CENTRAL OPERA SERVICE BULLETINVOLUME 2<1, NUMBER 1

I N D E X

NEW OPERAS AND PREMIERES 1

NEWS FROM OPERA COMPANIES 8

FEDERAL & NATIONAL INSTITUTIONS 15

CONFERENCES 18

NEW AND RENOVATED THEATRES 19

EXHIBITS & COLLECTIONS 20

CAREER GUIDE AMENDMENT 21

ATTENTION COMPOSERS 22

WINNERS 23

COS SALUTES 24

APPOINTMENTS & RESIGNATIONS 25

PUBLISHERS, NEW EDITIONS 29

BOOK CORNER 30

OBITUARIES 44

PERFORMANCE LISTING 1981-82 cont. 47

FIRST PERFORMANCE LISTING 1982-83 SEASON 57

Sponsored jy the Metropolitan Opera National Cou:

CENTRAL OPERA SERVICE COMMITTEE

Founder

MRS. AUGUST BELMONT

(1879-1979)

Honorary National Chairman

ROBERT L. B. TOBIN

National Chairman

ELIHU M. HYNDMAN

National Co-Chairmen

MRS. NORRIS DARRELL

GEORGE HOWERTON

In the next issue:1981-82 Opera UJS.A. SurveyLatest Additions to List of Sets and CostumesLatest Additions to List of English Translations

Please be sure the questionnaires have been returned.

Central Opera Service Bulletin • VoL 24, No. 1 • Summer 1982

Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP

The COS Bulletin is published quarterly for its members by Central OperaService. For membership information see back cover.

Permission to quote is not necessary but kindly note source.

Please send any news items suitable for mention in the COS Bulletin aswell as performance information to The Editor, Central Opera ServiceBulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023.

Copies this issue: $3.00 ISSN 0008-9508

NFM OPFRAS AND PREMIERES

It may be of special significance that the current report on newAmerican works, while no shorter than at other times, consists almostexclusively of music theatre pieces premiered in theatres or otherspaces rather than on the conventional operatic stage. This trend, onwhich we first reported some 12 years ago, was again discussed atthe last COS Conference. It was, in fact, one of America's foremostoperatic composers, Carlisle Floyd, who mentioned that future operatictrends may well point in the direction of alternate performing spaces.

One of two exceptions to the above statement is Gregory Sandow'sFRANKENSTEIN, which will be premiered by the Annapolis Opera inMaryland on March 3, 1983. Based on the famous novel by MaryShelley and composed in the 19th century operatic style, it will featureMarc Embree as The Creature and Alan Glassman in the title role.The Contemporary American Opera Studio of the Lake George Festivalgave a scene reading in 1980, and the following year three sceneswere tried out at C.W. Post College, where a reading of the complete,three-act, six-scene work will take place this summer.

The other opera to be premiered next season is William Mayer's ADEATH IN THE FAMILY after Agee's book. The Minnesota Operawill give the first full production after having offered the piece inits composer/librettist workshop last season.

Two new sacred operas were performed for the first time this season.THE PROMISE OF PEACE, by Natalia Raigorodsky, is a scenic oratorioin five parts, based on the Scriptures. The premiere on October 18,1981 by the Opera Theatre of Washington at the American Universitywas under the direction of Doris Mattingly, who led an ensemble ofsome 80 performers, including four principals, chorus, dancers, and anorchestra. Playing time is about 40 minutes. — The second sacredopera is entitled THE GLORY COACH, and is written by FrancisBarnard. Its three acts are based on sequences from the WakefieldMystery Plays "adapted to the needs of contemporary experience". Itwas first heard at New York's First Presbyterian Church on March 28,1982.

Two series devoted to contemporary music are including music theatreworks in their programs. The Brooklyn Philharmonic's Meet the Modernspremiered Frank L. Moore's one-act WAGADOUGOU on March 4.Sharing that program were Thea Musgrave's The Last Twilight, HansWerner Henze's Moralities, Jacob Avsholom's Tom O'Bedlam, and ArnoldSchoenberg's Friede auf Erden. — The Next Wave Series, also offeredat the Brooklyn Academy of Music, has scheduled Gavin Bryars andRobert Wilson's MEDEA for December 16, 1982. This will actually bethe United States premiere of the work by the American composerand author team, since it will be staged at La Fenice in Venice onNovember 17, followed by performances in Paris. — A four-part,mixed media work by Laurie Anderson will also be offered by TheNext Wave during fall '82. Entitled UNITED STATES, its first twoparts will be performed alternately with parts three and four onevenings between October 28 and November 7. These performancesmay be preceded by readings during the Holland Festival this summer.

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NEW OPERAS/MUSIC THEATRE

PIECES

NEW OPERAS AND PREMIERES

A new piece by Philip Glass received its premiere in Amsterdam. May26 marked the command performance of THE PHOTOGRAPHER beforeQueen Beatrix of the Netherlands.

The one-act chamber opera HANGMAN, HANGMAN! by LeonardoBalada, is based on a traditional cowboy song. The composer, who isin residence at Carnegie Mellon University, and who is currently writingZapata (see Vol. 23, No. 1), will hear the short opera performed inhis native Spain during the 1982 Barcelona Music Festival. It callsfor one narrator, five singers, two actors, and a chamber orchestra.

New York's Golden Fleece Ltd. joined forces with other performinggroups in presenting two different programs of three one-act operas.On February 26 it opened at Theatre 22, together with The Composer'sChamber Theatre, to present "The Musical Theatre Works of MichaelWard": PHOTOGRAPH (after a text by Gertrude Stein), SONGS FORA CITY (after Berthold Brecht), and PERSONALS. On May 7, thecompany collaborated with the SoHo Repertory Theatre in the presen-tation of Royce Dembo's THE AUDIENCE, libretto by Glenn Miller,using the audience as part of the action. Linder Chlarson wasresponsible for music and words for MR. LION, a story with ananti-nuclear theme, and Lou Rodgers created MIYAKO in the style ofa Japanese Noh play. — In addition, the SoHo Rep Theatre offeredtwelve performances of a new musical, THE GIRL WHO ATE CHICKENBONES, with music and lyrics by David Hollister and a book by StanKaplan. April 16 was the opening date.

On February 4, the Theatre for the New City in New York gave thefirst production of Mira J. Spektor's chamber opera, LADY OF THECASTLE. It is based on an Israeli play by Lea Goldberg, with a 1947European setting. It calls for a cast of four and an accompanimentof flute, cello, and guitar. — The Vineyard Theatre and WorkshopCenter, directed by Nancy Seward, premiered ON HOLD WITH MUSIC,which calls for five principal singers and is set in a New York adagency. — Kenneth Lieberson's BIRDBATH had its first performanceon June 1, 1982, at the Quaigh Theatre, directed by John Margulis.— Continuing with New York stages, the TRG Repertory Companyperforming at the Wonderhorse Theatre staged the latest music theatrework by Al Carmines. THE EVANGELIST opened April 6, and the fullevening musical featured 26 songs with piano, banjo, and tambourineaccompaniment. — LOLA, by Kenward Elmslie and Claibe Richardson,is based on the life of Lola Montez (see also Susa's The Lives of LolaMontez in VoL 23, No. 1). The York Theater Company premiered itat the Church of the Heavenly Rest in New York on March 24; twentyperformances were given. — Composer Ken Guilmartin used WilliamBlake's poetry adapted by Alan Brody to create THE MARRIAGE OFHEAVEN AND HELL. This music theatre piece was staged by theMagic Circle Repertory Ensemble at "The Commons" at St. Peter'sChurch on April 27. — Composer William Hellermann collaboratedwith librettist Harry Lewis on EXTRAORDINARY HISTORIES ... ANDTHE RAVEN OF COURSE, The Poe Project, combining some of theauthor's biographical material with some of his stories. It is scoredfor "voices, dispensable instruments, concrete sound, and multi-tracktape" and also features dancers. The Medicine Show Theatre Ensembleopened with it in New York on April 28 and plans to tour it here andabroad.

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NEW OPERAS AND PREMIERES

An 1894 story by I.L. Peretz inspired Robert B. Shaw, librettist, andRobert Sirota, composer, to write BONTSHE THE SILENT. The ProArte Chamber Orchestra of Boston offered a staged production of thethree-scene chamber opera at Adams House of Harvard University inCambridge on May 8. — The composer/librettist team of RussellCurrie and Carl Loanes is the latest to write a one-act opera on Poe'sTHE CASK OF AMONTILLADO. The Bronx Arts Ensemble gave thefirst performance on April 3 at Fordham University in New York.

The Sierra Chamber Opera in Fresno will give the first performanceof Alan Rea and William Monson's FALSTAFF IN AND OUT OF LOVE,after Shakespeare. The one-act, 35-minute work will be staged inOctober in Fresno, and subsequently taken on tour through California.

This summer's program of the Lenox Arts Center Music Theatre Groupwill offer three new music theatre pieces between July 7 and August21: Noa Ain's BRING ON THE BEARS, Wendy Kesselman's A TRAGICHOUSEHOLD TALE, and Carman Moore's COMBINATIONS.

The Metropolitan Greek Chorale and the Greek Theatre of New Yorkoffered the premiere of George Tsontakis and Loukas Skipitaris' ERO-TOKRITOS at Alice Tully Hall on May 15. Billed as an opera/oratorio,it employs Greek poetry and English narration, choral and solo singers,and dancers. It is based on a 17th century epic love poem by VitzentzosKornaros.

The O'Neill Theatre Center's National Lyric Composer/Librettist Con- COMPOSER/ference will take place May 17-31 in New London, Connecticut. The LIBRETTISTfollowing three works have been selected for rehearsals and readings WORKSHOPSduring this period: SHAKESPEARE AND THE INDIANS, a musicalwith a book by Dale Wasserman (Man of La Mancha), music by AllanJay Friedman, and lyrics by Rita Briggs and Rob Preston, the RichardRodgers Production Award winner PORTRAIT OF JENNIE, book byRobert Nathan, music by Howard Marren, and lyrics by Enid Futtermanand Dennis Rosa, and Robert Convery's QUINCE'S DREAM. — In1979, the O'Neill Center assisted in developing Yeston's NINE, whichwas voted Best Musical of 1982 by the Antoinette Perry Award Jury,receiving a total of five Tony Awards.

Two seasons ago, the Pennsylvania Opera Theater and the PhiladelphiaCollege of Performing Arts gave a Work-in-Progress reading of Mar-garet Garwood's RAPPACCINI'S DAUGHTER. The opera will now befully staged and accompanied by an orchestra in its premiere productionby the TPOT at the Trocadero Theater in Philadelphia in May 1983.

The Aspen Music Festival has accepted Edward Berkeley and CraigImpink's DEAR FRIENDS AND GENTLE HEARTS as its 1982 work-in-progress. The story is based on the life of Stephen Foster.

Seattle's A Contemporary Theatre includes a 100-seat auditorium whichwill be used as a workshop for composers, lyricists, and performers.

Indiana University Opera Theater will reap the benefit of its commission . . . IN ACADEMEto T. J. Anderson this season. This foremost American black composer,who was responsible for the orchestration of Joplin's Treemonisha atits first performance in Atlanta, has written SOLDIER BOY, SOLDIER.

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NEW OPERAS AND PREMIERES

It will be premiered in Bloomington on October 23, with repeatperformances on the 30th and on November 6.

As part of the International Congress on Women held in April at theUniversity of Southern California in Los Angeles, two visiting groupsoffered a double-bill of short operas by two American women com-posers. Riverside Opera produced Mary Carr Moore's DAVID RIZZIO,and California S ta te University a t Northridge Opera Workshop broughtBeverly Grigsby's AUGUSTINE, THE SAINT. The performances wereoffered on April 3.

The Oberlin College Opera Theatre premiered Elaine Barkin's DEAMORE, based on a 12th century t rea t i se or sermon on love by AndreasCapellanus. The 50-minute work requires four male and four femalevoices, and an accompaniment of gui tar , harp, viola, bass, and per-cussion.

The Opera Workshop at Midwestern Sta te University in Wichita Falls,Texas, is giving the first performance of Robert Xavier Rodriguez' LEDIABLE AMOUREUX. The l ibret to, by Frans Boerlage, is based onJacques Cazot te ' s book of the same t i t le . The composer-l ibrett istteam received an NEA grant in 1977 towards the completion of thework.

The Cornish Insti tute in Seat t le is planning the premiere of the one-act ,one-hour opera A'AGITA by composer-l ibrett ist Janice Giteck in spring'83. The story is based on several Indian tales and calls for a castof soprano, tenor, baritone, narrator , and seven instrumentalists whoare also required to part icipate in the action.

Edmund Pendelton's THE MIRACLE OF THE NATIVITY was presentedby the Centenary College Opera in Shreveport on December 3, 1981.

CHILDREN'S The educational program of Milwaukee's Skylight Opera gave 28 schoolOPERAS tour performances of JOHN J. PLENTY AND FIDDLER DAN. The

text for this 35-minute musical fable was written by John Ciardi, themusic by Donald St. Pierre. It calls for a soprano, a tenor, a mime,and the accompaniment of piano and violin.

Ten of Aesop's stories have been combined into FABLES with wordsand music by Hollis Thorns. It is intended for sixth and seventh gradestudent performers with the accompaniment of a piano and optionalOrff instruments. The first performance took place at the Winchester-Thurston School in Pittsburgh last fall.

THE TRUE STORY OF THE THREE LITTLE PIGS was created byBowling Green University Professor Wallace De Pue, who staged it atthe University in Ohio in June '82.

Harry Sosnick's THE STORY OF FERDINAND THE BULL, after MunroLeafs story, was mounted by students at the Studio Arena TheatreSchool at Philharmonic Hall in Buffalo on November 28, 1981.

This spring, the Brooklyn Philharmonia Children's Series gave threeprograms of new children's operas. February 13 brought Noel deCosta's THE SINGING TORTOISE and BABA'S JUJU, the latter an

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NEW OPERAS AND PREMIERES

original story by George Houston Bass of a mute child befriended byforest animals who teach him how to speak. March 13 offered a spaceopera, THE SECRET CIRCUIT, by Judith Martin, and April 17 thedouble-bill of Roger Trefousse's THE MONKEY OPERA with EdwardBarnes's THE FROG WHO BECAME A PRINCE.

The Children's Theatre Company in Minneapolis included THE COOKIEJAR by Roberta Carlson in its season, opening the work on March 1.

In addition to an aforementioned work, Alan Rea and William Monsonhave created two children's operas based on folk tales. THE ENCHAN-TED FLUTE, a 30-minute work with piano and flute accompaniment,was given 33 performances at area schools by the Sierra ChamberOpera; next spring the same group will tour THE WIZARD'S RING.

Peter Maxwell Davies' CINDERELLA, first heard at the Orkney IslandFestival in Scotland in 1980, had its American premiere on April 16at the Sheridan School in Washington, DC, as part of the KennedyCenter Imagination Celebration. The singing/acting roles as well asthe instrumental accompaniment were accomplished by school children.

This year's Metropolitan Opera Guild project with students developingtheir own opera involved fifth and sixth graders at PS 75. Thirty-fivestudents formed a company called Young Wonders Inc., and wrote,designed, built, and performed a 40-minute show under the titleDECISIONS.

On May 9, the Grand Theatre in Kingston, Ontario, offered the first CANADIANperformance of Clifford Crawley's BARNARDO BOY, with a l ibret to OPERASby David Helwig. The cast featured baritone Jan Rubes.

The Canadian Opera Children's Chorus, which commissioned Menotti 'sChip and His Dog, has premiered the second opera writ ten especiallyfor this group. Composer Derek Holman and l ibret t is t RobertsonDavies created DR. CANON'S CURE, a 45-minute opera which wasperformed by the Chorus on May 19 a t the Harbourfront Theatre inToronto.

The Canadian Music Center reports that the following operat ic manu-scripts have been added to i t s library: SONG OF THE WOODS, anopere t ta with music by Michael Miller, text by the composer and DavidEtheridge; and A CHRISTMAS CAROL and a new HANSEL ANDGRETEL, both with music and tex t by Louise Averill.

The 1981 Eric Harvie Award of $10,000 went to Bob Ashley and PatrickYoung for their musical AIMEE.

Eve Queler and the Opera Orchestra of New York will have the AMERICANdistinction of giving the American premiere of Richard Strauss's first PREMIERESopera, GUNTRAM. It was first performed in 1894 in Weimar, wherePauline de Ahna sang the soprano lead. Four months la ter , she andthe composer were married. (See also Book Corner, Bayreuth, TheEarly Years.) The concert performance of Guntram will take placeon January 19, 1983, at Carnegie Hall.

