr., and DONALD assumed last fall after having been Acting
BREMNER became President of the Hawaii Ope- Director of Operations at the Southern Arts
ra Theater. — The Utah Opera has a new Federation in Atlanta. — ROBERT DARLING
Chairman of the Board in DAN MARRIOTT, and has rejoined the Hidden Valley Opera in Carmel
a new President in W. MACK WATKINS. — The Valley, California, as Artistic Director, with
Greensboro Opera installed DAVID E. BRAY as plans for staging tryouts and workshops for new
President of the company; he has been on the music theater pieces.
board of directors since the company's founding
six years ago.
Following a reduction in its operation and the
resignation of its General Manager JACQUES
In a move to prepare its new president for the LANGEVIN, L'Ope"ra de Montreal engaged BERresponsibilities of the post, the Calgary Opera NARD CREIGHTON as its new General Manager.
in Alberta selects its future presidents early, — In addition to his positions as Music Director
designating them President Elect. DONALD E. of the Kitchener-Waterloo Symphony and of the
DUHOLKE has just assumed the Presidency after orchestra at the Music Conservatory of Monthaving served as President Elect for the last real, RAFFI ARMENIAN has become Music Director of L'Atelier lyrique, the young artists
two years; he is replacing Henry Gutman.
ensemble of the Opera de Montreal.
Opera Companies: Executive Administrators
EDWARD PURRINGTON, General Director of STEPHEN M. SMITH is the new Executive Directhe Tulsa Opera for the last twelve years and, tor of the San Francisco Opera Guild, succeedbefore that, staff member at the Santa Fe ing the late Allen Hillebrandt. He comes to
Opera for thirteen seasons, was named Adminis- this post with experience in fund raising actrative Director of the Washington Opera by quired while he was Development Director with
General Director Martin Feinstein, whom he both the Chamber Music Society of Lincoln
will assist in administrative as well as artistic Center and the Spoleto Festival.
matters. He will assume his new post in May,
succeeding FRANCIS RIZZO, who resigned.
Having resigned as General and Artistic Director of the Syracuse Opera, ROBERT DRIVER
David DiChiera, General Director of Opera Pa- will now fill a comparable position with Opera
cific, has engaged MARTIN WEIL as Managing Memphis, Syracuse's affiliated company. SyraDirector of the new California company, which cuse Opera's Managing Director CHRISTINE
will celebrate its inaugural performances with DAY has also resigned. — ALAN D. VALENPorgy and Bess in February. Mr. Weil's imme- TINE succeeds DEAN COREY as General Madiately preceding position was with the Philhar- nager of the Chattanooga Symphony and Opera
-52-
Association. Mr. Corey took over the Jacksonville Symphony.
Symphony Orchestras
Opera Companies: Department Heads
Celebrating twenty-one years with the Seattle
Opera where she started as a volunteer, COLLEEN G. ARMSTRONG was appointed Chief of
Staff, following her previous position of Director of Administration and Production. — KYLE
RIDOUT, who was accepted by the Kentucky
Opera as a NIMT sponsored administrative intern, has become a regular staff member with
the duties and the title of Company Manager.
—
The Michigan Opera Theater named
PATRICIA M. KIRCHMAN Director of Finance,
a post held by Evan Luskin before he became
Managing Director of the Opera Theater of
Kansas City (see Vol.27, No.2), and promoted
its Press Representative, JOHN P. FINK, to
Director of Press and Public Relations for both
operations, MOT in Detroit and Opera Pacific
in California. — The Opera Company of Philadelphia has engaged RUTH E. WELLS as Public
Relations Administrator with some additional
duties in marketing supervision. Her previous
work was on behalf of a dance company and a
city agency for arts and culture.
Currently Music Director of the Flint Symphony,
ISAIAH JACKSON will assume his new post as
Music Director of the Dayton Philharmonic in
fall '87. He is also principal conductor of
London's Royal Ballet. — ADRIAN GNAM has
resigned from the Midland Symphony in Michigan to devote full time to his Music Directorship
of the Eugene Symphony in Oregon. — The
Florida Orchestra in Tampa named IRWIN
HOFFMAN its Music Director Laureate, and the
Florida Symphony Orchestra in Orlando engaged
MICHAEL KRAJEWSKI, former intern with the
Michigan Opera Theatre and Assistant Conductor of the Detroit Symphony, as Resident Conductor.
LORIN MAAZEL became the Music Director of
the Pittsburgh Symphony last fall, a position
for which he signed a four-year contract. His
Opera Companies: Composers-in-Residence
Following his three-year tenure as Composer- colorful career has placed him at the head of
in-Residence with the Chicago Lyric Opera and many leading international institutions, among
the company's Center for American Artists, them the Vienna State Opera and the Deutsche
WILLIAM NEIL concluded his contract with the Oper Berlin, L'Orchestre de Paris and the
company, which is now looking for its second Cleveland Orchestra. During the last season,
composer-in-residence. HUGO WEISGALL has he was music advisor and principal guest conbeen entrusted with heading the search commit- ductor in Pittsburgh, where he will lead eight
tee, which will evaluate the nominations. to twelve weeks of subscription concerts and
— RICHARD WARGO was officially named at least two weeks of domestic or foreign tours.
composer-in-residence by the Greater Miami With this appointment, Mo. Maazel is returning
Opera, a company that showcased The Music to the city where he spent his youth, studied,
Shop two years ago and has commissioned the and held his first orchestral job—three years
composer to write his next work for a premiere in the Pittsburgh Symphony's violin section.
in Florida. He will also supervise the in-school The orchestra's last Music Director, Andre
opera programs in the Southern Miami District. Previn, left three years ago.
WILLIAM J. CONNER became Director of Development for the Greater Miami Opera, and
WENDY OEHLERT ADAMS accepted the same
job with the Atlanta Opera. She had been in
charge of Special Events for the Atlanta Ballet.
— The Syracuse Opera advanced MICHAEL
CONNER from Assistant in Marketing and Public Relations to Director of Publicity. — The
Midwest Opera Theater of the Minnesota Opera
engaged LAURA JOHNSON for the newly created post of Education Director, and Opera Grand
Rapids signed CYNTHIA CLAIR to fill that
same position with the Michigan company.
— TYRONE PATERSON, staff member of the
Calgary Opera for the last six years, was named
Music and Production Manager by the company's
General Manager, Brian Hanson.
VICTORIA BOND, Music and Artistic Director
of New York's Bel Canto Opera, was also named
Music Director and Conductor of the Roanoke
(VA) Symphony Orchestra. — The Grand Rapids
Symphony has engaged CATHERINE COMET as
its Music Director. — PHILIP GREENBERG,
Music Director of the Fresno Philharmonic,
succeeded Christian Badea—now in Columbus,
Ohio—as Music Director of the Savannah
Symphony. — MICHAEL PRATT, Music Director of the June Opera Festival of New Jersey,
has also joined the New Jersey Symphony
Orchestra as Assistant Conductor.
RAYMOND LEPPARD, conductor, musicologist
and translator, will become Music Director of
the Indianapolis Symphony next season. — In
summer '86, conductor and scholar CHRISTOPHER HOGWOOD joined the Handel and Haydn
Society of Boston as its Artistic Director.
Several new appointments
positions with orchestras
JOHN SANTUCCIO, former
Schirmer and also President
(NY) Philharmonic, has been
-53-
in administrative
can be reported.
President of G.
of the Rochester
appointed Orches-
tra Manager of the New York Philharmonic by
the orchestra's Managing Director and Executive Vice President, Albert K. Webster. Mr.
Santuccio succeeds Jesse Rosen. — The Chicago Symphony Orchestra's Executive Director
and Executive Vice President, Henry Fogel,
named his former assistant, VANESSA MOSS,
as Orchestra Manager. PAUL CHUMMERS, who
held that position, has joined the Utah Symphony
this season as its Executive Director.
BILLIE BRIDGMAN, Artistic Director of Comus
Theatre in Toronto, has taken over the Artistic
Management of the Guelph Spring Festival in
Ontario, following the retirement of Nicholas
Golschmidt last summer. — The Chautauqua
Summer Festival and Symphony in upstate New
York signed JOSEPH SILVERSTEIN as Music
Director, beginning with the 1987 summer season. Former concertmaster (1961-1983) and,
after 1971 also assistant conductor of the
Boston Symphony, Mr. Silverstein is currently
the Music Director of the Utah Symphony.
COSTA PILAVACHI became Artistic Administrator of the Boston Symphony Orchestra last
fall, and LOIS FALLIS assumed the same title The American National Theater based at the
temporarily suspended
with the Toronto Symphony, also at the start Kennedy Center has
its Artistic Director, PETER
of this season. — CHRISTOPHER DUNWORTH production;
replaces J. M. MILLS as Executive Director of SELLARS, is on a one-year leave of absence
the Denver Symphony, and DEAN P. COREY from the company. — The Long Wharf Theater
occupies that same office at the Jacksonville in New Haven has appointed DAVID MAYHEW
Symphony Orchestra, succeeding Susan Stein. Director of Communication; M. Edgar RosenHe had been Managing Director of the Chatta- blum is the theater's Executive Director.
nooga Symphony and Opera.
— TOM MARKUS was named Artistic Director
of the Theatre by the Sea in Portsmouth, NH.
The Springfield Symphony Orchestra in Massachusetts lost its Executive Director, WAYNE Academia
BROWN, to the Louisville Orchestra in Ken- Two composers became heads of music schools
tucky, and gained ASADOUR SATOURIAN in last fall. LARRY ALAN SMITH is the new
the capacity of Orchestra Manager. — MI- Dean at the North Carolina School of the Arts
CHAEL ALLERTON became General Manager in Winston-Salem, and JOHN REA assumed the
of the San Jose Symphony, and EDWARD OSCA- same post at McGill University's School of
PELLA moved into the position left vacant, Music in Montreal.
that of Executive Director of the Vancouver
(BC) Symphony Orchestra.
— MARSHALL San Francisco Opera's General Director EmeriTURKIN, Vice President and Managing Director tus, KURT HERBERT ADLER, became Artistic
of the Pittsburgh Symphony, has announced his Advisor and Professor of Inter-Arts at the
retirement for summer '88, at the end of his School of Creative Arts of the San Francisco
State University. As part of his assignment he
current contract.
will hold Master Classes in Arts Management.
— Columbia University's Oscar Hammerstein II
Festivals, Arts Centers, Theaters
The young Greek-born conductor SPIROS Center for Theater Arts offers master classes
ARGIRIS, guest conductor in many major Ger- by the internationally renowned director LIVIU
man and Italian opera houses, is the new Music CIULEI, who formerly was in charge of the
Director of both the Spoleto Festival in Italy Guthrie Theatre in Minneapolis. — JOHN
and Spoleto Festival U.S.A. He succeeds Chris- HIRSCH, who was Director of the Stratford
tian Badea, who resigned at the end of last Festival in Ontario, was named Meadows Distinseason. Mr. Menotti, founder and Artistic Di- guished Professor of Theatre at Southern Merector of the festivals, let it be known that thodist University in Dallas where he will
he is looking for a successor to his own position. conduct master classes. — As of January
1987, MALCOLM FRASER occupies the Ralph
ALLAN RUBIN has been named President of Corbett Chair of Opera at the University of
the Wolf Trap Foundation, succeeding Carol Cincinnati College-Conservatory. He is also
Harford. — STEPHEN LOMBARDI is the new Artistic Director of England's Buxton Festival.
Manager of the Great Woods Center for the
Performing Arts in Mansfield, MA. Previously DWIGHT COLE MAN became Director of Opera
he was Executive Director of the Providence Theater at the University of Mississippi, with
LELAND FOX remaining in the administrative
Civic Center.
position of Acting Dean of the School of Music.
The Los Angeles Music Center has named — The University of Nebraska at Lincoln
FRANK DALE to the newly created position of appointed ROBERT HANSEN Director of Opera,
Previously, Mr.
President. — The Fulton Opera House in succeeding Gregg Tallman.
Lancaster, PA, has engaged DEIDRE JACOBSON Hansen was affiliated with Midwestern State
University at Wichita Falls, Texas. — Dr.
as Executive Director.
-54-
DAVID BRADLEY became Director of the Lyric
Theater at the University of Nevada in Las
Vegas. — The Opera Department of the Curtis
Institute of Music, briefly under the direction
of Boris Goldovsky and Frederic Popper, is now
headed by former Metropolitan Opera Associate
Conductor IGNACE STRASFOGEL. — The
Saint Louis Conservatory named JAMES
ATHERTON Artistic Director of its Opera
Workshop.
Royal Opera Covent Garden, will preside as
Chairman of the Board of Directors.
JAMES LOCKHART, Generalmusikdirektor in
Koblenz, Germany, will become the Director of
the Opera Department of London's Royal College of Music. RICHARD VAN ALLAN is the
new Director of the National Opera Studio in
London, where he succeeded Michael Langdon.
— The New Sussex Opera, formerly under
Artistic Manager PETER EBERT, has signed
Soprano LUCY SHELTON joined the voice facul- DENNIS WICKS as its new Artistic Director.
ty of the Cleveland Institute of Music, where
coach/rehearsal
pianist/assistant
conductor A further change on London's operatic scene
LINDA JONES has been engaged for the Opera occurred in the printed media with the retireand Musical Theater Department. Her previous ment of HAROLD ROSENTHAL OBE, Editor for
work was at the Manhattan School of Music 33 years of Opera magazine. It is his knowledge, his untiring dedication and unwavering
and at LaMaMa ETC in New York.
integrity that established Opera as the informed
Dr. CLIFFORD REIMS took early retirement and informing, comprehensive and candid interfrom his position as Director of Opera at Roose- national music publication. He made it always
While one
velt University in Chicago and, moving to Ala- attractive and always reliable.
bama, will give opera courses at the University wishes him well in his retirement, one also
of South Alabama, and function as advisor to looks forward to his occasional contributions
the Mobile Opera. — MICHAEL BAWTREE, in the magazine. RODNEY MILNES, whom he
founder and Artistic Director of the Banff Cen- appointed Deputy Editor in 1985, has now
ter School's Studio Ensemble, has announced become Editor, with MAX LOPPERT Associate
his resignation effective at the end of this Editor. The editorial offices have moved to
school year. By summer '87, he will have com- 1A Mountgrove Road, London N5 2LU, England.
pleted his tenth year at Banff.
The Netherlands Opera, in its first season in
Conductor OTTO-WERNER MUELLER of Yale the new opera house, also has a new administraUniversity and the Curtis Institute was appoint- tive team: compose1" JAN VAN VLIJMEN, Genered Director of Orchestral Studies at the Juil- al Administrator; HARTMUT HAENCHEN, Music
liard School for 1987-88.
Director; GUUS MOSTART, Artistic Director;
and MATTHEW EPSTEIN, Artistic Advisor.
Opera & Symphony Abroad
Two American conductors have been placed into
leading posts with major European opera compa- In Hamburg, ROLF LIEBERMANN continues as
nies. JOHN MAUCERI will become Music Direc- Intendant with ROLF MARES as Director of
tor of the Scottish Opera in August 1987, suc- the Opera. — Following CLAUS HELMUT
ceeding Artistic Director John Cox who re- DRESE's move from Intendant of the Zurich
signed effective last summer but remained Opera to General Director of the Vienna State
available as Artistic Advisor for one year. Opera last fall, it was CHRISTOPH GROSZER,
Maestro Mauceri is also Music Director of the formerly of the opera house in Wiesbaden, who
American Symphony Orchestra in New York, filled the vacant post in Zurich. In turn, it
and Consultant for Music Theatre to the was CLAUS LEININGER of the opera in GelsenKennedy Center in Washington. — The other kirehen, who went to Wiesbaden as Groszer's
appointment will bring JOHN CONLON as Chief successor.
Conductor to the opera house in Cologne. He
will begin his four-year contract with the Oper L'Ope>a national de Paris is headed by JEANder Stadt Koln with the 1989-90 season, when LOUIS MARTINOTY, whose title is L'AdminisSir JOHN PRITCHARD's position will change to trateur ge'ne'ral. L'Ope>a-comique has a new
Principal Guest Conductor.
Music Director in LOTHAR ZAGROSEK.
LORD HAREWOOD was elected Chairman of After six years as General Manager of the
the Board of the English National Opera, suc- Australian Opera Company in Sydney, PATRICK
ceeding Lord Goodman who held that office for L. VEITCH resigned from his post, but will be
the previous ten years. Lord Harewood was available as consultant for an orderly transition.
the ENO's Managing Director from 1972 to 1985. DONALD McDONALD, General Manager of the
— Similarly, SIR CLAUS MOSER, who has now Sydney Theatre Company, succeeded Mr. Veitch
retired from his managerial position with the as General Manager of the Australian Opera. []
-55-
ADDENDA TO DIRECTORY OF SETS AND COSTUMES
Volume 21, Number 2 available for $12.00 including 18-page updated addenda
Eighteen-page updated addenda only: $5.00
The compilation below contains additions, deletions, and other new information obtained since
the last addenda in Vol. 26, No. 4. For explanations of the abbreviations and other usages in
the following entries, see page 2 of the original Directory.
# indicates that the current entry supersedes an entry in the original Directory.
ANDERSON, LAURIE
Alcestis (s,c) American Repertory Theatre, Cambridge, MA (Tamm '86)
BARTOK, BELA
Bluebeard's Castle [A KgksakaUti herceg va>a] (s,c) Chamber Opera of Chicago, IL
(Radziejeski T86) 30x32
BELLINI, VINCENZO
Norma (s,c) Stivanello, New York, NY (#)(Sormani '84) 60x40; 1/18'
BERNSTEIN, LEONARD
Candide (s) Paper Mill Playhouse, Millburn, NJ ('86) 30x60
Mass (s) San Antonio Festival, TX (Lucero '86)
West Side Story (s,c) Michigan Opera Theatre, Detroit (O'Hearn/Caine '86)
BIZET, GEORGES
Carmen (s,c) Portland Opera, OR 086)
(s,c) Syracuse Opera, NY (Steinberg/Berry '86)
(s,c) Tri-Cities Opera, Binghamton, NY (#)(Woodbridge '78/'86) 39x34x32; 1/45'
(s) Opera Hamilton, Ont. ('86)
(s) Shreveport Opera (Locke '80) 60x50; 1/40 - FOR SALE
(s) Texas Opera Theater, Houston (Home '85)
delete Cartaya's Theatricals (from prev. addenda)
Le Docteur Miracle delete Spoleto Festival USA (from prev. addenda)
Les P6cheurs de perles delete Cartaya's Theatricals (from prev. addenda)
BLITZSTEIN, MARC
Regina (s) Baton Rouge Opera, LA (Joy '82)(form. with Chautauqua Opera) - FOR SALE
delete Chautauqua Opera (from prev. addenda)
BOCK, JERRY
Fiddler on the Roof (s) Civic Light Opera, Pittsburgh, PA (Morton '86) 56x29
BRITTEN, BENJAMIN
Albert Herring delete Ohio State University (from prev. addenda)
A Midsummer Night's Dream (s,c) Univ. of Washington Opera Theatre, Seattle 086)
CIMAROSA, DOMENICO
n Matrimonio segreto (e) Malabar, Ltd., Toronto, Ont. 080)
(c) Santa Fe Opera, NM (Rubin '84)
delete Chicago Opera Repertory Theatre (from prev. addenda)
COHAN, GEORGE M.