The same concert hall hosted the first U.S. performance of Alfreds

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NEW OPERAS AND PREMIERES

Kalnins1 BANUTA, considered the national Latvian opera. First heardin 1920 in Riga, the three-act work is set in the 13th century. TheLatvian Concert Choir and the Bronx Arts Ensemble gave a concertperformance on June 5, 1982, featuring Maralin Niska and conductedby Andrejs Jansons.

Unknown even in most musical circles, Beethoven left an incompletescene for a one-act opera entitled VESTAS FEUER. MusicologistClayton Westerman made the necessary adaptations to put the frag-ments into a performing edition and conducted the world premiere onJune 3 at the Spoleto Festival USA in Charleston. The original wascomposed in 1803 to a libretto furnished by none other than EmanuelSchikaneder. A New York performance is scheduled for April 16,1983, within the Beethoven Society Concert Series at Tully Hall. Thescore is available from G. Schirmer.

By a strange coincidence, two baroque operas, each considered "theother opera", had their American premieres at colleges this spring.La Dafne and Ewidice were both composed by Jacopo Peri to textsby Ottavio Renuccini; the former work, premiered in 1597, is consideredthe earliest opera extant, the latter was premiered in 1600. Shortlyafter the respective premieres, the poet and author made both textsavailable to other composers, after making minor changes in the libretti.Thus, LA DAFNE by Marco da Gagliano was premiered in 1608 (11years after Peri's), and Giulio Caccini's EURIDICE in 1602 (two yearsafter Peri's). On February 24, 1982, the Collegium Musicum and theDance Department at the University of California at Los Angelespresented the Caccini opera; on May 21, 1982, the Mannes CollegeCamerata, with the Minstrel Tapestry Dancers, offered the first U.S.performance of da Gagliano's work at Christ Church in New York.

Donald Pippin's Pocket Opera gave the first American performance ofHandel's ATAL ANT A on July 18.

With the Belwin-Mills project of republishing the collected works ofOffenbach operettas with English translations, we may look forwardto hearing many delightful pieces not previously performed in theUnited States. The one-act opera bouffe LA PERMISSION DE DIXHEURES was performed on March 26, 1983 as The Midnight Pass inan English translation by Marajean Marvin at the University of NorthCarolina in Chapel Hill.

Continuing its policy of presenting a foreign opera from a repertoireother than Italian, German, or French, the Michigan Opera Theatrewill stage the first English performance in the U.S. of StanislawMoniuszko's THE HAUNTED CASTLE on October 1, 1982. The speciallycommissioned translation is by Sally Williams-Haik. The opera wasfirst heard on these shores in 1927 in New York in the original Polish.

Janacek's FROM THE HOUSE OF THE DEAD was staged by NBCTelevision Opera in 1969 but never had an American public performance.The New York Philharmonic has announced a complete concert perfor-mance of the opera for March 1983 under the baton of Rafael Kubelik.It will be sung in a new English translation commissioned from YvetaSynek-Graff and Robert Jones, and based on the original Czech textrather than on the German adaptation.

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NEW OPERAS AND PREMIERES

On March 19, the Municipal Theatre in Osnabrlick mounted the post- NEW OPERAShumous world premiere of Nicolai Tcherepnin's DER HEIRATSVERMIT- ABROADTLER (The Marriage Broker), based on Ostrovsky's play "Armut istkeine Schande". The two-act comedy was written in 1930 but, withthe ascent of Hitler, never reached the stage. — The opera companyin Darmstadt commissioned Giselher Klebe to write a new work forpremiere in December '83. For his subject he chose Zuckmayer's novelDIE FESTNACHTSBEICHTE. — January 1981 brought premieres ofthree short operas by Wilfried Hiller to the Regensburg Theater. Thetriple-bill featured LIEBESTREU UND GRAUSAMKEIT after WilhelmBusch, and DIE ZERSTREUTE BRILLENSCHLANGE and DER LIND-WURM UND DER SCHMETTERLING, both with librettos by H. Ende.— DER GESTIEFELTE KATER (Puss in Boots), by Walter Wyers andM. Baaken, was first performed in Liineburg December 15, 1981.

Experimental stages and studios are flourishing as part of the majoropera houses in some German cities. Hamburg's Opera Stabile offeredWILLIAM RATCLIFF, a full-length opera by Jens-Peter Ostendorf onJune 24. — In January '82 the Kiel Opera Studio premiered BodoReinke's one-act DER BLAUE DIAMANT, and in April '82, Mannheim'sStudio im Werkhaus staged Krauze's DIE KLEIDER. — A 20-minute,micro-tonal composition is the description of the one-act WAHNSINN,DAS IST DIE SEELE DER HANDLUNG, by Manfred Stahnke. It isbased on Poe's poem, The Winning Worm, and was premiered inBraunschweig in May '81. — The small theatre at the GelsenkirchenOper staged DAS VERLORENE GEWISSEN, a children's opera by Man-fred Niehaus, in July '81.

Austria's Carinthian Summer Festival in Villach will premiere CesarBresgen's church opera DAS SPIEL VOM MENSCHEN on August 9.—The Netherland Opera Studio Ensemble gave the first performanceof Jochem Slothouwer's DARADIRIDATUMTARIDES on March 4 inAmsterdam and subsequently performed it on a five-city tour.

Two premieres not previously reported took place in Italy: in Catania,Sicily on January 12 Franco Mannino's IL RITRATTO DI DORIANGRAY; and in Florence during the Maggio Musicale festival SalvatoreSciarrino's MACBETTO. The latter production will travel to Edinburghfor the '82 festival.

Last November 13, Opera Camerata of Haslemere, Surrey, premieredStuart Scott's JONAH, SON OF MITTY. — New operas at Britishfestivals include Andrew Ford's POE - THE TERROR OF THE SOULon July 27 at the Harrogate Festival, and Jean-Jacques Diinki's blackcomedy PROKRUSTES, OR THE LAWS OF HOSPITALITY on June 3at the Almeida International Festival in London. The latter is basedon Plutarch's account of the Theseus legend.

On November 26, 1981, the Centre Georges Pompidou in Paris mountedthree short operas on a triple-bill: Olivier Greif's NO, Susan Yoshida'sENKA III - KECA AT MORITO, and Patrick Moreland's Peau d'cne.— The Conservatoire de Bordeaux staged Alain Weber's fourth opera,LA RIVIERE PERDUE, last December. •

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NEWS FROM QPFRA COMPANIES

NEW COMPANIES T w o n e w m a j o r o p e r a companies W J U s t a g e t n e i r first productions in1982-83. Although their founding was noted here at the t ime, mentionof the first season should be made now. They are OPERA COLORADO,opening with La Boheme a t Boettcher Hall in Denver on March 25 (atota l of seven performances al ternat ing Italian and English), and theBATON ROUGE OPERA, opening October 13 at Centroplex Theatrewith Aida. (See Performance Listing for complete program.)

Sheboygen, Wisconsin, was host to a new summer opera festival forthe first t ime last year. INTERNATIONAL OPERA LTD., underproducer/director Karl Kielisch and music director Peter Tiboris ofthe University of Southwestern Louisiana, gave several performancesof The Student Prince in 1981 and will offer The Merry Widow thissummer. The company employs young singers from here and abroadand also conducts a vocal competition; the winners receive cash grantsand summer contracts (see Career Guide Amendment).

A major festival is being considered for San Antonio in 1983. Plansinclude the possible visit of the Berlin Opera and Ballet companies.Parvan Bakardjiev has been engaged as general director of the SANANTONIO FESTIVAL.

The newly formed OPERA OBSCURA will, with Mid-America Opera,coproduce little-known works of the classical reper to i re . Performancesare in concert form at Chicago's Wrigley Auditorium of the LatinSchool. This spring, the first operas so performed were Handel'sRadamisto, Puccini's he Villi, and Thomas' Hamlet.

Although it has not been reported before, the OPERA THEATRE OFWASHINGTON is now in i ts third year . Under the co-directorship ofScott and Doris Mattingly, the company performs one opera annuallyat the auditorium of the American University in Washington, D.C.This season's choice is a new work, Promise of Peace (see New Operas).

The establishment of the HOLLYWOOD OPERA AND THEATRE COM-PANY has been strengthened by the organization's purchase of theMasonic Temple, located across the s t ree t from Grauman's ChineseTheat re , for its performances. Kenn Chertok is the ar t is t ic director.

Carol Cates and John Stahle have formed the ASSOCIATION FOROPERA AWARENESS. The New York based group offered reci ta lsthis season, and will perform Donizetti 's Rita and Barab's Not a SpanishKiss next fall.

NEW CANADIAN Giuseppe Mancini, who heads the Toronto Opera Repertoire CompanyCOMPANIES founded in 1960, has now added two other ensembles: THE YORK

COMMUNITY OPERA gives two productions in the spring, and theTORONTO CITY OPERA will s tage two operas at the new Villa ColomboTheat re during the summer.

OPERA DE CHAMBRE in Quebec is a touring group under the direc-torship of baritone Bruno Laplante. Last October and November, theensemble toured with the revue "Vive Offenbach".

OPERA HAMILTON, under ar t is t ic director Steven Thomas, is now in

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NEWS FROM COMPANIES

its second season. In previous years, the Ontario city enjoyed operaperformances under the auspices of the symphony orchestra.

The WASHINGTON OPERA and L'ORCHESTRE DE PARIS have enteredinto an agreement of coproducing three Mozart/Da Ponte operas overthe next three years. Plans call for Cosi fan tutte in 1983, followedby Le Nozze di Figaro and finally Don Giovanni in 1985. Theproductions will be designed and directed by Jean-Pierre Ponnelle andconducted both here and abroad by Daniel Barenboim. Casts willremain the same except for minor changes, but the orchestras willbe, in each case, the local one, i.e. performances at Kennedy Centerwill have the Washington Opera orchestra in the pit and performancesat the Theatre des Champs-Elyse'e will be accompanied by the Parisorchestra.

Following the announcement of the joint planning and collaborationbetween the INDIANAPOLIS OPERA and the OPERA THEATRE OFSYRACUSE comes news of the former Wilmington Opera, now renamedDELAWARE OPERA, joining as a third party. The first two organi-zations will both offer the same four productions in 1982-83 (seePerformance Listing); the Delaware company usually produces onlythree operas. And, if the last two seasons are any criterion, theOpera Theatre of Rochester, New York, has also shared in some jointplanning of this season's productions.

Seven companies and workshops have formed the CONSORTIUM OFINDIANA ADVOCATES OF OPERA, or CIAO for short. The groupwas created under the auspices and with the assistance of the IndianaArts Commission for the purpose of sharing resources including singers,conductors, directors, technicians, coordinating the planning of pro-ductions, and the promotion of opera.

An agreement between the DEUTSCHE OPER, Berlin, and the HamburgStaatsoper provides for a major joint production of Der Ring desNibelungen, with Gotz Friedrich as director and Jiirgen Rose as de-signer. Das Rheingold and Die Walkure are already in existence inHamburg, and the complete cycle will be seen in both theatres by1985. After that time, the productions are at the disposal of eithertheatre. Parts I and II of Les Troyens will also be shared, and willbe mounted in Hamburg next season and in Berlin in 1983-84.

Sarah Caldwell and the OPERA COMPANY OF BOSTON have formedan alliance with the CULTURAL CENTER OF THE PHILIPPINES,whereby the American company will assist in the formation of a newOpera Company of the Philippines. Future administrative personnelwill train as interns in Boston, while others, such as chorus members,will be trained by Ms. Caldwell and her staff in Manila. There arealso provisions for the creation of an opera student training center.Initial plans provide for the Boston company to give several perfor-mances of La Boheme in the new Cultural Center in January 1983.

The latest news from Manila reports on three performances of MadamaButterfly earlier this season. Japanese/American Kuniaka Hata directedthe production, which featured Yasuko Hayashi in the title role.

The OPERA THEATRE OF SAINT LOUIS has been invited to participate

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NEW JOINTVENTURES

.SOME REACHOVERSEAS

NEWS FROM COMPANIES

EXPANDINGSEASONS

in the 1983 Edinburgh Festival. The company plans to take itsproductions of Delius1 Fennimore and Gerda and its latest premiere,Paulus' The Postman Always Rings Twice, to Scotland.

For the second year, the ACADEMY OF VOCAL ARTS in Philadelphiawill participate in the Corfu International Festival. Two performanceseach of Ariadne auf Naxos and Cosi fan tutte will be performed withthe Northern Hungarian Philharmonic, which will be in residence duringthe Greek festival.

This will be the third summer the EASTMAN PHILHARMONIA andconductor David Effron participate in the Heidelberg Festival in Ger-many. The orchestra will give concerts and also play for the Festivalproductions of Die verkaufte Braut, Die Welt auf dem Mond, and TheStudent Prince. The Philharmonic is the senior student orchestra ofthe Eastman School of Music in Rochester.

After a two-and-one-half page listing of Expanding Seasons in the lastissue of the Bulletin, it is encouraging to find additional material forthis column so soon again. The CLEVELAND OPERA will be addinga fifth performance of each of its three productions. Only two yearsago the company gave three performances of each opera. Opera nightsin Cleveland are Wednesday, the new opening night, Friday and Satur-day, with matinees on Saturday and Sunday.

The WASHINGTON OPERA is increasing its number of performancesof the productions staged at the 475-seat Terrace Theatre. The fouroperas will enjoy an average of 12 performances, compared to ten lastseason.

A word of caution at this time: increases or decreases in the numberof performances are a valid guide only if the company continues toperform in the same size auditorium. While the Whitewater Opera inRichmond, Indiana, will offer fewer repeats of each production (twoinstead of three), it will have more seats to sell, as it is moving intoa hall with a 50 percent greater seating capacity.

The KENTUCKY OPERA in Louisville is changing from four productionsin three performances, to four productions in four performances nextseason. Other interesting news from the Louisville company may befound under Promotion and Finances.

The PENNSYLVANIA OPERA THEATER will mount its first summerproduction this year when it offers five performances of Candide atthe Port of History Museum Theater at Penn's Landing in July.

Due to the enthusiastic response to its production of II Trovatore,OPERA/EBONY has added a second performance of the opera at thePhiladelphia Academy of Music. The company's new activities includedintroductory student programs of "Opera Goes to School" during Apriland May, made possible by a grant from the City of Philadelphia, anda Black Heritage Concert in February, repeated at the Church of theIntercession in New York.

CANCELLATIONS T n e CENTRAL CITY OPERA was forced to cancel its complete 1982summer season, as it was unable to meet its fund raising goal. Manager

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NEWS FROM COMPANIES

Ann Darling and artistic director Robert Darling resigned in the spring(see Appointments), and the board announced that operations will onlybe resumed in 1983 if prior financing has been achieved. Also suspendedfor this year was the company's Young Artists Program and with itthe projected first performance of Desire Under the Elms. This wouldhave been the company's fiftieth anniversary season.

The COLORADO OPERA FESTIVAL in Colorado Springs decided tocontinue another year with only one summer production, in order tofurther consolidate its financial resources, especially since it anticipatesopening next season at the new Pikes Peak Arts Center. After reducingproductions last year from three to one, the company had hoped tobe able to offer two operas this year. To promote the Festival andbuild greater local awareness, a new support group was created. TheOpera Council of 500 is not a fundraising body; its annual dues are$15.

Rhode Island has not been too healthy for opera lately. After variouschanges and the demise of one company, Margaret Ruffino's PROVI-DENCE OPERA cancelled its scheduled production of L'Elisir d'amorein April. Plans for next season are progressing under new management.

The temporary agreement between the OPERA COMPANY OF BOSTONand its orchestra musicians, reported in Vol. 23, No. 3, allowed thecompany to give the performances of Die Soldaten and Aida. Subse-quent negotiations further delayed the spring season, forcing the cancel-lation of Der Freischiitz and delaying Orpheus in the Underworld untilJune 13.

The tragic fire at WOLF TRAP FARM PARK is now history, and thespirit of rebuilding must be an inspiration to everyone. As we hear,calls with offers of assistance poured in from all sources, likely,unlikely, and unexpected, and the announcement that assures thesummer season came as a heartwarming surprise. The only organizationwhose performances had to be cancelled was the NEW YORK CITYOPERA, a company which can ill-afford this setback. Its originallyscheduled two-week guest engagement in June and July will be sorelymissed, but the Sprung Instant Structure, which is being used at WolfTrap temporarily this summer, does not have fly space nor otherprovisions for full scenery. The beautiful original structure wascompleted 12 years ago at a cost of $2 million (COS Conferencedelegates in Washington were among the first groups to visit the site).The new theatre is estimated to cost $17.5 million.

As we go to press we learn that the board of directors of theVANCOUVER OPERA has decided to make major changes in thecompany's schedule for next season. With lagging sales in the secondhalf of the past season, which even included the popular Man of LaMancha, 1982-83 will be reduced to three productions. Of the fouroperas originally scheduled, only La Boheme will remain; Eugene Onegin,La Forza del destino, and Fidelio will be replaced by Carmen and LaTraviata. It was further announced that general manager HamiltonMcClymont has resigned, effective the end of next season.

Another company where the board of directors has taken matters into

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NEWS FROM COMPANIES

i t s own hands following the rea l iza t ion of financial problems is theMINNESOTA OPERA. Staff members have been laid off for one month;a reduct ion in staff is expected and, by reorganizing, the board plansto consolidate the to ta l control under one new general manager .However, a r t i s t i c philosophy will not be af fec ted and the company willcontinue i ts policy of including some unusual and/or con temporaryworks.

After 106 years of delightful and faithful Gilbert and Sullivan p ro -ductions in England and on many in te rna t iona l tours , the D'OYLECARTE OPERA COMPANY suspended opera t ions , and company m e m -bers disbanded.

PROMOTION The pub l ic i ty -a t t r ac t ive , mammoth production of Aida s taged by the& FINANCES CONNECTICUT OPERA las t season was also a g r e a t f inancial success ,

ne t t ing the company $100,000 in four per formances . A tour of theeas te rn U.S. is under considerat ion. Now the company has announceda similar, or even larger, spectacle production of Twandot at theCivic Center this season. Rumor has it that other companies arestarting to audition camels and horses for their own profit-turningsensations. With the Puccini opera, the Hartford company plans totop last year's extravaganza with five camels, four water buffalos,five peacocks, 24, horses, etc., all under banners of green and goldChinese dragons. Perhaps the idea of such spectaculars is not soforeign to opera, considering the intricate stage machinery for theornate baroque productions at the end of the 16th century. — Otherpromotional ideas instituted by the Connecticut company include aspecial, early, pre-season discount for subscriptions if paid before April5. Single tickets for last season's third and fourth productions werediscounted by about 20 percent, as announced mid-season. The aggres-sive and successful management of the opera company by GeorgeOsborne resulted in his additional appointment as head of the HartfordBallet.

Contributors of $125 to the METROPOLITAN OPERA FUND willreceive this year's Historic Broadcast Recording, a special dual albumof Salome and Elektra. The original broadcasts of January 19 andFebruary 23, 1952, respectively, both under the baton of Fritz Reiner,are now on four, sound restored records. The memorable cast includedLjuba Welitsch as Salome, with Hans Hotter, Brian Sullivan, and SetSvanholm. Elisabeth Hoengen is featured in both operas. The roleof Elektra was sung by Astrid Varnay, and others in the cast includedWalburga Wegener, and Paul Schoeffler. Produced by Dorle Soria, thisninth Met Broadcast Recording is again attractively boxed and accom-panied by the libretti and a commemorative book on the composerand the operas.

WARNER COMMUNICATIONS INC. has announced its largest gift tonon-profit and cultural institutions. One and one-half million dollars,representing 40 percent of its total giving in 1982, will be disbursedto performing and visual arts and arts service organizations. TheMetropolitan Opera received $450,000 toward its Young Artists Devel-opment Program.

In its first year under the management of Ardis Krainik, the LYRICOPERA OF CHICAGO has been able to raise well over $4 million,

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NEWS FROM COMPANIES

covering the expenses of last season, totally eliminating all accumulateddeficits, paying off all previous loans, and entering the 1982-83 seasonwith a positive fund balance. Miss Krainik discussed one of her methodsof achieving this miracle at the COS Conference in St. Louis (seeConference transcript).

A new poster designed by David Hockney in conjunction with his stagedesign for the SAN FRANCISCO OPERA production of The Rake'sProgress depicts Bedlam, the madhouse. A limited number of signedcopies are available from the San Francisco Opera Shop for $100,unsigned posters sell for $25.

The second San Francisco Opera Summer Season is only one part ofthe first SAN FRANCISCO ARTS FESTIVAL. In order to promote thedifferent events among all arts patrons, a discount arrangement hasbeen made between all festival companies whereby the tickets pur-chased for one event entitle the buyer to discount tickets to mostother festival programs. An auspicious cross-fertilization of culture.

The KENTUCKY OPERA has a new "Free Granny" offer. Granniesare admitted free when accompanied by two responsible people aged15 or under. Another promotional idea announced by the company isthe drawing of prizes for early subscribers. — In addition, theorganization must certainly have one of the most unusual in-kindservice arrangements of any opera company. A recently restored,beautiful historic landmark house which is, in part, a museum, is thecompany's new administrative home. In return for using the quartersrent-free, the company agrees to operate the museum with its originalperiod furniture and art. What makes this arrangement particularlymeaningful to all parties involved is that the original owner was anopera patroness, and her autograph book, which belongs to the museum,holds the signatures of such luminaries as Caruso, Puccini, de Luca,Farrar, Martinelli, Rothier, Althouse, Polacco, and Bodansky. Whatfate and what joy to be the guardian of such a treasure trove!

To promote the newly organized OPERA/COLUMBUS, local membersof the company will offer a half-hour program of arias and ensemblesof its opening production, La Traviata, in a "showmobile" on plazas,malls, and the Statehouse Lawn. The young singers will be costumedand accompanied by a piano.

The HOUSTON GRAND OPERA recently received $150,000 from Citi-bank/Citicorp towards expenses of its spring production of Showboat.It opened in Houston in May and will be going on a national tour,with particular attention paid to cities with Citibank branch offices.

The DEUTSCHE OPER in West Berlin is surely the first opera companyin Germany to have its own corporate support organization. Called"Fbrderkreis der Deutschen Oper, Berlin", the group is made up ofindustrialists organized under the auspices of the mayor to "strengthenthe leading position of the company within and beyond the city limitsthrough financial and promotional support" — a statement applicableto any American operatic board of trustees.

The Wilmington Opera has changed its name to THE DELAWARE NAME CHANGESOPERA COMPANY; and the Manhasset Bay Opera in Great Neck, New

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NEWS FROM COMPANIES

York, will henceforth be known as the NASSAU LYRIC OPERA.

EDUCATION T n e educational arm of the Florentine Opera in Milwaukee has beenAND TOURING organized into the WISCONSIN OPERA THEATER, an ensemble of

young, primarily local ar t i s ts , for tours to schools and communitycenters . Next fall's production will be La Cenerentola in English, tobe performed staged and with orchestra .

The education/community touring group of the Connecticut Operatravels under the name OPERA EXPRESS.

TRAINING & T n e n e w OPERA COLORADO company plans to offer a training programINTERNSHIPS f ° r 12 young singers, one stage director , and three coach/accompanists .

Regular instruction as well as touring ensemble performances areenvisaged. For the first year there will be six-month cont rac ts fromJanuary to June '83; the following season the period will be extendedto nine months. Franceses Zambello, assistant ar t is t ic director ofOpera Colorado, is in charge of the Young Art is ts Program; NathanielMerrill is the company's ar t is t ic director .

CANADA OPERA PICCOLA in Victoria, British Columbia, will offeran Advanced Opera Training Cen t re . Under the co-directorship ofP ie re t t e Alarie and Leopold Simoneau, the Cent re will offer six- tothir teen-week courses during the summer.

FORECAST T h e N E W YORK CITY OPERA'S spring season will include a newproduction of Puccini's La Rondine featuring Diana Soviero and stagedby Frank Corsaro, I Masnadieri with Faye Robinson, and Les Contesd'Hoffmarm in the de Almeida edition.

1983-84 January '84 will bring the 1982 Fest ival Ot tawa Opera's production ofHandel's Rinaldo to the METROPOLITAN OPERA as the Canadianorganization's contribution to the Met's Bicentennial.

The 1984 Verdi Fest ival of the SAN DIEGO OPERA will present therarely heard I Masnadieri on June 22.

Joan Sutherland will sing her first Anna Bolena when she joins theCANADIAN OPERA COMPANY for a new production of the Donizettiopera during the 1983-84 season. The opening production will beTurandot.

The EDMONTON OPERA has announced i ts 1983-84 reper to i re . Thediverse and demanding schedule will feature Norma, Lohengrin, AnnaBolena, and La Boheme.

OPERA METROPOLITANA in Caracas is planning a production ofMilhaud's Bolivar for next season. •

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FEDERAL AND NATIONAL INSTITUTIONS

Although the House and Senate Subcommittees recommended holdingFY'83 appropriations for the NATIONAL ENDOWMENT FOR THE ARTSat the 1982 level of $143 million and the full Senate voted for it, theHouse backed the NEA Chairman's budget request of $100.9 millionfor the Arts; the final figure may be somewhere in between — or infact may be the $100.9. This would be a 30 percent cut from twoyears ago. The specific amounts to be allotted for the differentprograms have been outlined as follows: Program Funds $69.7 million(FY'81 $114 million); Treasury Funds $11.2 million (FY'81 $19.2 million);Challenge Grants $7.4 million (FY'81 $13.5); NEA Administration $12.6million (FY'81 $12.1). The Opera-Musical Theater Program would have$3.92 million for disbursal in '83, compared to $6.25 in '81, and StatePrograms $14.5 million (FY'81 $23.7).

Meanwhile, Mr. Hodsoll seems to replace the individual arts disciplinesymposia (see Vol. 23, No. 3) with larger, more general conferences.Arts in Transition was one such meeting, held at Brooklyn College onApril 23. Its main purpose was to elicit "creative responses", giventoday's conditions of the Arts and the economy. The participantsrepresented a great variety of organizations, small, large, performing,visual arts, etc. In his opening statement, the NEA Chairman surprisedmany of the 400 attendees by delineating his priorities in giving.Individual artists and smaller experimental groups will be favored, ashe feels corporate and foundation support will lag in these areas. Heexpressed the hope that larger institutions and established programswould be able to raise additional monies from the corporate and privatesector.

Grants in the amount of $422,160 were made to composers in 1981;of the 48, 12 were allocated under the Consortium CommissioningProgram. These grants are awarded to organizations which commissionseveral composers to write music which will be guaranteed perfor-mances by three to five performing ensembles, each giving a minimumof two performances of every new work.

The FY'82 grants to orchestras have been announced. They total $8.7million, or $500,000 less than the previous year, which reflects thefirst reductions in Federal spending for the Arts. Also reflected wasthe Chairman's new philosophy, mentioned above, whereby the largestcuts in grants occurred in aid to the larger orchestras, while smallerones, particularly those which dared program contemporary Americanmusic, fared better. In fact, some of them even enjoyed a modestincrease in their grants.

By an executive order, President Reagan created a new PRESIDENT'SCOMMITTEE ON THE ARTS AND THE HUMANITIES. In most casesthe appointees are members of the Federal Council on the Arts andthe Humanities, except for some new presidential appointees rep-resenting the private sector. The expenses of this new committee areto be covered by NEA and NEH funds.

Congressional legislation has created a new program, the EDUCATIONCONSOLIDATION AND IMPROVEMENT ACT, which provides for artsin education to be referred to the respective state legislatures, ratherthan to the Department of State which formerly controlled it.

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NEA

NEW FEDERALft NATIONAL

AGENCIES

FEDERAL/NATIONAL INSTITUTIONS

Joining the American Arts Alliance, which was created to lobby forthe ar t s , and the Congressional Caucus, c rea ted to be t t e r informcongressmen of affairs in the a r t s , is a third institution, THENATIONAL POLITICAL ACTION COMMITTEE FOR THE ARTS. Underthe acronym ART PAC, its director , Robert Bedard, and one of i tsfounders, Congressman Morris Udall, hope " to raise funds for thesupport of congressional candidates with pro-ar t platforms, to ac t asa political voice for the ar ts and ar t i s ts before Congress, and to serveas a clearinghouse for ar ts legislation".

STATE The la tes t appropriations for the NEW YORK STATE COUNCIL ONPROGRAMS THE ARTS was passed and s igned a t $35.4 mil l ion.

What Congressman Fred Richmond has been trying to get accepted asfederal law was recently passed by the State of Oregon. Refunds onstate income tax may now be designated by the person entitled to therefund for use and support of the arts in the State. Funds will beadministered by the OREGON ARTS COMMISSION for the newlyfounded Oregon Arts Development Fund, with the provision they beused for the development of cultural facilities. State allocation tothe Arts Commission is not expected to be affected by this legislation.

CANADA This spring, the CANADA COUNCIL is celebrat ing i ts 25th anniversary.COUNCIL In 1957, the insti tution awarded a single grant in the opera company

category, in 1981-82 there were 11 operat ic grants . The 1982-83budget for opera grants has been approved a t almost $2 million, anincrease of 13.7 percent over the previous year. The grants to theseven opera companies will be made towards operat ing expenses, ra therthan being special-project oriented. The complete 82-83 appropriationpassed by Parl iament was $59.88 million, to which another $12 millionwill be added from non-governmental funds. It was suggested tha t ,should this amount be t ransla ted into a per capi ta figure and appliedto the United Sta tes , Federal funds for the ar ts would to ta l $787million.

NATIONAL The Association of College, University, and Community Arts Ad-SERVICE ministrators is making available Technical Assistance Program grantsORGANIZATIONS to presenting organizations. They a re to be used for consultants on

efficiency and financial self-sufficiency. Specialists in marketing, fundraising, facility operation, planning new or refurbishing existingfacili t ies, and in ar t is ts residencies are included. Please also note achange of address for ACUCAA as of April '82: 6225 University Avenue,Madison, Wisconsin 53705.

Another headquarters move reported recent ly is tha t of the JEUNESSESMUSICALES USA. Offices previously located a t Carnegie Hall in NewYork a re now at Trinity University in San Antonio, Texas.

A new national coalition of American bal le t /dance companies hascreated DANCE/USA with Philip Semark as chairman and Donald Mooreas director . The organization's purpose is to "speak with one nationalvoice for dance and to be a forum to advance the a r t of dance inthe United States" . The address is 617 E St ree t NE, Washington, DC20002.

The ten-year-old Off-Off Broadway Alliance, located a t 325 Spring

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FEDERAL/NAT IONAL INSTITUTIONS

Street, Suite 325, New York, New York 10013, has been renamedALLIANCE OF RESIDENT THEATRES/NEW YORK. Jane S. Moss isexecutive director. Theatre Times is the organization's monthly news-letter.

The latest survey, Giving, U.S.A., conducted by the AMERICAN AS-SOCIATION OF FUND-RAISING COUNSEL showed a record amountof $3.35 billion given to cultural causes in 1981. This represents a13.2 percent increase over the preceding year. Yet, there was adecrease in the percentage of money given to culture last year, ascompared to 1976, when seven percent of each philanthropic dollarwent to culture. Last season, that percentage was reduced to 6.2.Copies of the complete report are available from AAFC, 25 West 43Street, New York, New York 10036, for $25.

Among the services offered to New York City cultural institutions bythe CULTURAL ASSISTANCE CENTER is a Joint Purchasing Program.Eligible non-profit arts groups may order office supplies and servicesat discount prices. Other helpful programs include an Events Clearing-house, whereby fund raising events are charted well in advance toavoid coinciding dates. Computer mailing services and the publicationof handbooks (see Book Corner) are further services of CAC, 330 West42 Street, New York, New York 10036.

Another recent money saving offer has been made by the hotel/motelchain of TREADWAY INNS, which has instituted special courtesy ratesfor artists, performing groups, and members of arts institutions. Forthe location of participating Inns and for the special Arts Rate Cardwrite to Treadway Inns, Attention Richard Brown, 140 Market Street,Paterson, New Jersey 07505. •

FINANCIALAND OTHER AID

OPERA FILMS

In addition to the many videotapes of operaticperformances, live, studio, on location, with liveor dubbed sound, there are several films whichcan be expected to appear in movie houses soon.There is YES, GEORGIO with Luciano Pavarotti,and THE MERRY WIDOW with Placido Domingo.Also with Domingo is an Italian film of LATRAVIATA with Teresa Stratas directed byFranco Zeffirelli and conducted by JamesLevine.