George M! (s,c) San Diego Civic Light Opera, CA (Holamon '85); 1/40'
COWARD, NOEL
Bitter Sweet (s) Orlando Opera, FL (Beck/Carpenter '86) 50x34; 1/40' - (c) no longer available
DAMASHEK, BARBARA
Olympic Games (s,c) American Repertory Theatre, Cambridge, MA (Olcun '86)
Quilters (s,c) San Jose Repertory Co., CA (Mesney/Frederick '86)
DONIZETTI, GAETANO
Don Pasquale (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '85) 60x36; 1/16'
(s) Anchorage Opera, AK 086)
(s) Lyric Opera of Dallas, TX 086) 40x25
L'Elisir d'amore (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '79) 60x40; 1/16'
(s) Orlando Opera, FL (Romero '83) 50x34; 1/45'
(s) Seattle Opera, WA (#)(Sanquirico '85); 1/45'
delete Cartaya's Theatricals (from prev. addenda)
La Fille du regiment (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '81) [60x40]; 1/18'
(s,c) Washington Opera, DC (Brown '86)
(s) San Diego Opera, CA (#)(Montresor '73/'85) [56x59]; 2/24' - suitable for touring
-56-
Lucia di Lammermoor (s,c) Stivanello, New York, NY (Sormani/Stivanello '85) [60x40]; 1/18
(s) Atlanta Opera, GA (Deegan/Conly '86) 40x24x30
(s) Tri-Cities Opera, Binghamton, NY (#)(Woodbridge '76/'82/'85) 39x34x32
delete Cartaya's Theatricals (from prev. addenda)
EATON, JOHN
The Tempest (e) Santa Fe Opera, NM (A. Klein '85)
EDWARDS, SHERMAN
1776 (c) Albuquerque Civic Light Opera, NM (McEwan '86)
FALLA, MANUEL DE
La Vida breve
restore Santa Fe Opera (c)
FINK, MYRON
The Island of Tomorrow (s,c) Golden Fleece Ltd., New York, NY ('86)
FLOTOW, FRIEDRICH von
Martha (s,c) Stivanello, New York, NY (#)(Dunkel/Antoine T66/'72); 1/14'
(s) Lyric Opera of Kansas City, MO (Bromley '86)
FOSSBURG, DICK
Windy City (s) Paper Mill Playhouse, Miltburn, NJ ('86) 30x60
GIORDANO, UMBERTO
Andrea Chenier (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '81) 60x40; 1/24'
GLASS, PHILIP
The Juniper Tree (s,c) American Repertory Theatre, Cambridge, MA (Yearga '86)
GLUCK, CHRISTOPH WILLIBALD
L'lvrogne corrige' delete Spoleto Festival USA (from prev. addenda)
Orfeo ed Euridice (s,c) Concert Royale, New York, NY 086)
GOLDSTAUB, PAUL
The Marriage Proposal (s,c) Golden Fleece Ltd., New York, NY ('86)
GOTTLIEB, JACK
The Movie Opera (s,c) Golden Fleece Ltd., New York, NY ('86)
GOUNOD, CHARLES
Faust (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '82) [64x44]; 2/24'
(s) Lyric Opera of Kansas City, MO (#)(Brumley '85) 50x35
(s) Tri-Cities Opera, Binghamton, NY (Coberg '87); 1/40'
(c) Lubo Opera, Guttenberg, NJ
(c) Regina Opera, Brooklyn, NY ('84)
delete Cartaya's Theatricals (from prev. addenda)
HANDEL, GEORGE FRIDERIC
Ariodante (s,c) Concert Royale, New York, NY 086)
Samson delete Dallas [Civic] Opera
Saul (s,c) San Antonio Festival, TX (Higgins/Rose '86)
HAYDN, FRANZ JOSEF
La Cantarina delete St. Cecilia Opera Repertory (from prev. addenda)
HENZE, HANS WERNER
Die Bassariden (c) Santa Fe Opera, NM (George '68) - partial
The English Cat (c) Santa Fe Opera, NM (Rubin '85)
Pollicino (s,c) Monmouth Conservatory of Music, Little Silver, NJ (W.R. Satz School '86)
HERBOLSHEIMER, BERN
Aria da capo (c) University of Louisville, KY (Paris '85)
HERMAN, JERRY
Hello, Dolly! (s) Civic Light Opera, Pittsburgh, PA (H. Jones '86) 56x29
Mame (s) San Diego Civic Light Opera, CA (Holamon '75); 1/45'
HINDEMITH, PAUL
Hin und zuriick (s) San Francisco Opera Center, CA (Kotcher '86); 1/24'
The Long Christmas Dinner (s) San Francisco Opera Center, CA (Kotcher '86); 1/24'
HOLLINGSWORTH, STANLEY
The Mother delete Spoleto Festival USA (from prev. addenda)
HUMPERDINCK, ENGELBERT
Hansel und Gretel (s) Fort Worth Opera, TX (Barkla '76); 2/48'
JONES, WALTON
The 1940's Radio Hour (s) Paper Mill Playhouse, Millburn, NJ 086) 30x60
KINSEY, RICHARD
Robin Hood, The Musical (s,c) Fullerton Civic Light Opera, CA (Varga '86) 42x30;; 1/45'
-57-
LEHAR, FRANZ
Das Land des Lachelns delete Virginia Light Opera (from prev. addenda)
Die lustige Witwe (s) Connecticut Opera, Hartford (Kaseta '85) 47x39; 1/40'
(s) Tacoma-Pierce County Opera, WA (Torrey '85); 1/70'
(s) Virginia Opera, Norfolk (Keller '86)
delete Cartaya's Theatricals (from prev. addenda)
delete Dallas [Civic] Opera
LEONCAVALLO, RUGG1ERO
Pagliacci (s,c) Casa Italiana Opera Theatre, Los Angeles, CA ('86) 70x45
(s,c) Chamber Opera of Chicago, IL (Zissis '86) 30x32
(s,c) Portland Opera, OR ('86)
(c) Lubo Opera, Guttenberg, NJ ('80)
(c) Regina Opera, Brooklyn, NY ('79)
delete Cartaya's Theatricals (from prev. addenda)
LOESSER, FRANK
Guys and Dolls (s,c) San Diego Civic Light Opera, CA (Holamon '84); 1/45'
(s) Paper Mill Playhouse, Millburn, NJ ('84) 30x60
The Most Happy Fella (s,c) Univ. of Kentucky, Lexington 086)
Where's Charley? (s) San Diego Civic Light Opera, CA (Holamon '85); 1/45'
LOEWE, FREDERIC
Camelot (s) Roy King & Assoc, West Islip, NY
(c) Albuquerque Civic Light Opera, NM (McEwan '86)
My Fair Lady (c) San Diego Civic Light Opera, CA (Tara '84)
MASCAGNI, P1ETRO
Cavalleria rusticana (s,c) Casa Italiana Opera, Los Angeles, CA 086) 70x45
(c) Lubo Opera, Guttenberg, NJ 082)
(c) Regina Opera, Brooklyn, NY 080)
delete Cartaya's Theatricals (from prev. addenda)
MASSENET, JULES
Manon delete Dallas Stage Scenery
MENOTTI, GIAN CARLO
Amahl and the Night Visitors delete Virginia Opera (from prev. addenda)
The Boy That Grew Too Fast (s) Charleston Opera, SC 085); 1/24'
The Consul (s,c) Fargo-Moorhead Civic Opera, West Fargo, ND (Lamey '85)
(s) Connecticut Grand Opera, Stamford (Trevelyan '85)
The Hero delete Opera Co. of Philadelphia
The Last Savage delete Spoleto Festival USA (from prev. addenda)
The Medium delete Spoleto Festival USA
The Saint of Bleecker Street (s,c) Spoleto Festival USA, Charleston, SC (Z. Brown '86)
MONTEMEZZI, ITALO
L'Amore de tre re (c) Stivanello, New York, NY (#)(Stivanello '70)
MONTEVERDI, CLAUDIO
L'Incoronazione di Poppea (c) Santa Fe Opera, NM (A. Klein '86)
L'Orfeo [La Favola d'Orfeo] (c) Skylight Comic Opera, Milwaukee, WI (Jampolis '84)
MOORE, DOUGLAS
The Ballad of Baby Doe (s,c) Colorado Opera Festival, Colorado Springs (Beck/Ames '86)
80x60; 1/45'
(s) Central City Opera, Denver, CO (#)(Oenslager '76/'8D 25x40x28
delete Manhasset Bay Opera (from prev. addenda)
MOZART, WOLFGANG AMADEUS
Don Giovanni (s,c) Canadian Opera Co., Toronto, Ont. (#)(Schafer '70) 48x42x31; 2/
(s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '86)
(s) San Francisco Opera Center, CA (Kotcher '86); 1/24'
Die Entfuhrung aus dem Serail (s,c) Opera Theatre of St. Louis, MO 086)
Idomeneo (s,c) Canadian Opera, Toronto, Ont. (Levine '86) 50x58
Le Nozze di Figaro (s,c) Stivanello, New York, NY (#)(Sormani/Dunkel '70); 1/16' - also
furniture
(s) Fort Worth Opera, TX (Lane '86); 1/45'
(s) Lake George Opera Festival, Glens Falls, NY (#)(Anania '78/'84) [35x30]; 1/45
delete Birmingham Civic Opera
L'Oca del Cairo (s,c) Berkshire Opera, Lenox, MA (Rothschild '86) 90x50
Der Schauspieldirektor delete St. Cecilia Opera Repertory (from prev. addenda)
-58-
Die Zauberflote (s,c) Florida State Univ., Tallahassee (Claassen '86); 1/
(s,c) Memphis State Univ., TN (Knowles '86) 35x29; 1/20'
(s,c) Tacoma-Pierce County Opera, WA (McDonald/Neal '86); 2/22'
MUSSORGSKY, MODEST
Boris Godunov (s,c) Canadian Opera Co., Toronto, Ont. (W. Skalicki '86) 50x58
NICOLAI, OTTO
Die lustigen Weiber von Windsor (e) Chicago Opera Theater, IL (#)(Jackson '78) - sets no
longer available
OFFENBACH, JACQUES
Les Bavards (s,c) Florida State Univ., Tallahassee (Lock '86); I/van
Les Contes d'Hoffmann (s,c) Opera Theatre of St. Louis, MO (Conklin '86)
(s) Opera Colorado, Denver (Schneider-Siemssen '84) - partial
Le Mariage aux lanternes (s,c) Florida State Univ., Tallahassee (Lock '86)
M. Choufleuri restera chez lui [R.S.V.P.] (c) Spoleto Festival USA, Charleston, SC (Santicchi
'80) - sets no longer available
Orphee aux enfers delete Skylight Comic Opera (from prev. addenda)
PENDERECKI, KRZYSZTOF
Die Teufel von Loudun restore Santa Fe Opera (c)
PERGOLESI, GIOVANNI BATTISTA
La Serva padrona (s,e) Berkshire Opera, Lenox, MA (Rothschild '86) 90x50
PONCHIELLI, AMILCARE
La Gioconda (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '81) [60x40]; 1/24'
PORTER, COLE
Anything Goes (s,c) Civic Light Opera, Pittsburgh, PA (Morton '86) 56x29
Can-Can (s) Civic Light Opera, Pittsburgh, PA (Morton '86) 56x29
PUCCINI, GIACOMO
La Boheme (s,c) Fargo-Moorhead Civic Opera, West Fargo, ND (Lamey '86)
(s,c) Portland Opera, OR (Jenkins/Pace '86)
(s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '77/'86) [60x40]; 1/18'
(s) Arizona Opera, Tucson (Benois '87)
(s) Florida State Univ., Tallahassee (Lock '85); 1/
(s) Indiana Set Rental, Ltd., Bloomington (A. Trumpler '81) 40x30x18; 1/45'
(s) Lake George Opera Festival, Glens Falls, NY (#)(Anania ! 77/'84) 36x18x32
(s) Opera Memphis, TN (Ostroff '85) 54x25; 1/45'
(s) Univ. of Washington, Seattle 086)
(c) Lubo Opera, Guttenberg, NJ ('80)
(c) Regina Opera, Brooklyn, NY ('85)
delete Atlanta Civic Opera (from prev. addenda)
La Fanciulla del West (s) Cincinnati Opera, OH (Depenbrock '86) 50x40; 1/45'
delete Spoleto Festival USA (from prev. addenda)
Gianni Schicchi (s,c) Portland Opera, OR (West '85) 50x47; 1/40'
Madama Butterfly (s,c) Eugene Opera, OR (Wong '86) 50x26; 1/45'
(s) Calgary Opera, Alta., Canada (Darling '76) 70x42; 1/
(s) San Francisco Opera Center, CA (Kotcher '84); 1/24'
(c) Regina Opera, Brooklyn, NY 083)
delete Dallas [Civic] Opera
delete Opera Theatre of Rochester
delete University of Illinois, Urbana (from prev. addenda)
Manon Lescaut (s) Arizona Opera, Tucson (Naccarato '87)
(s) Dallas Stage Scenery, TX (#)(Klein '80); 2/45'
Suor Angelica (s,c) L'Ope>a de Montreal, P.Q. 086) 52x26
(c) Regina Opera, Brooklyn, NY 080)
Tosca (s,c) Casa Italiana Opera, Los Angeles, CA 086) 70x45
(s,c) Riverside Opera, CA 086)
(s) Calgary Opera, Alta. (Cook '86) 70x42; 1/
(s) Cincinnati Opera, OH (#)(Darling '81) 50x40; 1/45'
(s) Pittsburgh Opera, PA (#)(Struthers '76/'8D 45x30x24; 1/40'
(c) Lubo Opera, Guttenberg, NJ 081)
(c) Regina Opera, Brooklyn, NY 086)
delete Opera Company of Boston 067)
Turandot (s) Opera Colorado, Denver (Schneider-Siemssen '84) - partial
delete Texas Costume (from prev. addenda)
-59-
PURCELL, HENRY
Dido and Aeneas (s,c) Kentucky Opera, Louisville (Holden '86)
(e) Arizona State Univ. Lyric Opera Theatre, Tempe (Turner '86)
delete Birmingham Civic Opera (from prev. addenda)
delete Brooklyn Opera Society (from prev. addenda)
RAMEAU, JEAN-PHILIPPE
Les Fetes d'Hebe (s,c) Concert Royale, New York, NY ('86)
RODGERS, LOU
Ophelia Songs (s,c) Golden Fleece Ltd., New York, NY ('86)
RODGERS, RICHARD
The Sound of Music (s,c) Fullerton Civic Light Opera, CA (Klopfenstein '86) 42x30; 1/45'
delete Shawnee Playhouse (from prev. addenda)
South Pacific (c) Nebraska Wesleyan Univ. Opera Theatre, Lincoln 086)
ROMBERG, SIGMUND
New Moon (s,c) Fargo-Moorhead Civic Opera, West Fargo, ND (Lamey '86)
ROREM, NED
Fables (s,e) Golden Fleece Ltd., New York, NY 086)
ROSSINI, GIOACCHINO
n Barbiere di Siviglia (s,c) Lyric Opera of Dallas, TX 086) 40x25
(s) Cheyenne Symphony Orchestra <3c Choral Society, WY (Kauchausky '82) 52x28
(s) Eugene Opera, OR 086)
(s) Opera Carolina, Charlotte, NC (#X'87)
(s) San Francisco Opera Center, CA (Kotcher '86); 1/24'
(c) Lubo Opera, Guttenberg, NJ 086)
delete Dallas [Civic] Opera
La Cenerentola (s,c) Stivanello, New York, NY (#)(Sormani/Antoine '75) 60x40; 1/24'
(s) Chattanooga Opera & Symphony, TN (Higgins '86) 47x26; 1/32'
(s) Indiana Set Rental, Ltd., Bloomington (Trumpler, '81) 40x30x18; 1/45'
delete Canadian Opera Co. (from prev. addenda)
L'ltaliana in Algeri (s) Tri-Cities Opera, Binghamton, NY (Little '87); 1/40'
D Signor Bruschino delete Boston Summer Opera Theatre
n Turco in Italia (s) San Francisco Opera Center, CA (Kotcher '86); 1/24'
D Viaggio a Reims (c) Opera Theatre of St. Louis, MO (Jampolis '86)
SALLINEN, AULIS
The King Goes Forth to France (c) Santa Fe Opera, NM (Conklin '86) - partial
SCHWARTZ, STEPHEN
Pippin (c) Arizona State Univ. Lyric Opera Theatre, Tempe (Turner '85)
SHINN, RANDALL
Wilbur! (c) Arizona State Univ. Lyric Opera Theatre, Tempe (Graves '86)
SHOSTAKOVICH, DMITRI
Lady Macbeth of Mzensk delete Spoleto Festival USA
SONDHEIM, STEPHEN
A Funny Thing Happened on the Way to the Forum (s) Civic Light Opera, Pittsburgh, PA
(Morton '86) 56x29
A Little Night Music (s.c) Opera Carolina, Charlotte, NC 086)
Sweeney Todd (s) Lyric Opera of Kansas City, MO (Brumley '86)
STRAUSS, JOHANN
Die Fledermaus (s) OperaDelaware, Greenville (Freas '86) 37x30
(s) Texas Opera Theater, Houston (Klein '85) - designed for touring
(s) Univ. of Washington Opera Theatre, Seattle 086)
(c) Santa Fe Opera, NM (Marlay '86)
STRAUSS, RICHARD
Die Agyptische Helena (c) Santa Fe Opera, NM (Yeargan '86)
Elektra (c) Ventura Opera, CA (Giamario '86)
Intermezzo (c) Santa Fe Opera, NM (Oberle '84)
Der Rosenkavalier (s,c) Portland Opera, OR 087)
(s) Cincinnati Opera, OH (Tomero '84) 50x40; 1/45'
(c) Santa Fe Opera, NM (Campbell '68) - partial
delete Dallas [Civic] Opera
Salome (s,c) Greater Miami Opera, FL (Klein '86); 4/45'
(s,c) Houston Grand Opera, TX (Dine/Horn '86) 60x55; 2/45'
(s,c) Los Angeles Music Center Opera, CA (Burry '86); 1/45'
-60-
STRAVINSKY, IGOR
Renard (s,c) Spoleto Festival USA, Charleston, SC (Montresor '86)
Le Rossignol delete Santa Fe Opera (from prev. addenda)
STROUSE, CHARLES
Annie (s,c) San Diego Civic Light Opera, CA (Holamon '83); 1/45'
(c) Albuquerque Civic Light Opera, NM (McEwan '85)
STYNE, JULE
Bells are Ringing delete California Civic Light Opera (from prev. addenda)
SUCHON, EUGEN
The Whirlpool [Krutnava] (c) Opera Company of Mid-Michigan, Lansing ('79) - (s) no longer
available
SULLIVAN, ARTHUR
The Gondoliers (s,e) California State Univ. [at Fresno] Music Dept. (Sarkisian/Osborne '86)
40x30
delete Chicago Gilbert and Sullivan Co.
H.M.S. Pinafore (s.c) Opera North, Norwich, VT ('86)
(s) Lyric Opera of Dallas, TX 086) 40x25
delete Columbia College Opera Wksp.
delete North County Community Theatre
The Mikado (s,c) New York Gilbert & Sullivan Players, NY C77/'85)
(s,c) Opera Theatre of Alberta, Edmonton ('85) - suitable for touring
(s) Univ. of Washington Opera Theatre, Seattle ('86)
delete North County Community Theatre (from prev. addenda)
The Pirates of Penzance (s) Univ. of Washington Opera Theatre, Seattle 086)
delete Arkansas Opera Theatre
Trial by Jury (c) Kentucky Opera, Louisville (Smillie '86)
The Yeomen of the Guard (s) Eugene Opera, OR (Williams '83); 1/
SUSA, CONRAD
Transformations (c) Spoleto Festival USA, Charleston, SC (Granata '80) - (s) no longer
available
TCHAIKOVSKY, PETER ILYICH
Eugene Onegin (s,c) Sarasota Opera, FL (Beck '83) 36x30; 1/45'
delete Saratoga Opera (from prev. addenda)
The Queen of Spades [Pique Dame] (s) Arizona Opera, Tucson (Hall '86)
THOMAS, AMBROISE
Hamlet (s,c) Greater Miami Opera, FL (Toms/Vanarelli '87)
Mignon (s.c) Stivanello, New York, NY (#)(Sormani/Zanotti/Diaz '73/'79) 60x40; 1/24' - also
furniture
THOMSON, VIRGIL
The Mother of Us All (s,c) Cleveland Opera, OH (Nagy '86); 1/40'
VAN EATON, SUNNY
Christopher Robin's Dreams (c) Oklahoma State Univ. Opera Theatre, Stillwater 081)
VERDI, GIUSEPPE
Aida (s,c) Greater Miami Opera, FL (Skalicki '84); 2/45'
(s) Opera Colorado, Denver (O'Hearn '86) - partial
(c) Lubo Opera, Guttenberg, NJ 083)
Don Carlo (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '74/'8O) [60x40]; 1/24'
delete Canadian Opera Co. (from prev. addenda)
Ernani (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '82) 60x40; 1/18'
Falstaff (s,c) Chamber Opera of Chicago, IL (Blasko '86) 30x32
La Forza del destino (s,c) Stivanello, New York, NY (#XSormani/Stivanello '85) 60x40; 1/24'
Macbeth (s,c) Canadian Opera Co., Toronto, Ont. (#)(W. & A. Skalicki '86) 50x58
Otello (s,c) Casa Italiana Opera, Los Angeles, CA 085) 70x45
(s,c) Dallas Opera, TX (#)(Colonello '62/Hall '69/'85) 40x50; 3/40'
(s,c) Los Angeles Music Center Opera, CA (Schneider-Siemssen '86); 3/45'
(s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '77/'85) [60x40]; 1/24'
(s) Calgary Opera, Alta. (Lovett '80) 70x42; 1/
Rigoletto (c) Lubo Opera, Guttenberg, NJ 080)
delete Opera Theatre of Illinois (from prev. addenda)
delete Sacramento Opera (from prev. addenda)
La Traviata (s,c) Greater Miami Opera, FL (O'Hearn '82)
(s,c) Lubo Opera, Guttenberg, NJ (Cassese '85); 1/18'
continued
-61-
La Traviata continued
delete Dayton Opera (from prev. addenda)
delete Greater Miami Opera (Benois/Caine '84)(from prev. addenda)
delete Robert Howery Studios (from prev. addenda)
n Trovatore (s,c) Casa Italiana Opera, Los Angeles, CA ('86) 70x45
(s,c) Greater Miami Opera, FL (Benois/Caine '84) 50x38
(s,c) Lubo Opera, Guttenberg, NJ (Cassese '84)
(s) Anchorage Opera, AK ('86)
delete San Carlo Opera Guild of Los Angeles
WARGO, RICHARD
The Music Shop (s,c) Midwest Opera Theatre, St. Paul, MN (Buck/Bakkom '85)
WEBBER, ANDREW LLOYD
Joseph and the Amazing Technicolor Dreamcoat (c) Albuquerque Civic Light Opera, NM
(McEwan '86)
WEBER, CARL MARIA von
Die drei Pintos [completed by Mahler] (s) Opera Theatre of St. Louis, MO (Scheffler/Sullivan
T
79)
Der Freischutz delete Opera Theatre of Illinois (from prev. addenda)
WEILL, KURT
Die Dreigroschenoper (s) Opera Theatre of Rochester, NY ('86) 36x15x15; 1/18' - FOR SALE
WILLSON, MEREDITH
The Music Man (c) San Diego Civic Light Opera, CA (Tara '86)
WRIGHT/FORREST (BORODIN)
Kismet delete Baltimore Opera (from prev. addenda)
ZEMLINSKY, ALEXANDER von
Eine florentinische Tragodie (c) Santa Fe Opera, NM (Feldman '84)
NEW AND CHANGED NAMES AND ADDRESSES
Commercial Scenery/Costume Houses
Cartaya's Theatricals: delete all entries
Indiana Set Rental, Ltd., 2423 Rock Creek Dr., Bloomington, IN 47401; (812) 335-3651; Allen
R. White
Merrill Stone Associates: some sets now available from various opera companies as shown above
Performing Organizations - Name Changes
Charlotte Opera: now Opera Carolina
Eastern Opera Theater: now Baltimore Opera
North Carolina Opera: now Opera Carolina
Ottawa Festival Opera: now National Arts Centre, Ottawa
Pittsburgh Chamber Opera: now Pittsburgh Opera Theater
Southern Alberta: now Calgary Opera
Southern Opera Theater: now Memphis Opera
Southwestern Opera: now Fort Worth Opera
Spring Opera: now San Francisco Opera
For possible rental from the Metropolitan Opera, New York City Opera, or the Lyric Opera of
Chicago, write to the companies' artistic departments.
The current addresses of these and other performing organizations may be found in the Central
Opera Service publication Opera/Musical Theatre Companies and Workshops in the United States
and Canada (New York: November 1986), $8.00. For mail orders add $1.25 for postage and handling.
-62-
BOOK CORNER
Charles Castle has artfully structured his handsome book on the international stage artist, OLIVER MESSEL, as a series of interviews and dialogues. Throughout the text, the famed designer's personal reminiscences
are juxtaposed with those of his family, friends and the prominent performers and directors who worked with him. The words of such luminaries
as Dame Anna Neagle, Sir Robert Helpmann and Emlyn Williams resurrect
the vanished world of British and American theater between the wars,
while an abundance of fine production photographs document Messel's
work for opera, film, drama and ballet. These vitally enhance the appearance of this volume, and help to clarify the course of Messel's stylistic
development. The 264-page, indexed book features an introduction by
Sir John Gielgud. Published by Thames and Hudson, it is priced at $35.00.
Michael Forsyth has brought his expertise as an architect and designer
of concert halls to BUILDINGS FOR MUSIC: THE ARCHITECT, THE MUSICIAN AND THE LISTENER FROM THE SEVENTEENTH CENTURY TO THE
PRESENT DAY. He documents the fact that the orchestration of music
determined the design of concert halls and theaters, and examines the
cultural, philosophical and political climate which influenced the relationship between architect and musician. In one of several chapters devoted
to the development of the opera house, the author contrasts the traditional
concepts and political symbolism of Garnier's Paris Ope>a with those of
Bayreuth, where Wagner and his architects determined that the totality
of the music drama would be the only consideration in their design. An
invaluable reference work, the attractive 371-page publication is illustrated with many architectural plans, on-site photos and reproductions of
period engravings, and contains an appendix, bibliography, index and notes.
Published by The MIT Press, it sells for $32.00.
RUSSIAN MASTERS 1 and 2 are the latest additions to the New Grove
Series. The first volume, with contributions by David Brown, Gerald
Abraham and David Lloyd-Jones, focuses on the careers and music of
Glijika, Borodin, Balakirev, Mussorgsky and Tchaikovsky, while the second,
featuring essays by Mr. Abraham, Geoffrey Norris, Hugh Macdonald, Rita
McAllister and Boris Schwarz, continues the historical narrative into the
next century with entries devoted to Rimsky-Korsakov, Rakhmaninov
[Rachmaninoff], Skryabin [Scriabin], Prokoviev, and Shostakovich. The
books offer knowledgeable accounts not only of the individual composers'
lives and works, but also of the development and interaction among these
musicians. A definitive work list and bibliography is provided for each
artist. The books, with 260 and 240 pages respectively, are illustrated
and indexed, and are each priced at $17.95 cloth-bound, $10.95 in paper.
For those who desire a more detailed work on 19th century Russian music,
Alexandra Orlova's MUSORGSKY'S DAYS AND WORKS: A BIOGRAPHY
IN DOCUMENTS is an invaluable guide to the tragic life and career of
Modest Musorgsky [Mussorgsky]. It also concerns his relationship to
Rimsky-Korsakov, Borodin and the other members of the famous group of
musicians known as Moguchaia kuchka. Originally published in Russian
in 1961, it brings together a vast range of primary source material including the composer's journal entries, letters, memoirs, and newspaper
articles, which all contribute to the placement of Mussorgsky's stylistic
evolution and influence within the context of musical life in 19th century
Russia. Roy J. Guenther has recently translated and edited this scholarly
697-page work for UMI Research Press. It contains a preface as well as
-63-
COMPOSERS'
BIOGRAPHIES
BOOK CORNER
an introduction, illustrations, chronology, and an index of names and compositions. Its price is $74.95.
REMEMBERING FRANZ LISZT, comprising previously published memoirs
by two of his pupils, has been issued in softcover by Limelight Editions.
In 1911, the Russian virtuoso Alexander Siloti wrote My Memories of
Liszt, a colorful and sentimental account of the years 1883-1886 which
he spent with the great musician in Weimar. The more detailed Life and
Liszt, the second part of the book, is the work of Arthur Friedheim, the
pianist recognized as one of the finest interpreters of his teacher's compositions. Friedheim's philosophical essay What Is Music? is also included
in this volume. The 375-page book contains photographs, a new introduction to the Siloti essay by Mark N. Grant, and Theodore Bullock's original
introduction to the Friedheim manuscript, which he edited. It sells for
$14.95.
Previously reviewed in hardcover, ENCOUNTERS WITH VERDI, the fascinating collection of articles written by the composer's contemporaries, has
been reissued in paperback by Cornell University Press. Details of his
era come to life in this series of interviews and descriptive accounts of
operatic premieres, helpfully annotated and edited by Marcello Conati.
This edition, translated by Richard Stokes from the original Italian, German
and French, includes a foreword by Julian Budden, illustrations and an
index. The 417-page text sells for $12.95.
The Early Years and The Crisis Years, David Brown's first two books in
his series on Tchaikovsky, were winners of the British Academy's Derek
Allen Prize. The latest volume, TCHAIKOVSKY: THE YEARS OF WANDERING 1878-1885, chronicles the composer's emotional struggles in the
years after his brief marriage to Antonia Milyukova. Professor Brown's
well-written text draws on previously suppressed letters; he also provides
a detailed musical analysis of the works written during this time, including
the operas Mazeppa and The Maid of Orleans. The 336-page work,
published by W.W. Norton, includes a chapter on literary sources, several
indices and illustrations. It is priced at $24.95.
Not previously reviewed in these pages, Egon Gartenberg's 1974 publication
JOHANN STRAUSS: THE END OF AN ERA sets the evolution and development of the waltz and its popularization by Lanner, the Strauss family
and their successors against the background of the waning Austrian Empire.
Throughout the book, the public's affection for the waltz kings finds a
parallel in its adulation of the reigning monarch, the aging Emperor Franz
Josef. The 360-page book is most noteworthy for its attention to the
details of daily life in 19th century Vienna. The author's wistful and
poetic evocation of the time when the waltz was at the center of Viennese
life, is contained in his six-page Vorspiel. The book also features illustrations, a list of primary sources and an index. Published by Pennsylvania
University Press, it is available for $24.95.
JANACEK AND BROD by Charles Susskind is a fascinating account of
the relationship between the composer of such operas as Jendfa, K6t'a
Kabanov6, and The Cunning Little Vixen and his advocate, Max Brod—the
writer and novelist known as a champion of the Czech musical and literary
avant-garde. Drawing on the correspondence of the two men, their friends
and associates including Gustav Mahler and Maria Jeritza, Susskind documents the intellectual life in turn-of-the-century Prague. He deals with
-64-
BOOK CORNER
Brod's role as the German translator of the libretti of Jana"cek's operas,
as well as with his efforts to get these works performed in Vienna, then
the capital of the Hapsburg Empire. This well-written 167-page volume,
particularly meaningful for those interested in Slavic culture in the twentieth century, contains an introduction by the Jana"cek specialist and
conductor Sir Charles Mackerras. It includes illustrations, an appendix,
a source list and a name index. Published by Yale University Press, it
is priced at $23.00.
In little over a decade, the flowering of interest in and research about
Kurt Weill and his oeuvre have produced fertile results. A much-welcomed
sampling can be found in A NEW ORPHEUS: ESSAYS ON KURT WEILL,
containing a keynote article by its editor, Kim Kowalke, and contributions
by musicologists, critics and theater historians. Most of the writings
were presented as papers at the first international conference on the
composer held at Yale University in November 1983. They examine popular
and lesser-known works from Weill's German and American periods. Included are David Drew's extensive chapter on the little-known operetta, Der
Kuhhandel, unperformed since its English premiere in 1935, and Guy Stern's
detailed account of Max Reinhardt's fascinating seven-hour production of
The Eternal Road, for which Weill wrote the incidental music. An index
and illustrations are included in this 374-page book published by Yale
Unversity Press, selling for $35.00.
F.R.C. Clarke's HEALY WILLAN examines the life and works of the noted
Canadian composer of liturgical and secular works. Emigrating from his
native England in 1913, Willan taught at the Toronto Conservatory and
the University of Toronto, where his devotion to his art and his warm
personality inspired generations of budding musicians.
Willan's own
compositions, which were often performed during his 47-year-tenure as
choirmaster at St. Mary Magdalene's, have their sources in the works of
late 19th century German and English composers. Published by the University of Toronto Press, the 300-page text contains a foreword by the late
Godfrey Ridout, musical examples, illustrations, source notes and an index.
It is priced at $40.00.
The 1975 Black Sparrow Press publication WILLIAM GRANT STILL AND
THE FUSION OF CULTURES IN AMERICAN MUSIC functions as a virtual
handbook on the eminent black musician who composed over 150 works
including Troubled Island and A Bayou Legend. Still's own writings, consisting primarily of essays on his stylistic development and theories, touch
on the relationship of his ethnicity to his musical works. Edited by
Robert Bartlett Haas with contributions by Verna Arvey (Mrs. Still), Louis
and Annette Kaufman and Paul Harold Slattery, the book also includes
introductions by Still's friend and colleague Howard Hanson, and by
Frederick Hall. Illustrations, a catalogue of works, a discography and a
bibliography are part of this 201-page paperback, which sells for $7.50.
VIRGIL THOMSON: A BIO-BIBLIOGRAPHY, a comprehensive guide to archival and published materials on works by and about the American
composer and critic, is the fourth in the Greenwood Press BioBibliographies in Music series. In addition to a concise biography, it also
includes a discography, performance listings, a chronological work list,
and a publishers' directory. This 204-page indexed reference work, edited
by Michael Meckna, is priced at $29.95.
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The text of ROGER SESSIONS, number 81 in the UMI Studies in Musicology
series, is based on more than six years of tape-recorded interviews between
the composer and Andrea Olmstead, Chairman of the Department of Music
History at Boston Conservatory. In this survey of the American composer's
works, Professor Olmstead discusses Session's stylistic sources and their
influence on his development. Chapters are devoted to his relationship
both to his peers, including Stravinsky and Copland, and to those pupils
whose works he influenced. UMI Research Press has published this 218page volume, which includes photographs, several appendices, a bibliography, and a work and subject index. It is priced at $39.95.