And then there is WAGNER, written with thefamily's approval, and filmed on location in

Bavaria and Venice. Richard Burton portraysthe composer, with the composer's great grand-daughter Daphne Wagner, Gwyneth Jones, PeterHofmann, and Gemma Craven featured promi-nently in the cast. The accompanying musicis conducted by Sir Georg Solti.

The film version of ELEKTRA, which Karl Bohmhad completed just before his death, will havea gala opening in West Berlin in September. Itfeatures Catarina Ligendza, Leonie Rysanek,Astrid Varnay, and Dietrich Fischer-Dieskau un-der the direction of Gotz Friedrich. •

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CONFERENCES AND SEMINARS

July 10-13, 1982 — College Park, Maryland: "The Business of Singing", A Symposiumfor Singers of Opera, Concert Stage, and Musical Theatre; Maryland SummerInstitute for the Creative and Performing Arts, G. Moquin, Executive Director,G. Shirley, Symposium Director.

July 18-23, 1982 — Lake Arrowhead, California: "The Future and Leadership in theArts", Association of College, University, and Community Arts Administrators

July 25-29, 1982 — Seattle: "Fundraising and Development Seminar", Opera America,Wanda Brown, Administrator. (Companies must be represented by staff andboard members).

September 3-6, 1982 — Seattle, Washington: Western Alliance of Arts AdministratorsAnnual Conference

September 29 - October 2, 1982 — Vienna, Austria: "Music and Entertainment inCultural Policy and Public Consciousness", International Music Centre (IMZ)Vienna

November 10-13, 1982 — Portland, Oregon: National Opera Association NationalConference

December 13-18, 1982 — Toronto, Ontario: Opera America Annual MembershipMeeting, including Contemporary Opera Showcase

December 1982 — New York, New York: Association of College, University, andCommunity Arts Administrators Annual Conference

March 10-12, 1983 — Nashville, Tennessee: American Choral Directors NationalConvention

For the record:

2/17-20/82 — Charlotte, North Carolina: Opera Guilds Intemationl Annual Meeting3/5-7/82 — New York, New York: "Producing for the Commercial Theatre", Founda-

tion for the Extension and Development of the American Professional Theatre4/16/82 — Washington, DC: "Little Leagues, Science Clubs, and Opera", National

Opera Institute Colloquium4/17/82 — Washington, DC: Opera for Youth Workshop4/23/82 — Brooklyn, New York: "Arts in Transition: Creative Responses", Brooklyn

College, U.S. Conference of Mayors, and Congressional Caucus5/21,22/82 — Minneapolis, Minnesota: "The Blaekstones of Opera", COS Upper

Midwest Regional Conference6/2/82 — New York, New York: National Music Council Awards Luncheon (Yehudi

Menuhin & Jule Styne)6/3-6/82 — Miami, Florida: "Operatic Stage Direction in the 80's, The Stage Director,

The Educator, The Composer, and The Performer in Contemporary Opera", CentralOpera Service National Conference (transcripts of the meetings will be availablethis fall)

6/5,6/82 — Miami, Florida: Music Critics Association Annual Meeting6/6-8/82 — Miami, Florida: Southern Opera Conference Annual Meeting6/6-10/82 — New Haven, Connecticut: "Resources for a New Beginning", Volunteer-

National Center for Citizen Involvement6/11-14/82 — Sarasota, Florida: Chamber Music America Summer Conference6/13-17/82 — Washington, DC: American Symphony Orchestra League National

Conference6/15-18/82 — San Antonio, Texas: "American Arts Support: What Lies Ahead?",

National Assembly of Community Arts Agencies6/16-19/82 — Minneapolis, Minnesota: Association of Professional Vocal Ensembles

Annual Conference6/20-24/82 — New Brunswick, New Jersey: "Communication and Imagination - Images

of our Changing World", Theatre Communications Group

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NEW AND RENOVATED THEATRES

Several concert halls and multi-purpose theatres on which we reportedwhen construction began, will be opening this fall. They include theJOSEPH MEYERHOFF CONCERT HALL in Baltimore, designed byPietro Belluschi with acoustical consultants Bolt Beranek and Newman,cost $22 million; the PEORIA CIVIC CENTER in Illinois, a three-buildingcomplex designed by Johnson/Burgee with acoustical consultant Christo-pher Jaffe, cost $63.5 million; the EUGENE PERFORMING ARTSCENTER in Oregon, designed by Hardy, Holzman, Pfeiffer Associateswith Mr. Jaffe as acoustical consultant; and the reconstruction of NewOrleans' ORPHEUM THEATER, also under the supervision of Mr. Jaffe,at a cost of $2 million. Taking the sites in the above order, theBaltimore Opera will continue to play at the Lyric Theatre, which itshared with the Symphony until now; the hall is currently beingrenovated. The Peoria Civic Opera and the Symphony are both lookingforward to using the 2,200-seat theatre in the new Civic Center,although there have been some questions whether the Civic Opera canbe sustained in so large a house. The Eugene Center was specificallybuilt for the joint use of the opera, ballet and symphony, and the firstopera performance will be part of the Center's opening festivities.

In addition, the ROY THOMSON HALL will open in Toronto in Sep-tember. Designed by the world renowned Canadian architect ArthurErickson for use by the Toronto Symphony and Mendelssohn Choir, the$32 million building will feature a circular main auditorium seatingover 2,800, and include a rehearsal hall, a library, dressing rooms, andoffices. Bolt Beranek and Newman were the acousticians. Althoughthe Canadian Opera Company will continue to perform at the O'KeefeCentre, it has been invited to participate in the opening week perfor-mances. Julius Rudel will conduct a concert performance of Capriccioon September 15, featuring Johanna Meier.

The Asolo Opera's new home, the EDWARDS THEATER, will berenovated by architect Michael Pact. This is the result of a designcompetition underwritten, in part, by the National Endowment for theArts. Cost estimates run about $2.4 million, with the opening projectedfor early 1984.

Renovations are proceeding in New York's STATE THEATRE at LincolnCenter. Throughout the winter and spring season, alterations of thehall's inside walls were undertaken, and one could hear acousticalimprovements as the season progressed. The summer will serve tomake some more drastic changes, such as enlarging the orchestra pit,raking the orchestra seats, and removing some 200 seats to improvesightlines. Plans also provide for the enlargement of lobby space. Allrenovations are expected to be completed for a September 7 opening.

A temporary housing for stage, backstage facilities, and about 2,000seats at WOLF TRAP FARM PARK this year was supplied by SprungInstant Structures of Calgary, Alberta. Following a devastating firein April, Wolf Trap made arrangements for the above covering construc-tion to be shipped to Virginia from Saudi Arabia, where it had beenin use. The estimate for rebuilding the original theatre is $17.5million; its original cost was $2 million 12 years ago.

The WHITEWATER OPERA in Richmond, Indiana, will move to a larger

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NEW AND RENOVATED THEATRES

hall next season. The new auditorium is at the Centerville HighSchool, about three miles from the Norbert Silbiger Theatre currentlyin use. In addition to a 50 percent increase in the seating capacity,the new theatre has a larger orchestra pit and a better equipped stage.

TULANE UNIVERSITY in New Orleans is planning the addition of aPerforming Arts Center with a concert/theatre hall. So far, theUniversity has been able to raise $1 million of the estimated $6 millionneeded.

The former Goldman Band Shell in Damrosch Park at Lincoln Centerhas been renamed the GUGGENHEIM CONCERT BAND SHELL, andthe new Robin Hood Dell in Philadelphia will henceforth be known asthe MANN MUSIC CENTER.

On April 15, Puerto Rico opened its new TEATRO DE L'OPERA,founded by Antonio Barasorda, with a production of Un Ballo inmaschera. It featured Margarita Castro-Alberty, Florence Quivar, andWilliam Lewis.

London's new BARBICAN ARTS CENTRE (see Vol. 23, No. 3) had itsfirst opera performance on May 26 when the Chelsea Opera Groupoffered Otello in concert, conducted by Nicholas Braithwaite. Lateropera performances, all in concert form, will include Wozzeck, withthe London Symphony under Previn, and Turandot.

The ZURICH OPERA HOUSE will be closed for major renovationsduring the 1982-83 season. •

EXHIBITIONS COLLECTIONSThe Vincent Astor Gallery at the New York theatre drawings has been donated to the Pier-Public Library at Lincoln Center is currently pont Morgan Library in New York. One of thedevoting its museum space to a STRAVINSKY most extensive and important collections in theCENTENNIAL EXHIBrr. It coincides with many field of stage design, it includes some 2,000Stravinsky celebrations around town, most nota- drawings and paintings, many rare books, andbly that offered by George Balanchine and the prints from the 16th century to the present.New York City Ballet. — Preceding this showwas one on TWENTY-FIVE CONTEMPORARY ^ fc e h o s e h i s n o m e t o w n universityAMERICAN COMPOSERS. Samples of music ^ p o s i t o r y f o r h i s e o U eet ion of manuscripts,were accompanied by handwritten statements sc a n ( J Q t h e r m e m o r a b i i i a . T h e

and photographs of the artists A continuous C o n s e r ' v a t o f M u s i c a t t n e U n i versi ty oftape played selections of music by the featured M i s s o u r i i n K a n s a s c i t y w i l l ^ t h e guardian ofcomposers. t h e T H 0 M S 0 N COLLECTION.Brooklyn College hosted CELEBRATING THEGERSHWINS: AN EXHIBITION AND ENTER- COMPOSER'S SOCIETYTAINMENT, which displayed over 100 items. The Apollo Opera Inc. of New York has foundedThe opening event was a concert-lecture at the THE TOSTI SOCIETY to rediscover and preserveCollege's George Gershwin Theater. some 300 songs written by Sir Francesco Paolo

Tosti (1846-1916). The company offered itsThe DONALD OENSLAGER COLLECTION of first Tosti Concert in New York on June 6.

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CAREER GUIDE AMENDMENTThe following are changes which have occurred since the publication of the April Addenda tothe Career Guide. All will appear in the subsequent complete Addenda.

FOR STUDY ABROADThe INSTITUTE OF INTERNATIONAL EDUCA-TION (page 3) has been able to reinstate itstravel grants through the generosity ofLawrence Korwin. The grants, which are fortravel and, in some cases, living expenses forparticipation in certain foreign competitions,will be awarded annually to 15 or 20 youngAmerican musicians. Address inquiries toRobert F. Morris, Lawrence Korwin Interna-tional Music Competition Project, Institute ofInternational Education, 809 United NationsPlaza, New York, NY 10017.

AMERICAN COMPETITIONSA special repertory is required for the SOUTH-ERN REGIONAL OPERA VOCAL COMPETI-TION (insert page 5), Box 2151, Birmingham,AL 35201, an annual competition with an agelimit of 21-35. Deadline is May 1, the applica-tion fee $15. It is limited to students andresidents in the southern U.S.; prizes total $1000and possible performance opportunities.

The YOUNG PERFORMERS COMPETITION (in-sert page 5) is sponsored by NACUSA, Box49652 Barrington Station, Los Angeles, CA90049. The repertory is limited to 20th centurymusic, the age limit 18-30. The deadline isMarch 1, with a fee of $2; the prize is $100and a concert performance.

The deadline for the WGN-ILLINOIS OPERAGUILD AUDITIONS (page 8) has been changedto December 1, 1982.

The ROSA PONSELLE Foundation (insert page9) is beginning a competition for aspiring youngartists. Write Elayne Duke, Rosa Ponselle Foun-dation, Villa Pace, Stevenson, MD, for informa-tion.

The VOICES OF TOMORROW CONTEST inGetzville, NY, (page 11) has been discontinued.

INTERNATIONAL OPERA, LTD., (insert page16) 515 Shady Lane, Sheboygan, WI 53081, spon-sors a competition for 18 to 34-year-old singers.The grand prize is an all-expense paid trip toGermany for audition purposes. The applicationdeadline is June 15, the fee $25. A 15-minutetape and letter of recommendation are required.

FOREIGN COMPETITIONSThe dates of the CONCORSO INTERNAZIO-NALE "ACHILLE PERF (insert page 20) areMay 23-31, 1982. A cash prize and engagementare offered. Write Teatro Municipale R. Valli,Piazza Martiri 7 Luglio, 42100 Reggio Emilia,Italy.

The address of the VOCI VERDIANI (page 20)competition has been changed to 5 Villa della

Signora. All other information remains thesame.

The VALENTINO BUCCHI PER GIOVANIMUSICISTI competition is also held in Italy(insert page 21); Ass'n Musicale ValentinoBucchi, Via Ubaldino Peruzzi 20, 00139 Rome."Voice in the 20th Century" will be held inNovember, and the deadline is September 9,1982. The age limit is 38, and a special auditionrepertory is required. The fee is 25,000 lire;also needed are a photo and eight copies of acurriculum vitae. The four prizes range from2,000,000 lire to 600,000 lire, plus concert ap-pearances.

APPRENTICE PROGRAMSThe CENTRAL CITY OPERA (page 25) hassuspended operations for 1982. In addition,Robert and Ann Darling are no longer with thecompany.

OPERA COLORADO (insert pages 26 & 58) willbegin a training program for 12 singers, a di-rector, and three coach/accompanists. In 1983the program will run from January to June; inlater seasons a 9-month program is anticipated.Training will be provided, and performances willtake place at schools throughout the community.Write Francesca Zambello, Assistant ArtisticDirector in Charge of Young Artists, 121 PearlSt., Denver, CO 80203.

The NATIONAL OPERA ASSOCIATION PRO-FESSIONAL VOICE AUDITIONS (insert page 56)are held at the NOA National Convention (Port-land, OR 11/10-13/82). Singers must be NOAmembers. The application deadline is October1, and the preliminary judging is by tape. Forfurther information write Dr. Barbara Lockard,College of Musical Arts, Bowling Green Uni-versity, Bowling Green, OH 43403.

OTHER APPRENTICE PROGRAMSThe LOS ANGELES PHILHARMONIC has beguna training program for Young Orchestra Musi-cians and Conductors (insert page 57). JeffreyBabcock is the Institute Administrator, at 135N. Grand Ave., Los Angeles, CA 90012. Theinstruction will run four weeks for conductorsand three weeks for instrumentalists, under thetutelage of Leonard Bernstein and Daniel Lewis.

This summer, the MEROLA OPERA PROGRAMof the San Francisco Opera Center will offerits first Apprentice Director's Program (insertpage 57). Facilitated by a grant from NOI, theprogram, under the direction of Wesley Balk,will accept four director trainees.

In addition to the coach and director trainingwith Opera Colorado, the SHREVEPORT OPERA(insert page 58) has instituted a program for

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one conductor, one technician, and one accom-panist per production.

The NATIONAL OPERA INSTITUTE "Appren-ticeships" (page 57) have been expanded intoInternships in six opera-related disciplines: stagedirection, administration, musical preparation,design, production administration, and composi-tion. Applicants must have some experience inthe field; the deadline is November 1. (The1982 application deadline for the Young SingersCareer Awards is September 1; regional audi-tions will be held in five cities.)

The MICHIGAN OPERA THEATRE YOUNGARTISTS INTERN PROGRAM (page 58) willoffer positions for directors, stage managers,wardrobe/make-up, technicians, and administra-tors. John Fincke is in charge of the program.The deadline for application is May 15.

The HOUSTON GRAND OPERA, 615 LouisianaSt., Houston, TX 77002, will accept two pro-duction interns for the 1982-83 season (insertpage 59). The term is four months, Octoberto January or March to June. Address inquiriesto James Ireland, Assistant Director of Produc-tion.

FOR CANADIANS ONLYThe GUELPH FESTIVAL NATIONAL COMPETI-TION (Box 1091, Guelph, Ont. N1H 6Z9) takesplace in May.

CANADA OPERA PICCOLA, 3737 Oak St.,Suite 103, Vancouver, BC, V6H 2M4, is a sixto thirteen week training program for singers.

$200 per week will be provided towards livingexpenses.

The VANCOUVER OPERA GUILD offers a Ca-reer Development Grant for Opera Singers.Singers must apply for funding of a specificcareer-promoting project; the deadline is Sep-tember 15. $2,500 will be awarded in October.For further information and application formswrite Mrs. R. Kana, 60005 Collingwood St.,Vancouver, BC, Canada V6N 1T4.

The CANADIAN OPERA ENSEMBLE of the Ca-nadian Opera Company, 417 Queen's Quay West,Toronto, Ont. M5V 1A2, is a 12-month programfor nine singers. Instruction is offered, as areperformances both with the Ensemble and withthe main company. — In addition, training/per-formance opportunities are available for onedirector, one conductor, one coach, and oneadministrator.

CONDUCTOR'S COMPETITIONSA deadline of July 15 has been announced forthe INTERNATIONAL VITTORIO GUI COMPE-TITION FOR CONDUCTORS. Write TeatroComunale, Maggio Musicale Fiorentino, Via Sol-ferino 15, 50123 Florence.

The GREAT RIVER FESTIVAL OF THE ARTSin cooperation with the University of Wisconsinat La Crosse is sponsoring its ninth annualConductors Competition. Opera and symphonicconductors 30 years of age or older are invitedto compete for the $1,000 and guest engagementprize. Inquiries: Lenore Italiano, Great RiverFestival, Box 2554, La Crosse, WI 54601. •

ATTENTION COMPOSERSThe Meet the Composer Program has createda new project whereby six composers will bein residence with six major American orchestrasfor a two-year period. During this time theyare to write at least one major work which willbe performed and recorded by the host orches-tra. They should also assist in organizing aNew Music Series of American Music, and stim-ulate performances of contemporary works. Fi-nancing has been made possible through grantsfrom the Exxon Corporation, the RockefellerFoundation, and the National Endowment forthe Arts. The composers are chosen by theparticipating orchestras and their music direc-tors. Because of the particularly high calibreof the proposed candidates, the program wasexpanded to include seven composers in itsinitial season: Jacob Druckman to the NewYork Philharmonic, John Adams to the SanFrancisco Symphony, John Harbison to the Pitts-burgh Symphony, Robert Xavier Rodriguez tothe Dallas Symphony, Joseph Schwantner to theSt. Louis Symphony, William Kraft to the Los

Angeles Philharmonic, and Stephen Paulus tothe Minnesota Orchestra.

The Performing Arts Repertory Theatre (PART),131 West 86 Street, New York, New York 10024,announced a competition for musicals or reviewsfor its Theatre for Young (school-age) Audi-ences. Restrictions specify a maximum castof six and a maximum playing time of one hour.Applicants must have written at least one pre-vious music theatre piece. The two winningplays or musicals will each be awarded $8,000.

Paulette Haupt-Nolen, artistic director of theLake George Opera Festival and of the O'NeillTheatre Center Composer/Librettist Confer-ence, will hold a Composers Orchestra Workshopin Lake George this summer.

October 31 is the deadline for submission ofnew opera/musical theatre pieces to the 1983O'Neill Theatre Center Conference.See also NOI Internship Program above. •

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WINNERSSINGERSOn March 21, the following 11 finalists of theMetropolitan Opera National Council RegionalAuditions participated in the Finals Concert onthe stage of the opera house. They wereselected from some 1,500 auditioners heardthroughout the country; 22 semi-finalists werebrought to New York to compete for the prizeof $5,000 - the same amount went to all finalists- and to be chosen to participate in the grandconcert. Sopranos ANGELA BLASI from Cali-fornia, PAMELA COBURN from Virginia, NAN-CY GUSTAFSON from Illinois, HEI KYUNGHONG from New Jersey, SYLVIA McNAIR fromIndiana, and KATHARINE RITZ from Pennsyl-vania; mezzo-sopranos LUCILLE BEER fromNew York, CARLA COOK from Utah, andKATHLEEN SEGAR from Michigan; and tenorsWALTER MacNEIL from New York and EDUAR-DO VILLA from California. Introducing theyoung artists, Miss Rise Stevens, executive di-rector of the program, mentioned the threecriteria guiding the jury: 1) exceptional qualityof voice, 2) musicianship, and 3) a "mysterioussomething called magic and communication".

The 1982 National Opera Institute Career De-velopment Awards were given to the followingsingers: sopranos KATHRYN BOULEYN, PENNYMcMICHAEL, LINDA MABBS, JUDITH NICO-SIA, and SALLY WOLF; tenor ANTHONYLACIURA; baritones DAVID ARNOLD, JAMESDIETSCH, and LOUIS OTEY, and bass SHER-MAN LOWE. (For other NOI awards, see COSSalutes.)

The recently announced San Francisco OperaCenter 1982 Adler Fellowships have been a-warded to mezzos LAURA BROOKS RICE andLESLIE RICHARDS, tenor JEFFREY THOMAS,baritone THOMAS WOODMAN, and bassGEORGE STAPP.

The 1982 participants in the Cincinnati OperaYoung Artists Program are soprano BARBARAFOX, tenor KIRK STUART, baritone STEPHENLUSMANN, bass-baritones RICHARD COWANand THOMAS SANDRI, and bass SHERMANLOWE.

In May, the Baltimore Opera Vocal Competitionheld its finals and selected the following win-ners: 27-year-old Swiss-born mezzo MARTHASENN (first prize of $4,000), 26-year-old so-prano MELANIE HELTON ($3,000), 27-year-oldsoprano LUVENIA GARNER ($2,000), 29-year-old tenor MICHAEL AUSTIN ($1,500), 28-year-old tenor JEFFREY STAMM ($1,000), and thespecial Puccini Foundation award of $1,500 tomezzo NANCY GREEN.

The Wilshire Ebell Theatre in Los Angeles wasthe site of the Victor Fuchs Opera Auditionsfinals on April 25. Soprano RUTH GOLDENreceived first prize ($1,000), mezzo JAMEEARD and baritone DAVID BURNAKUS shared

second place ($500 each), and tenor EDUARDOVILLA (see also Met) received the third prize($400). Six other finalists were awarded $200each.

Soprano GAIL DOBISH, a 1981 Met winner, andmezzo BARBARA MARTIN, who won the 1979Kennedy Center/Rockefeller Foundation Com-petition, were the two vocalists who were a-warded the 1982 Concert Artists Guild cashprizes and New York recital debuts. — TenorRICHARD KENNEDY also won a New York re-cital as first prize from the National Associationof Teachers of Singing. —The Richard WagnerInternational Institution chose soprano KARENBUREAU as recipient of its $2,000 cash award.— Soprano SUSAN DUNN, baritone BEN HOLT,and contralto GRETHA BOSTON won first, sec-ond, and third place, respectively, in the d'AngeloYoung Artists Competition in Pennsylvania.

The National Endowment for the Arts has specialgrants for solo reeitalists to assist with researchand the presentation of three concert programsconsisting of American song literature of twodecades.

As we go to press, we learn of the 12 Britishand American singers chosen as semi-finalistsfor the 1982 International American Music Com-petiton, formerly known as the Kennedy Cen-ter/Rockefeller Foundation Competition and nowadministered by Carnegie Hall. They are: sopra-nos LONA CULMER, MARGARET CUSACK, CE-CILIA DEMPSEY, DONNA McRAE, NAN NALL,and DIANA WALKER-LEUCK; mezzo-sopranosCONSTANCE BEAVON and MIMMI FULMER; andbaritones HENRY HERFORD, KURT OLLMAN,JOSEPH PENROD, and CHRISTOPHER TRAKAS.The three winners, who will share a total of$83,000, will be chosen at the finals in Septem-ber; all other semi-finalists will receive $1,500each.

For the first time since 1975, the 's-Hertogen-bosch International Singing Competition has a-warded a first prize in the soprano category.This honor went to ANNE DAWSON from GreatBritain.

CANADIAN SINGERSThe 1982 Montreal Symphony Soloist Competitionwas won by GLENDA BALKAN, a coloraturasoprano from Montreal. — The Floyd ChalmersFund Career Grant was awarded Canadian sopra-no DEBORAH JONES, and the du Maurier Com-petition discovered the following winners: DEB-ORAH MILSOM, LYUDMILA PILDYSH, andRICHARD MARGISON. — Coloratura sopranoLESLIE ALLISON won the British Columbia Cul-tural Fund award, which will enable her to studyfor three months in Vienna with Rita Streich.

CONDUCTORSC. WILLIAM HARWOOD is the recipient of the1982 Stokowski Memorial Conducting Award,

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given for the third year by the American Sym-phony Orchestra. He is music director of theHouston Symphony's summer series, and is alsoin charge of two operas in their world pre-mieres: Paulus' The Postman Always RingsTwice and Roehberg's The Confidence Man.

ANDREW LITTON has been named Exxon/ArtsEndowment Conductor with the National Sym-

phony in Washington; another young conductorwill be chosen by the Dallas Symphony in July.— A second conductor's program administeredby Affiliate Artists and supported by Exxon andthe NEA is for Conducting Assistants, and thefollowing three have recently been selected inthat category: ANTONIA WILSON with the St.Louis Symphony, CHRISTOPHER WILKINS withthe Oregon Symphony, and RACHEL WORBYwith the Spokane Symphony. •

COS SALUTES

...The AMERICAN SYMPHONY ORCHESTRA LEAGUE on its 40thanniversary, which prompted Congress to declare June 13-19 as NationalOrchestra Week. (ASOL was founded in May, 1942, by Helen Thompson.)

...the FLORENTINE OPERA OF MILWAUKEE celebrating its 50thanniversary next season.

...the recipients of the 1982 NOI Awards for Service to AmericanOpera: RISE STEVENS in recognition of her role in the discovery,training, and championship of young American singers; H. WESLEYBALK in recognition of his contribution as a teacher, writer, anddirector/producer of new American operas; ROBERT HOLTON in recog-nition of his contribution as publisher of new American operas andchampion of American composers; and the TEXAS OPERA THEATERin recognition of its achievement in effectively bringing opera tohundreds of small communities throughout the country.

...HOWARD HOOK, first Chairman of the Metropolitan Opera NationalCouncil Auditions program, a post he filled with dedication for 15years, on the occasion of being chosen the 1982 recipient of the MONCVerdi Medal of Achievement.

...SISTER MARY ELISE, S.B.S., honored by the Music and Arts Associ-ation of Philadelphia for her more than 50 years of service to minorityartists.

...composers ROGER SESSIONS and MILTON BABBITT, the former aswinner of the 1982 Pulitzer Prize in Music, the latter for receivingthe 1982 Special Citation as "distinguished and seminal Americancomposer".

...MARTIN BERNHEIMER, chief critic of the Los Angeles Times, forwinning a 1982 Pulitzer Prize. •

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APPOINTMENTS AND RESIGNATIONSFEDERAL AND STATE AGENCIESThe National Endowment for the Arts has filledseveral open positions, including various Pro-gram Directors. We are delighted to welcomeANN FARRIS DARLING as Director of theOpera-Musical Theater Program, an appoint-ment which marks her return to the nationaloperatic scene. She was Executive Director ofOpera America for eight years, until her resig-nation in May 1979 when she joined her husbandas Manager of the Central City Opera. She isthoroughly familiar with both professional oper-atic conditions on the company level and theWashington scene, as she covered NEA meetingsand Congressional hearings during her OperaAmerica tenure. — Other Program Directorshave been named as follows: ADRIAN GNAM(Assistant Director of the NEA Music Programsince 1976) Director of the Music Program;EDWARD A. MARTENSON (former Director ofthe Yale Repertory Theatre) Director of theTheatre Program; RENEE LEVINE (former Di-rector of the California Institute of the ArtsContemporary Music Festival) Director of theInter-Arts Program and Audience Developmentfor Presentor Organizations; and BENNY AN-DREWS Director of the Visual Arts Program.

NEA Chairman Frank Hodsoll selected HUGHSOUTHERN as his Deputy Chairman for Pro-grams. Mr. Southern was the Executive Di-rector of New York's Theatre DevelopmentFund. — ANA STEELE, who has been withNEA since its founding 16 years ago, and RUTHBERENSON were named Associate DeputyChairmen for Programs; KATE L. MOORE, for-mer White House staff member under Mr. Hod-soll, is the new Director of Policy, Planningand Research, and CAROLINE L. McMULLENis Special Assistant to the Chairman. —JEFFREY M. MANDELL was appointed NEAGeneral Counsel.

The Arts Endowment's Office of Press and Pub-lic Relations has been reorganized with MARVINLIEBMAN (previously an independent public re-lations consultant and New York theatre andfilm producer) as Director of the newly createdPublic Affairs Office. FLORENCE LOWE willcontinue as Director of News Media Relationsand Special Events, and MARCIA SARTWELLcontinues as Director of Publications. — Oneadditional important appointment concernsROBERT A. KNISELY, who has been with fed-eral agencies in various positions for the past16 years, most recently as Executive DeputyDirector of Action. His new title with NEAis Deputy Chairman for Management.

Governor Carey has reappointed KITTY CAR-LISLE HART as Chairman of the New YorkState Council on the Arts for another term,which assures us of her good services untilMarch 1987. She assumed the office in 1976.Executive Director ARTHUR MITCHELL wasalso reappointed.

The Minnesota State Arts Board named G.JAMES OLSEN Executive Director; he filled thepost of Acting Director for the last eightmonths. He began his career as a singer, andlater became Program Director of the IndianaArts Commission.

Following the resignation of Rick George asExecutive Director of the Southern Arts Federa-tion, JIM BACKAS, formerly with the AmericanArts Alliance, was chosen as his successor. Theappointment became effective June 1. — TheSt. Louis Arts and Education Council's newExecutive Director is MELVYN LOEWENSTEIN,who succeeds Richard Tombaugh in this post.

NATIONAL ARTS ORGANIZATIONSSCHUYLER G. CHAPIN was elected Chairmanof the Board and PETER R. KERMANI Presidentof the Board of Directors of the AmericanSymphony Orchestra League.

Actors' Equity has elected ELLEN BURSTYNPresident. She succeeds Theodore Bikel, whohas occupied that position for the last nineyears. Alan Eisenberg is the union's chiefexecutive officer.

Composer DONALD ERB, who is affiliated withSouthern Methodist University in Dallas, hasassumed the office of President of the AmericanMusic Center following the completion ofCharles Dodge's term. — The American Com-posers Alliance has elected FRANK WIGGLES-WORTH President.

The Music Educators National Conference hasnamed PAUL LEHMAN, Dean of the School ofMusic at the University of Michigan, President-Elect. This two-year appointment will assureMr. Lehman the MENC presidency in 1984.

GLADYS CHANG HARDY was appointed Direc-tor of Education and Cultural Programs withthe Ford Foundation, where she will supervisesome $10 million in grants annually. Her formerpositions were with the National Endowmentfor the Humanities and the National Instituteof Education.

GLORIA MESSINGER succeeds the late PaulMarks as Managing Director of the AmericanSociety of Composers, Authors, and Publishers(ASCAP); and ANNE MOORE was named ActingDirector of the Alliance for Arts Education atKennedy Center, succeeding Bennett Tarleton.

It was recently announced that DE LLOYDTIBBS will be retiring from the post of NationalExecutive Secretary of the American Guild ofMusical Artists effective September 1. He willhave served the AGMA membership for 26years.

New department heads have joined the followingarts service organizations: CLIFFORD J.

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BROOKS (formerly with Opera Company of Bos-ton) as Director of Education at Opera America,replacing Marthalie Furber who left to join WolfTrap; R.W. MITCHELL as Director of Opera-tions for the Association of College, University,and Community Arts Administrators; JIMO'QUINN as Senior Editor in charge of publica-tions for Theatre Communications Group andEditor of its monthly newsletter, with KATYBROOKS as head of the TCG publications' de-partment; and THOMAS R. MULLANEY as Di-rector of Communications at Affiliate Artists.

INTERNATIONAL SERVICE ORGANIZATIONSAfter 30 years as Executive Secretary, JACKBORNOFF retired from the International MusicCouncil of UNESCO in Paris; Dr. NILS L. WAL-LIN was chosen to succeed him.

NAN LEVINSON, former Assistant Director ofNEA State Programs, has become the new Ex-ecutive Director of the British American ArtsAssociation in the United States.

CLINTON E. NORTON is the first ExecutiveDirector of the International Society of Per-forming Arts Administrators.

PRESENTING ORGANIZATIONSMaestro MAURICE ABRAVANEL will be ActingArtistic Director of the Berkshire Music Centerat Tanglewood this summer, replacing GuntherSchuller. Mo. Abravanel, who was one of thefounding members of the Central Opera ServiceProfessional Committee, was Music Director ofthe Utah Symphony from 1947 to 1979 (he isnow Director Laureate), headed the Music Acad-emy of the West for many years, and justreceived an Honorary Doctor of Music degreefrom the Cleveland Institute of Music.

The Contemporary Arts Center in New Orleansselected JAMES DREW as Resident Composerand Artistic Advisor of preparations for the1984 World's Fair to be held in that city.