The Robson Books' Contemporary Composers Series functions as a general
introduction to the works of living composers; in each case they assist
in the preparation of these books.
A recent addition to this series,
GYORGY LIGETI, opens with an interview by the book's author, Paul
Griffiths, with the prominent avant-garde composer of Le grand macabre
and Aventures et nouvelles aventures, among others. The second part of
the book discusses the works written after Ligeti's emigration from Hungary
in 1956. Priced at $15.00, the 127-page publication, the first to appear
in English on Ligeti, contains photographs, a glossary, a bibliography and
an index.
HARRISON BIRTWISTLE, another volume in the aforementioned series, is
primarily an analysis of the working methods of the contemporary English
composer. Inspired by a diversity of influences including medieval plainsong
and the compositions of such composers as Varese and Satie, Birtwistle's
governing principles are centered on what the author Michael Hall defines
as the disruption of established musical order. In its final chapter, the
composer discusses the use of mathematical principles in his television
opera Yan Tan Tethera.
Priced at $15.00, the 128-page text includes
photographs and a work catalogue, as well as the composer's notes on
selected compositions, a bibliography and an index.
MUSICAL
STUDIES
True to its title, Hugo Meynell's THE ART OF HANDEL'S OPERAS is a
study of the musical and dramatic elements in Handel's works for the
stage. Advancing the viewpoints of Winton Dean and other musicologists,
the author agrees that the best of these operas are viable and exciting
music-dramas. In these, the Handelian aria becomes a vehicle for expressivity, advancing both the narrative and the emotional character of the
work as a whole. The first in the Edwin Mellon Press series, Studies in
History and Interpretation of Music, the 264-page text contains a chronology, a discography and indices. It is priced at $59.95 for a single volume;
$39.95 if the whole series is ordered.
Julian Rushton's CLASSICAL MUSIC: A CONCISE HISTORY FROM GLUCK
TO BEETHOVEN surveys the changes in music and musical life in the p e riod from the mid-eighteenth century through the beginnings of Romanticism, and includes four chapters on the development of opera during what
is generally referred to as the Classical era. Part of the Thames and
Hudson World of Art series, the 192-page softcover t e x t , which includes
a select bibliography and an index, is reasonably priced a t $9.95.
Thomas Bauman's NORTH GERMAN OPERA IN THE AGE OF GOETHE
sheds light on a period of musical history known to but few. The author
examines the development of the l a t e 18th century operatic form commonly
referred to as "Singspiel" produced in this region's cities and courts. The
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musical and literary values of the composers working in this genre—Weisse,
Hiller and others—would, in turn, affect the more lasting works of composers such as Mozart and Weber. Bauman pays particular attention to the
opera's place in the German musical and dramatic repertory system, and
documents its decline in popularity after the influx of more appealing
Austrian and Italianate operatic compositions. This 448-page work, published by Cambridge University Press, includes illustrations, tables and
charts, a work catalogue, a selective bibliography and indices. It sells
for $54.50.
Another book for both the general reader and the scholar wishing to
learn more about opera during the 18th century, David Charlton's GRETRY
AND THE GROWTH OF OPERA-COMIQUE examines the history of French
operas which employ spoken dialogue, and their subsequent influence on
non-French works, including The Magic Flute and Fidelio. The remarkable
Gre'try, both a philosopher and musician, composed twenty-three musictheater pieces which are studied in detail, while statistical tables measure
the popularity of the ope>a-comique in the country of its origin. Charlton
does not ignore the librettists—dramatists of some note—who were very
much aware of the political, philosophical and aesthetic considerations of
their day. Another Cambridge University Press publication, this 443-page
book contains illustrations, notes, a select bibliography and an index. It
sells for $54.50.
In THE AMERICAN OPERA TO 1790, Patricia H. Virga sets herself the
unusual task of preparing a detailed study of repertory composed in the
colonies and Britain in the 18th century, with information on historical
background, authors and their literary style, and the music of the period.
Through research into contemporary musical sources, the author reconstructs the scores of various ballad operas, whose libretti merely indicate
the names of the popular tunes to be sung. Published by UMI Research
Press, the 393-page text includes illustrations, a list of airs, appendices
of musical sources, notes, a bibliography and an index. It sells for $49.95.
Nicholas Slonimsky, editor of both Baker's Biographical Dictionary of
Musicians and the four-volume Music Since 1900, has now written the
SUPPLEMENT TO MUSIC SINCE 1900. Known for his glib observations
and witty style, as well as for his attention to detail, the author has
arranged his account of musical events from 1970 to 1985 in diary format.
The information also includes additions, amplifications and corrections to
the text in the previous four books of Music Since 1900. These ingredients
add up to a colorful melange in which all musical genres, including jazz
and rock next to the so-called serious works, are given equal attention.
The 390-page book, published by Charles Scribner's Sons, contains several
essays by Slonimsky including one on new music in Russia, an appendix
which reproduces previously classified Soviet documents, and an index. It
is priced at $30.00.
Published on the occasion of his 60th birthday, MUSINGS: THE MUSICAL
WORLDS OF GUNTHER SCHULLER is a collection of essays by this wellknown figure of the music world. Writing on jazz, Schuller reflects on
its history, aesthetics, and legendary performers in the book's extended
first section. He discusses his own opera The Visitation in the middle
section devoted to the problems of the performance of contemporary
works, and concludes in the last four chapters with his observations on
music education. Milton Babbitt is responsible for the introduction to
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this 303-page text, published by Oxford University Press, and selling for
$22.50.
MONOGRAPHS
Cambridge University Press has published some welcome additions to its
Opera Handbook Series. CLAUDIO MONTEVERDI: ORFEO begins with
chapters on the libretto's mythic sources, and on the opera's performance
history. The next section brings the reader to the nineteenth century
when the work was rediscovered, and includes Romain Rolland's review
of its production by Vincent d'Indy. The concluding portion of the book
surveys modern interpretations of the opera. Edited by John Whenham,
with contributions by Nigel Fortune, Joseph Kerman and others, the 216page text includes several appendices, illustrations, musical examples,
notes, a bibliography, a discography and an index. It is priced at $34.50
clothbound, $11.95 in paperback.
Another new publication in the Cambridge series, RICHARD STRAUSS:
DER ROSENKAVALIER, examines the musical and dramatic aspects of
the opera, exploring the collaboration between the composer and his librettist, von Hofmannsthal. The book, especially helpful in its treatment
of the text's sources in history and literature, also provides information
on the opera's first staging. An interesting chapter on the history of
famous stage and screen productions is included. Alan Jefferson's 152page text features photographs, notes, a bibliography, a discography and
an index. The price is $34.50 hardback, $11.95 paperbound.
In the first section of BENJAMIN BRITTEN: THE TURN OF THE SCREW,
Myfanwy Piper writes of how she transformed and restructured Henry
James' well-known tale into the libretto for this dramatic and haunting
opera. Subsequent chapters feature John Evans' account of the work's
musical composition, and Christopher Palmer's examination of its orchestration. Patricia Howard has edited and contributed to this 164-page Cambridge Handbook, which contains illustrations, notes, a bibliography, a
discography and an index. It is available in a hardcover version for
$34.50 and paperbound for $9.95.
When Claude Debussy chose to compose an opera based on the successful
play by his contemporary Maurice Maeterlinck, he could not have guessed
at the arduous task he had set for himself. David A. Grayson's THE
GENESIS OF DEBUSSY'S PELLEAS ET MELISANDE, a UMI Research Press
publication, recounts the composer's professional and personal difficulties
during this period. It also details the history of its first production,
when the playwright actually brandished a sword at the composer for not
casting his mistress in the title role, and the audience booed parts of
this beautiful and sensitive opera as indecent. The second half of the
book is a study of the text and its revisions, and a comparison of published
versions of the score; a discussion of the opera's relationship to the music
of Wagner is also included. Priced at $49.95, the 342-page book includes
musical examples, notes, a bibliography and an index.
Arnold Schoenberg saw himself as a composer with a mission, a Moses
leading music out of the wilderness. Pamela C. White's SCHOENBERG
AND THE GOD-IDEA: THE GENESIS OF MOSES UND ARON discusses what
the composer called "the holy fire" and its affect on his early works.
The book is divided into four main chapters, each dealing with a different
aspect of the opera's creation. Part II, for example, documents the artistic and philosophical influences on the composer's development, including
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his conversion to Lutheranism in 1896, and his early association with the
artists of the Blue Rider group. An extensive study of the Schoenberg
library leads the author to perceptive conclusions regarding the composer's
visionary philosophy. This 339-page text, another in the UMI Research
Press series of musicological books, contains several appendices, notes, a
bibliography and an index. It is priced at $44.95.
In HUGO VON HOFMANNSTHAL AND HIS TIME: THE EUROPEAN IMAGINATION 1860-1920 the author, cultural historian and philosopher Hermann
Broch equates the character and writings of the Austrian playwright, poet
and librettist with the aesthetics and values of fin-de- siecle Europe.
Portions of this essay, written between 1947 and 1950 during the last
years of Broch's life, were edited and published in German by Hannah
Arendt during the 1950's. Now issued for the first time in an English
edition by Michael P. Steinberg, the book contains his introduction and
selective bibliography which help to enlighten the reader on Broch's
philosophical theories. This 207-page text, published by University of
Chicago Press, is $13.95 in paper, $28.00 clothbound.
PRO AND CONTRA WAGNER, Thomas Mann's collected writings on
Richard Wagner edited and translated by Allan Blunden, reveal his passionate but ambivalent love for this composer. Like many others, he had
difficulty in reconciling Wagner's greatness with disdainful aspects of his
life. "The Sorrows and Grandeur of Richard Wagner", the essay which
brought about Mann's expulsion from Germany in 1933, is the centerpiece
of this 229-page volume. Erich Heller's brief but enlightening introduction
touches on Wagner's place in Mann's fiction. Published by the University
of Chicago Press, the indexed book is priced at $25.00 cloth, $10.95
paperback.
From the Eastern liturgy to the Broadway musical, Arnold Perris leaves
no stone unturned in his examination of MUSIC AS PROPAGANDA: ART
TO PERSUADE, ART TO CONTROL. He documents the uses and abuses
of many musical genres from the Middle Ages to our own day, citing such
familiar "political" classics as he Nozze di Figaro, as well as lesser-known
nationalist operas, a medium that continues to be used for political expression. Perris naturally devotes several chapters to popular music and its
capability to both enforce and subvert the status quo. One of the Greenwood Press series on the Contributions to the Study of Music and Dance,
the 247-page text, includes a bibliography and an index and sells for $29.00
In GREAT DIRECTORS AT WORK: STANISLAVSKY, BRECHT, KAZAN,
BROOK, David Richard Jones selects one landmark production by each
of these influential artists to underscore his definition of director as
auteur, or primary interpreter. Beginning with the naturalism of The
Seagull and ending with the hallucinatory stylization of Marat/Sade, he
cites the period from 1880 to 1980 as the Third Great Age of Theater.
The author, a stage director and English professor, has included notes
and an index in this 289-page work, published by the University of California Press. It is priced at $25.00.
First mentioned in Volume 26, Number 3, Herbert Lindenberger's OPERA:
THE EXTRAVAGANT ART has now been published in a paperback edition
by Cornell University Press. Lindenberger deals with opera as both a
unique art form and a manifestation of cultural and social history. This
297-page indexed text is priced at $8.95
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In OPERA AND IDEAS FROM MOZART TO STRAUSS, also included in
the aforementioned issue, author Paul Robinson relates vocal works by
five composers, including two song cycles by Schubert, to the intellectual
and cultural issues of the times in which they were written. The new
279-page Cornell University paperback edition containing a postscript,
notes and an index, is priced at $9.95.
NORTON
CRITICAL
SCORES
The Norton Critical Scores are designed as detailed and scholarly guides
for the study of individual works. At present, two of these are devoted
to the examination of operatic material, PURCELL: DIDO AND AENEAS
and RICHARD WAGNER: PRELUDE AND TRANSFIGURATION FROM
TRISTAN AND ISOLDE. In addition to the full score and libretto, edited
and printed from various carefully chosen sources, these books contain
essays which survey the history and performance of the work and its
often-changing critical reception. The Purcell volume, edited by Curtis
Price, features contributions by such writers as George Bernard Shaw,
Andrew Porter and Edward Dent. The Wagner book, edited by Robert
Bailey, includes articles by both musicologists and composers, including
Ernest Newman and Roger Sessions, Paul Hindemith and others. These
hardbound books of 277 and 306 pages respectively, are also available in
paperback college text editions. The cost of the Purcell volume is $27.50,
while the paperback and hardbound editions of the Wagner book are priced
at $9.95 and $25.00, respectively.
CONDUCTOR'S
BIOGRAPHY
Robert Vaughan paints a detailed and quite critical portrait of the
celebrated conductor in his biography HERBERT VON KARAJAN. The
author, a free-lance writer and yachting expert, held many interviews
with those close to von Karajan, revealing a multi-faceted but still
enigmatic personality, both revered and disdained by his colleagues and
associates. Vaughan also discusses the questions concerning von Karajan's
career during the Nazi regime. A bibliography and index is included in
this 274-page W.W. Norton publication, which sells for $16.95.
SINGERS'
BIOGRAPHIES
Writing about the life of the renowned mezzo-soprano MARIA MALIBRAN,
Howard Bushnell in his 1979 biography also sheds ample light on the
international opera houses where the singer performed, as well as on the
composers and history of the bel canto era. The diva, a member of the
famed Garcia family, created the most difficult roles of the works in the
Bellini, Rossini and Donizetti repertory during her tragically short career.
Known for her beauty, technical abilities, and dramatic stage presence,
her life off the stage was characterized by its unconventionality and impulsiveness. The 264-page text, published by Penn State University Press,
includes illustrations, a repertory list, letters and a bibliography. It sells
for $24.95.
MARIO AND GRISI: A BIOGRAPHY by Elizabeth Forbes deals with two
of Malibran's contemporaries, the husband and wife team of Giovanni
Mario and Giulia Grisi, whose careers in France, Italy and England
encompassed both bel canto and Verdian roles. In addition to many familiar sources, Ms. Forbes has consulted a variety of European periodicals,
contracts and letters in the archives of the Royal Opera House, Covent
Garden. First-hand accounts of the Marios are revealed in the unpublished
diaries of Queen Victoria and Geraldine Somerset, her lady-in-waiting.
In addition to interesting illustrations, including some done by the Queen
herself, the 225-page book also contains a bibliography and an index.
Published by Victor Gollancz Ltd., it is priced at $26.00.
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Originally published in 1937 by Dial Press, Oscar Thompson's THE
AMERICAN SINGER has been reissued by the Johnson Reprint Corporation,
a subsidiary of Harcourt Brace Jovanovieh. The author provides chapters
on Clara Louise Kellogg, Minnie Hauk and other performers popular in
the last century, as well as Lawrence Tibbett and Rosa Ponselle, who
remain world-renowned. The book is at its most useful when it documents
the careers of singers such as Suzanne Adams and Ze^lie de Lussan, known
primarily through interesting early recordings. The 426-page volume contains 108 photographs, a series of appendices and an index, and sells for
$32.00.
The 1984 publication RICHARD TUCKER: A BIOGRAPHY was written by
James A. Drake, who worked closely with the Tucker family in the preparation of the material. It serves as a tribute to a man who overcame many
obstacles to become one of the great singers of his time. The book recounts his early career as a cantor and gives a detailed account of his
thirty years at the Metropolitan Opera. Luciano Pavarotti and George
Jellinek have contributed a foreword and afterword to the 304-page E.P.
Dutton publication, which also contains photographs, a discography and
an index. It is priced at $18.95.
George Jellinek's 1960 biography CALLAS: PORTRAIT OF A PRIMA
DONNA has been reissued in a Dover paperback with a new preface and
epilogue covering the period until her death in 1977. Jellinek has given
us an extremely sympathetic portrait of the singer, whose career was at
its height during the time the book was written. He presents her as a
sensitive and highly intelligent artist who cared, above all else, for her
music. Sixty-four photographs, a repertoire list and an index are included
in this 355-page book, which sells for $7.95.
Students, young professionals and teachers will benefit from the expertise
provided by noted singers in their recent books on singing. Vocal coaches
in particular will welcome Martial Singher's AN INTERPRETIVE GUIDE
TO OPERATIC ARIAS: A HANDBOOK FOR SINGERS, COACHES, TEACHERS AND STUDENTS, published by Pennsylvania State University Press
(hardcover, 350 pages, several musical examples, $27.50). In this important
contribution, the author conveys his own sensitivity to musical and dramatic
context based on his experience as performer and teacher. He supplies
valuable commentary on character delineation, emotional motivation, and
musical analysis of 151 arias for different voice types from 66 Italian,
French, Russian, German, and American operas. — Intended for both
professional and amateur singers, Evelyn Lear's and Thomas Stewart's
ROMANTIC DUETS represents their felicitous choice of 12 favorite nonoperatic selections, reprinted with easy piano accompaniment by G.
Schirmer (90 pages, $9.95). Each number is preceded by a translated
text and a note on interpretive style.
MUSICAL
GUIDES
FOR SINGERS
Number 21 in the Greenwood Press Discography Series, JOHN McCORMACK: A COMPREHENSIVE DISCOGRAPHY, compiled by Paul W. Worth
and Jim Cartwright, is chronologically arranged in the order of recording
sessions; all titles list composer, lyricist and assisting artists and include
matrix, take, and original issue numbers. Five appendices provide material
on the tenor's broadcasts, unpublished recordings, and his film, Song O'
My Heart, while several indices are arranged for useful research. Mrs.
Gwendolyn McCormack-Pyke, the tenor's daughter, has written the foreword to the 184-page work, which sells for $45.00.
SINGER'S
DISCOGRAPHY
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ARTS
ADMINISTRATION
JOBS IN ARTS AND MEDIA MANAGEMENT: WHAT THEY ARE AND HOW
TO GET ONE! is a step-by-step guidebook for prospective managers in
all areas of the a r t s . It gives pointers in educational planning and career
development, including the starting of one's own organization. A special
section, "The C a r e e r Kit", contains a list of degree and internship programs. Stephen Langley's and James Abruzzo's clear prose, helpful advice,
and well-organized chapter headings make this a beneficial tool for those
who plan to work or are already working in the field. The 232- page
book, published by Drama Books, is available for $32.50, with a paperback
edition for $19.95.
The Center for Arts Information publishes FOR MORE INFORMATION: A
GUIDE TO ARTS MANAGEMENT INFORMATION CENTERS, listing 87 domestic and four foreign organizations that retain and/or disseminate books,
periodicals and other materials of benefit t o a r t s administrators. Arranged
alphabetically, geographically, and by subject, it also contains t h r e e appendices including a directory of s t a t e a r t s councils and other service organizations. The 68-page paperback book, compiled by Henry S. Hample, can
be ordered through the Center for $13.95.
Alvin H. Reiss, editor of Arts Management, presents an imaginative array
of ideas for administrators and board members in his new book CASH IN!
FUNDING AND PROMOTING THE ARTS. This detailed, clearly written
guide covers both new and tried-and-true methods recommended for increasing revenue. The 240-page illustrated book, available from TCG Publications, is priced at $12.95 paperback, $24.95 cloth.
The Fund Raising Institute in Ambler, PA, has published THE MEMBERSHIP
MYSTIQUE: HOW TO CREATE INCOME AND INFLUENCE WITH MEMBERSHIP PROGRAMS by Richard P. Trenbeth. This illustrated book, designed
for use by a broad range of philanthropic institutions, unveils step-bys t e p plans for the creation and/or improvement of membership programs.
The author deals with the particular problems and needs of both large
and small organizations. This helpful 280-page paperback guide is priced
at $34.95.
SURVEYING YOUR ARTS AUDIENCE, a publication of the National Endowment for the Arts Research Division, is another how-to guide for planning,
conducting, processing and interpreting audience surveys. Deftly illust r a t e d with reproductions of engravings by Hogarth, Daumier and others,
this well-organized publication provides an appendix with sample questionnaires. The 77-page paperback can be ordered from the Publishing Center
for Cultural Resources, 625 Broadway, New York, NY 10012 for $9.00
plus $1.00 postage.
The 1987 edition of the annual MUSICAL AMERICA INTERNATIONAL
DIRECTORY OF THE PERFORMING ARTS has again been expanded and
is now 672 pages long. This year, its section covering the United States
and Canada includes 18 categories, while eight categories are listed under
the International Section. Available from ABC Consumer Magazines, Inc.,
it is priced at $60.00.
The 1987 edition of the DANCE MAGAZINE PERFORMING ARTS DIRECTORY, edited by Carol E. Svecz, supplies updated information to its listings of music and dance organizations, cultural resources, and business
services to performers. A national and international listing of s e l e c t e d
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opera companies is included in the 484-page paperback publication, which
sells for $30.00.
The 1987 STAGE MANAGERS DIRECTORY, edited by Cathy Blaser and
David Rodger, publishes the credentials of 267 professionals in resum6
format, and also indexes these managers according to their specialties.
Published annually by the Broadway Press, the 174-page paperback is
priced at $10.00
If you are looking for light entertainment, David Groover's and C.C.
Connor's SKELETONS FROM THE OPERA CLOSET: AN IRREVERENT APPRECIATION succeeds nicely. This volume of opera judgments and misjudgments by such luminaries as Bizet, Wagner and Cecil B. de Mille is full
of witty banter, interspersed with some pretty rarefied information. This
243-page, indexed work from St. Martin's Press is priced at $15.95.
HUMOR
William Brooke's caustic OPERANTICS: FUN AND GAMES FOR THE
OPERA BUFF may be intended as a lesson in audience training.
For
those looking for guidance as to when and how to shout bravo, when to
run to the bar, and how to rustle candy wrappers for maximum disturbance
value, this is the book for them. Easy-to-remember plot synopsis and
pun-filled aria translations are also provided in this zany opus, complete
with Andrej Czeczot's offbeat caricatures. This light-weight 95-page
Spectacle Lane Press paperDack is priced at $7.95.
[]
Winners (continued from page 43)
BICKERS and ANGELA NORTON finished second and third.
Soprano CYNTHIA LAWRENCE of California
and recently of Colorado, mezzo CLARA
O'BRIEN of Pennsylvania, and bass HENRY RUThe Handel Akademie of Karlsruhe, Germany, NEY of South Carolina are the novices, while
grants two music scholarship prizes annually. soprano JOAN GIBBONS, tenors RICHARD
In 1986, the first prize was awarded to Ameri- DREWS, DONALD KASCH, and JOSEPH WOLcan RENE FLEMING of the Juilliard School and VERTON, and baritones JOHN MURRAY and
PATRYK WROBLEWSKI are returning for the
the Frankfurt Musikhochschule.
mid-January opening. In addition, three singers
The first vocal competition in Pretoria awarded have been accepted as apprentices to the proAmerican soprano MARILYN MIMS, one of last gram. They are soprano VALERIE DeBARyear's winners of the Metropolitan Opera Audi- TOLO, mezzo PAMELA LAURENT, and baritone
tions, its second prize. First prize for opera CHARLES HUDDLESTON.
went to South Korean soprano SOO KHONG JO, Singer Contract Support
for concert to South African baritone ANDRE
HOWARD. American mezzo KATHLEEN CA- The National Institute for Music Theater (NIMT)
SELLO placed third, and KLAUS HAFFKE of has awarded singer contract support grants to
West Germany fourth. New Zealand soprano the following opera companies: Central City
PATRICIA WRIGHT came in fifth, receiving Opera, Chautauqua Opera, Chicago Opera Theaalso a special award for her interpretation of ter, Lake George Opera Festival, Opera ColoraLieder, while the sixth prize went to Chilean do, Pennsylvania Opera Theater, Spoleto Festival USA, and Wolf Trap Opera Company.
MARCELA HOLZAPFEL.
Conductors
Baritone DANIEL WASHINGTON, a member of
the opera ensemble in Lucerne, Switzerland, In the Arturo Toscanini International Competireceived first prize at the 1986 voice competi- tion for Conductors in Parma, first prize went
to GYORGY RATH GYORINVANY of Hungary.
tion in Toulouse.
The other winners were DAVID DEL PINO
Of the nine young singers forming the 1987 KLINGE of Peru and LESLIE DUNNER of the
Emsemble of the Lyric Opera Center for Ameri- United States. — The Conductors' Competition
can Artists in Chicago, three are newly re- of Besancon gave its first prize to the young
[]
cruited and six are returning for a second year. Quebecois GILLES AUGER of Charny.
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IN 1986 OPERA LOST...
Composer HAROLD ARLEN (n6 Hyman Arluck), American, 81 years old,
in New York City 4/23/86. His popular, blues-inspired songs and musical
scores were written with many famous collaborators, including Ira Gershwin, E.Y. Harburg and Johnny Mercer. The son of a cantor, he spent
his childhood in Buffalo, NY, and toured with his own band as a teenager.
In the early 1930's, he wrote his first hits "Get Happy" with Ted Koehler
and the sultry "Stormy Weather", popularized by Ethel Waters at the Cotton Club. Bloomer Girl (1944) and House of Flowers (1954) are among
his Broadway musicals. Many of his songs, including those from his Oscarwinning film score, The Wizard of Oz (1939), and Cabin in the Sky (1943),
remain in the repertory of today's singers. On the afternoon of November
21, the famous stars who often sang Mr. Arlen's music paid tribute to
the composer at an ASCAP-sponsored concert devoted to the composer
at the Majestic Theater.
Producer and agent RICHARD ARMITAGE, British, 58 years old, near
London 11/17/86. Founder and chairman of Noel Gay Artists Ltd., he
was recently involved in the revival of Me and My Girl, the hit musical
composed in 1937 by his father, who wrote under the name of Noel Gay.
Both the English and American productions were well-received and won
several awards. At the time of his death, he was producing a stage version of the movie musical, High Society, scheduled to open in London in
February.
Conductor ERNESTO BARBINI, Italian, 76 years old, in Toronto 11/17/85.
He studied music in his native Italy before coming to the United States as
a coach and conductor for the Chicago Lyric Opera in 1938. From 1946
to 1952 he was an Assistant Conductor at the Metropolitan Opera, and
led performances of Cavalleria rusticana and Pagliacci during the 195152 season. In 1953 he moved to Canada, where from 1953-1975 he served
as music director of the Royal Conservatory's opera school. He also conducted many Canadian Opera Company productions before retiring in 1983.
Stage designer and teacher HOWARD BAY, American, 74 years old, in
New York 11/21/86. Considered one of America's most important stage
designers, he did his first work for musicals in 1942. He was active until
his death, at which time he was preparing a production of The Music
Man for the Peking Opera House. In addition to his work on musicals
including One Touch of Venus and Finian's Rainbow, he won Donaldson
Awards for the sets of Carmen Jones and Up in Central Park, and a Tony
for Man of La Mancha. He served on the faculty of Brandeis University
for fourteen years.
Stage director RONALD BENTLEY, American, 48 years old, in New York
9/11/86. He began his career as a chorus member with the New York
City Opera, and subsequently directed several productions there, including
Tosca and The Merry Widow. He also worked with a number of regional
companies, as well as the Israel Philharmonic.
Singing actor HERSCHEL BERNARDI, American, 62 years old, in Los
Angeles 5/9/86. He was a popular Tevye in numerous revivals of Fiddler
on the Roof on Broadway and on tour. He also starred in productions
of Man of La Mancha and Zorba, and toured in his one-man show, An
Evening with Herschel Bernardi. He began his career in the Yiddish
theater during the 1940s, and later appeared in many straight plays on
Broadway. Known for his sonorous speaking voice and versatile acting
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style, he created both leading and character parts on stage and in films.
On television, he created the lead in Actor, a 1978 musical based on the
life of Paul Muni.
Director and actor GLEN BYAM SHAW, British, 81 years old, in London
4/29/86. After a 40-year career in the theater, he turned to opera in
1962 when he joined the Sadler's Wells Company (now English National
Opera) as director of productions. He staged numerous operas with the
company, including a Ring cyle, Bluebeard's Castle, and Tristan and Isolde.
Singing actor and dancer JAMES CAGNEY, American, 86 years old, in
upstate New York 3/30/86. One of the great personalities of the American
cinema of the 1930's and 1940's, he had first appeared as a tap dancer
in vaudeville and musicals. He employed this talent on the screen in the
classic "Shanghai Lil" sequence of Footlight Parade (1933), as well as in
Yankee Doodle Dandy (1942), based on the life of George M. Cohan, the
musical film for which he is best remembered.
Conductor CONSTANTINE CALLINICOS, American, 67 years old, in New
York 1/17/86. He worked at the New York City Opera from 1958 until
1969, and made his debut there, conducting Madama Butterfly. He was
also the music director for several Mario Lanza films, including The
Student Prince.
Tenor TIMO CALLIO (ne" Mustakallio), Finnish, 55 years old, in Helsinki
11/84 (not previously reported). He began his career in Helsinki in 1961
and later went on to sing principal roles of the German and Italian repertory with major houses in Vienna, Munich, Paris and other cities throughout
Europe. During 1968 he appeared as Canio and Cavaradossi at the New
York City Opera. He was one of the founders of the Savonlinna Festival.
Baritone and language coach GEORGE CEHANOVSKY, Russian/American,
94 years old, in New York 3/25/86. After leaving Russia, he made his
Metropolitan Opera debut in 1926, appearing on stage with his future
wife, the soprano Elizabeth Rethberg. He held the record for number of
appearances with the company, singing 97 roles in 1,076 house performances
plus an additional 677 on tour. He appeared in a vast array of principal
and comprimario roles including Schaunard, which he recorded under Toscanini, Sharpless, and Fiorello in II Barbiere di Siviglia. He also created
roles in the premieres of several American works by Deems Taylor and
Walter Damrosch. Respected and beloved by his colleagues, he returned
to the Metropolitan Opera as a language coach for Russian operas ten
years after he retired from singing in 1966, and he was still active in
1985, when he was in charge of diction for the new production of
Khovanshchina.
Stage director and teacher ARTHUR CONRAD, American, 51 years old,
in San Francisco 11/25/86. He directed and choreographed over 200 productions for such prominent California organizations as the Oakland Ballet,
Carmel Bach Festival, and the Marin, West Bay, Oakland and Sacramento
companies. He also taught at the University of California at Berkeley,
the Dominican College, and the San Francisco Conservatory. He began
his career as a director of light opera, and from 1966 was associated
with the Lamplighters of San Francisco.
Producer and director CHERYL CRAWFORD, American, 84 years old, in
New York 10/7/86. In 1931, together with Harold Clurman and Lee Stras-75-
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berg, she co-founded the Group Theater, an ensemble whose aesthetics
were grounded in the naturalistic tenets of Stanislavsky. In addition to
performing political dramas by Odets and others, the company commissioned
and premiered Weill's Johnny Johnson in 1937. Her subsequent musical
productions included a 1942 revival of Porgy and Bess and the premieres
of Lerner and Loewe's Brigadoon (1947) and Weill's Love Life (1948).
Legends, now on a national tour with Mary Martin and Carol Channing,
was one of her last stage projects.
Bass-baritone WILLIAM DANSBY, American, 44 years old, in New York
6/1/86. He studied in Texas and sang with regional companies before
making his debut at the New York City Opera in 1983. His numerous
leading roles there included Escamillo, Scarpia, Mefistofele and the Judge
in Sweeney Todd.
Mezzo-soprano and teacher DORIS DOE, American, 80 years old, in Chattanooga, TN, 12/26/85. A student of Louise Homer, she made her debut at
the Metropolitan Opera in 1932 and sang principal and supporting roles
until 1947. Later she joined the music faculty of the University of
Tennessee, and became an advisor to the Chattanooga Opera.
Conductor and pianist HARRY L. FUCHS, Austrian/American, 58 years
old, in New York 4/4/86. He began his career performing dual piano
works with his wife, Lorraine Falberg, and later became a guest conductor
with a number of New York dance companies. Since 1971, he had been
an assistant conductor at the New York City Opera.
Music critic and editor ROLAND GELATT, American, 66 years old, in
Philadelphia 12/3/86. From 1954 to 1968, he worked at High Fidelity
magazine, editing several of the annual Musical America directories.
Later he wrote on a variety of arts topics for Saturday Review, where
he was employed for over a decade. In addition to his 1955 book, The
Fabulous Phonograph, revised in 1966 and 1977, he also wrote Music
Makers: Some Outstanding Musical Performers of Our Day (1952).
Soprano and teacher DUSOLINA GIANNINI, American, 84 years old, in
Zurich 6/29/86. One of the celebrated divas of the 1920's and 1930's,
she sang with her father's opera company in Philadelphia while still in
her teens. A pupil of Marcella Sembrich, she made a successful Carnegie
Hall concert debut in 1923, substituting for the indisposed Anna Case.
Beginning in the late 1920s, she sang leading dramatic roles at international
festivals and opera houses including Zurich, Berlin, Vienna and London
(Covent Garden). At the Metropolitan Opera (1936-1940), she appeared
in such roles as Santuzza, Aida and Tosca, and also sang Tosca with the
New York City Opera at its very first performance in 1944. She also
appeared with several other American companies. A sister of the composer
Vittorio Giannini, she participated in the world premiere of his 1938 work,
The Scarlet Letter. After 1962, she ran an opera studio in Zurich and, for
a time, taught at the Curtis Institute in Philadelphia.
Playwright, novelist and poet JEAN GENET, French, 75 years old, in Paris
4/15/86. Called one of the greatest writers of the century, his artistic
vision grew out of his own experience and knowledge of criminal life.
Our Lady of the Flowers, a book of poetry written when he was a prisoner
during the German Occupation, was published in 1943. His dramas, influenced by the writings of Artaud and the surrealists, have been performed
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and filmed internationally. One of these plays, The Balcony, was the basis of an opera written in 1975 by Robert DiDomenico.
Clarinetist, conductor, composer and arranger BENNY GOODMAN, American, 77 years old, in New York 6/13/86. Known as the King of Swing,
he developed his style out of the jazz music of the 1920's, and went on
to achieve world fame during the Big Band Era. His integrated band, one
of the first in the United States, gave the first jazz concert in Carnegie
Hall in 1938. In addition to composing and arranging many popular hits
and touring with his orchestra, he played in both films and musicals, including the 1939 Swingin' the Dream and the 1944 revue, The Seven Lively
Arts. A versatile performer, his recordings of the Mozart and Weber
clarinet concerti remain in great demand.
Physician EUGEN GRABSCHEID, Austrian/American, 81 years old, in Tenafly, NJ, 2/3/86. He was educated in Vienna where he received his doctorate in ortholaryngology and became assistant to the renowned Prof. Neumann. In 1938, he came to the United States where he began his fortyfive-year private practice as a specialist in ear, nose and throat ailments.
His advice and council was sought by the famous stars, as well as the
budding apprentices of the Metropolitan and New York City Operas and
Broadway shows. For twenty-six years he was also chief of ortholaryngology at Harlem Eye and Ear Hospital. A long list of famous performers
offered their tribute to the doctor in a three-hour memorial concert at
New York's Town Hall.
Tenor and teacher DONALD GROBE, American, 56 years old, in Berlin
4/1/86. A native of Illinois, he studied at Mannes College, and made his
debut in Chicago in 1952. Beginning in 1956, he made his career in Europe, singing with the Bavarian State Opera, the Salzburg Festival, and
Covent Garden. A "Kammersanger" of the Deutsche Oper Berlin, he regularly appeared there from 1961 until a few weeks before his death. He
sang Froh during the 1968-69 season at the Metropolitan Opera. In addition to numerous roles from the standard repertory, he performed and
recorded many works by contemporary composers.
Soprano and teacher ELISABETH GRUMMER, German, 75 years old, in
Berlin 11/6/86. In 1940, Herbert von Karajan invited her to sing at the
opera in Aachen, where her husband was a conductor. From 1946 until
1972, she was a member of the Berlin Municipal Opera (later Deutsche
Oper Berlin), performing a wide range of principal soprano roles. Admired
for both her dramatic and musical abilities, she made numerous guest
appearances at most major opera houses and festivals throughout Europe,
including La Scala, Covent Garden, the Vienna State Opera and Bayreuth.
Following her 1965 New York City Opera debut as the Marschallin, she
sang Elsa at the Metropolitan Opera during the 1966-67 season. She
received the title of Kammersangerin in 1963 and also taught in Berlin.
Conductor and organist GUY F. HARRISON, British/American, 91 years
old, in San Miguel de Allende, Mexico, 2/20/86. He received his training
at the Royal College of Music in London and moved to the United States
in 1920. He was based in Rochester, NY where he served on the faculty
of the Eastman School of Music and later became the music director of
that city's Civic Orchestra, and the associate director of its' Philharmonic.
He also conducted with the Rochester Grand Opera. For twenty years,
he led the May Music Festival in Ohio, and in 1951 was named music
director of the Oklahoma Symphony, where he remained for 21 years.
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Director, singer and teacher DAVID HICKS, American, 48 years old, in
New York 3/14/86. He began his career as a baritone with the New York
City Opera, and, at the suggestion of Julius Rudel, turned to directing
in 1970. He staged over 35 works for the company. In 1977 he became
artistic advisor of the Florentine Opera, where he directed one production
a year until his illness in 1983. He worked for many regional opera companies, including Palm Beach, New Orleans and others, and taught at both
the Juilliard School and the Academy of Vocal Arts in Philadelphia.
Arts patron HILLDUR HOLLANDER, American, 78 years old, in Wayzata,
MN, 2/17/86. A graduate of the University of Minnesota and a member
of Sigma Alpha Iota, she was a supporter of many local music organizations,
including the Minnesota Orchestra, North Star Opera and University of
Minnesota Opera Theater. An active member of the Metropolitan Opera
National Council, she was the MONC Auditions director for the Upper
Midwest Region. As a dedicated regional director of Central Opera
Service, she organized conferences in her area annually. Her cheerful
countenance and untiring devotion to opera in general, and the Met and
COS in particular, will always be gratefully and fondly remembered.
Arts patron HINDA HONIGMAN, American, 82 years old, in Greenville,
SC, 4/25/86. Former president of the National Federation of Music Clubs,
she served on the boards of the American Symphony Orchestra League,
the Greenville Symphony and the Brevard Music Center. She also helped
develop the ASOL Helen M. Thompson Award for music directors and administrators, and had been chairman of the awards committee since its
inception four years ago.
Director and administrator WOLFRAM HUMPERDINCK, German, 92 years
old, in Frankfurt, Germany, 4/16/85. The son of the composer Engelbert
Humperdinck was chief director at the Leipzig Opera until 1941, and subsequently held artistic and administrative positions at the Kiel Opera and
Detmold Landestheater, where he worked from 1952-1959. He also staged
operas in Paris, New York and Japan. In 1965, he wrote a biography of
his father; he also revised and directed his opera Die Heirat wider Willen
in 1935.
Writer and translator CHRISTOPHER ISHERWOOD, British/American, 81
years old, in Santa Barbara 1/4/86. His most popular works, the semiautobiographical novel Goodbye to Berlin and The Berlin Stories depict
the decadent ambience of the Weimar Republic. John van Druten utilized
material from both books for his play I Am a Camera, which subsequently
became the basis for Kander and Ebb's highly successful musical Cabaret.
Baritone WILLIAM JUSTUS, American, 60 years old, in Miami 4/1/86. A
1963 winner of the American Opera Auditions, he continued his career
in Europe, becoming a member of the Zurich Opera and singing in German
and Italian houses. Escamillo, Figaro, and Malatesta were among the
roles he performed with major American companies including Houston,
Cincinnati, Miami, Fort Worth and the New York City Opera, where he
appeared from 1974-78 and again in 1981.
Soprano and teacher MARGARET KRAUSS, Czech/British, 90 years old,
in Sydney, Australia, 2/2/86. She had performed in Munich, Vienna and
the Salzburg Festival from the mid-1920's until the time of her marriage,
when she moved to London and began to teach. Later she went to Aus-78-
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tralia and was a member of the faculty of the Sydney Conservatory from
1959-1969. Her pupils included Kiri Te Kanawa and Martti Talvela.
Lyricist and playwright ALAN JAY LERNER, American, 67 years old, in
New York 6/14/86. After graduating from Harvard, he wrote radio scripts
and lyrics for revues until his meeting with Frederick Loewe. Four years
after their first collaboration in 1943, they produced their first hit, Brigadoon, followed by Camelot, My Fair Lady and Gigi, all noted for their
elegant lyrics and many memorable songs. Among his other credits are
the screenplay for the Vincent Minelli film An American in Paris and the
lyrics for Weill's Love Life and Burton Lane's On a Clear Day You Can
See Forever.
Dancer, choreographer and writer SERGE LIFAR, Russian/French, 81 years
old, in Lausanne, Switzerland, 12/15/86. He was one of the most acclaimed
stars of Diaghilev's Ballets Russes, dancing in works by Massine and the
young Balanchine as well as choreographing Renard for the company before it disbanded in 1929. From 1929 to 1949 and from 1947-1958, he
was the Ballet Master of the Paris Opera, often dancing the principal
roles in his innovative versions of Romeo and Juliet, Phedre and other
works. Politically controversial and boycotted in the United States after
the war as a collaborator, he was defended by Georges Hirsch, then director of the Paris Ope'ra. The author of over 25 books on dance history
and theory, he founded the Paris Institute Chore'ographique in 1947 and
the Universite de la Danse in 1957.
Writer BERNARD MALAMUD, American, 71 years old, in Vermont 3/18/86.
His novels and short stories were mainly concerned with struggles and
dreams of first and second generation Jews in the United States. His
texts have been used by several American composers as the basis for
operas. In 1974, the double bill "Tales from Malamud", comprised of
Leonard Lehrman's Karla (1974) and Idiots First, begun by Marc Blitzstein
and completed by Mr. Lehrman, was premiered in Ithaca, NY. Elie
Siegmeister's double bill, Angel Levine and Lady of the Lake, was presented
last year at the 92nd Street YMHA in NYC.
Tenor GALLIANO MASINI, Italian, 84 years old, in Livorno, Italy, 2/15/86.
He sang leading roles at the Teatro Reale dell'Opera, Rome, from the
1930's to the 1950's. At La Scala, he sang Turiddu in a fiftieth anniversary
performance of Cavalleria rusticana, conducted by the composer in 1940.
During this time, he also appeared with the Lyric Opera of Chicago and
the Metropolitan Opera, where he performed Edgardo, Cavaradossi and
Radames during the 1938-39 season.
He continued to sing at major
houses in Europe, North and South America until his retirement in 1957.
Conductor THOMAS MICHALAK, Polish/American, 45 years old, in New
York 7/10/86. A virtuoso violinist at the age of 16, he made his conducting
debut in 1964 with the Ballets Russes de Monte Carlo. He taught at
Ithaca College and conducted the Canton, OH, Symphony before his appointment as music director of the New Jersey Symphony, a post he held
from 1977 to 1983. More recently, he was the founder and conductor of
the choir of the Newark Cathedral of the Sacred Heart. He made frequent
guest appearances with orchestras and regional opera companies.
Composer, conductor and teacher FRANCISCO MIGNONE, 89 years old,
in Rio de Janeiro 2/18/86. He began his musical education in Sao Paolo,
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and spent several years in Italy studying at the Milan Conservatory. In
Brazil, he taught at the National School of Music in Rio de Janeiro in
addition to enjoying national recognition as a composer of modern, often
dissonant, works based on native folk melodies. His operas O Contractador
dos diamantes (1924), O inocente (1928), and O Chalaea (1972) as well as
his operetta Mizu were all premiered in Rio de Janeiro.
Mezzo-soprano GEORGINE VON MILINKOVIC, Czech, 72 years old, in
Prague 2/26/86. After beginning her career in Zurich, she was engaged
at the Bavarian State Opera by Clemens Krauss in 1940, where she sang
both principal and supporting roles in German and Italian repertory until
1965. She also appeared with other European companies, including Vienna,
Bayreuth, London's Covent Garden and the National Theater in Prague,
where she was a member of the company from 1945-48. At Salzburg,
she created the role of Alkmene in the 1952 premiere of Strauss's Die
Liebe der Danae.
Music educator, composer, and administrator DR. MERLE MONTGOMERY,
American, 82 years old, in Chantilly, VA, 8/25/86. She obtained her
graduate degree from the University of Rochester and later studied in
Paris with Nadia Boulanger. A specialist in music education, she published
four sets of Music Theory Papers, numerous articles and thirty-six musical
compositions. She held leading positions with numerous organizations,
including the Musicians Club, ASCAP, the National Federation of Music
Clubs, Music Education for the Handicapped and the New York City Opera
Guild. As a former president and board member of the National Music
Council, she initiated the National Black Music Colloquium and Competition
and the American Eagle Awards Luncheon. She was responsible for organizing the Bicentennial Parade of American Music at the Kennedy Center
in 1976. She also represented the U.S. at various international symposia
and conferences including those of the International Music Council, and
assisted numerous young performers who later developed major careers.
Her dedication to music and American musicians was an inspiration to
everyone whose life she touched. Her friends and colleagues came from
across the country for a special memorial tribute at Lincoln Center
Library on October 1, 1986.
Soprano NINA MORGANA, American, 94 years old, in Ithaca, NY, 7/8/86.
Billed as "Baby Patti", she made her debut as a child at the Pan-American
Exposition in 1900. As a professional musician, she later toured throughout
the United States in recital with Enrico Caruso. She married his business
manager, Bruno Zirato, who later became the manager of the New York
Philharmonic. The singer was a member of the Metropolitan Opera from
1919 to 1935, where her repertory included Inez in L'Africaine, Adina,
Musetta, Gilda, and Micaela.
Singing actress GRETA MOSHEIM, German/American, 81 years old, in
New York 12/29/86. She had been a professional actress since the 1920's,
when she appeared in many Max Reinhardt productions. She left Germany
some years before the war, and acted in London and New York. Before
returning to Europe in 1955, she succeeded Lotte Lenya in the longrunning revival of Die Dreigroschenoper at New York's Theater de Lys.
Arts administrator MICHAEL NEWTON, British/American, 53 years old, in
Los Angeles 10/21/86. President of the Performing Arts Council of the
Los Angeles Music Center since 1979, he organized and developed its
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successful fund-raising programs. A strong advocate of an interdisciplinary
approach to arts education, he also created the Center's schools programs.
He was instrumental in obtaining the Joffrey Ballet as the Center's resident dance company, and was involved in the efforts to organize the Los
Angeles Music Center Opera. He headed the Arts and Education Council
in St. Louis from 1966 to 1972 and the American Council for the Arts
from 1972 to 1978. A founder of the Coalition of National Voluntary
Organizations, he also served on the advisory committees of both the
Filer Commission on Private Philanthropies and the Corporation for Public
Broadcasting.
Tenor WILHELM OTTO, German, 78 years old, in Cologne, Germany,
6/23/85. As a singer with the Cologne Opera from 1945 to 1959, he
created roles in the premieres of Hartmann's Simplicius Simplicissimus and
Fortner's Bluthochzeit. He also sang the Male Chorus in the first German
performance of The Rape of Lucretia in 1948 and Bizet's Ivan the Terrible
(1952). He specialized in the dramatic tenor roles in the operas of Strauss
and Wagner.
Contralto and teacher LOUISE PARKER, American, 60 years old, in Philadelphia 9/15/86. The first black graduate of the Curtis Institute, she
appeared with the New York City Opera in Regina in 1958 and Henze's
The Young Lord in 1973 and 1974. She also performed in the world premiere of Joplin's Treemonisha and sang at Stokowski's last New York
performance of Mahler's Symphony No. 2 in 1971. She recorded Hindemith's
When Lilacs Last in the Doorway Bloomed under the composer's direction.
Producer, director and actor OTTO PREMINGER, Austrian/American, 80
years old, in New York 4/23/86. He began his long and distinguished
career at the age of 17, acting in the Max Reinhardt production of A
Midsummer Night's Dream, and later became a well-known theater manager
in Europe. After emigrating to America in 1935, he concentrated mainly
on the production and direction of films, many of which were known for
their daring subject matter and language. Two of these were musicals,
Carmen Jones (1954), in which Marilyn Home provided the voice-over for
Dorothy Dandridge, and Porgy and Bess (1959). He made his last film in
1980.
Tenor SIR PETER PEARS, British, 75 years old, in Aldeburgh, England,
4/3/86. Beginning with his first series of recitals in 1938 and the premiere
of Peter Grimes in 1942, he was identified chiefly with the music written
for him by his collaborator and companion, Benjamin Britten. One of the
foremost advocates and performers of contemporary British music, his
unique vocal and dramatic abilities also lent themselves to expressive
interpretations of liturgical works by Bach and Schutz, lieder and art
songs and standard operatic roles. His song recitals, with Britten as
accompanist, were always in demand. Until his death, he was the director
of the Aldeburgh Festival, which he helped to initiate in 1948, and of
the Britten-Pears School for Advanced Musical Studies. After 1950, his
work in opera centered chiefly on the Britten roles, which he sang in
opera houses throughout the world. At the Metropolitan Opera, he sang
the leading roles of von Aschenbach in Death in Venice during 1974-75
and Captain Vere in Billy Budd in 1979-80.
Composer HERMANN REUTTER, German, 85 years old, in Stuttgart 1/1/85
(not previously reported). This prominent composer, whose neo-classical
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works are grounded in traditional folk melodies of his country, began his
career as an accompanist, touring extensively with Sigrid Onegin and
other singers. He joined the faculty of the Stuttgart Conservatory in
1932, and served as director from 1956 to 1966. He also lectured in
Scandinavia, Japan and the United States. He was a prolific composer
of more than fifteen operas including Don Juan und Faust (1950), The
Bridge of San Luis Rey (1954), and Die Witwe des Ephesus (1954), which
received its United States premiere in 1967.
Composer LODOVICO ROCCA, Italian, 90 years old, in Turin 6/25/86.
He was the composer of the operas In Terra di leggenda (1933), II Dibuc
(1934), La Morte di Frine (1937), Monte Ivnor (1939), and L'Uragano (1952),
and was also director of the Conservatory of Turin from 1940-1966.
Composer and conductor HILDING ROSENBERG, Swedish, 93 years old, in
Stockholm 5/19/85 (not previously reported). His musical compositions,
rooted in traditional Scandinavian sources, also contain polyphonic
elements. He was an assistant conductor of the Stockholm Opera from
1932-34 and later visited the United States, leading the first American
performances of his Fourth Symphony in 1948. He was the composer of
Resan till Amerika (1932), Marionetter (1937), De 2 Konungadbttrarna
(1940), Lycksalighetens b (1945), Raspers fettisdag (1953), the radio opera
Portrattet (1955), the lyric comedy Hus med dubbel ingang (1970) and the
opera-oratorio Josef och hans brbder (1945). A teacher of composition,
his pupils included Karl-Birger Blomdahl and Ingvar Lindholm.
Soprano LOUISE ROY, Canadian, 60 years old, in Canada 10/17/85. She
studied at the Toronto Conservatory and became a leading member of
the Canadian Opera Company. She also sang principal dramatic roles with
other companies throughout Canada.
Composer EDMUND RUBBRA, British, 85 years old, 2/86. The composer
of the opera Bee-Bee-Bei (1933) and other works elaborated and developed
his own style from those of his teachers, Gustav Hoist and Ralph Vaughan
Williams. He taught at Oxford University from 1947 to 1968, and at the
Guildhall School of Music after 1961.
Administrator, director, conductor and singing actor GILBERT RUSSAK,
American, 55 years old, in San Francisco 7/14/86. After moving to San
Francisco from his native Cincinnati, he joined the Lamplighter Troupe
in 1955, and became the company's principal comic singer before serving
as its artistic director, administrator and conductor. At the time of his
death, he was also conductor of the San Francisco Children's Opera and
made guest appearances with the Vancouver Symphony.
Musicologist and educator FELIX SALZER, Austrian/American, 82 years
old, in New York 8/10/86. He developed and expanded the theories of
his teacher Heinrich Schenker in influential journals, books, and also in
lectures at the Mannes College of Music and other academic institutions
from 1940 until 1981. As a Mannes faculty member, he taught both in
the Theory and Techniques, and in the Music Departments. From 1963
through the mid-1970's he was also on the faculty of Queens College.
A founder of the series The Music Forum in 1967, he helped to edit all
five of the issued volumes; the sixth is forthcoming.
Critic, music historian and translator WINTHROP SARGEANT, American,
82 years old, in Salisbury, CT, 8/15/86. A leading and influential critic
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at The New Yorker for over 30 years, his tastes were weighted to traditional composition and performance practices. He began his career as
the youngest violinist of the San Francisco Symphony, and later played
in New York under Toscanini. After 1930, he wrote articles for several
New York dailies and also for Musical America and Life magazine before
joining the The New Yorker in 1949. His books on music include Jazz:
Hot and Hybrid (1938), Listening to Music (1958), and Divas: Impressions
of Today's Sopranos (1973).
Tenor RUDOLF SCHOCK, German, 71 years old, 11/13/86. A popular
performer on both the stage and screen, he began singing in major German
houses after the war. During the 1950's, as a member of the Vienna
State Opera, he was particularly known for his Mozart roles, but he also
appeared in Italian and German repertory at Covent Garden and Edinburgh,
and sang Walther von Stolzing at Bayreuth. In Salzburg, he participated
in the premiere of Liebermann's Penelope in 1954. He also appeared in
lighter repertoire, including several popular German musical films such as
Du bist die Welt filr mich, when he portrayed Richard Tauber.
Bass-baritone KENNETH SCHON, American, 75 years old, in Lake Worth,
FL, 1/24/86. He had performed on radio before his Metropolitan Opera
debut as Pizarro under Bruno Walter during the 1944-45 season. Schon
continued to sing supporting roles there until 1950 and also appeared at
Covent Garden, singing such roles as Wotan and Amonasro, and Jupiter
in the premiere of Bliss' The Olympians during 1949-50.
Conductor and composer DANILO SCIOTTI, American, 86 years old, in
Providence, RI, 5/17/86. A native of Providence, he organized in 1930
the New England Opera Company, later renamed the Rhode Island Opera
Guild, and he ran the company until his retirement in 1974. As a composer,
he wrote songs and operas, including Sirinetta, a work based on The Little
Mermaid.