DAVID MIDLAND, former Executive Directorat Artpark, exchanged his position at the up-state New York festival with one at a futureFlorida facility. As Executive Director of theTampa Bay Performing Arts Center, he willsupervise the building process of the $50 millionarts complex.

The Asolo Opera in Sarasota has engaged MI-CHAEL BROTMAN as Project Director and Co-ordinator for the renovation of the Edward'sTheatre, the company's new home, where per-formances are to begin in 1984. Mr. Brotman'scredits include Project Director of remodelingChicago's Orchestra Hall, Director of the Kran-nert Center, and General Manager of the Hart-ford Symphony.

Following the announcement of the resignationof Stewart J. Warkow (see Vol. 23, No. 3),

various new appointments have been made pub-lic. EDWARD H. MICHAELSEN, who had beenan officer or committee member for the MarthaGraham Dance Company, the Kennedy Center,and the Friends of Tanglewood, assumed thepost of Managing Director and Chief ExecutiveOfficer of Carnegie Hall last winter. Sharingthe responsibilities with him is SEYMOUR (SY)ROSEN, who was named Artistic Director ofCarnegie Hall. He brings with him over 20years of experience in orchestra management,lastly as Executive Director of the PhiladelphiaOrchestra. Under the management of the twoabove named directors, the feasibility for cre-ating a resident chamber ensemble and a youngartists community or outreach and educationalprogram is under consideration.

PUBLISHERSEDWARD W. BARRY, former Vice President ofMacmillan Publishing, has been named Presidentof Oxford University Press in New York.

OPERA COMPANIESThe Metropolitan Opera Association's board ofdirectors elected two new members to ManagingDirector status: GORDON GETTY (San Fran-cisco) and Mrs. RANDOLPH H. GUTHRIE, Jr.(New York); seven new Advisory Directors:JOHN B. FORD III (Michigan), KEN KAI (NewJersey), Mrs. RICHARD K. MOORE (New York),JOHN H. MYERS (Minnesota), RUDI SCHEIDT(Tennessee), WILMER J. THOMAS, Jr. (NewYork), and Mrs. RALPH M. WYMAN (Connecti-cut). The Officers of the Association were allre-elected as follows: William Rockefeller,Chairman; Frank E. Taplin, President; James S.Marcus, Chairman Executive Committee; BruceCrawford, J. William Fisher, Mrs. Alexander M.Laughlin, Laurence D. Lovett, Mrs. StephenO'Neil, Vice Presidents; James S. Smith, Treas-urer; and Alton E. Peters, Secretary.

The Dallas Opera announced the election ofWILLIAM W. WINSPEAR as President, with theformer President, Philip B. Miller, becomingChairman of the Board.

The first new appointments to major managerialpositions for the coming season have been an-nounced. They include BRUCE A. CHALMERS,General Manager of the Portland Opera for sixyears, to General Director of the CharlotteOpera succeeding Richard Marshall. Mr. Chal-mers began his many-faceted career as a bar-rister in England, then moved to Canada andworked for a British airplane company; in 1972he became Administrative Director of the Ca-nadian Opera Company, a job he filled until hismove to Oregon in 1976.

Replacing him in Portland is ROBERT BAILEY,who joined the opera company with the titleof Executive Director. STEFAN MINDE's ac-tivities are more closely defined with his newtitle of Artistic Director and Conductor, as

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compared to the previous one of General Di-rector. Mr. Bailey's former positions includedthose of Manager of Western Opera Theater,Director of Cultural Programs at National Pub-lie Radio, and, during the last two years, con-sultant and instructor of Arts Administrationat Golden Gate University. — Another changeat the Portland Opera becomes effective thissummer, when resident stage director GHITAHAGER leaves. The position will be discon-tinued.

WILLIAM NOLL, former administrator of theAtlanta Civic Opera, is now General Managerof the Providence Opera in Rhode Island.

Announcements of recent resignations includethose of ANN and ROBERT DARLING from theCentral City Opera House (see NEA Appoint-ments) and, from the same organization, Ar-tistic Administrator RICHARD BALTHAZAR.GLEN ARKO was named Transition Managerand Director of Development.

Resigning from the Minnesota Opera was itsGeneral Manager, CHARLES FULLMER, effec-tive at the end of this season; from the SeattleOpera, General Director GLYNN ROSS, at theend of his contract in 1984; and from theVancouver Opera its General Manager, HAMIL-TON McCLYMONT, effective at the end of the1982-83 season. IRVING GUTTMAN, the com-pany's first Director, will return for one yearin an advisory capacity.

Artistic and music directors are no less proneto moves and changes. The Asolo Opera hassigned VICTOR DeRENZI as its new ArtisticDirector and Conductor, succeeding JudithHouchins. He has conducted with many Ameri-can companies including the New York CityOpera. — The Indianapolis Opera, RobertDriver Artistic Director, has announced theappointment of JAMES CARAHER as MusicDirector. He has been working with Mr. Driverat the Opera Theatre of Syracuse for the pastthree seasons. - C. WILLIAM HARWOOD isthe new Music Director of the Arkansas OperaTheatre, where Ann Chotard is General Direc-tor. — BEEBE FREITAS will start as ArtisticDirector of the Hawaii Opera Theatre nextseason, after serving as Consultant and Directorof Musical Preparation last year. Donald Jo-hanos continues as Artistic Advisor, Alice Tay-lor Glessner as General Manager, and RosanneCribley as Associate General Manager.

New interim or advisory positions have beenentrusted to the following musicians: LEESCHAENEN, Director of the Chicago LyricOpera Center for American Artists, as InterimArtistic Director of Opera/Columbus for thetransitional season following the departure ofconductor Evan Whallon; — RICHARD WOI-TACH, of the Metropolitan Opera, to ArtisticConsultant and Advisor to the Arizona Opera

in Tucson for 1982-83 following the departureof Artistic Director James Sullivan; — HENRYHOLT, Music Director of the Seattle Opera, asAdvisor and sometime conductor of the BatonRouge Opera in Louisiana and the Arizona Operain Tucson.

EMERSON BUCKLEY, veteran conductor of theGreater Miami Opera for the last 32 years, hasannounced his retirement from that post thissummer. However, he will continue his affili-ation with the company as Artistic Advisor. —EVAN WHALLON, formerly of the ColumbusSymphony, was named Music Director of theMerola Training Program of the San FranciscoOpera Center. Sharing the training responsibil-ities will be H. WESLEY BALK of the MinnesotaOpera, who will be in charge of dramatics andstage movement. — The Whitewater Opera inIndiana has signed TOMAS HERNANDEZ asPrincipal Stage Director beginning next season.In addition, he will assume added responsibilityas Administrative Assistant to Artistic Directorand General Manager Charles Combopiano.

Other positions with opera companies whichhave been filled since our last report includethat of Director of Public Relations of theLyric Opera of Chicago. DANNY NEWMAN,who has filled this office since the company'sfounding in 1954, is now Press Representativeand Public Relations Counsel, while EARL JAYSCHUB returned to the Lyric in the abovenamed job. Originally head of the ChicagoLyric Opera School, he has spent the last fouryears as Manager of Western Opera Theater.— EVAN LUSKIN, former Managing Directorof the Chattanooga Opera, is now the MichiganOpera's Finance Director. — MARTHALIE(Marti) FURBER, former head of Opera Ameri-ca's Education Department, has been engagedas Director of Education by the Wolf TrapFoundation. — DUGG McDONOUGH is thenew Production Coordinator and Artistic Con-sultant for the Opera Theatre of Saint Louis,and WILLIAM GILLESPIE, a recent graduate(MBA) of UCLA's Arts Administration Program,has been made Administrator of the San DiegoOpera Center, the company's educational arm,effective July '82. — Des Moines Metro Opera'sApprentice Program, which has an enrollmentof 36 apprentices, has a new Director in STEW-ART ROBERTSON. He will also be in chargeof the company's children's and in-sehool pro-grams.

JULIUS RUDEL announced his resignation asArtistic Advisor of the Opera Company of Phila-delphia.

Recent resignations from the MetropolitanOpera staff include ANTONIA SUNDERLAND,House Manager, and BILL HUDSON, CompanyManager and Musical Secretary. RICK GARD-NER was promoted to House Manager. The jobof Company Manager was entrusted to JONA-

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THAN FRIED, the title of Musical Secretarywas eliminated.

SYMPHONY ORCHESTRASNews of a replacement for Lorin Maazel asMusic Director of the Cleveland Orchestra hasbeen awaited with great curiosity. Major inter-national conductors were contenders for thisleading position in American music, and finallythe decision was announced. CHRISTOPH VONDOHNANYI, currently Generalmusikdirektor ofthe Hamburg Staatsoper, guest conductor ofmany leading American and European orches-tras, and guest conductor at the MetropolitanOpera 1971-73, has signed a four-year contractwith Cleveland. He will begin his directorshipin Ohio in summer '84 (he is terminating hisHamburg contract early), and plans to establishresidence with his wife, soprano Anja Silja, andhis children in Cleveland. For the next twoseasons he will have the title of Music DirectorDesignate and will start to participate in theplanning of future seasons. His first conductingassignments with the orchestra will be in thesummer of 1983 during the Blossom Music Festi-val. Beginning in 1984-85, he plans to conductthe orchestra for 17 to 19 weeks, including thesummer festival and tour engagements.

The Nashville Symphony Orchestra announcedthe resignation of its Music Director, MICHAELCHARRY, effective June '83, and the appoint-ment of KENNETH SCHERMERHORN to Musi-cal Advisor beginning with the 1982-83 season.— AKIRA ENDO, Music Director of the Louis-ville Orchestra, will also be leaving his post atthe end of the 1982-83 season.

Following a two-year search for a successor toMARIO BERNARDI, Music Director of the Na-tional Arts Centre Orchestra in Ottawa whoannounced his resignation from that position inspring '80, the committee appointed FRANCOMANNINO Principal Conductor and Artistic Ad-visor with a two-year contract beginning inSeptember '82. The Italian conductor/composeragreed to preside over the orchestra for tenweeks next season, including one opera produc-tion during the Festival Ottawa Opera summerseason, and 14 weeks in 1983-84. During thesetwo years the orchestra committee will continueto look for a permanent music director.

Orchestra managers in new positions includeMICHAEL A. SMITH, General Manager, andOLEG LOBANOV, Executive Vice President,both with the Detroit Symphony; THOMAS H.McGUIRE, Executive Director of the North Car-olina Symphony; DOUGLAS PATTI, GeneralManager of the Charlotte Symphony; GORDONNEUFELD, General Manager of the EdmontonSymphony; and JUDY LEVINE, General Managerof the Northwest Indiana Symphony in Gary.

ACADEMIAAs of July 1, the Cleveland Institute of Music

will have a new Dean. He is STEPHEN JAY,formerly Dean of the Manhattan School of Musicand, more recently, President of the St. LouisConservatory of Music. He is also a composer.— JAMES ODE was named Chairman of theMusic Department at Trinity University in SanAntonio. He comes to Texas from Ithaca Col-lege in New York. — Dr. JOHN E. TAYLORwas advanced from Chairman of the Music De-partment to Director of the new School for theCreative and Performing Arts at NorthwesternState University of Louisiana in Natchitoches.EDWARD A. RATH succeeded him as Chairmanof the Music Department.

Soprano PHYLLIS CURTIN, who is currently onthe faculty of Yale University, will becomeDean of the School for the Arts at BostonUniversity in January 1983. The School encom-passes the schools of Music, Theatre Arts, andVisual Arts.

ELLIOTT W. GALKIN is retiring as Director ofthe Peabody Conservatory. Dean ROBERTPIERCE will be Acting Director until a perma-nent appointment is made.

J. STANLEY BALLINGER resigned as Presidentof the New England Conservatory of Music asof July 1, 1982.

GORDON JACOBSON, former Assistant to theDirector of the Spokane Arts Commission,joined the Hartt School of Music as an Associatein Music Management.

BONITA BACHMAN-GRANITE, who had beenon the voice faculty of Glassboro State Collegein New Jersey, was named Director of theGlassboro Opera Theatre. A former regionalwinner of the Metropolitan Opera Auditions, sheconducted several college performances of TheMarriage of Figaro last March. — KERRYWOODWARD is the new head of the Universityof Akron Opera Workshop, with ANNE HAENENas assistant guest producer.

Tenor SETH McCOY will join the EastmanSchool of Music as Professor of Voice next fall.Last season he taught at the University ofMichigan in Ann Arbor, where JOAN MORRISwill join the Music Theatre Program as AssistantProfessor. —ELIZABETH PATCHES was namedProfessor of Voice at Western Michigan Univer-sity in Kalamazoo, and LORINE BUFFINGTON-SUMMERS is now on the voice faculty of theUniversity of Miami in Coral Gables, where herhusband, Dr. FRANKLIN SUMMERS, is Directorof the Opera Workshop.

This summer, the Peabody Conservatory ofMusic in Baltimore will offer special Master-classes taught by ELEANOR STEBER, MARTIALSINGHER, JOAN DORNEMANN, and MARTINKATZ. This will be the 15th institution benefit-ting from Miss Steber's masterolasses this year.

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ELISABETH SCHWARZKOPF'S Masterclassesare now world famous. After leading somespecial classes at the Mannes College of Musicin New York and at the American Universityin Washington, she will join the Merola Program,holding seven summer Masterclasses in SanFrancisco, where she made her American debutas the Marschallin in 1955. — Another famousstar joining the Masterclass circuit is sopranoBIDU SAYAO. The two-day sessions, held atthe Hartt School of Music, were open to thepublic. — The Juilliard School included twodays of Masterclasses by French baritone GerardSouzay last season.

THE ARTS ABROADFollowing the expiration of his term as Chair-man of the Arts Council of Great Britain, theRight Honourable Kenneth Robinson was suc-ceeded by Sir WILLIAM REES-MOGG, who hasbeen confirmed as Chairman until March 1987.

The Administrator of the Barbican Centre forthe Arts in London is Canadian-born HENRYWRONG, who held administrative positions atthe Metropolitan Opera and at Lincoln Centersome years ago.

England's Aldeburgh Festival has three new As-sociate Artistic Directors: bass-baritone JOHNSHIRLEY-QUIRK, pianist MURRAY PERAHIA,and conductor SIMON RATTLE. For the firsttime, the Festival will host guest engagementsby the Welsh National Opera (Peter Grimes)and the Kent Opera (Britten's version of TheBeggar's Opera). — ELAINE PADMORE is thenew Artistic Director of the Wexford Festival;JANE GLOVER, Chorus Director at Glynde-bourne, was also named Music Director of the

Glyndebourne Touring Opera. — BRYANDRAKE took over as Director of the OperaSchool at London's Royal College of Music.

JOHN PRITCHARD, who is chief conductor andMusic Director of the opera house in Cologne,has also accepted the position of Music Directorof the Theatre de la Monnaie in Brussels, whereGe>ard Mortier is General Director. — Begin-ning with the 1983-84 season, American con-ductor JAMES CONLON will assume the dutiesof Music Director and Principal Conductor ofthe Rotterdam Philharmonic, with EDO DEWAART and SIMON RATTLE as Principal GuestConductors.

After only six months in office, ROMAN VLADresigned as General Director of the Teatrodell'Opera in Rome. GIORGIO MOSCON, alawyer, will be his successor. — Followingnext season's renovation of the Zurich operahouse, the company will be under the MusicalDirectorship of RALF WEIKERT, who will suc-ceed Ferdinand Leitner.

Conductor WOLFGANG GOENNENWEIN willbecome Generalintendant for all theatres inStuttgart, including the WurttembergischeStaatsoper. Dennis Russell Davies is currentlyStuttgart's Music Director. — MANFREDBEILHARZ will become the Intendant of theHessische Staatstheater in Kassel in fall '83.

The Australian Opera in Sydney announced theappointment of ANDREW SINCLAIR to the newposition of Principal Resident Producer, begin-ning January '83. Mr. Sinclair is currentlyworking at the Royal Opera in London. •

PUBLISHERS AND NEW EDITIONSBELWIN-MILLS PUBLISHING has released aThematic Catalogue in preparation of its Per-forming Editions of the Works of Jacques Of-fenbach. Twelve to fifteen vocal scores withoriginal French texts and English performingtranslations are to appear annually under thegeneral editorship of Antonio de Almeida. Incollecting the material, the conductor and Of-fenbach scholar is going back to original manu-scripts and/or first editions; earlier printingerrors are being carefully eliminated and what-ever additional original material is discoveredis either added or its existence indicated. Thefollowing works in this series are now available:Les Bavards (English Robert Hess), Ba-ta-clan(English Michael Kaye), Les deux aveugles (Eng-lish Jack Harrold), and La Permission de dixheures (English Marajean Marvin). The following

operettas are still to be published this year:La Perichole, La Vie parisienne, La belle He-lens, Barbe-bleue, La Grande Duchesse de Ge-rolstein, and Manage aux lanterns. Translatorsof the above have not yet been announced.