Adminstrator and soprano AMELIA SMITH, American, 72 years old, in
Jacksonville, FL, 11/3/85. She started her first opera company, the Music
Theatre Group, in Greensboro in the late 1930's. After moving to Florida,
she developed the Opera Repertory Group, engaging many young unknown
singers, some of whom later built successful careers. In 1979 she added
a touring ensemble, Opera-a-la-Carte, which later became the main company and which she still headed at the time of her death.
Singer KATE SMITH, American, 79 years old, in Raleigh, NC, 6/17/86.
The popular recording artist performed in musical comedy revues during
the 1920's, and rose to stardom after she was given her own radio show
in 1931. During one of her broadcasts in 1938, she introduced Irving
Berlin's "God Bless America", the song with which she was identified for
the rest of her life. After the demise of her television series in the
mid-1950's, she continued to make guest appearances through the next
decade.
Writer, broadcaster and administrator MARTIN SOKOL, American, 56 years
old, in New York 12/18/86. The author of the 1981 publication The New
York City Opera: An American Adventure, and editor of the company's
magazine, Spotlight, he wrote and lectured on many aspects of operatic
and recording history. He hosted a weekly opera program on WBAI in
New York for twelve years. Some months prior to his death, he had
been appointed general director of the New York-based Bel Canto Opera.
-83-
OBITUARIES
Composer, administrator and teacher LESTER TRIMBLE, American, 63
years old, in New York 12/31/86. A well-known musician who received
many commissions and awards, he composed symphonies, art songs, and
"panels"—works written for diverse instrumental ensembles—which have
been played at Tanglewood, New York's Town Hall, and by the New York
Philharmonic. His 1962 opera, Boccaccio's Nightingale, has not yet been
performed. A student of Milhaud and Honegger in Paris, he settled in
New York in 1952, where he became a music critic for several periodicals
and served as executive director of the American Music Center. A former
faculty member at the University of Maryland and the Juilliard School,
he also taught privately.
Tenor DIMITER UZUNOV, Bulgarian, 63 years old, in Vienna, Austria,
12/11/85. A member of the Vienna State Opera from 1962 to 1969, he
also sang principal roles with major European houses and festivals including
La Scala, the Paris Ope>a, Arena di Verona, and Covent Garden. He
sang Don Jos6, Radames and Otello at the Metropolitan Opera during
1959-60 and again in 1964. In recent years, he had taken on administrative
duties while continuing to sing comprimario roles. He also recorded frequently.
Singer RUDY VALLEE, American, 85 years old, in Hollywood Hills, CA,
7/3/86. The famed radio crooner and band leader of the 1920's also
appeared in musicals and movies in the 1930's and 1940's. Thirty years
later, in the stage and film versions of the Pulitzer Prize winning musical
How to Succeed in Business Without Really Trying, he received critical
acclaim for his portrayal of the pompous tycoon—a role based on his
unique but dated persona.
Attorney and philanthropist LOWELL C. WADMOND, American, 90 years
old, in West Palm Beach, FL, 9/25/86. A prominent member of the firm
of White & Case, he was a friend to many New York music organizations.
He gave strong guidance and support during his terms as president of the
Metropolitan Opera Association from 1951-1966 and as a member of the
board of Directors of Lincoln Center from 1970-1975. He was a former
president of the Bagby Music Lovers Foundation, an organization which
supports needy musicians, and was also a trustee of the Sullivan Foundation
and the Storm King Art Center.
Chorus master and conductor LLOYD WALSER, American, 49 years old,
in New York 10/3/86. A member of the music staff of the New York
City Opera for 13 years, he became assistant chorus master at the Metropolitan Opera in 1984. Following his studies in Italy under Luigi Ricci,
he had worked with many American regional companies and festivals including the Central City Opera, Opera St. Paul, and the Kennedy Center.
He was a private vocal coach to many New York singers.
Soprano CLAIRE WATSON, American, 62 years old, in Utting, West
Germany, 7/16/86. An internationally renowned singer, she built her
career in Europe where she made her permanent home. Specializing in
the music of Wagner and Strauss, she sang principal roles in major opera
houses of Europe. After studying at the Eastman School in Rochester and
with Elizabeth Schumann in New York, she made her debut in Graz and
later sang at Frankfurt under Solti. She performed at the Bavarian State
Opera from 1958 to 1976, where she sang Eva on the night of the company's first performance in the rebuilt National Theater in 1958. In the
-84-
OBITUARIES
1960's, she appeared in Wieland Wagner's Vienna production of Lohengrin,
and also made frequent guest appearances at Covent Garden, Hamburg
and Brussels. Although she did sing in Boston, Chicago and with the San
Francisco Opera, she never appeared with the Metropolitan Opera. She
retired in 1976.
Administrator and producer PETER WEINBERG, American, 38 years old,
in New York 8/9/86. The Director of Music Programming for WNET, he
produced the nationally televised Gala of Stars series as well as the
operatic and musical programs in the Great Performances series, including
the 1983 Boulez/Chereau/Bayreuth Ring des Sibelungen. Before working
for Educational Television, he had been responsible for two award-winning
series for WABC.
Soprano and teacher PATRICIA WELTING, American, 47 years old, in
Fresno, CA, 6/23/86. A 1962 Metropolitan Opera National Council Auditions finalist, she sang with the Metropolitan and the Met Opera Studio
from 1966 to 1969. She taught voice at Tulane University in New Orleans,
and before her death had resigned her position at the University of
California. She was a sister of the soprano Ruth Welting.
Patron of the arts MAE LEVY WIEN, American, 76 years old, in New
York 6/23/86. She was a patron of Lincoln Center, of which her husband,
the attorney Lawrence A. Wien, was Vice-Chairman and Director Emeritus.
The New York City Opera and Ballet, Columbia University, and Carnegie
Hall were among the many charitable and arts organizations which she
actively supported. The Wiens were also the primary donors to the New
York City Opera, facilitating the company's new spring season of one or
more musicals.
[]
LATEST ADDITIONS, ENGLISH OPERA TRANSLATIONS
The following compilation contains additions and other new information obtained since publication
of Vol. 27, No. 2. For items marked * see under "New and Changed Addresses" below.
BELLINI:
BERLIOZ:
BIZET:
CAVALIER!:
MOZART:
Norma Donald Pippin (Pocket Opera, San Francisco, CA)
Les Troyens—La Prise de Troie Hugh Macdonald (Opera North, Leeds, England)
Carmen Anthony Burgess (English National Opera, London, England)
Rappresentazione di anima, e di corpo Arthur Jacobs*
Cos! fan tutte Ann Ridler (Opera Factory/London Sinfonietta, England)
Die Zauberflote Stefan Kozinski <Jc Nicholas Muni*
OFFENBACH: Barbe-bleue Richard Traubner
La Belle Helene Richard Traubner*
Orph6e aux enfers Richard Traubner*
La Perichole Stefan Kozinski*
La Vie parisienne Richard Traubner*
PUCCINI:
La Boheme Anthony & Amanda Holden (Opera North, Leeds, England)
Madama Butterfly Stefan Kozinski & Epke*
WEILL:
Happy End Michael Feingold (EAM)
New and Changed Addresses
Geoffrey Dunn (estate): contact G. Ressell, Assistant Secretary, Society of Friends, 173 Euston
Rd., London NW1 2BJ, England
Mark N. Herman (for Herman & Apter), 906 South Kinney Ave., Mt. Pleasant, MI 48858
Arthur Jacobs, 10 Oldbury Close, Sevenoaks TN15 9DJ, Kent, England
Charles Kondek, 149 Carol St., Lakewood, NJ 08721
Stefan Kozinski, South 2369 Southeast Blvd., Spokane WA 99203
Dr. Clifford Reims, P.O. Box 466, Fairhope, AL 36533
Richard Traubner, 140 East 46th St., New York, NY 10017
[]
-85-
PERFORMANCE LISTING, 1986-87 SEASON (com.)
All performances are staged unless marked "cone, pf." (concert performance) and are given with
an orchestra unless marked "w.p." (with piano). An * following a title indicates a new production;
a t indicates that projected English captions are used. A single date appearing for a listing
of several performances indicates the opening night. Performances and news items listed in an
issue of the Bulletin are not repeated in later issues.
ALABAMA
Huntington College, J.E. Shaffer, Dir., Montgomery
11/20-23/86 The Old Maid and the Thief 6c Barmettler/Shaffer's The End of the Line
prem.
4/9-12/87 Finian's Rainbow
Huntsville Opera Theatre, H. Bargetzi, Art.Dir., Huntsville
12/4,5,6/86 Rigolettot
3/19,20,21,22/87 Un Ballo in mascherat
Samford University Opera Workshop, G.W. Bugg, Dir., Birmingham
9/13/86 Bugg's Bartolo
11/20,21,22/86 The Pirates of Penzance
Troy State University, Opera Workshop, P. Keliey, Dir., Troy
5/15,16/87 1776
University of Alabama Opera Theater, E. White, Dir., Tuscaloosa
11/23/86 Scenes
4/3-5/87 Carmen
University of Montevallo Lyric Theatre, B. Middaugh, Dir., Montevallo
9/29,30/86 A Harold Arlen Revue
11/17,18/86 Scenes
4/14-16/87 A Funny Thing Happened on the Way to the Forum
ALASKA
Perseverance Theatre, Anchorage (see also Vol.27, No.2)
5/15-9/15/87 Chapman/Duffey's Lady Lou Revue
University of Alaska Opera Workshop, J. Hopkins, Dir., Fairbanks
10/31/86 Dido and Aeneas
4/9-11/87 The Old Maid and the Thief
ARIZONA
Arizona State University Lyric Opera Theatre, K. Seipp, Dir., Tempe
10/3,4,5,8,10,11,12/86 Cohan's Little Johnny Jones
11/14,15,19,21,22/86 Tartuffe
2/20,21,22,25,27,28 3/1/87 Iolanthe
4/24,25,29 5/1,2/87 Carmen
Grand Canyon College Opera Workshop, E. Logan, Dir., Phoenix
12/4,5,6,11,12,13/86 The Barber of Seville
2/87 The Pirates of Penzance
University of Arizona Opera Theater, L. Day, Dir., Tucson
11/7,8,9/86 L'Elisir d'amore Eng. Martin
ARKANSAS
Arkansas Opera Theatre, Murray's Dinner Playhouse, Little Rock (see also Vol.27, No.2)
10/13/86 Cole Cafe (form. Red, Hot and Cole)
3/20/87 "An Evening with Sharon Douglas," revue
Arkansas Repertory Theatre, S. Caffery, Gen.Mgr., Little Rock
11/2 0-12/14/86 Silver/Boyd's A...My Name is Alice revue
6/4-28/87 110 in the Shade
CALIFORNIA
American Conservatory Theatre, San Francisco
9/30-11/1/86 Sondheim's Sunday in the Park with George
4/15-5/16/87 Ma Rainey's Black Bottom
American Musical Theatre Festival/Frohman Academy for Musical Theatre Education,
Car m el
11/86 Appelman's Heyday workshop prem.
Bakersfield Civic Light Opera, R. Garrison, Gen.Dir., Bakersfield
10/3,4,10,11/86 Evita
Bilingual Foundation of the Arts, Los Angeles
12/86 Scarlata's/Zapata's Rainbow Red; also tour to schools 10/6-11/24/86
6-7/87 Krouse/Lorca's Lorca, Child of the Moon company-developed
-86-
1986-87 SEASON
California Music Theater, Pasadena
2/19-3/1/87 The Most Happy Fella
5/7-17/87 Call Me Madam
California State University, Opera Workshop, Chico
10/16,17,18,19m/86 The Magic Flute Eng. Porter; c: Curatilo
ll/12m/86 Chauls1 The Magic Rhyme excpts. at NOA Convention, Los Angeles
California State University at Fresno, Theatre Three, Fresno
10/10,11,21,22,24,25/86 Cosft fan tutte
California State University Opera Theatre, M. Kurkjian, Dir., Fullerton
11/21,22 12/3,10/86 Scenes
4/3-5,8-12/87 La Cenerentola
California State University Music Theatre, R. Cordova, Dir., Long Beach
2/20-22,24-28/87 The Mother of Us All
California State University Opera Theatre, H. Blankenburg, Dir., Los Angeles
11/7,8,9m/86 II Barbiere di Siviglia c: Jackson; d: Blankenburg
California State University Opera Theatre, D. Scott, Dir., Northridge
10/9-11,16-18,23-25/86 Side by Side by Sondheim
11/7,8,11,12,14,15/86 The Crucible
3/87 La Boheme 6 pfs.
California State University Opera Theater, L. Stradley, Dir., Sacramento
4/24,26 5/1,3/87 Albert Herring
11/25/86 Scenes
Cinnabar Opera Theater, M. Klebe, Art.Dir., Petaluma (see also Vol.27, No.2)
12/13m,14m,20m,21m/86 DeFranceseo's A Christmas Wish
3/20,21 4/3,4/87 Rodriguez' Tango <5c dance pieces; M. Klebe; c: N. Shuman (replaces
Krapp's Last Tape & A Country Doctor)
Claremont College, Dept. of Music, Claremont
10/24/86 On the Twentieth Century
Contra Costa Productions, Walnut Creek
3/13-19 4/3,13/87 Sweeney Todd
Dell'Arte Players Company, Blue Lake
9/12,13/86 Heimer/Heimer/Schirle's The Road Not Taken: A Scar Tissue Mystery in
Nevada City, CA
Dominican College Opera Workshop, M.Frick, Dir., San Rafael
11/86 McFarland's The Donner Party excerpts; part of American Music Week
Downey Civic Light Opera, Downey
10/9-26/86 Brigadoon
Dupree Studio Theatre, Los Angeles
12/12/86-1/28/87 Sondheim's Anyone Can Whistle
Early Music Ensemble, Los Angeles
2/14/87 Purcell's Masque in Timon of Athens Am, stg. prem.; and other selections
Rawcliffe; Knight; Los Angeles Baroque Orchestra; c: Cansino
East West Players, Mako, Art.Dir., Los Angeles
3/25-5/3/87 The Medium
TBA: Boyd/Isaac's Pinoys in Space
Fullerton Civic Light Opera, J. Duncan, Art.Dir., Fullerton
10/86 A Chorus Line 11 pfs.
2/87 The Music Man 11 pfs.
1/87 Jesus Christ Superstar 11 pfs.
5/87 The Student Prince 11 pfs.
Gilbert and Sullivan Society of San Jose, M. Handloff, Pres.
10/24,25,26,31 11/1,2/86 The Gondoliers
Grove Theatre Company, Garden Grove
10/3-11/1/86 Quilters
Guild Opera, Los Angeles
3/3-4/9/87 Hansel and Gretel Eng.; c: Holt; d: Tozzi
Hollywood Opera Ensemble, A. Monte, Gen.Dir., West Hollywood
9/28m/86 The Telephone & Pagliacci
1/18/87 Carmen
2/22m/87 The Barber of Seville
La Mirada Civic Theater, La Mirada
10/19m, 19/86 Cinderella (children's musical)
12/5,6,7m, 12,13,14m, 14/86 Scrooge
Lamb's Players Theatre, R. Smyth, Art.Dir., San Diego
7/9-8/8/87 Dames at Sea
-87-
1986-87 SEASON
Long Beach Civic Light Opera, L. Hansen, Mng.Dir., Long Beach
9/20,21/86 Mantell's Intimate Strangers stgd. rdg.
9/22-26/86 Scenes, tour to schools
10/16-11/2/86 Sondheim's Sunday in the Park with George Myers; Yacko
12/19/86 "Hallelujah Holidays" revue
2/26-3/15/87 New Moon Blyth; Evanko
5/7-24/87 Cabaret
7/23-9/9/87 Anything Goes Morrow; Gorshin
Long Beach Opera, M. Milenski, Gen.Die, Long Beach (see also Vol.27, No.2)
3/lm,4,6,8m/87 Ariadne auf Naxos (replaces King Roger)
5/8,10,13,15,17/87 The Ballad of Baby Doe
6/13-28/87 Die Dreigroschenoper
Los Angeles Music Theatre Company, Caldwell Hall Theatre, Los Angeles
11/7,8,12,14,15,19,21,22/86 The Medium & The Telephone White, Stein & Hibler-Kerr;
Tremblay; c: Nixon; d: White
Los Angeles Philharmonic, A. Previn, Mus.Dir., Los Angeles
12/18-21/86 Previn/Stoppard's Every Good Boy Deserves Favour c: Previn
Los Angeles Pierce College Music Dept., J. Warren, Prod., Woodland Hills
ll/13m/86 The Telephone & The Most Happy Fella abrgd.; c: Simon; d: Wyant
Los Angeles Theatre Center, Bradley Theater
1/14-2/28/87 Happy End c: Myrow; d: Winge
Los Angeles Theatre Works, Venice
3/19-4/26/87 Preston's Reevaluates the Origin of the Species
Malibran Society, C.R. Law, Exec.Die, Los Angeles
11/1/86 Meyerbeer's n Crociato in Egitto
Marin Civic Light Opera, M. Rios, Mus.Dir., Marin
9/26-10/19/86 Hello Dolly!
12/19/86-1/14/87 Annie
12/31/86 1/9-2/1/87 Die Fledermaus
2/27-3/22/87 Man of La Mancha
Modesto Junior College Opera Theater, L. Woodward, Dir., Modesto
5/1,2,8,9/87 Die Fledermaus
Morgan-Wixson Theater, Santa Monica
10/31-12/13/86 The Pajama Game
Mother Lode Musical Theatre, San Rafael
11/14,15/86 Kanouse/Swall's Gambling Jones
Music in the Mountains & Foothill Theatre Company, Nevada City
12/4,5,6,7,11,12,13/86 Amahl and the Night Visitors & A Boy with a Cart
North Bay Opera, Novato
10/3,4,10,11/86 La Perichole
Occidental College, Music Dept., Los Angeles
11/21,22/86 I Do! I Do!
Odyssey Theatre Ensemble, R. Sossi, Art.Dir., Los Angeles
9-11/86 We ill's Johnny Johnson
Old Globe Theatre, J. O'Brien, Art.Dir., San Diego
12/4/86-1/11/87 Sondheim/Lapine's Into the Woods prem.; d: Lapine; ds: Straiges/HouldWard/Zipprodt
One Act Theatre Company, S. Levy, Dir., San Francisco
10/16-11/23/86 Mellon's The Dreamer and the Runner
Onyx Opera, Japan America Theater, Los Angeles
9/14m/86 La Forza del destino c: Unterberg
2/20,21,22m,27,28 3/lm/87 Cavalleria rusticana <5c Pagliacci c: Unterberg k Lessing
Opera a la Carte, R. Sheldon, Dir., Los Angeles
9/20 11/8/86 H.M.S. Pinafore at Citrus College, Glendora and Fullerton
10/1-5/86 Scenes, concert in Pasadena; 10/25 in Brea
12/5/86 The Mikado at Orange Coast College, Costa Mesa
5/16,17m/87 Trial by Jury <5c The Zoo
Opera San Jose, I. Dalis, Gen.Dir., Outreach Program, San Jose
1986-87 La Serva padrona; The Telephone; The Face on the Barroom Floor tour to
abt. 70 schools
Opera Theater of the Inland Empire, F. Fetta, Art.Dir., Upland
11/20,22/86 Lucia di Lammermoor Eng.
4/23,25/87 Die Fledermaus Eng.
1986-87 SEASON
Orange County Opera, C. Webb, Art.Dir., tour to schools, Sunset Beach
10/86-6/87 tour Les Contes d'Hoffmann Act 1, Eng. Webb & Perlee, abt. 250 pfs.
Pacific Chamber Opera, G. Hildenbrand, Mng.Dir., La Jolla
10/30 ll/l,2m,6,8m/86 L'Elisir d'amore
12/11,13,14m,18,21m/86 Amahl and the Night Visitors
3/19,21,22/87 The Gypsy Baron Eng.
4/2,4,5,9,11/87 Haydn's The Apothecary & Weber's Abu Hassan Eng.
6/87 La Finta Giardiniera Eng.
Palm Springs Opera Guild/Riverside Opera, P. Symons, Pres., Palm Springs
2/2/87 Tosca Scotto; Polosov, A. Smith; c: Sullivan; d: Gratale
PCPA Theaterfest, V. Dowling, Art.Dir., at Marian Theater, Solvang/Santa Maria
In repertory through 9/13/86: They're Playing Our Song; Funny Girl; Annie Get Your
Gun; Delinger/Fletcher's Two Dopes on a Rope
12/1-21/86 Rodgers/Hammerstein's Cinderella at Marian Theater
Pepperdine University Seaver College Opera Wksp., V. Mesrop-McMahon, Dir., Malibu
11/10-16/86 Man of La Mancha
Pocket Opera, D. Pippin, Art.Dir., Holiday Fare at the Cannery, San Francisco
12/4,14,20/86 1/3/87 The Merry War, an operatic revue
12/4,11,19,27/86 1/4/87 Gershwin's Oh, Kay!
12/6,12,21,26,28/86 Jacques Be Nimble! "An Offenbach/Pippin revue"
12/7,11,18/86 1/2/87 Mozart con Amaretto
Pocket Opera, D. Pippin, Art.Dir., Moraga/Saratoga/San Francisco
1/31 4/25 5/7/87 L'ltaliana in Algeri Eng. Pippin
2/7 5/16 6/4/87 Norma Eng. Pippin (set in Aztec Mexico)
2/21/ 6/13,21/87 Don Pasquale Eng. Pippin
2/27,28 4/4,12/87 Offenbach's La Princesse de Tr6bizonde Eng. Pippin
3/7,14 5/10,21/87 The Merry Wives of Windsor Eng. Pippin
3/14 4/18,26,30/87 Yanked from the Harem (abrdg. version of The Abduction from the
Seraglio) Eng. Pippin
3/22m/87 Pocket Opera a la Mode children's performance
4/9/87 Ariodante Eng. Pippin
5/17/87 Semele Eng. Pippin
5/30 6/18/87 La Belle Helene Eng. Pippin
6/7/87 Verdi's Stiffelio Eng. Pippin
Sacramento Theatre Company, D. Bigelow, Dir., Sacramento
10-11/1/86 Sondheim/Lucas/Rene's Marry Me a Little on Stage Two
4/14-5/9/87 Little Shop of Horrors on Mainstage
San Bernardino Civic Light Opera, C. Jenks, Gen.Mgr., San Bernardino
11/14,15,17-22/86 The King and I
San Carlo Opera of Los Angeles, M. Leonetti, Dir., Los Angeles
10/26m/86 Aida
11/30/86 La Traviata
2/1/87 La Boheme
6/7/87 Faust
San Diego Civic Light Opera, L. Drew, Gen.Mgr., Starlight Bowl, San Diego
9/11-21/86 Evita
12/11-25/86 Annie
San Diego Repertory Theatre, S. Woodhouse, Prod.Dir., San Diego
9/1-6/86 Little Shop of Horrors
San Francisco Concert Opera, San Francisco (see also Vol.27, No.2)
2/12/87 Giovanna d'Arco (replaces I Lombardi) cone, pf.; Maliponte; Bergonzi, A. Smith;
c: Cathcart
San Francisco Conservatory of Music Opera Theater, S. Webb, Dir., San Francisco
1/23,24/87 Hindemith's Hin und zuriick & Pasatieri's The Trial of Mary Lincoln
San Francisco Mime Troupe, D. Chumley & J. Holden, Co-Dirs., San Francisco
11/86 Barthol/Holden's Hotel Universe tour to Central America
2/10-3/8/87 Barthol/O'Neal/Holden's The Mozangola Caper at Theater Artaud & tour
San Jose Civic Light Opera, San Jose
11/7-16/86 Oliver
1/30-2/8/87 Sondheim's Follies c: Mollicone; d: Schulster
San Jose Repertory Company, J. Reber, Exec.Dir., San Jose
11/6-12/7/86 Godspell
5/23-6/28/87 Candide
-89-
1986-87 SEASON
Santa Barbara Civic Light Opera, Santa Barbara
10/3-12/86 The Music Man
12/19,20/86 Amahl and the Night Visitors
12/31/86 Die Fledermaus gala
Santa Monica Civic Opera, Santa Monica
1/10,1 lm/87 Rigoletto c: Lanza; d: Taylor
Sonoma State University Opera Wksp., P. Donovan-Jeffrey, Dir., Sonoma
ll/lm,7/86 Feldman's The Computer Kid's Magic Night prem.; 11/12 excpts. at NOA
Convention, Los Angeles
South Coast Repertory, Costa Mesa
1/6-2/8/87 Carnelia/Lucas' Three Postcards
Stanford Savoyards, R. Taylor, Dir., Stanford
11/7,8,9m,14,15/86 The Sorcerer
Townsend Opera Players, E. Townsend, Art.Dir., Modesto
11/14,15,21,22/86 Pagliacci Eng. Townsend
12/7/86 Messiah
1/23,24,25/87 Amahl and the Night Visitors
3/20,21,27,28/87 L'Elisir d'amore Eng. Townsend
Universal Opera/Karlsrud Concerts, DeAnza College, Cupertino
11/8/86 Le Nozze di Figaro & tour; Eng. adapt.
University of California at Irvine Music Dept., P. Odegard, Chrm., Irvine
11/7-22/86 A Chorus Line
1/23,24/87 Scenes
University of California Opera Theater, S. Krachmalnick, Mus.Dir., Los Angeles
2/19,20,21,22/87 Cost fan tutte Eng.; c: Krachmalnick
University of California at Santa Barbara, Music Dept., Santa Barbara
11/8/86 Paulus' The Village Singer c: Applebaum; 11/13 in Los Angeles
University of Santa Clara, J. Drweski, Dir., Santa Clara
11/86 The Threepenny Opera c: Mollicone
University of Southern California Opera Theater, N. Limonick, Dir., Los Angeles
12/5,6,7m,7/86 Albert Herring c: Duerr; d: Boerlage
Spring '87 Don Giovanni c: Duerr
Valley Opera, Inc., R. Chauls, Art.Dir., Van Nuys
11/13/86 Chauls' Alice in Wonderland in Los Angeles & tour
Voices S/F & Bay Area Youth Opera, D. Ahlstrom, Art.Dir./M. Shahani, Mus.Dir., San
Francisco
11-12/86 Ahlstrom's The Secret Box with the Big Brass Combination Lock tour;
ll/12m excpts. in Los Angeles
West Coast Opera, D.Lane, Art.Dir., Palm Desert
ll/2m,8,15/86 The Chocolate Soldier also at Desert Sands
12/3,14,18/86 Amahl and the Night Visitors
3/0,7,8/87 n Trovatore
Western Opera Theater, D. Girard, Co.Mgr., San Francisco
1986-87 tour La Boheme
Westminster Arts Council, San Juan Capistrano & Orange County Historical Societies,
Westminster
10/10,11/86 Siposs' Modesta Avila prem.; St. James; c: Johnson
Whittier-La Mirada Civic Light Opera, Whittier
10/3-18/86 Show Boat
Zephyr Theatre, San Francisco
10/7/86 Berlin to Broadway with Kurt Weill c: Elton; d: Hough; open run
COLORADO
Arvada Center for the Arts and Humanities, Arvada
9/17-21/86 Previn/Stoppard's Every Good Boy Deserves Favour
Central City Opera, J. Moriarty, Art.Dir., Central City
7/11/87 Madama Butterfly; 13 pfs.
7/18/87 Don Pasquale ds: Romero; 9 pfs.
7/25/87 Friml's The Vagabond King; 7 pfs.
Denver Center Theatre Company, D. Marley, Art.Dir., Denver
11/3-12/20/87 South Pacific
4/13-5/23/87 Hank Williams compiled by Myler & Harelik
-90-
1986-87 SEASON
Four Corners Opera, R. Gregori & J. Turano, Gen.Dirs., Durango
6/19,20/87 Man of La Mancha
Loretto Heights College, Music & Theatre Depts., Denver
11/14-23/86 The Threepenny Opera
Opera Colorado, N. Merrill, Gen. & Art. Dir., Denver (see also Vol.27, No.2)
9/19/86 Plficido Domingo in Concert, Mexican Relief Benefit
12/6,7,8/86 Amahl and the Night Visitors at Trinity Church
6/6/87 Porgy and Bess (shared prod.) 15 pfs.
Snowmass Repertory Theatre, Snowmass Village
2/2-28/87 in repertory: Tintypes; Little Shop of Horrors
University of Colorado Opera Theatre, D. Jackson, Dir., Boulder
11/21,22/86 Hansel and Gretel Eng. Kelly
3/13,14/87 Die Zauberflote Eng.
4/23,24,25,26/87 Man of La Mancha
University of Northern Colorado, Opera Theatre, C. Gerbrandt, Dir., Greeley
10/30,31 11/1/86 The Impresario Eng. adapt. Gerbrandt & "Kurt Weill Revue"
11/24/86 Scenes
2/27,28 3/5,6,7/87 A Little Night Music
5/21,22/87 La Traviata
7/16,17/87 opera TBA
7/31 8/1,6,7/87 musical TBA
CONNECTICUT
Goodspeed Opera House at Chester, M. Price, Exec.Dir., East Haddam/Chester
10/14-11/9/86 Peretti/Creatore/Weiss 1 Jokers wksp. pfs.; Hunter; Graham; c: Trueblood;
at Norma Terris Theater
Hartman Theatre, M. Booker, Art.Dir., Stamford
5/28-6/12/87 Sondheim/Lucas/Rene's Marry Me a Little
Hartt School of Music Opera/Music Theater, A. Bishop, Art.Dir., West Hartford
11/20-23/86 Manon c: Hess; d: Bishop
2/5-8/87 Coward's Tonight at 8:30 c: Ashens; d: McClure, at Lincoln Theater
4/9-12/87 Susannah c: Hess; d: Floyd
Long Wharf Theatre, A. Brown, Art.Dir., New Haven
4/24-6/7/87 Copland's The Tender Land c: M. Sidlin; d: A. Brown
New Britain Opera, New Britain
11/9/86 La Traviata d: Luchsinger
St. Joseph's College, Music Dept., West Hartford
11/22,23/86 Hansel and Gretel Eng. Bache
DISTRICT OF COLUMBIA
Catholic University of America Opera Wksp., M. Cordovana, Dir., Washington
10/1-13/86 Happy End in coop, with Theater Dept.
2/20,21,22m,22/87 Le Nozze di Figaro Eng. Martin
Ford's Theatre, D. Bell, Art.Dir., Washington
9/15-10/26/86 Carnella's Is There Life After High School?
3-6/87 Lebowsky/Tobias' Gantry prem.
Washington Concert Opera, S. Crout, Pres./Art.Dir., Lisner Auditorium, Washington
5/3m/87 Les Pecheurs de perlest cone, pf.; Hong; Hadley, Laperriere, G. Hawkins; c:
Crout
Washington Opera on Tour, F. Rizzo, Art.Dir., Washington (see also Vol.27, No.2)
9/16,18,20,23,25/86 The Medium & The Telephone at Spoleto Melbourne, Australia;
Evans, Pelle, Hocher; F. Menotti, J. Fiorito & S. Woods; Turnage; c: Argiris; d:
Menotti; ds: Brown; 3/86 tour to China
FLORIDA
Asolo State Theater, J. Ulmer, Art.Dir., Sarasota
4/17-5/15/87 Goggin's Nunsense
Caldwell Theatre Company, M. Hall, Boca Raton
11/4-12/14/86 Carousel
Coconut Grove Playhouse, A. Mittelman, Art.Dir., Miami (revised schedule)
Fall '86 A Latin Celebration
10/10/86 On the Twentieth Century Kaye, Coca; Gorshin, Donovan; benefit pf.
11/5/86 Brown/Davison & Brown's Coconuts Revue; open run
12/5-21/86 Goggin's Nunsense
2/27-3/15/87 Side by Side by Sondheim
5/15-31/87 Bagneris' One Mo' Time
-91-
1986-87 SEASON
College of Fine Arts, Music & Theater Depts., Jacksonville
10/2-5/86 Knickerbocker Holiday e: McNeiland; d: Phillips
Florida Repertory Theatre, West Palm Beach
1986-87 Oliver!; 1776
Florida State University, Opera Program, L. Clark, Dir., Tallahassee
11/6,7,8/86 n Barbiere di Siviglia
2/19,20,21,22/87 Madama Butterfly
Florida Studio Theatre, Sarasota
1-5/87 Little Shop of Horrors in repertory
Gold Coast Opera, T. Cavendish, Gen.Mgr., Pompano Beach
12/5/86 Die Fledermaus Thomas, Cavendish, Wright, Hensel, Craft; c: T. Cavendish; d:
Ewers
2/27/87 La Boheme Myers, Capone; Kunde, Otey; c: T. Cavendish; d: Beck
Greater Miami Opera Association, W. Waters, Art.Dir., Miami (see also Vol.27, No.2)
1986-87 Wargo's The Music Shop tour to schools
Hippodrome State Theater, Gainesville
9/5-28/86 A Chorus Line
9-10/20/86 Ain't Misbehavin1 tour through FL
North Miami Beach Opera, L. Siegel, Mus.Dir., N. Miami Beach
3/1/87 Don Giovanni
Pensacola Junior College Opera Wksp., S. Kennedy, Dir., Pensacola
10/17-19,23-26/86 Wilson's The Boyfriend
Sarasota Opera, D.C. Allyn, Exec.Dir., Sarasota (see also Vol.27, No.2)
12/13,14m,16,17m,19m/86 Hansel and Gretel Eng.; Marrazzo, Bunnell, R.Freni;
Brandstetter; c: DeRenzi
Spanish Lyric Theatre, R. Gonzalez, Art.Dir., Tampa
9/12,13 10/4/86 Scenes, cone. pfs.
11/13-16/86 Oklahoma! Spanish
3/14,15/87 The Merry Widow Spanish
5/15,16/87 zarzuela TBA
Stetson University, Opera Wksp., C. Maddox, Dir., Deland
9/30/86 The Telephone & The Medium
1/30/87 Benefit Concert
4/17,18/87 Down in the Valley
Treasure Coast Opera, C. Barrena, Gen.Dir., Ft. Pierce
1/24/87 Andrea Chenier
2/28/87 Die Fledermaus Eng. Martin
3/28/87 Rigoletto
GEORGIA
Athens Creative Theater, Athens
2/12-14/87 Sweeney Todd
Atlanta Opera, W. Kennedy, Gen.Mgr., Atlanta
6/18,20,22/87 Cosi fan tutte Eng.; d: Lesenger
7/30 8/1,3/87 La Boheme Eng.; d: W. Lloyd
8/20,22,24/87 Rigoletto* d: Kneuss; ds: Deegan/Conly
Atlanta Opera Studio, W. Scott, Art.Adv., Atlanta
9/25/86-5/87 La Serva padrona Eng. Furgiuele; tour to schools, abt. 100 pfs. w. 2 ps.,
e: Scott; d: Lesenger
Clayton State College Opera Wksp, L. Corse, Dir., Morrow
3/4-8/87 Annie Get Your Gun
5/27-30/87 Ruddigore
DeKalb College Music Theatre, J. Bradford, Dir., Clarkston
1/10-17/87 Sweeney Todd
University of Georgia, Opera Wksp., D. Stoffel, Dir., Athens
2/13-16/87 Sweeney Todd
IDAHO
Boise Opera, V. Garets, Gen.Dir., Boise
10/23,24,25/86 Don Pasquale Eng. Mead
1/31/87 La Traviata Eng. Martin; 3 pfs.
Boise State University, Music Dept., Morrison Center for the Arts, Boise
10/31-11/8/86 Camelot
-92-
1986-87 SEASON
Idaho Falls Opera Theatre, R. Farnam, Art.Dir., Idaho Falls
11/20,22,24/86 Die Fledermaus Tallman, Dornfeld, Newton; Willard, Farnam; c: Harker;
d: Messervey
5/9,11/87 Madama Butterfly
Ricks College, Music & Drama Depts., I. Johnson, Dir., Rexburg
11/22/86 Scenes
3/10-14,17-21/87 Camelot
ILLINOIS
Chamber Opera of Chicago, C. Ratner, Art.Dir., Chicago
4/87 Rigoletto 8 pfs.
5/87 Don Giovanni 8 pfs.
8/87 Falstaff 8 pfs.
Columbia College Musical Theater Workshop, Chicago
9/30-10/19/86 LaZebnik/Day's State Street; Post's The Real Life Story of Johnny De
Facto prems.
DuPage College Opera Theatre, H. Bauer, Art.Dir., Glen Ellyn
2/28 3/1/87 The Telephone <5c The Medium
7/87 La Boheme Eng. Bauer
Free Street Theater, P. Henry, Art.Dir., Chicago
9/86-5/87 Lofstrom/Alexander's Project! tour through Chicago area
11/86-4/87 Lofstrom/Henry's Take the Chance tour through US
Goodman Theater, R. Schulfer, Prod., Chicago
2/27-4/4/87 She Always Said, Pablo adapt, by Galati from Stravinsky/Thomson/Stein; d:
Galati
6/5-7/11/87 Sondheim's Sunday in the Park with George d: Maggio
Illinois Theater Center, Park Forest
11/28-12/21/86 Man of La Mancha
2/13-3/1/87 Crystal/Sandrow's Kuni-Leml
Illinois Wesleyan University Opera Theatre, L. Snyder, Dir., Bloomington
10/16-18,23-25/86 The Pirates of Penzance w.o.
11/23/86 Scenes
2/20,21/87 Operetta Scenes
Lincoln Opera, N. Williams, Gen.Mgr., Chicago
10/18,19,25,26 11/1 12/3/86 La Boheme
1/24,25 2/14,21,22/87 La Traviata
4/21,26/87 Die Fledermaus
5/16,17,23,24,30/87 Faust
Millikin University Opera Theatre, S. Fiol, Dir., Decatur
10/3,4,5/86 Camelot
2/27,28 3/1/87 A Chorus Line
5/1-3/87 The Mikado
Northwestern University, Mason & Ragland Opera Theater, R. Alderson, Chmn., Evanston
10/24/86 Hasse's L'Artigiano gentiluomo
11/4/86 3/12/87 Scenes
11/20-23/86 Riders to the Sea 3c Die Kluge Eng. Ockwell; 4 pfs.
2/19-22/87 Dialogues des Carmelites Eng. Maehlis
5/5/87 Chabrier's Une Education manquee Eng. Gay & Barab's A Game of Chance &
Katz's Light of the Eye excpts.; d: Alderson/Knight
Peoria Civic Opera, D. Chapman, Gen.Dir., Peoria
9/5,6/86 Fiddler on the Roof co-prod. Bradley University
11/8/86 La Fille du regiment Eng. Martin
4/11/87 Tosca Eng. Gutman
Southern Illinois University Opera Workshop, S. Turner, Dir., Edwardsville
1/9-11/87 The Medium
INDIANA
Ball State University, Opera/Music Theatre Wksp., P. Ewart, Dir., Muncie
12/4,5,6,7,10,11,12,13/86 Jacques Brel is Alive and Well and Living in Paris
3/25,26,27,28,29/87 My Fair Lady
Fort Wayne Philharmonic, R. Ondrejka, Mus.Dir., Fort Wayne
10/4,5/86 Previn/Stoppard's Every Good Boy Deserves Favour Mermaid Theatre version;
c: Ondrejka
-93-
1986-87 SEASON
Indiana Repertory Theatre, T. Haas, Art.Dir., Indianapolis
9-10/18/86 "The Music of Rogers and Hart" revue, ed: Haas
10/22-11/29/86 "Berlin on Broadway" revue, ed: Moser
1/14-2/7/87 Arlen's Come Rain or Come Shine revue
3/11-4/11/87 "Swing Era" revue
Indiana State University Opera Wksp., R. Hounchell, Dir., Terre Haute
2/17-22/87 Shire's Starting Here, Starting Now
Teatro Antico, T. Binkley, Dir., Bloomington
10/26/86 de la Halle's Le Jeu de Robin et Marion arr. var.
Whitewater Opera Company, C. Combopiano, Gen.Mgr./Art.Dir., Richmond (see also Vol.27,
No.2)
12/5,12,13/86 Amahl and the Night Visitors tour
5/2,3 6/13/87 La Traviata tour to IN & OH
IOWA
Coe College Opera Workshop, A. Keller, Dir., Cedar Rapids
4/23-26/87 Carousel
Cornell College, Opera Workshop, M. Lee, Dir., Mt. Vernon
1/25,26/87 The Pirates of Penzance
Simpson College, Opera Workshop, R. Larsen, Dir., Indianola
10/17-19/86 Berkeley's A Dinner Engagement <5c Scenes
2/6-8/87 Gianni Schicchi & TBA
University of Iowa, Opera Theater, B. Glass, Dir., Iowa City
10/31 11/1/86 The Telephone
5/1,3/87 Don Giovanni Eng.
7/23,25/87 La Traviata Eng.
KANSAS
Emporia State University Opera Theatre, Emporia
11/6/86 "Popcorn Opera" wksp., various works by American composers
Kansas State University Opera Theatre, J. Langenkamp, Dir., Manhattan
10/4/86 Scenes
10/23,24,25/86 Oklahoma!
3/5,6,7/87 Die lustigen Weiber von Windsor Eng.
Wichita State University Opera Theatre, G. Gibson, Dir., Wichita
10/28,30,31 11/1/86 Dialogues des Carmelites Eng. Machlis
2/7,8/87 Help, Help, the Globolinks!
4/2-5/87 The Pirates of Penzance
KENTUCKY
Actors Theater of Louisville, Louisville
9-10/86 "Romantic Festival" incl. Kentucky Opera's prod, of II Trovatore
1/28-2/21/87 Quilters
5/6-31/87 Little Shop of Horrors
Blue Apple Players, P. Lenzi/G. Snyder, Co-Dirs., Louisville
10/6/86 The Melting Pot
3/1/87 The Three Pigs
Kentucky Opera's Opera-Go-Round, touring ensemble, Louisville
11/1-12/19/86 Arias and Scenes
2/2-5/1/87 The Telephone
Roadside Theater, D. Cocke, Mng.Dir., Whitesburg/Norton
9/5,6,8,28 12/5/86 Short's South of the Mountain tour though KY
9/19,20 10/9-12 11/6-8,18/86 Brother Jack tour through KY & NC
10/6,7 10/14 11/18/86 Baker/Short's Pretty Polly tour through VA, AL <5c NC
10/17,24 11/13/86 Mountain Tales & Music company dev.; tour through KY & VA
Southern Baptist Theological Seminary, Workshop in Church Music Drama, M. Sherman, Dir.,
Louisville
11/86 The Play of Herod Eng. adapt. Smolden
Stage One: Louisville Children's Theatre (see also Vol.27, No.2)
9-10/19/86 Palas/Goldberg's Rumpelstiltskin
10/26-11/22/86 Carlson/Gaines's The Legend of Sleepy Hollow
University of Kentucky, Opera Theater, P. Miller, Dir., Lexington
1/21,22,25/87 Cos! fan tutte
4/27,28/87 Suor Angelica & Gianni Schicchi
7/87 The Threepenny Opera
-94-
1986-87 SEASON
LOUISIANA
Louisiana State University Opera Theater, R. Aslanian, Dir., Baton Rouge
10/9-18/86 Brigadoon
1986-87 Scenes
11/1,2/86 La Cenerentola
3/27,28,29/87 Falstaff
Lyric Opera Theatre of Baton Rouge, L. Banks, Art.Dir., Baton Rouge
1/9-11/87 Tartuffe
University of New Orleans Opera Theater, R. Cortina, Dir., New Orleans
4/24-26/87 Martha
MAINE
Surry Opera, W. Nowick, Art.Dir., Surry
11/86 Boris Godunov & concerts; on tour to Tbilisi and Leningrad, U.S.S.R.
University of Maine Opera Theatre, L. Hallman, Art.Dir., Orono
2/14,15/87 The Merry Widow d: Hallman
MARYLAND
Annapolis Opera, K. Dornheim, Prod.Mgr., Robert Pascal Theater, Annapolis
12/19,20,21/86 Amahl and the Night Visitors
Center Stage, S. Wojewodski, Art.Dir., Baltimore
12/12/86-1/18/87 B<5caud/More's Roza prem.; d: Prince
Peabody Conservatory Opera Theatre, R. Brunyate, Dir., Baltimore
11/21,22/86 L'Enfant et les sortileges & Le Rossignol Eng.
3/20,21/87 Cavalli's La Calisto Eng.
Prince George's Civic Opera, D. Biondi, Art.Dir., Largo
10/24,26m/86 Tosca Eng.; M. Williams; Mcllvaine, Stith; c: Abell
3/20,22m/87 Susannah
MASSACHUSSETTS
Berkshire Opera Company, G. Glaze, Art.Dir., Lenox
6-7/87 Albert Herring; CoSi fan tutte Eng.
Boston Lyric Opera, J. Balme, Mus.Dir., Northeastern Univ. Audit., Boston
10/17,19m/86 Rigoletto Eng.; Saffer; Crouse, Wilber; c: Balme; d: Ewers
l/23,25m/87 The Rake's Progress West, Walters; Jackson, Kleyla; c: Balme; d: Haber
Boston Symphony Orchestra, S. Ozawa, Mus.Dir., Boston
4/17/87 Wozzeck Behrens; Luxon, Trussel; 4 conc.pfs.
Great Woods Performing Arts Center, Pittsburgh Symphony in Residence, Mansfield
7/87 La Boheme Polosov
Longwood Opera, J. Balme, Gen.Dir., Brookline/Newton Highlands
11/13,15/86 La Boheme Eng.; Wolfe, Wilmore; Kolb, Lauriat, St. Laurent; c: Balme; d:
Brumit
Opera Company of Boston, S. Caldwell, Art.Dir., Boston
11/12,16m,21,23m/86 Candide e/d: Caldwell
1/21,25m,30 2/lm/87 II Trovatore Evstatieva, Toczyska; Rawnsley; c/d: Caldwell; ds:
Senn/Pond
2/13,15m,19,22m/87 Handel's Giulio Cesare Larson, Hunt, Westbrook-Geha; Gall,
Maddelena; e: C. Smith; d: Sellars; ds: Spatz-Rabinowitz
6/4,7m,10,12m/87 Madama Butterfly c/d: Caldwell
Project Opera, R. Rescia, Art.Dir., Northampton
10/21,23/86 Gianni Schicchi 4c The Impresario
12/31/86 1/4,12/87 Amahl and the Night Visitors
5/1,3/87 La Traviata Eng.
StageWest, G. Boyd, Art.Dir., Springfield
11/12-12/21/86 Guys and Dolls
3/1-4/2/87 Shire/Maltby's Starting Here, Starting Now
MICHIGAN
Attic Theatre, H. Ferrer, Mng.Dir., Detroit
1/7-2/8/87 Ma Rainey's Black Bottom
6/24-7/26/87 Sondheim's Pacific Overtures
Michigan State University, Opera Theater, H. Jennings, Dir., East Lansing
4/18,19/87 Le Nozze di Figaro
1/17,18/87 Scenes
Midland Center for the Arts Music Society, G.R. Ryan, Art.Dir., Midland
10/17-19,24-26/86 Fiddler on the Roof
2/20-22/87 Broadway Revue
4/24,25,26,27,30/87 A Chorus Line
-95-
1986-87 SEASON
Oakland University, Music Theater Workshop, J. White/T. Aston, Co-Dirs., Rochester
6/11-13/87 Hollingsworth's The Mother <5c The Selfish Giant & Harrison Loved His
Umbrella 3 pfs.
Piccolo Opera, M. Gordon, Exec.Dir., Detroit
Winter '87 Little Red Riding Hood in Ft. Lauderdale, FL
University of Michigan Opera/Musical Theatre, G. Meier, Mus.Dir., Ann Arbor
11/20-23/86 The Magic Flute
4/16-19/87 Weill's Love Life
Wayne State University Musical Theater, Detroit
10/25-11/2/86 Guys and Dolls 7 pfs.
MINNESOTA
Children's Theatre Company, Minneapolis
10-11/16/86 Carlson/Wilder's Little House on the Prairie; Shorter/dePaola's Strega Nona
11/26-12/28/86 Ruth/Olson's Beatrix Potter's Christmas
1/9-2/28/87 Carlson/Olson's Hansel and Gretei; also 10-11/86 Midwest tour
1/17-2/28/87 Carlson/Mason's African Tales
3/13-4/12/87 musical TBA
4/24-6/14/87 Titus' Alice in Wonderland adapt. Holland
College of St. Benedict, Opera Theatre, P. Welter, Dir., St. Joseph
12/6-8/86 Sandow's A Christmas Carol
Guthrie Theatre, D. Sehoenbaum, Mng.Dir., Minneapolis
2/27-3/22/87 Telson's The Gospel at Colonus d: Breuer
Midwest Opera Theater, P. Myers, Mng.Dir., touring/ed. co. of Minnesota Opera, St. Paul
1/29-2/20/87 Minnesota Arts Experience - MAX on Tour; 20 pfs.
3/87 MeKeel's Jargonauts, Ahoy! tour to schools
Minnesota Opera, K. Smith, Gen.Dir., St Paul (see also Vol.27, No.2)
7/87 South Pacific 3-wk run, prod. w. Ordway Music Theatre
North Star Opera, L. Eugster, Gen.Mgr., St. Paul
12/6,7,13,14/86 Amahl and the Night Visitors
2/27,28 3/1/87 La Boheme Eng. David Martin; c: Martin
Summer '87 Don Pasquale Eng.; 3 pfs.
St. Olaf College, Opera Workshop, P. Quade, Dir., Northfield
4/2,3,4/87 Coii fan tutte Eng. Martin
University of Minnesota/Minnesota Orchestral Association, Minneapolis
1986-87 Porgy and Bess (shared prod.)
MISSISSIPPI
Mississippi College Opera Workshop, G. Claxton, Dir., Clinton
12/1/86 Sclater's A Christmas Gift
New Stage Theatre, Jackson
11/12-29/86 The Fantasticks
University of Mississippi Opera Theatre, W.D. Coleman, Assoc. Dir., University
4/9-11/87 Dialogues des Carmelites
University of Southern Mississippi Opera Theatre, D. Holley, Dir., Hattiesburg
12/4,5/86 The Telephone & Little Red Riding Hood also tour to schools 6 pfs.
2/20,21/87 The Italian Lesson <5c Something New for the Zoo; also Lee Hoiby opera
symposium
4/6,7,9,10/87 Hansel and Gretel Eng.
MISSOURI
Repertory Theater of St. Louis, St. Louis
1/7-2/6/87 Ma Rainey's Black Bottom
Southwest Baptist University Opera Workshop, L. Snook, Dir., Bolivar
11/12-14/86 You're a Good Man, Charlie Brown
4/9-11/87 lolanthe
NEBRASKA
Nebraska Theatre Caravan, C. Jones, Dir., Omaha
10/30-11/16/86 The 1940's Radio Hour
1/17-2/7/87 Man of La Mancha
4/17-5/9/87 Paint Your Wagon
4/30-5/17/87 Quilters
Omaha Magic Theatre, J. Schmidman, Dir., Omaha
9/5-15/86 Budenholzer/Sheehan/Schmidman's Sea of Forms prem.
10/11/86-1/2/87 Budenholzer/Schmidman's Astro*Bride; Budenholzer/Schmidman/Terry's
Sea of Forms tour of NE and Midwest
continued
-96-
1986-87 SEASON
Omaha Magic Theatre cont.
11/7-16/86 Budenholzer/Sheehan/Schmidman's Family Talk 12 pfs., also tour
12/19/86-1/5/87 Budenholzer/Sheehan/Terry Sleazing Toward Athens; also tour
1/30-3/9/87 Budenholzer/Terry's Disko Ranch
3/20-4/27/87 Budenholzer/Schmidman's 1 Bear - 1 Vote
University of Nebraska Opera Theatre, R. Hansen, Dir., Lincoln
10/25,26/86 "Some Enchanted Evening" revue
12/86 4/87 Scenes
2/6-8/87 Susannah
NEW HAMPSHIRE
Lebanon Opera House, Lebanon
9/6,7/86 Le Nozze di Figaro
Theatre by the Sea, T. Celli, Art.Dir., Portsmouth
10/2-11/1/86 Cole
12/86 Harnick/Bock's The Diary of Adam and Eve (Part I of The Apple Tree)
NEW JERSEY
Family Opera, H. Schlisserman, Mus.Dir., North Bergen
10/5/86 Rigoletto
2/1/87 The Merry Widow
11/2/86 Hansel and Gretel
3/1/87 Carmen
12/7/86 La Boheme
4/5/87 Die Fledermaus
1/4/87 La Traviata
5/3/87 Madama Butterfly
George Street Playhouse, E. Krebs, Art.Dir., New Brunswick
2/20-3/15/87 Woldin/L. Hughes' Little Ham prem.; 2/18,19 previews
4/24-5/17/86 Man of La Mancha
Hollybush Opera Theatre/Festival 1987, V. Zuponcic, Exec.Dir., Glassboro
12/13,16,20,21/86 Amahl and the Night Visitors
5/8,9,12m/87 Susannah
5/29,30,31m/87 The Love for Three Orangest
Lubo Opera, J. Lasky, Art.Dir., Guttenberg
10/18,26/86 n Barbiere di Siviglia
3/87 Adriana Lecouvreur
5/87 The Student Prince
Mainstage Productions, Williams Center for the Arts, Rutherford
11/9/86 Yankee Doodle Dandy
McCarter Theater, Princeton
9/25-28/86 H.M.S. Pinafore
Metro Lyric Opera, Asbury Park
ll/9m/86 Rigoletto Brodin, Hazel; Dean, Spinetti; c: Ferrari
Monmouth Conservatory Opera Society, F. Molzer, Dir., Little Silver
3/15/87 J.S. Bach's Phoebus and Pan stgd.