Other news from BELWIN-MILLS includes thepublication of a critical edition of Pagliacci byGiacomo Zani with an English text by TomHammond (formerly with Ascherberg), and Scar-latti's R Trionfo dell'onore in Dr. Hermine Wil-liams' edition with a translation by CharlesKondek. Furthermore, the publisher now hasthe rights to Anne Grossman's English texts ofMadama Butterfly, Tosca, and the soon to becompleted Pagliacci and Cavalleria rusticana,to Rimsky-Korsakov's Mozart and SalieH in theMotyka/Robinson translation, and to Peter Jona

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BOOK CORNER

OPERA Robert Donington's THE RISE OF OPERA offers a thorough andHISTORY scholarly study of the creation and evolution of the operatic art form.

Beginning with the sixteenth century masques and interludes, the authorguides the reader to the classical monuments of Cavalli, Monteverdi,and Lully. The 399-page book is extensively documented, indexed, andcontains a bibliography. Charles Scribner's Sons, $45.

Nino Pirrotta's MUSIC AND THEATRE FROM POLIZIANO TO MONTE-VERDI explores the origin and early development of today's music/stageworks by analyzing Italian theatrical performances of the fifteenthcentury. Elena Povoledo collaborated with Sg. Pirrotta and is respon-sible for Part II of the book. First published in 1975 as Li due Orfeiin Italian, the present English version has been translated by KarenEales and published as part of the Cambridge University Press Studiesin Music series. The 384-page volume is illustrated and indexed, andcontains numerous musical examples. Cambridge University Press,$57.50.

Author, critic and opera expert William Weaver has given us THEGOLDEN CENTURY OF ITALIAN OPERA, From Rossini to Puccini ina most attractively illustrated 225-page volume. Light touches aboutpersonalities and events make this informed text easily accessible tothe opera novice. Chronological and alphabetical indices assist in thebook's use as a reference tool, and it features over 150 color andblack and white illustrations. Thames and Hudson, $27.50.

COMPOSERS Professor William Ashbrook, author of The Operas of Puccini, has nowAND THEIR completed DONIZETTI AND HIS OPERAS. This extensive study ofOPERAS the composer and his operat ic output devotes Par t 1, about 200 pages,

to a biographical sketch, with light shed on the musical heri tage ofthe period and the eventual influence of the composer on his successors.Par t 2 offers detailed analyses of his operas, appearing in chronologicalorder with numerous musical i l lustrations. This list includes manyworks unknown today and forms an extremely valuable and uniquereference guide. Appendices give synopses and various data on theseoperas, list incomplete works, offer biographical information on Doni-zet t i ' s l ibret t is ts , and close the 744-page book with an index. Cam-bridge University Press , $37.50.

In THE COMPLETE OPERAS OF PUCCINI, A Critical Guide, Britishmusicologist Charles Osborne offers studies on the composer's 12 operas.Each is presented first in i ts historical context , followed by a dramat icand musical analysis. The 279-page book also includes music and textexamples, cast requirements, world premiere information, stories ofthe works, illustrations, and an index. The author also wrote TheComplete Operas of Verdi, The Complete Operas of Mozart, and Wagnerand His World. Atheneum, $15.95.

Rudolf Hartmann's RICHARD STRAUSS, The Staging of his Operas andBallets has been published with loving care in a most luxurious edition.The informed text by the Strauss scholar is enhanced by countlesscolor and black and white illustrations of exceptional quality. The280 pages feature studies and production photos for 18 stage works;the volume, protected by a slip-case, also includes an epilogue repro-ducing a manuscript letter of the composer addressed to the author,

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a chronological table of premieres, and an index. A beautiful andinformative gift. Graham Davies translated the original German(published in 1980) into English. Oxford University Press, $39.95.

Julian Budden has completed his remarkable study, THE OPERAS OFVERDI. The final volume, Number 3, covers the years from 1862through 1893 in 546 pages, featuring the composer's last four operas,Don Carlos, Aida, Otello, and Falstaff. The first of this definitiveVerdi opera series was published in 1973 and covered 18 operas, thesecond, in 1978, analyzed the next seven. The author devotes morespace to his studies of the last four chef d'oeuvres, discussing themthoroughly not only as a musicologist but also as a biographer andhistorian. The book includes numerous musical illustrations and anindex, as do its predecessors. Oxford University Press, $39.95.

THE STORY OF GIUSEPPE VERDI, From Oberto to Un Ballo inmaschera, was originally published in 1970 in Italian under the titleAbitare la battaglia, but was left incomplete due to the untimely deathof the author, Gabriele Baldini. It was edited by Fedele d'Amico andhas been translated into English by Roger Parker. A foreword writtenby Julian Budden discusses the value of the non-scholarly but knowledge-able and compassionate approach of Sg. Baldini, whose unorthodoxpersonal opinions "blow a breath of fresh air into the weary platitudesof traditional Verdian criticism". The 296 pages are indexed. Cam-bridge University Press, $34.50 hardcover; $9.95 paperback.

A study of the recognition and performances of Haydn's works in theUnited States, both during his lifetime and in the present, resulted inIrving Lowens' HAYDN IN AMERICA. The 134-page, slim but handsomebook includes a listing of manuscripts and autographs in the UnitedStates. Information Coordinators, Inc. for The College Music Society,$11.50.

An important addition to the library of republished works is Eric COMPOSERS'Fenby's DELIUS AS I KNEW HIM. The first edition of the book, which BIOGRAPHIESinspired a film about the composer, appeared in 1936, two years afterthe composer's death, and has been out of print for some years. Itwas written by the young disciple who became Delius' hands and eyesthroughout the last years of his life. The current, 266-page editioncontains a new introduction and, for the first time, various photographs.Cambridge University Press, $22.50 hardcover; $6.95 paperback.

After a dearth of biographical material on the Czech composer, twobooks entitled LEOS JANACEK have recently been published. Thefirst is a biography written by Jaroslav Vogel, originally published in1962 in both Czech and in an English translation by Paul Hamlyn.This successful volume has been revised by Karel Janovicky andpublished for the first time in the U.S. The author, himself a composerand conductor, is greatly devoted to Janacek and his music. He offersan authentic and loving biography interwoven with analyses of Janacek'smajor works. The 438-page book contains some photographs, manymusical examples, a chronological list of works, and an index. W.W.Norton & Co., $24.95.

Ian Horsbrugh is the British author of the second LEOS JANACEK.Here, too, we find the life story told with the major compositions

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forming the milestones. The author , a music educator , is also wellconversant with the composer 's music, however, his approach is some-what more scholarly than Mr. Vogel's. The 327-page book also includesphotographs and musical i l lustrat ions, a list of operas with premierecas ts and synopses, and an index. Charles Scribner 's Sons, $22.50.

British author Derek Watson presents a dispassionate por t ra i t ofRICHARD WAGNER, making use of Cosima's diaries and other familydocuments which have recent ly become avai lable. While he makes noa t t e m p t to cover up the dark side of Wagner's charac te r , the finalchapter of the book questions the validity of t ransferr ing emotionsfel t for Nazi Germany to Wagner's music. The 352 pages containil lustrat ions and an index. Schirmer Books, $17.95.

COMPOSERS THE VIRGIL THOMSON READER contains a large collection of theAS AUTHORS composer 's writ ings: excerp ts from earl ier books, a r t ic les , and, of

course, a great deal of mate r ia l and cri t iques which appeared in theNew York Herald Tribune from 1940 to 1954 when he was the paper 'smusic edi tor . Pa r t s of the book are autobiographical , o thers te l l ofhis contemporar ies , his friends — and his foes, in the a r t and socialworld. The book, which is indexed and contains a bibliography, openswith an introduct ion by John Rockwell , and closes with two interviews,one by the aforement ioned New York Times c r i t i c , the other by DianaTrilling. The 582 pages offer many enjoyable, enlightening, andnostalgic hours. Houghton Mifflin Co. , $25.

The autobiography of O t t o Luening, THE ODYSSEY OF AN AMERICANCOMPOSER, bears witness to the composer 's many gifts . He, likeThomson, is an erudi te wri ter ; in ce lebra t ing his 80th bir thday hewrites about the same period as Thomson, his senior by only five years .However, t he re the resemblance ends. Mr. Luening developed underthe German school, as opposed to the French, and soon evolved hisown individual s ty le . His prime in te res t turned to the e lec t ronic musicfor which he became best known; in 1950 he and Vladimir Ussachevskyfounded the Columbia-Pr inceton Elec t ron ic Cen te r . However, hisnon-e lec t ronic compositions have been labeled anything from conser-vat ive to modern. His in te res t and ta len t as a t eache r took him tovarious major universi t ies, and many leading young American composershave studied with him. The i l lus t ra ted and indexed 605-page book isa lively and somet imes touching account of the struggles and sa t i s -fact ions in t he life of one of America 's leading musicians. CharlesScribner 's Sons, $22.50.

LETTERS TO HIS FAMILY, An Autobiography by Piotr Ilyich Tchai-kovsky has been published in an English translation by Galina von Meek,granddaughter of the composer's patroness and grandniece of thecomposer himself. The 577 pages contain almost 700 letters writtenby Tchaikovsky between 1861 and 1893, the majority of them addressedto his two brothers. In addition to giving an interesting account ofhis activities and impressions, they offer a unique insight into themind and emotions of the author. Many letters are followed bycomments on the events mentioned, or by excerpts from the recipients'replies. The book closes with an epilogue by Ms. von Meek, abiographical index, and an index of places. Stein and Day, $25.

MONOGRAPHS The Metropolitan Opera and Little, Brown and Co. are embarking on

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the publication of a new series of opera books. THE METROPOLITANOPERA CLASSICS LIBRARY represents a totally new concept andapproach to individual operas in print. Each volume will be devotedto one particular work, which will be presented in a novella-lengthadaptation of the story specially commissioned and written by arenowned contemporary author. In addition, the books will include anintroduction to the opera, the libretto in the original language and inEnglish, and illustrations in both color and black and white. Notedmusic critics and scholars will be invited to contribute critical essayson the composer and librettist. Each book will be published simul-taneously in hardcover and in paperback. The first volume, which willbe ready in fall 1982, will be Der Rosenkavalier, with Anthony Burgessresponsible for the story adaptation. The second volume, La Traviata,has a publication date of fall 1983, and will be adapted by MaryMcCarthy.

The first three volumes of a new series, the Cambridge Opera Hand-books, are now available. Patricia Howard is the author of C.W. VONGLUCK - ORFEO, Julian Rushton of W.A. MOZART - DON GIOVANNI,and Lucy Beckett of RICHARD WAGNER - PARSIFAL. Each bookincludes a detailed study of the opera, the historic period and itsinfluence on the composer, a synopsis and commentary on the storyand text, a musicological analysis, and a performance and productionhistory. They average 160 pages, are indexed, and contain illustrationsand musical examples. Cambridge University Press, $22.50 hardcover;$7.95 paperback.

ARIADNE AUF NAXOS BY HUGO VON HOFMANNSTHAL ANDRICHARD STRAUSS, Its Genesis and Meaning is part of the OxfordModern Languages and Literature Monographs series. Karen Forsythoffers a scholarly yet extremely readable treatise, analyzing thisinteresting, often considered hybrid work. After a chapter on the1912 version of Le Bourgeois gentilhomme, we follow the inspirationand genesis of the complete opera, guided by notes, correspondence,and the inclusion of heretofore unpublished material. The 291 pagescontain numerous musical quotations, a Szenarium, program reprints,and an index. Oxford University Press, $48.

The gold-embossed, red velvet cover of THE METROPOLITAN OPERA OPERAGUIDE will immediate ly put you in the environs of the elegant house COMPANIESat Lincoln Cente r . The 128 pages fea ture an informative t ex t byDorle Soria describing the opera house from C Level to the Top ofthe Met, including shops and backstage a reas , and a s tep-by-s tepdescription of mounting a Met production. Over 100 handsome colorphotos add their a t t r ac t ion to the Guide, which will serve equally asa souvenir for those who visit the house and as an introduction tothose who have never been to the Met. The book may be orderedfrom Met by Mail, 1865 Broadway, New York, NY 10023. MetropolitanOpera Guild, $11.45 postpaid.

We a re indebted to Mart in L. Sokol for writing THE NEW YORK CITYOPERA, An American Adventure. Of i ts 500 pages, 300 are devotedto detai led annals, a wonderfully complete record of the company'sperformances (compiled by Mr. Sokol and George Louis Mayer); thefirst 200 pages tel l the s tory of the founding of the New York Ci tyCenter of Music and Drama, and the history of the opera company's

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trials and triumphs. Although the author chronicles the company untilthe beginning of Ms. Sills' directorship, he devotes most of this sectionto the early activi t ies. One wishes more emphasis and credit wouldhave been given to the City Opera productions of new American works.The book is generously illustrated with production and individual art is ts 'photographs. Macmillan Publishing Co., $24.95.

A photographic history of the San Francisco Opera from 1954 to 1981is offered in commemoration of THE ADLER YEARS. Productionphotographs are interspersed with backstage and offstage photos. Shotsof Spring Opera productions, Western Opera Theater on tour, Merolaauditioners, Affiliate Artists , and Brown Bag s t ree t performances arealso included. San Francisco Opera Shop, $15 paperbound.

Everyone who visits Glyndebourne seems forever to keep a fondat tachment to the Festival. Thus, GLYNDEBOURNE, A History ofthe Festival Opera by Spike Hughes will be a most welcome additionto many music libraries. The 388-page, illustrated book first appearedin 1965; the current edition includes events and performance annalsthrough 1980. It is dedicated to the memory of Fr i tz Busch, co-founderwith Captain John Christie of the opera festival on the Captain'ses ta te in Sussex. David & Charles, $29.95.

BAYREUTH: THE EARLY YEARS is a compilation of articles, le t ters ,and other accounts by famous festival participants and visitors of theirperceptions or experiences of the Wagner Festival between 1876 and1914. Represented here are fellow composers (including RichardStrauss, who heard his wife-to-be there in the role of Elisabeth), singersand conductors, music critics including, of course, Bernard Shaw andEduard Hanslick, and authors such as Mark Twain. Robert Hartfordedited the book and also wrote the introduction. Various appendices,indices, and illustrations complete these informative 285 pages. Cam-bridge University Press, $19.95.

Wallace Dace's NATIONAL THEATERS IN LARGER GERMAN ANDAUSTRIAN CITIES is a large-size picture book with handsome blackand white photographs of opera houses and some of their majorproductions, and includes floor and seating plans of the auditoria. Theinformation on 19 theaters features historical background, repertoire,stat is t ics , administrative staff, and some financial data, although notall information is presented for each house. Before closing the book's467 pages with various lists and an index, the author devotes onechapter to American Artists in the German and Austrian NationalTheaters . His 1978-79 figures show 212 American solo singers and 51choristers in year-round German employ. Richards Rosen Press, $35.

SINGERS1 DIETRICH FISCHER-DIESKAU, MASTERSINGER, A Documented StudyBIOGRAPHIES n a s b e e n devotedly written by Kenneth S. Whitton, with a foreword

by Gerald Moore. This account of the art ist 's career often includesanecdotes and valuable advice for young singers. As is the case withall biographies of famous performers, we also meet and hear of manyrenowned colleagues. Illustrations, musical examples, a discography,and an index are included in this 342-page book. Holmes <5c MeierPublishers, $35.

John Ardoin has revised his 1977 book THE CALLAS LEGACY, A

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Biography of a Career to include many events heretofore unknown.The author's admiration for his subject is matched by his authenticityand excellent style. The new, 240-page book now includes performancephotographs and additional information on film and recorded material.Charles Scribner's Sons, $17.50.