New Jersey Symphony Orchestra, H. Wolff, M us.Dir., Newark
5/8/87 Fidelio Kelm; Lakes; c: Wolff; 3 cone. pfs.
Opera at Rutgers, V. Goodall, Dir., Rutgers, The State University, New Brunswick
10/30,31 11/1,2/86 Street Scene c: Goodall
3/29 4/5m,5/87 Opera Scenes, w.p.
Opera Classics, G. Consiglio, Art.Dir., Hackensack
10/25/86 Lucia di Lammermoor
1/31/87 Madama Butterfly Rajewska, Lanzilotti; Consiglio, Cossa; c: Coppola
3/14/87 Le Nozze di Figaro
4/25/87 La Boheme
5/9/87 Gala
Paper Mill Playhouse, R. Johanson, Art.Dir., Milburn
9/17-10/26/86 Damn Yankees 48 pfs.
11/5-12/14/86 Barnum 48 pfs.
5/20-6/28/87 Naughty Marietta 48 pfs.
Paper Mill Playhouse Children's Series, Milburn
l/Um,12m/86 Hansel and Gretel & Goldilocks Yates Musical Theatre
10/25m,26m/86 Little Red Riding Hood & The Three Pigs Gingerbread Players and
Jack
ll/15m,16m/86 The Frog Prince Gingerbread Players and Jack
ll/28m/86 Babes in Toyland 2 pfs.; Theatreworks USA
12/13m,14m/86 A Christmas Carol Yates Musical Theatre
-97-
1986-87 SEASON
NEW MEXICO
Albuquerque Civic Light Opera, B. Diltelsky, Exec.Dir., Albuquerque
9/6-21/86 Shenandoah 8 pfs.
12/25/86-1/3/87 Oliver 10 pfs.
Santa Fe Opera, J. Crosby, Gen.Dir., Santa Fe
7/1,4,10,15,24 8/3,6,10,13,18,25,29/87 Madama Butterfly
7/3,8,11,17 8/4,11,19,26,28/87 Le Nozze di Figaro
7/18,22,31 8/8,12,21/87 Handel's Ariodante
7/25,29 8/7,15,20,27/87 Strauss's Die schweigsame Frau
8/1,5,14,22/87 Shostakovich's The Nose Eng. Puffer
NEW YORK
Chautauqua Opera Company, C. Auerbach, Art.Dir., Chautauqua
7/10,13/87 Romeo et Juliette Eng.
7/17,20/87 A Midsummer Night's Dream
7/24,27 8/7,10/87 Kiss Me, Kate
8/14,17/87 Falstaff Eng.
Empire State Performing Arts Center, P. Snyder, Prod.Dir., Albany
5/15-30/87 Buck/Ruthman's Aladdin
GeVa Theatre, Rochester
9/86 Pump Boys and Dinettes
Glimmerglass Opera Theatre, P. Kellogg, Gen.Mgr., Cooperstown
6/27/87 Gala Opening Concert of Alice Busch Opera Theater; von Stade; Titus, etc.
6/28,30 7/2,5,7,10,12/87 Eugene Onegin Eng.
7/23,25,27,28,31 8/2,4,6/87 The Pirates of Penzance
8/21,23,25,27,30 9/1/87 Britten's A Midsummer Night's Dream
Heritage Artists Ltd., Cohoes
11/86 Strider
11/27-12/21/86 Little Shop of Horrors
1/15-2/8/87 I'm Getting My Act Together and Taking It on the Road
Ithaca College, Opera/Music Theater Wksp., R. Montgomery, Cond., Ithaca
11/20/86 Scenes
2/10-14/87 Cosi fan tutte Eng. Martin
4/21-25/87 S. Wilson's The Boy Friend
Ithaca Opera, G. Race, Art.Dir., Ithaca
10/17,18,25,26m,26/86 A Little Night Music
12/86 Hansel and Gretel Eng. Race; tour
5/1,2/87 Die lustigen Weiber von Windsor Eng. Blatt
Shattuck/Nye Productions, Civic Center, Syracuse
11/24,25/86 Joseph and the Amazing Technicolor Dreamcoat
Studio Arena Theatre, Buffalo
12/12/86-1/11/87 Quilters
2/25-3/28/87 A Little Night Music
SUNY-Potsdam, Crane Opera/Music Theatre, L. Vaccariello, Coord., Potsdam
Fall '86 Scenes
3/19-22/87 Guys and Dolls
Syracuse Opera, R. Driver, Gen. & Art.Dir. (see also Vol.27, No.2)
4/10,12m/87 Ariadne auf Naxos E. Davis, Nail; Sylvester, Orth; c: Caraher; d: Driver
Syracuse Stage, Syracuse
10/7-11/2/86 Little Shop of Horrors
Syracuse Talent Company, Civic Theater, Syracuse
10/17,18,23,24,25/86 A Funny Thing Happened on the Way to the Forum
NEW YORK CITY
After Dinner Opera, R. Flusser, Dir., Bruno Walter Audit., Lincoln Center
ll/2m,3m/86 Wigglesworth/Gorey's The Willowdale Handcar & Ching's Leo & Barab's
The Ruined Maid c: Strasser; ds: Gorey
12/lm/86 Barab's Father of the Child c: Strasser
l/13m,14m/87 Fair Means or Foul at BAM
1/20-30/87 Scenes, tour to 8 schools
2/7m/87 Rorem's War Scenes & Bingham's Gift of the Magi & Haufrecht's A Pot of
Broth at Queensborough Community College; 2/9m at Lincoln Center
2/10/87 Haufrecht's Soup to Nuts at Lehman College
2/14/87 Barab's Predators in New Brunswick, NJ
-98-
1986-87 SEASON
AMAS Repertory Theatre, R. LeNoire, Art.Dir.
10/23-11/16/86 Goldstein/Baker/Stein's Hot Sake...with a Pinch of Salt prem.
1/17,18 6/28,28/87 Eubie Blake Children's Theatre productions TBA
2/12-3/5/87 Mark/Simon's Dazy
4/9-5/3/87 Brandon/Shiomi's Prime Time
6/9/87 Workshop TBA
American Jewish Theatre, 92nd Street YMHA
5/9-6/21/87 Seltzer/Darion's The Megillah
American Place & New Federal Theatres, W. Handman/W. King, Prods., American Place
Theatre
10-11/86 Smith's Williams and Walker tour to NY, NJ, PA
Anonym us, C. Bernatchez, Dir., Greenwich House
11/14/86 de la Halle's Robin et Marion adapt. P. Echols; c: Bernatches; d: Couture/Dube
Apollo Opera Inc., N. Moraitis, Pres., Turtle Bay Music School
2/lm/87 The Phantom of the Opera adapt. V. Herbert songs; prem.
Bel Canto Opera, Marymount College/St. Bartholomew Church*
10/10,ll,17*,18*,19*/86 Massenet's Le Jongleur de Notre Dame, 10/5 in concert,
Greenwich House benefit
1/31 2/8m/87 Fry's Leonora Bird/Steinberg; Christman, Stephens/Halev; c: M. Waldman;
d: S. Heyman; at Fashion Institute Theater
6/20,21/87 Schumann's Genoveva Am. prem.
Black Music Associates, Afro-American Museum
11/9/86 Paul Wilson's Hear I Stand prem.; 2-act opera
Blue Hill Troupe, TOMI, W. 73 Street
11/19-22,23m,23,24m/86 Vitzhum/Sechrist's A Slice of Life prem.
Bronx Arts Ensemble, K. Cooper, Mus. Dir., Riverdale YM-YWHA
12/7/86 Handel's Tirsi, Clori e Fileno Am prem.; cone, pf.; Mongiardo, Bonazzi;
Pincus; c: Cooper
Brooklyn College Opera Theater, R. Barrett, Art.Dir., Levinson Recital Hall, Brooklyn
11/6/86 Street Scene d: Barrett
l/9,10,llm/87 La Cambiale di matrimonio & D. Signor Bruschino w.o., d: Barrett
Carnegie Hall
12/15/86 Gala Reopening Concert, Home, Minelli, Valente; Horowitz, Sinatra, Stern;
New York Philharmonic, c: Mehta/Bernstein
Cathedral of St. John the Divine, 112th Street
11/4/86 Blau/Weiss' Dori prem.; narr: Fairbanks
12/13-21/86 Carmine's Christmas Rappings
Center Stage Community Playhouse, Bronx
11/1-22/86 The Best Little Whorehouse in Texas 8 pfs.
Concert Royal & Baroque Dance Co., J. Richman, Art.Dir., Hunter College Playhouse
9/11,13,14/86 Rameau's Les F8tes d'H6b6 Monoyios, Bourdy; Crook, Thomas, Bleeke,
Pauley, Wilson; c: Richman; d: Jullien; ds: Schneider/Chiment
9/25,27,28/86 Handel's Ariodante Baird, Monoyios, Malafronte, Miller; J. Thomas,
Pauley; c: Richman; d/chor: Turocy; ds: Schneider/Chiment/Rosen
Cooper Opera Works, E. Clark &: P. Stephen, Co-Dirs., Arden Auditorium
10/30 11/1,6,8/86 The Impresario & Haydn's La Cantarina
Creative Time, Brooklyn Bridge Anchorage
9-10/86 Ricci/Maguire's The Memory Theater of Giulio Camillo
Downtown Chamber & Opera Players, M. Stern-Wolfe, Dir., Midtown Y
ll/9m/86 American Composers Salute Children incl. Kleinsinger/Tripp's Tubby the Tuba
at the Circus narr: Clemmons & Scarim's The Owl and the Pussycat prem.; Deak's
Heidi
4/25,26/87 "Notes from the Underground" incl. Facade <5c Finkelstein's Self-Reference
Ensemble for Early Music, F. Renz, Dir., Cathedral of St. John the Divine
11/8/86 Daniel and the Lions
Equity Library Theatre, G. Wojtasik, Mng. & Art.Dir., 103rd St. & Riverside Dr.
11/1-23/86 The Pajama Game
1/8-2/1/87 Take Me Along
Friends of Mozart, Bruno Walter Audit., Lincoln Center
10/9/86 Bastien und Bastienne Eng., conc.pf.
Guggenheim Museum, Fifth Avenue at 89th St.
11/2,3/86 Adams' Nixon in China exepts., demo/lecture
-99-
1986-37 SEASON
Heights Players, Brooklyn
9/27,28 10/10-12,17-19/86 D.J. Bernstein's Aladdin and Company prem.
11/7-23/86 Bells Are Ringing
International Production Associates, R. LoBianco & J. Wheeler, Prods., Tully Hall
9/19 10/5,14-19,24,25,28,31 11/1,7,8,13-16,19-22 12/2,3,6/86 Wilson/Byrne's the CIVIL
warS: The Knee Plays d: Wilson; tour to Cambridge, Los Angeles, Berkeley, Boulder,
Albuquerque, Iowa City, Detroit, Washington, New York City, Burlington VT
International Young People's Series, Davis Hall, 134th St.
1/17,22,23,24,30,31/87 Thomas' Brown Alice prem.; 8 pfs.
Jesse Isador Strauss School, West 70th St.
12/4,7m,10*/86 Belich's Laius and Chrysippus prem. Bush/Schafer*, Shoenfeld/Hirsh*;
Hartness/Ohlsen*, Adams/Rawlings*, Barnum, Hiley; c/d: Belich; ds: Tasso/Wright
cone. pfs.
Jewish Repertory Theatre, R. Avni, Art.Dir., 14th Street YMHA
Fall '87 Gross' Rainbow prem.
Juilliard American Opera Center, D. Lloyd, Dir.
12/10,12,14m/86 Le Nozze di Figaro Eng. Martin; c: Charry; d: R. Levine; ds: Conklin
2/18,20,22m/87 Albert Herring c: Delfs; d: Auerbach; ds: Colavecchia/Gleason
4/24/87 Amelia al ballo Eng. Mead & Tamu Tamu 3 pfs.
La MaMa ETC, E. Stewart, Exec.Prod., 74A East 4th St.
10/1/86 Johnson/Leach's Carmilla, a Vampire Tale at Opera Shop annex
11/15-12/14/86 Hoffman's Etiquette revue; at Opera Shop annex
1/5-3/5/87 Swados/Serban's Trilogy adapt. Euripides
Light Opera of Manhattan, Cherry Lane Theatre/* East Side Playhouse
9/86 Herbert's The Fortune Teller
10/1-12/86 The Vagabond King
11/28/86-1/12/87 Babes in Toyland*
Lincoln Center Theater Company, G. Mosher, Dir., Newhouse Theater
10/14-11/2/86 Taymore/Goldfarb/Goldenthal's The Transposed Heads Puri, Borges;
Burkholder, Utley; d: Taymor; chor: Sappington; ds: Okun/Oditz/Collins/Bertolotto;
American Music Theater Festival prod.
Little Orchestra Society, Dino Anagnost, Mus.Dir., Fisher Hall
12/13/86 Amahl and the Night Visitors 2 pfs.
Lyritas, Trinity School, West 91st St.
11/2/86 Madama Butterfly cone. pf.
Manhattan Opera Association, J. Shannon, Mus.Dir., West 70th St.
12/11/86 Carmen
Manhattan Opera Theatre, A. Charlet, Art.Dir., CAMI Hall
10/23/86 Bizet's Djamileh
Manhattan Opera Workshop, Norman Thomas High School
12/4,6/86 La Boheme
Mannes Camerata, Christ Church, Park & 60th St.
1/2-11/87 Anon. Herod & Slaughter of the Innocents stgd.; 7 pfs.
Mannes College of Music Opera Workshop
12/16/86 Amahl and the Night Visitors cone. pf.
12/18,19,20/86 Opera Scenes
MAP Players, Madison Ave. at 74th St.
11/8-16/86 Anything Goes
Masur Theater, East 90th St.
11/86 Levi/Greenwood's Swan Song prem.; d: T. Tanner
Medicine Show Theatre Ensemble, J. Barbosa & B. Vann, Co-Dirs., West 18th St.
10/9/86 Lobell's Chrysallis: A Streetwise Purgatorio
11/22/86-1/3/87 Porter's Leave It to Me
Michael's Pub, East 55th St.
11/15/86 All Hart revue, open run
Minetta Lane Theater, Bleecker & 4th Sts.
9/7/86 Henry's Angry Housewives open run
E. & D. Mirvish/Brian Macdonald Productions, Inc., New York City Center
1/13-18/87 The Mikado Stratford (Ont.) Festival prod., also tour to Boston, Baltimore,
Detroit and Milwaukee
Monteverdi Opera Guild, Damrosch Park, Lincoln Center
9/14,28m/86 Tosca
12/14m/86 H Barbiere di Siviglia Blessed Sacrament Church
-100-
1986-87 SEASON
Music Theatre Group/Lenox Art Center, L. Austin, Prod.Dir., St. Clement's Church
10/23-11/8/86 Silverman/Foreman's Africanus Instructus tour to Madrid & Paris
11/28/86-1/11/87 Shostakovich/Silverman/Schmidt's Black Sea Follies at Playwrights
Horizons
2/6-4/4/87 Peaslee/Clarke's The Hunger Artist prem.; ds: Israel
6/9-20/87 van Tigen/Rice's The Vendler Television Playhouse prem.
Musica Sacra, R. Westenburg, Mus.Dir., Avery Fisher Hall
2/7/87 Carmina burana & Persichetti Mass at Central Presbyterian Church
Musical Theatre Works, A. Stimac, Exec.Dir.
9/15-10/3/86 Clifton/Treyz's Romantic Detachment prem.
11/10-12/6/86 Siegal/Joseph's 212
Negro Ensemble Company
1986-87 Hemphill/Harrison's Anchor Man prem.
New Community Players, Municipal Hospital Theater, Bronx
10/31-11/15/86 Promises, Promises 8 pfs.
11/8-21/86 The Best Little Whorehouse in Texas
New York Choral Society, R. DeCormier, Dir., Carnegie Hall
2/28/87 Concert incl. Carmina burana
New York City Opera, Musical Comedy Season, B. Sills, Gen.Oir., Lincoln Center
2/27-4/26/87 South Pacific* 68 pfs., Bigelow/Mitzman, Costa-Greenspon/Saviola;
White/Groenendaal, Roberts, Diaz/Wexler; c: Gemignani; d: Freedman; ds: Heeley
New York Gilbert & Sullivan Players, A. Bergeret, Art.Dir. <5c Gen.Mgr., Symphony Space
12/26,27m,27,28m,29,30,31m/86 l/2,3m,3,4m/87 Patience d: Reed; 1/10 at Palace Theater,
Stamford, CT
1/17/87 Ruddigore cone. pf. at CAMI Hall
1/27/87 Gala Benefit Concert
4/3-12/87 The Sorcerer & Trial by Jury 4/25 at Palace Theater, CT
4/87 Ruddigore, 4/25 at Palace Theater, Stamford, CT
6/87 H.M.S. Pinafore, 6/13 at Palace Theater, Stamford, CT
New York New Music Ensemble, Columbia University Chapel
11/21/86 Concert incl. Davies' Le Jongleur de Notre Dame Horace Mann School
Orchestra; c: Bloch; d: Ostwald
New York Opera Repertory Theater, N. Rhodes, Art.Dir., Merkin Concert Hall
9/21/86 Scenes from The Mother of Us All at Virgil Thomson's Birthday Concert
10/1/86 Masteroff/Thomas' Desire Under the Elms & Overmeyer/Trefousse's The
Heliotrope Bouquet wksp. pfs.
New York Shakespeare Festival, J. Papp, Dir., Astor Place
2/12/87 Bicat/Rose-Price/Hare's The Knife prem.; Mastrantonio; Patinkin; open run
New York University, Music Theatre Program
11/7-27/86 Pippin
New York University Reimann Opera Studio, S. Palestrant, Admin.
6/87 Barab's A Piece of String
Opera at the Academy/New York Shakespeare Festival, E. Fraad/J. Papp, Dirs., 425
Lafayette St.
1/5,6,15,17/87 Die Zauberflote* Eng. Fraad/Schorske; c: O'Riley; d: Fraad; scored for
electronic instruments
Opera Ebony/New York, B. Matthews, Art.Dir., Davis Hall, 134th St., CCNY
ll/9m/86 "Heritage: Heroes and Heroines" concert for American Music Week. incl.
exepts. from Moore's Frederick Douglass, Capers' In Praise of Freedom, Edwards'
Harriet Tubman, Still's Troubled Island, Fax's 'Til Victory is Won, Coleridge-Taylor's
Hiawatha's Wedding Feast
Opera Ensemble of New York, J. Sheehan, Exec.Dir., Lillie Blake School
11/12,14,16m,19,21,23m,26,28,30m/86 Four Saints in Three Acts c: Dunkel; d: Sheehan;
ds: Ter Arutunian; chor: Tello
3/4,6,8,11,13,15/87 Offenbach/White's Christopher Columbus; 1/25 preview
Opera Stage, Holy Name School, Amsterdam Ave. & 96th St.
9/14,18,21m,25,28m 10/2/86 Faust
Opera Uptown, R. Rubinson, Dir., Minor Latham Playhouse, Columbia University
11/2-9/86 Weidberg/Nier's The Muse of Eloquence <5c Valinsky/Sehubert/Bauer's Skit Night
on Mt.Fuji prems., 2 cone. pfs.
Pace Productions & Adonai Arts Foundation, St. Stephens Church, West 69th St.
9/29-10/11/86 Tierney/Drachman's Narnia, the Musical Am. prem.
-101-
1986-87 SEASON
Pavilion Opera, London group's tour NY & CT
10/17,18,20,21,23,24/86 Co& fan tutte; Don Pasquale
Piccolo Teatro delTOpera, B. Elliott, Gen. Dir., Brooklyn
12/10m,llm,12m/86 Amahl and the Night Visitors Brooklyn Philharmonic; e: Leon; 8 pfs.
Regina Opera, A. Polakoff, Art.Consult., Brooklyn
9/28 11/2/86 4/5 5/3/87 Concerts
11/29,30m 12/6,7m/86 n Barbiere di Sivigilia c: Guzman; d: Cantoni
3/7,8,14,15/87 L'Elisir d'amore
6/6,7,13,14/87 Manon Lescaut
Repertorio Espaftol, R. Buch, Exec.Dir., Gramercy Arts Theatre
9/18,24,25,27,28m 10/12m,18,25 ll/8,23m/86 Habana: A Musical Anthology
9/21m/86 Torroba's Luisa Fernanda
Richmond Theater Collection, Staten Island
ll/2m,7,8,9m/86 Princess Ida
Riverwest, Bank Street
10/30-11/23/86 Evans/Russell/Kelly's Pageant
Roundabout Theater, E. 17 St.
11/6/86 Larson/Rubins' Brownstone
Rutgers Church/Broadway Tomorrow, West 73rd St.
4/26/87 Mulhare's O.T. cone, pf.; Levine; Honnick, Bettelheim; c: Mulhare
Second Avenue Theater, 189 Second Avenue
11/86 Gallagher's Have I Got a Girl for You (The Frankenstein Musical)
Singers Forum Foundation, A. Anselmo & J. Harris, Dirs., 137 Fifth Ave.
9/21/86 Scenes
12/12-14,19,20/86 Barab's I Can't Stand Wagner prem.; Bosco; Harris, Murphy; c:
Besser; d: Barab
Studio 608, East 14th St.
9-10/26/86 Porter's Easy to Love
Theatreworks/USA, C. Hill, Mgr., Promenade Theater
10/18-11/9/86 When the Cookie Crumbles You Can Still Pick Up the Pieces, tour
10/86-5/87
12/6-14/86 Allen's Lady Liberty Raposo
12/21-31/86 Flaherty/Ahren's Emperor's New Clothes
1/10-18/87 Strouse/Lee's Martin Luther King Jr.
1/24-2/1/87 Cummins/Woodward's Sherlock Holmes and the Red-Headed League
2/14-22/87 Cummins/Forster's Right In Your Own Back Yard
Spring '87 Lebeaux/Sumlyan's Louis Braille
1986-87 tour Babes in Toyland
Turtle Bay Music School, P. Heuermann & R. Wallace, Dirs.
1/87 Barber's A Hand of Bridge & The Old Maid and the Thief
Spring '87 The Magic Flute
Village Light Opera Group, R.W. Noll, Mus.Dir., Fashion Institute Theater
12/6,7m,ll,12,13,14m/86 The Pirates of Penzance
4/18,19m,23,24,25,26m/87 The Music Man
Vineyard Theatre, J. LoSchiavo, Dir. of Opera, B. Zinn Krieger, Dir. of Music Theater,
West 26th St.
12/86 The Magic Flute abrgd.
3/87 Sarti's I Due Litiganti Am. prem.
5/87 Penn/Hilton's Songs on a Shipwrecked Sofa prem.
Washington Music Ensemble, A. Mandel, Art.Dir., for International Year of Canadian Music,
Merkin Hall
10/6/86 Concert incl. Schafer's La Testa d'Ariane Kirkpatrick
Westside Arts Center, Susan Bloch Theater, W. 26 St.
10/5/86 Sereda/Weiss' Sex Tips for Modern Girls Am.prem., open run
Whitney Museum at Philip Morris, Park Avenue
11/12/86 Carlo/Butler's It's Still Life
WNET, New York, Local telecast
12/15/36 Benjamin Britten—A Time There Was
12/29/86 Curlew River Southwestern University Chorale prod., taped 2/20/85
WNET/PBS, Live from Lincoln Center, National telecast
11/12/86 Candide Mills, Golden, Costa-Greenspon; Eisler, Lankston, Billings; c:
Bergeson; d: Prince; ds: Dunham/Dolan; New York City Opera prod.
-102-
1986-87 SEASON
WNET/PBS, Great Performances, National telecast
11/21/86 Gian Carlo Menotti: The Musical Magician
11/28/86 Menotti's Goya Huffstodt, Vergara; Domingo; c: Friihbeck de Burgos; d:
Menotti; ds: Grossi; Washington Opera prod., taped 11/86
12/26,28/86 Hansel und Gretel Gruberova\ Fassbander, Dernesch, Jurinac; Prey; Vienna
Philharmonic, e: Solti; d: Everding; Unitel prod. (1981)
1/23/87 Otello Freni; Vickers, Glossop; c/d: von Karajan; Berlin Philharmonic/Salzburg
prod. (1974 film)
WNET/PBS, Live from the Met, National telecast
12/31/86 Die Fledermaus Te Kanawa, Blegen, Troyanos; Rendell, H&gegard, Mazura; c:
Tate; d: Schenk; ds: Sehneider-Siemssen/Hall
4/1/87 Carmen Baltsa, Befia5kov6; Carreras, Ramey; c: Levine; d: Hall; ds: Bury
(to be taped 2/24,28)
5/6/87 Dialogues des Carmelites Ewing, Norman, Crespin, Norden, Quivar; Kuebler,
Courtney; c: Rosenthal; d: Dexter; ds: Reppa/Greenwood (to be taped 3/27/87)
TBA Gala (Lucia di Lammermoor, scenes; Rigoletto, Act 3; La Traviata, Act 3)
Sutherland; Pavarotti, Nucci; c: Bonynge (taped 1/11)
"Y" Chamber Symphony and Chorale, A.Kaiser, Art.Dir.
11/29/86 Purcell's The Faery Queen cone, pf.; Eriekson, Jones; Gall, Britton, Parce; Y
Chamber Chorale; c: Schwarz
York Theatre Company, J. Walker, Prod./Art.Dir., Church of the Heavenly Rest/Murphy
Center
1/16-2/7/87 Sondheim's Marry Me a Little
3/20/87 Jones' Philemon
5/21/87 Dixon's Shylock prem.
NORTH CAROLINA
East Carolina University Opera Theater, C. Hiss, Dir., Greenville
10/17,18/86 Scenes
2/20-23/87 Le Nozze di Figaro
University of North Carolina Opera Theater, A. Knutsen, Dir., Greensboro
10/86 A Chorus Line
10/31/86 Gluck's Le Cinesi Eng. Knutsen
11/18/86 Scenes
4/3,4,5/87 TBA
NORTH DAKOTA
North Dakota State University Opera Theatre, R. Olson, Dir., Fargo
10/86 Cabaret
11/86 Scenes
4/87 The Medium
OHIO
Baldwin-Wallace College Conservatory, S. Ginn-Paster, Dir.Opera, Berea
2/87 The Threepenny Opera
Cincinnati May Festival, Cincinnati
5/87 Otello cone, pf.; McCracken; c: Conlon
Cincinnati Opera's ECCO!, S. Rapp, Coord., educational tour
10/86-5/87 Little Red Riding Hood; The Telephone; Opera Scenes; Concerts
12/86-1/87 Hansel and Gretel; 12/13m,14m in Cincinnati; 12/15m signed pf. at St. Rita's
School
1-5/87 Slow Dusk
1/87 3-5/87 The Barber of Seville Eng. abrdg.
2-4/87 Madama Butterfly Eng.
Cincinnati Playhouse in the Park, Cincinnati
11/9-12/14/86 Little Shop of Horrors
Cleveland Institute of Music Opera Theater, A. Foldi, Dir., Cleveland
11/22,23m/86 Scenes
12/14m/86 Concert incl. The Tender Land exepts.
4/8,10,12m/87 Falstaff c: Topilow; d: Foldi
Cleveland Institute of Music Symphony Orchestra, C. Topilow, Mus.Dir., Cleveland
10/22/86 Concert incl. Porgy and Bess exepts.; Jackson; Henry
Cleveland Play House, A. Milano, Mng.Dir., Cleveland
1/6-2/8/87 The 1940's Radio Hour
3/17-4/24/87 Chapin/Key & Treyz's Cotton Patch Gospel
-103-
1986-87 SEASON
Dana School of Music Opera Workshop, D. Vogel, Dir., Youngstown State University,
Youngstown
5/21-24/87 The Mikado
Findlay College Musical Theatre, M. Anders, Dir., Findlay
2/18-22/87 The King and I
Lyric Opera Cleveland, Al Fresco Festival, M. McConnell, Exec. & Art.Dir., Cleveland
7/9,11,16,18/87 Cos"l fan tutte Eng. Martin
7/30 8/1,6,8/87 Baker's Haydn's Head prem. & The Medium
Ohio State University Opera/Music Theater, R. Stephens, Dir., Columbus
10/23-26/86 Oklahoma!
1/29,31/87 The Consul
2/87 Scenes
5/7,9/87 Cosi fan tutte Eng. Martin
Ohio University Opera Theater, E. Payne, Dir., Athens
1/23,24/87 Carmen Eng. Martin
Opera/Columbus, M. Harrison, Gen.Dir., Columbus (see also Vol.27, No.2)
12/15111,1701,1801,18,19111,19,20111,20,21/86 Babes in Toyland
Otterbein College Opera Theatre, M. Achter, Art.Dir., Westerville
2/26-28/87 La Serva padrona & The Telephone & La Traviata Act I
Players Theatre, Columbus
12/11-13,18-21/86 Rowe/Graczyk's A Country Christmas Carol
2/5-8,12-15,19-22,26-28/87 Harrigan 'n Hart
Pro Musica Chamber Orchestra, Columbus
3/24/87 Orfeo ed Euridice Mills; conc.pf.
University of Akron Opera Theatre, A. Anderson, Dir., Akron
10/29,30 11/1/86 The Bartered Bride
11/10-20/86 4/10,11/87 Scenes
3/10,12,13/87 L'Elisir d'amore
University of Toledo Opera Theater, T. East, Dir., Toledo
11/8/86 Burnham's Nitecap
OKLAHOMA
American Theatre Company, K. Roberts, Art.Dir., Tulsa
10/3-18/86 Little Shop of Horrors
1/5-27/87 The 1940's Radio Hour
CAVU Music Theatre Presentations, Gestalt productions, Phoenix Theater, Tulsa
11/7,8/86 Rebel in the Soul w. Aurora Ensemble
Oklahoma Christian College Opera Workshop, W.S. Smith, Dir., Oklahoma City
4/3,4/87 Suor Angelica <5c Gianni Schicchi
Oklahoma City University Opera & Music Theatre Company, C. Osterhaus, Dir.
10/10-12/86 Dido and Aeneas & The Secret of Susanna
11/21-23/86 Little Shop of Horrors
2/13-15/87 Manon Eng.
4/10-12/87 Annie Get Your Gun
Oklahoma State University Opera Theatre, S. van Eaton, Dir., Stillwater
10/30/86 flutter's The Reluctant Dragon & Smith's The Shepherdess and the Chimney
Sweep
Southwestern Oklahoma State University Department of Music & Drama, C. Chapman, Dir.,
Weatherford
4/87 Le Nozze di Figaro
Tulsa Philharmonic, B. Rubenstein, Mus.Dir., Tulsa
11/20/86 Previn/Stoppard's Every Good Boy Deserves Favour Mermaid Theatre version;
c: Rubenstein
University of Tulsa Theater Department, Tulsa
2/13-21/87 Sweeney Todd
OREGON
Musical Theatre Company, Portland
Fall '86 The Fantasticks
4/17-5/14/87 The Mikado Hager/Rocha-Kaufman/Baumgarten/Wong prod.
Oregon Shakespeare Festival, Ashland
9/4-10/30/86 The Threepenny Opera
Portland Opera, R. Bailey, Gen.Dir., Portland (see also Vol.27, No.2)
4/15-19/87 Porgy and Bess shared prod.; 6 pfs. (replaces The Magic Flute)
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1986-87 SEASON
Rogue Valley Opera, P. Bayles, Gen./Mus.Dir., Ashland
9/19,20,21,27/86 Carmen
12/15-19/86 Hansel and Gretel
PENNSYLVANIA
Academy of Vocal Arts Opera Theater, D. Yannopoulos, Dir., Philadelphia
ll/16m,28,19,22/86 II Barbiere di Siviglia c: Macatsoris; d: Kugler
12/6m,13m,20/86 The Toy Shop 6 pfs.
2/3,4,6,7/87 Die Dreigroschenoper c: Macatsoris; d: Yannopoulos
3/17,18,20,21/87 Don Pasquale d: Yannopoulos
5/2,4/87 Don Giovanni c: Macatsoris; d: Yannopoulos; at Walnut St. Theater
American Music Theatre Festival, M. Samoff, Prod.Dir., Prince Theater, Philadelphia (see
also Vol.27, No.2)
10/2,3,4m,4,5/86 Akalaitis/Gibson's Voyage of the Beagle 10/1 preview
10/10,llm,ll,12m/86 Salzman/Sahl's Stauf 10/8,9 previews
Berks Grand Opera, A. Jurkiewicz, Art.Dir., Reading
11/8/86 La Traviata Broido; Nelson, Ottey; c: Jurkiewicz; d: Guido
4/25/87 Die Fledermaus Eng.; c: Jurkiewicz; d: Guido
Bloomsburg University Music Theatre Productions, W. Decker & C. Reifspeck, Dirs.,
Bloomsburg
2/18,19,20,21/87 A Funny Thing Happened on the Way to the Forum
7/29-8/1/87 TBA
Curtis Institute of Music, Opera Dept., I. Strasfogel, Mus.Dir., Philadelphia
1986-87 The Magic Flute; L'Elisir d'amore; The Rake's Progress
Fulton Opera House, K. Collins, Art.Dir., Lancaster
Summer '87 Guys and Dolls
Independent Eye, C. Bishop, Art.Dir., Lancaster
11/6-30/86 Jacques Brel is Alive and Well and Living in Paris
Lafayette College, Music & Theater Depts., Easton
11/5/86 The Threepenny Opera c: Melin; d: Mrochinski
Muhlenberg College Opera Wksp., J. Slavin, Art.Dir., Allentown
12/18-21/86 Amahl and the Night Visitors Lehigh Valley Chamber Orch.
Opera Company of Philadelphia, M.A. Everitt, Gen.Dir., Philadelphia (see also Vol.27, No.2)
4/27 5/1/87 Romeo et Juliette Soviero, Velta; Kraus, Mattsey, Rouleau, Corbeil; c:
Baudo; d: Uzan (replaces Mefistofele—postponed to 1987-88 season)
Opera North (form. Opera Ebony/Philadelphia), M. Poindexter, Mgr., Philadelphia
6/4,6/87 Aida Eng.; J. Simpson, Mayes; G. Hopkins, Arnold, Gooding; c: E. Lee; at
Academy of Music
10/19/86 The Impresario
11/9 12/12m/86 Concerts
Pennsylvania Stage Company, D. Fallon, Gen.Mgr., Allentown
11/19-12/14/86 Dames at Sea
People's Light and Theatre Company, G. Rowe, Gen.Mgr., Malvern
10/30-11/21/86 Eckman/Adam's Bad Cats tour to schools
Philadelphia Orchestra, R. Muti, Mus.Dir., Philadelphia
10/8,9,11,14/86 Der fliegende Hollander Hass; Lakes, Welker, Haugland, M. Myers;
Westminster Choir; c: Muti; cone.pfs.
Pittsburgh Public Theater, L. Arrick, Art.Dir., Pittsburgh
11/11-12/21/86 She Loves Me
Pittsburgh Symphony Orchestra, L. Maazel, M us.Dir., Pittsburgh
11/86 La Damnation de Faust Kath. Ciesinski; Hadley, Kavrakos; c: Dutoit; the
Mendelssohn Choir of Pittsburgh; also in Dallas & 11/23 in Fisher Hall, NYC
Society Hill Playhouse, J. <5c D. Kogan, Dirs., Philadelphia
10-12/86 Goggin's. Nunsense
4/7-6/20/87 Crystal/Sandrow's Kuni-Leml
University of Pittsburgh Opera Workshop, C. Pinza, Dir., Pittsburgh
1/30 2/1/87 Don Giovanni Eng. Porter
Villanova University, Music & Theatre Depts., Philadelphia
4/1-26/87 Sweeney Todd
Walnut Street Theatre Company, B. Havard, Exec.Dir., Philadelphia
12/12/86-1/4/87 A Little Night Music
3/7-4/4/87 Tintypes
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1986-87 SEASON
RHODE ISLAND
Opera Rhode Island, M. Robbins, Gen.Mgr., Providence
10/2,5/86 Cosft fan tutte Eng. Robbins
12/21/86 Amahl and the Night Visitors <5c The Unicorn in the Garden 2 pfs.
Spring '87 TBA
SOUTH CAROLINA
Bob Jones University Opera Theater, D. Gustafson, Mus.Dir., Greenville
3/24,26,28/87 Aida
Camden Community Theatre, Camden
2/12-15/87 Godspell
4/22,24,26/87 Man of La Mancha
Easley Community Theatre, Foothills Mall, Greenville
4/30 5/1-3,7-10,14-17/87 Godspell
Greenville Savoyards, Greenville
11/1,6,7/86 The Sorcerer
3/20,21,27,28/87 Herbert's The Fortune Teller
Spoleto Festival USA, G.C. Menotti, Art.Dir., Charleston (5/22-6/7/87)
5/22,25,29 6/4/87 Salome Ikonomou, M.Dunn; c: Argiris; at Gaillard Municipal Aud.
5/24,27,30 6/1,3,5/87 Rameau's Platee Am. prof, prem.; d/ds: Pascoe; at Dock Street
Theatre
University of South Carolina Opera Theater, D. Gray, Dir., Columbia
10/23,24,26/86 La Boheme Eng.
1/29,30,31/87 The Gondoliers
SOUTH DAKOTA
Northern State College Opera Workshop, D. Yoss, Aberdeen
11/5-8/86 Grease at Johnson Fine Arts Center
2/1/87 Scenes
TENNESSEE
Memphis State University Opera Theatre, T. Machen, Dir., Memphis
11/23,25,26/86 Cosi fan tutte Eng. Porter
Memphis State University Theater & Music Depts., R. Cannon, Dir., Memphis
10/16,17/86 Previn/Stoppard's Every Good Boy Deserves Favour Mermaid Theatre
version
Middle Tennessee State University Opera Wksp., C. Isley, Dir., Murfreesboro
11/86 Scenes
2/20/87 The Impresario Eng. D. Previn
4/24/87 n Tabarro
Nashville Opera, M. Ragland, Pres., Nashville
4/23,24m*,25,27m*,27,28m,29m*/87 La Boheme *student pfs.; c: R. Buckley
Playhouse on the Square/Circuit Playhouse*, J. Nichols, Exec.Prod., Memphis
8/14-9/14/86 Chapin's Cotton Patch Gospel*
9/5-10/11/86 A Chorus Line
11/21-12/28/86 Charlap/Leigh's Peter Pan
2/19-3/22/87 Quilters*
4/17-5/17/87 Nine
Southern Opera Theater, R. Driver, Gen. & Art.Dir., Memphis
1986-87 tour: "A Tale of Two Figaros" (Rossini & Mozart)
University of Tennessee Opera Theatre, D. Pennebaker, Dir., Chattanooga
11/25/86 Le Nozze di Figaro excpts.
1/28,29,30/87 The Toy Shop
TEXAS
Baylor University Opera Theater, D. Scott, Dir., Waco
10/30,31/86 Dido and Aeneas
2/26,27,28 3/1/87 La Boheme
4/23/87 Scenes
Dallas Opera Puppet Theater, Dallas
1/26/87 Rodriguez's Monkey See, Monkey Do prem.
Hardin Simmons University Opera Theatre, J. Middleton, Dir., Abilene
12/86 The Gondoliers
4/87 Die Zauberflote Eng. Martin
Houston Baptist University Opera Theatre, R. Collins, Dir., Houston
11/7,8/86 Benjamin's The Devil Take Her; also tour
4/24,25/87 Le Nozze di Figaro
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1986-87 SEASON
Lamar University Opera Theater, J. Truncale, Dir., Beaumont
3/87 La Boheme
Lyric Opera of Dallas, J. Burrows, Art.Dir., Dallas
10/10,11/86 Rodriguez's The Ransom of Red Chief prem.; d: Luchsinger
6-7/87 Carmen; Orpheus in the Underworld Eng. Dunne; The Pirates of Penzance
McLennan Community College Opera Workshop, L. Uhl, Dir., Waco
4/87 Trial by Jury
New Arts Theatre, Dallas
3/5-4/5/87 El Grande de Coca Cola
North Texas State University Opera Theatre, D. Wakeling, Dir., Denton
11/6,8,9/86 Orpheus in the Underworld
Southern Methodist University Opera Theatre, S. Sargon, Dir., Dallas
11/21,22/86 Albert Herring
4/30/87 Scenes
Stage West, Fort Worth
12/30/86-1/31/87 Perfectly Frank revue w. Loesser's music
8/19-9/19/87 Cabaret
Stages Repertory Theater, T. Swindley, Art.Dir., Houston
3/28/87 Hair
5/23/87 Sondheim/Lueas/Rene's Marry Me a Little
8/29/87 Sondheim's Merrily We Roll Along
Texas Panhandle Heritage Foundation, Palo Duro Canyon/Canyon
6/10-8/22/87 Texas A Musical Drama, daily except Sunday
Theatre Three, N. Young, Art.Dir., Dallas
10/25-11/29/86 A Little Night Music
1/24-3/7/87 Peaslee/Hall's Animal Farm
Theatre Under the Stars, V. Flynn, Gen.Mgr., Houston
10/14-26/86 The Desert Song
12/14-28/86 Peter Pan
2/17-3/1/87 My Fair Lady
3/31-4/12/87 Sondheim's Follies
5/12-24/87 Evita
7/87 TBA
UTAH
Brigham Young University Opera, C. Robison, Art.Dir., Provo
11/6,7,8/86 Albert Herring
2/19,21,24,26,28/87 La Boheme Eng. Pearlman
6/17,18,19,20/87 H.M.S. Pinafore
Pioneer Memorial Theatre, C. Morey, Art.Dir., Salt Lake City
9/24-10/11/86 Kiss Me, Kate
VERMONT
Brattleboro Music Center Opera Theatre, C. Stockman, Admin.Dir., Brattleboro
12/31/86 1/1,2/87 Die Fledermaus
5/16,17/87 Handel opera excpts.
Friends of Music at Guilford, River Valley Playhouse, Putney
11/6,7,8,13,14,15/86 Weill's Johnny Johnson
Lamoille County Players, Hyde Park
9/25/86 The Sound of Music
Opera North, L. Burkot, Art.Dir., Norwich
9/6,7,9,12/86 Le Nozze di Figaro Eng. Martin
1/3,4,5/87 Amahl and the Night Visitors
6/87 Brigadoon
Vermont Opera Theater, Barre
9/26,27 10/3,4/86 The Barber of Seville Eng. Martin
VIRGINIA
James Madison University Opera Theatre, J. Little, Dir., Harrisonburg
11/7,8/86 Cavalleria rusticana Eng. Dole/Little & Offenbach's Le Manage aux
lanternes Eng. Reed
2/13,14/87 TBA
Opera Theatre of Northern Virginia, J. Niles, Art.Dir., Arlington
12/6/86 Mozart's L'Oca del Cairo Eng. adapt. Niles
3/lm/87 Herbert's Sweethearts cone. pf.
4/10,12m/87 The Consul
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1986-87 SEASON
Theatre IV, B. Miller, Art.Dir., Richmond
10-11/86 tour: Skloff/Krane/Kauffman's Rapunzel; Gierseh/Bliss/Miller's Runners
10/16-11/16/86 Giersch/Miller's Young Tom Jefferson
12/1-21/86 Giersch/Miller's 'Twas the Night Before Christmas
1/15-3/8/87 Barnett/Jones' Puss 'n Boots
1/30-5/10/87 Giersch/Bliss/Miller's Hugs and Kisses
3/19-5/10/87 Giersch/Flannagan's The Little Red Hen
4/24-5/17/87 Where's Charley?
Theatre Virginia, T. Burgler, Art.Dir., Richmond
9/24-10/18/86 West Side Story
WASHINGTON
A Contemporary Theatre, G.A. Falls, Prod.Dir., Seattle
9/22,29 10/6/86 Carlson/Sander's Duffy Bishop and the Rhythm Dogs
10/19-23/86 Little Shop of Horrors
12/2-28/86 MacDougall/Fall's A Christmas Carol
Group Theatre Company, R. Sierra, Art.Dir., Seattle
10/6-11/2/86 Swados/Trudeau's Rap Master Ronnie
Seattle Opera, S. Jenkins, Gen.Dir., Seattle (see also Vol.27, No.2)
8/2-7,10-15/87 Der Ring des Nibelungenf c: Michael; d: Rochaix; ds: Israel
8/2,10/87 Das Rheingoldt A. Hughes; Belcourt, Roloff, Patrick
8/3,11/87 Die Walkiiret Plech, Kelm, A. Hughes; Busse, Roloff, Andrasy
8/5,13/87 Siegfriedt Kelm; T. Kramer, Delamboye, Roloff
8/7,15/87 Gotterdammerungt Kelm, Kesling, Curry; T. Kramer, Del Carlo, Andrasy
8/14/87 Thomas Stewart in Recital at Wright Theater
Spokane Symphony Orchestra, B. Ferden, Mus.Dir., Spokane
11/7/86 Faust c: Ferden; d: Tavernia
Tacoma-Pierce County Opera, H. Wolf, Art.Dir., Tacoma
3/27 4/5/87 The Bartered Bride Eng.
University of Washington Opera Theatre, R. Feist, Mus.Dir., Seattle
11/13-16/86 A Midsummer Night's Dream 4 pfs.
12/15/86 3/16 5/9/87 Scenes
2/24-3/14/87 The Pirates of Penzance 17 pfs.
5/14-17/87 Die Fledermaus Eng. Csonka/Theslof 4 pfs.
Uptown Opera Company of Spokane, M. Halvorson, Art.Dir., Spokane
11/13,14,15,16 12/29,30/86 Bach's The Coffee Cantata & Tanner's The Kona Coffee
Cantata; c: Miyamota; d: Halvorson/Ogdon
WEST VIRGINIA
Lilliput Orchestra, Inc., D. Riggio, Gen.Mgr., Charleston
11/8,10,17,25/86 Coi& fan tutte Eng.
1/26/87 TBA
Old Opera House, H. Rolling, Mng.Dir., Charles Town
10/2-5/86 Fiddler on the Roof
12/5-7,12,13/86 A Christmas Carol
Parkersburg Actors Guild, Parkersburg
11/21-23 12/5-7,12,13/86 The King and I
West Virginia University Theatre Division & Music Dept., Morgantown
10/30,31 11/1,4-8/86 Bodoni County Songbook Anthology prem.
12/14/86 Amahl and the Night Visitors
West Virginia University Music Theater, Morgantown
10/13/86 Jesus Christ Superstar
WISCONSIN
Lawrence University Opera Theatre, J. Koopman, Dir., Appleton
4/23,24,25/87 Dido and Aeneas
Pamiro Opera Company, M. Pansky, Art. & Mus.Dir., Green Bay
6/5,6/87 L'Elisir d'amore
Theatre X, J. Schneider & F. Coker, Art.Dirs., Milwaukee
10/2-11/2/86 Savick's My Werewolf; also tour 1-3/87
University of Wisconsin Opera Wksp., D. Van Abbema, Dir., Eau Claire
10/13/86 4/27/87 Scenes
12/3,4,5/86 Britten's Paul Bunyan
2/20,21,23,24,26,27/87 The Ballad of Baby Doe
-108-
1986-87 SEASON
University of Wisconsin Opera Theatre, K. Moser, Dir., Madison
11/14,15,21,23/86 Dido and Aeneas & The Medium
12/3/86 4/28/87 Scenes
2/6,7,13,15/87 Eugene Onegin Eng. Lloyd-Jones
3/26,28 4/2,4/87 "Bernstein Bash" revue
WYOMING
University of Wyoming Opera Theater, F. Gersten, Dir., Laramie
1986-87 A Game of Chance tour
3/87 Scenes
CANADA
Alberta Theater Project, Calgary, Alta.
5/17-6/1/87 Sweeney Todd
Banff Centre School of the Arts, Opera Ensemble, M. Bawtree, Art.Dir., Banff, Alta.
1986-87 McNeff/Jones' Killing Time; Hodkinson/Devlin's St. Carmen de la Main prem.
Banff Summer Opera Festival, Banff Centre, Banff, Alta.
7/6-8/14/87 L'Ormindo Eng. Dunn; 4 pfs.; Postcard from Morocco; 3 pfs.
Brandon University Opera Workshop, S. Richardson, Dir., Brandon, Man.
Fall '86 La Voix humaine
1/87 n Segreto di Susanna <5c La Serva padrona
Canada Opera Piccola, P. Alarie & L. Simoneau, Art.Dirs., Vancouver, B.C.
9/3,5,6,8/86 Le Nozze di Figaro c: Vernon; d: Alarie; for Expo '86 Festival
Canadian Opera Ensemble, L. Mansouri, Gen.Dir., Toronto, Ont.
Fall '86 La Cenerentola tour
12/22-28/86 Amahl and the Night Visitors Prata; Canad. Children's Opera Chorus; 10 pfs.
Choeur les Rhapsodes, Sainte-Foy, P.Q.
4/10,11,14/87 Orfeo ed Euridice Savoie, Martel, Dumont; c: Guay; d: Boisvert/Rochette
Les Evenements du neuf, Nouveau Theatre d'Outrement, Montreal, P.Q.
12/9-12/86 Vivier's Kopernikus Vaillancourt, Parent, Coutu; Doane, Ducharme; c:
Vaillancourt; d: Forget
Grant MacEwan College, W. Shookoff, Dir., Edmonton, Alta.
11/86 Chicago
12/86 The Seven Deadly Sins
Lyric Art Theater, Laval, Terrebonne, P.Q.
9/13,14/86 The Count of Luxembourg
McGill University Opera Studio, E. Delia Pergola, Dir., Montreal, P.Q.
12/2/86 Mahagonny Songspiel
12/14/86 1/15/87 Scenes
1/23,24,25/87 n Mondo della luna c: Lawton
Metropolitan Orchestra, Montreal, P.Q.
11/24/86 Concert incl. La Voix humaine P. Vaillancourt; c: J. Vaillancourt
Les Nouvelles Varietes lyriques, Montreal, P.Q.
12/3-6,7m,9-13,14m/86 Orph6e aux enfers Dussault/Toulon, Boky, Beaupr6; Cantin,
LaPlante, Charbonneau; c: Auger *
L'Ope'ra de Montreal/Atelier lyrique, R. Armenian, Mus.Dir., Montreal, P.Q. (see also Vol.
27, No. 2)
10/16 11/21/86 Die Zauberflote
10/24 11/6,7/86 2/27 3/13,27/87 Scenes Programs
12/5/86 Hansel and Gretel d: Uzan
3/87 Le Nozze di Figaro Salle Maison-neuve
4/10/87 Dialogues des Carmelites
1986-87 Lunchtime concerts, Piano Nobile-Place des Arts
Opera de Quebec, G. Belanger, Mus.Dir., Quebec, P.Q.
10/25,28,30 11/1/86 La Fille du regiment Lesperance; Pelletier, Charbonneau; c:
Belanger; d: Alarie
Opera Lyra, National Arts Centre Theatre, Ottawa, Ont.
9/11,13,16,18,20/86 n Barbiere di Siviglia Fraser; Spencer, Massel, Dodington; c:
Hlavacek; d: Major; ds: Girard
5/15,16/87 Werther Graham; Evans, Korjus; c: Hamilton; Opera-in-Concert prod.,
Ottawa Tech H.S.
Opera Theater of Alberta, N. Korris, Adm., Palliser Hotel, Edmonton, Alta.
11/86 Die Fledermaus
3/87 L'Elisir d'amore
-109-
1986-87 SEASON
Operetta House, Montreal, P.Q.
11-12/86 Orph6e aux enfers Beaupre; d: Laplante
Pacific Opera Victoria, T. Vernon, Art.Dir., Victoria, B.C.
9/25,27,29 10/2,4/86 II Trovatore Thomson, Glass; Paglialunga, Opthof; c: Vernon; d:
Carsen; ds: Fellows
2/12,14,16/87 The Magic Flute Eng.; Bogle, Wolf; Serbo, Dodington; c: Vernon; d: Wylde;
ds: Sabiston
ProCoro Canada, Edmonton, Alta.
2/87 Handel's Giulio Cesare Robbin; Fast; c: Gervais
Quebec University Opera Studio, G. B61anger, Dir., Montreal, P.Q.
2/16,17,18,19,20,21,22/87 Dialogues des Carmelites
Shaw Festival, C. Newton, Art.Dir., Niagara-on-the-Lake, Ont.
9/1-10/12/86 Girl Crazy
Theatre d'art lyrique, Laval, P.Q.
4/4,5,11,12/87 Carmen Saint-Jean, Aubin; Langlois, Fournier; Laval Symphony
Orchestra; c: Patenaude; d: Vallee
Theatre lyrique, Hull, P.Q.
2/1,2/87 Offenbach's Un mari a la porte <5c Croquefer c: Lecuyer; d: Richard
Toronto Mendelssohn Choir, E. Iseler, Mus.Dir., Toronto, Ont.
2/27/87 Handel's Solomon Martin, Blaser, Graham; Titus; c: Iseler; The Roy Thomson
Hall Orchestra; semi-staged
Toronto Operetta Theater, G. Silva-Marin, Art.Dir., MacMillan Theatre, Toronto, Ont.
9-10/86 Countess Maritza
1/11/87 Scenes in Concert
Toronto Symphony, A. Davies, M us.Dir., Toronto, Ont.
10/86 Acis and Galatea Collins; Crook; c: Davies; cone. pfs.
University Laval, Music Conservatory, Laval, P.Q.
1/25,27,29,31/87 Don Giovanni Opera Studio
1/31 2/2/87 La Voix humaine & L'Heure espagnole
University of British Columbia Opera Theatre, F. Tickner, Dir., Vancouver, B.C.
3/87 The Rake's Progress d: Tickner
University of Manitoba, K. Jensen, Dir., Winnipeg
2/14,15/87 Kalmanoff's Lizzie Strotter & Trial by Jury
University of Toronto, International Conference & Theater Festival, Toronto
10/21-26/86 "Brecht, 30 Years After", symposium incl. Die Dreigroschenoper Berliner
Ensemble; Mahagonny Songspiel Canadian Opera Co.
[]
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