Dorothy Kirsten's autobiography, A TIME TO SING, was written incollaboration with Lanfranco Rasponi. Hers was one of the rare,made-in-America careers of an American singer. Although she beganher studies in Italy, where she was sponsored by Grace Moore, shehad to return to the U.S. because of World War II. Her professionaldebut occurred in Chicago in 1940, and five years later she sang herfirst performances at the Met and the San Francisco Opera. On theoccasion of her 30th anniversary celebration at the Met she announcedher retirement from that stage, although she did return several timesto substitute for an ailing colleague. She believed in staying withina limited repertoire performed to perfection (hers included Minnie,Tosca, Manon) and chides some of her colleagues for accepting assign-ments which she feels were detrimental to their voices. The bookalso takes us into the film, radio, and television studios in which sheappeared. The foreword was written by an admiring Robert Jacobson.Numerous photographs attest to the diva's great beauty, and the 247pages include a discography and an index. Doubleday and Company,$16.95.

BIRGIT NILSSON, My Memoirs in Pictures is the visual and anecdotalaccount of a fascinating international career. The singer's artistryand her joie de vivre are reflected in every page; many photos featureher in the company of other famous musicians. The original Swedishtext of this 127-page, large format book has been translated by ThomasTeal. Doubleday and Company, $19.95.

PAVAROTTI, My Own Story is the result of the cooperative effortsof the tenor and the author William Wright. The book alternateschapters by the co-authors with chapters by people in the tenor's life.Thus we hear from his voice teacher, his wife, his secretary, severalprominent colleagues, etc. No matter, Pavarotti fans will devour everyword and every photograph. An index, a discography, and a list offirst performances of roles closes the 316-page book. Doubleday andCompany, $14.95.

Michael Scott has completed the second volume of his THE RECORDOF SINGING. The first volume covered the years until 1914, and thecurrent 262 pages report on recordings from that date until 1925.Included are biographies of the legendary great singers as well as ofothers who are lesser known but whose voices have been preserved onrecordings. Some wonderful old photographs from the Stuart-LiffCollection enhance this informative reference work which includes aglossary, bibliography, notes, and an index. Holmes & Meier Publishers,$49.50.

As a sequel to his 5000 Nights at the Opera, Sir Rudolf Bing has PRODUCERS'written A KNIGHT AT THE OPERA. We find him to be somewhat BIOGRAPHIESmellowed, admitting, after all these many years, to having a heart— specifically when he speaks of the tragic illness of his wife and

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his own loneliness. However, as soon as he turns to the account ofhis Met years we find the old, cynically clever and often amusinggeneral manager. The book reveals many scenes and anecdotes,including his crucial correspondence with Callas, in its 287 indexedpages. Appendices list artists and operas at the Met during his regime(1950-72), and new productions with premiere casts. Garson Kaninwrote the introduction to the illustrated book. G.P. Putnam's Sons,$14.95.

Although it carries one of the legendary names on its cover, ON ANDOFF THE RECORD is by, not primarily about, Elisabeth Schwarzkopf.It is A Memoir of Walter Legge, "the most influential man in twentiethcentury classical music". This is Mme. Schwarzkopf's tribute not onlyto a beloved husband, but also to the man she feels made her career,made her the artist she is. In addition to his unfailing musical earand taste, he was an imaginative entrepreneur, founding EMI recordsand London's Philharmonia Orchestra, and building and supporting thecareers of such giants as Herbert von Karajan, who contributed theintroduction. In later years he founded and participated in the Legge/Schwarzkopf master classes, where he was feared because of his greatdemands and sharp critique, something he had practiced with superbresults on his young wife some thirty years earlier. Less known ishis great talent for writing, and parts of this book include reprintsfrom his music reviews for the Manchester Guardian and notes heprepared for an autobiography. The 292 pages are illustrated andcontain a selected discography and an index. This is a most readableaccount of the music scene from the 1920's through the 60's, withfamous musicians as the players. Charles Scribner's Sons, $17.95.

RUN-THROUGH and FRONT & CENTER are the memoirs of JohnHouseman, with the first volume of 506 pages encompassing the yearsfrom 1902 to 1941, and the second 512 pages the years 1941-55. Thehardcover first editions appeared in 1972 and 1979, respectively, andboth have now been republished in paperback in their entirety, includingthe original illustrations. They offer a fascinating account of theatricallife and people, as told by one of the most entertaining intellectualsof our time. Mr. Houseman writes in an elegant style, and hisreminiscences of his productions of drama, radio, film, and opera (thepremieres of Thomson's Four Saints in Three Acts and Blitzstein's TheCradle Will Rock) are engrossing. Simon & Schuster/Touchstone, $7.95each.

CONDUCTORS Erich Leinsdorf's second oeuvre as author is the exceedingly thoughtfuland thought-provoking THE COMPOSER'S ADVOCATE, A Radical Or-thodoxy for Musicians. With it, the conductor intended to guideprofessional musicians "toward an independent and more reliable methodof learning through the eye and mind" rather than learning musicthrough the ears alone. In childhood and youth, the inspiration ofmodel performances, live or taped and recorded, are a necessary stageof learning. However, the professional musician "must be weaned andready to undertake a personal search for deeper truths in great music".This is a book so full of ideas and invaluable advice, primarily toconductors but which can be applied by any performing musician, thatit should be read, studied, and re-read by all. The 216 pages aboundin musical examples, are indexed, and, considering today's prices formaster instruction, are a real bargain. Yale University Press, $14.95.

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Martin Bookspan and Ross Yockey, who wrote The Zubin Mehta Story,have turned their attention to another conductor, and the result isANDRE PREVIN: A BIOGRAPHY. The book devotes its first sectionto "The Hollywood Life", the second to 'The Jazz Life", and the finalthird to "The Classical Life". Previn's unusual career, from arrangerand popular composer, to pianist and jazz musician, to conductor ofsome of the world's leading orchestras, is paralleled by a turbulentprivate life. This 398-page authorized biography is illustrated. Double-day & Company, $15.95.

Although GUIDO CANTELLI: PORTRAIT OF A MAESTRO, by LawrenceLewis, is a book of what has been, it is just as much a book of whatcould have been. Toscanini's protege" and considered heir apparent,Cantelli began a brilliant professional career which seemed to fulfillthe early promise of the former child prodigy. Among his majorengagements were his American debut conducting Toscanini's NBCOrchestra, annual visits with the New York Philharmonic and othermajor orchestras here and abroad, and many assignments at La Scala,where he was named Music Director in 1956. One week later he waskilled in a plane accident outside Paris. He was 36 years old. The175-page book is illustrated and indexed, and contains a chronologicalperformance listing. A.S. Barnes & Co., $11.95.

Max Rudolfs THE GRAMMAR OF CONDUCTING, a classic handbookfor conductors first published in 1950, has recently appeared in arevised and expanded edition. This "Practical Guide to Baton Techniqueand Orchestral Interpretation" contains a wealth of wisdom and counselin its 471 pages. Schirmer Books, $16.

While most musicians are convinced that the liberties taken by stagedirectors are a sign of the times, A. M. Nagler's MISDIRECTION,Opera Production in the Twentieth Century, unveils some bizarre stageideas prevalent at the turn of the century. Thus we find GustavMahler's Don Giovanni (Vienna 1905) omitting the finale, consideredtoo frivolous and shattering of the dramatic mood. In fact, thispractice threatened to become a tradition, and was emulated by manyother producers. Nagler, who is Professor Emeritus of Dramatic Historyat Yale, originally published the book in German in 1980. In thissmall book of 134 pages, the author has chosen ten operas, discussingseveral "misdirected" productions of each one here and abroad — inturn bringing to mind innumerable other oddities and "atrocities". Thebook is indexed and footnoted. Archon Books, $15.

Leo Van Witsen, for many years designer for Brooks Van Horn Costumes,shares his knowledge, experience, and taste with the reader of COS-TUMING FOR OPERA, Who Wears What and Why. He has chosen 16operas, for which he analyzes the costume requirements. Artistic aswell as practical considerations are discussed for dressing each charac-ter. The 232 pages are generously illustrated with historic andcontemporary drawings and photos; Boris Goldovsky supplied the fore-word. Indiana University Press, $27.50.

The analogy in the title AMERICAN OPERETTA, From H.M.S. Pinaforeto Sweeney Todd preoccupies author Gerald Bordman through the betterpart of his 206-page book without ever being really proven or resolved.The same author gave us American Musical Theatre, a much more

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comprehensive and satisfying study of the subject. Acknowledging ourdebt to the European, in this case particularly the British, musictheatre form does not authorize our annexing original foreign operettas.Later works discussed are those truly American by such composers asHerbert, Friml, Romberg, Rodgers and Hammerstein, Lerner and Loewe,Sondheim, and Harnick. The book contains some photographs, a listof "Principals and Credits for Important Operettas", and an index.Oxford University Press, $15.95.

Cecil Smith's MUSICAL COMEDY IN AMERICA, originally publishedin 1950 and covering the period from The Black Crook (1866) to SouthPacific (1950), has been reissued in a greatly expanded version. AuthorGlenn Litton has now added three more chapters for the years andactivities from The King and I (1950) to Sweeney Todd (1979). The367-page, indexed and illustrated chronicle is as informative as it isentertaining, and includes material not touched upon in other similarvolumes. Theatre Arts Books, $14.95 paperback.

Of a total of four recently published books on musicals on film, twohave reached our office: HOLLYWOOD MUSICALS by Ted Sennett,and the ENCYCLOPAEDIA OF THE MUSICAL FILM by Stanley Green.The former, a superb coffee table volume, again attests to Abrams'reputation as a fine arts book publisher. Over 400 color and blackand white illustrations are displayed throughout the 384 pages, and theinformed text further enhances the value of this sumptuous book. Theindex provides a cross-reference of titles, song titles, performers,producers, and directors and other artists, and appendices include aselected filmography, and copyright and property information. HarryN. Abrams Inc., $50.

The ENCYCLOPAEDIA fills its 344 pages with alphabetical entries offilm and song titles, performers, composers, librettists, directors, andproducers with their respective credits. Appendices include a list ofAcademy Award nominations and recipients, filmed biographies offamous musicians (including the name of the artist who dubbed theperformance), film title changes between U.S. and British releases,and a discography. However, it is difficult to ascertain Mr. Green'sadmittedly arbitrary standards for inclusion: in the list of biographiesone finds reference to the title "Scott Joplin", but no entry appearsfor such title or composer. The same is true of Marjorie Lawrence.On the other hand, there is a listing of The Great Caruso. OxfordUniversity Press, $25.

THE LIGHTER While I am not certain everyone would agree with the choices of "youre.|j_ first opera", or more specifically "first operas to be avoided", James

Camner's HOW TO ENJOY OPERA is a light and enjoyable guide forthe uninitiated. In its 212 photo-illustrated pages, the book brieflytouches on a great variety of operatic subjects, such as famous stars,opera houses and seasons, festivals, books and periodicals, recordings,television and opera films, and includes a glossary, a chronology ofimportant events, and an index. Doubleday & Co., $12.95.

The same author's THE OPERATIC QUIZ BOOK is a guaranteed successfor opera fans favoring party games. Its 123 pages contain over 400questions and answers which will make experts of its readers. St.Martin's Press, $7.95.

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No other art form is quite as prone to amusing mishaps (all the wayto catastrophies which bring down the curtain) as opera. The latestbook retelling such stories is Barry Hewlett-Davies1 A NIGHT AT THEOPERA. The 160 pages feature original cartoons by Lucy; the forwardis by the Earl of Harewood. St. Martin's Press, $10.95.

IN QUEST OF MUSIC seems truly Irving Kolodin's "Journey in Time" THE CRITICin 344 indexed pages. It affords the veteran author a leisurely musing SPEAKSon subjects and musical personalities which moved him. Thus, we find,in neighborly harmony, chapters on Ernest Ansermet (and his feud withIgor Stravinsky), Artur Schnabel, Alfred Knopf, Nadia Boulanger, MariaCallas, Daniel Barenboim, and acquaintances who stirred his imaginationsuch as Ethel Henry Richardson (the little-known author of a 1922novel) or Mildred Bailey. Whatever his subject, the reading is alwaysinteresting and enjoyable. Illustrations, referred to as decorations,have been supplied by Hoffnung. Doubleday & Company, $14.95.

The third volume of Andrew Porter's collected treatise-reviews as theyappeared in The New Yorker has been published under the tit le MUSICOF THREE MORE SEASONS. Events occurring between 1977 and 1980both here and abroad have been covered, and considering the knowledge-able and detailed analyses these articles offer, the collection not onlymakes interesting reading but also serves as an excellent referenceguide to lesser known works. The 613-page book contains an indis-pensable index. Alfred A. Knopf, $22.50.

MUSICOLOGY, A Practical Guide by Denis Stevens has been published GENERALas pa r t of t he Yehudi Menuhin Music Guide Ser ies . Both a scholar MUSIC BOOKSand performing musician, Mr. Stevens displays a p r a c t i c a l approach t owhat could be a dry and l ifeless subjec t . This i l lus t ra ted , indexed,224-page guide will be found most useful. Schi rmer Books, $17.95hardbound; $8.95 paperback.

The f irs t volume in the ser ies "Early Music History", edi ted by IainFenlon, has been re leased . STUDIES IN MEDIEVAL AND EARLYMODERN MUSIC contains a r t i c l e s which have been cont r ibu ted byscholars from universities in the United States and Great Britain, andthe 381 pages of text are illustrated with numerous musical examples.Cambridge University Press has offered a special subscription rate of$24.75 for each of the six proposed volumes; the single price is $49.50.

AN INTRODUCTION TO MUSIC PUBLISHING is a compendium ofarticles by various authors on such subjects as recording, the musiclibrary, copyrights, editing, the economics of music publishing, etc. Adiagram of "How Music Publishing Works" is also included. C.F. PetersCorporation, $3.50.

What is surely one of the most ambitious undertakings in recent musical ENCYCLOPEDIASannals has come to a successful fruition: the publication of the * DIRECTORIESENCYCLOPEDIA OF MUSIC IN CANADA, in one, 1,075 large pagevolume. Under the guiding spirit of general director Michael M.Koerner, who also contributed the foreword and the dedication to FloydS. Chalmers, the three editors, Helmut Kallmann, Gilles Potvin, andKenneth Winters have assembled an unprecedented amount of infor-mation. Some 400 experts from across Canada contributed the 3,100articles on all aspects of music in Canada, ethnic, popular, folk,

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BOOKS

classical, and contemporary music, historic and contemporary trends,musicians, organizations, and persons who played some role in Canadianmusical life and its development. Subjects are not restricted toCanadian artists or organizations, but include any which are relatedto Canada. For example, the Metropolitan Opera is included with alisting of Canadian artists and the tour performances in Canadiancities. This beautifully appointed book includes 500 illustrations andan index of subjects and items which do not have their own entries.A major reference work. University of Toronto Press, $75. (In theU.S.: 33 E. Tupper St., Buffalo, NY 14203.)

Edward Jablonski is the author and editor of THE ENCYCLOPEDIAOF AMERICAN MUSIC. Arranged in chronological order from 1620to the present, the material has been divided into seven time zones,each with its own lead article followed by selected alphabetical entriesof titles, composers, and other musicians. The 629-page book containsover 1,200 biographical entries. Doubleday & Company, $24.95.

Number Four in the series of Bibliographies in American Music is the443-page FIRST PERFORMANCES IN AMERICA TO 1900, Works withOrchestra, compiled by H. Earle Johnson. Arranged by composer, thebook should be subtitled "Works with Orchestra Performed in Concert",as the few operatic entries refer to performances of overtures, scenes,or concert performances. First performances are not restricted toAmerican premieres, but include firsts for major cities or symphonyorchestras. Often the information mentions conductor and/or soloists,and quotes from contemporary articles or reviews. The latter offerinteresting comments documenting tastes and trends in America in thenineteenth century. It is cross-referenced and includes a list of LeadingMusic Journalists Before 1900. Information Coordinators, $20.

The sixth edition of THE MUSICIANS GUIDE, a comprehensive directoryof the world of music, has just been published. The 943 pages areorganized, as always, by subject matter, with each category arrangedby state. Entries include music associations, performing groups, schools,publishers, foundations, managers, a list of "entertainment lawyers",and charts on ten "Careers in Music". The Guide contains a vastamount of useful information, one only regrets its shortlived accuracydue to the continuous changes in the field. The fifth edition waspublished in 1972 by Music Information Service; the current one: MarquisAcademic Media, $65.50.

The TCG THEATRE PROFILES 5 has just been released. The 199pages update the former publication with 1980-81 information on therepertory, administrators, and addresses of 166 non-profit, professionaltheatres. It also lists the history and past productions, and is illustratedwith production photographs. Touring companies, a chronology, aregional index, and indices of names and titles close this paperboundvolume. Theatre Communications Group, $14.95.

Also available from TCG is the 1981-82 edition of the DRAMATISTSSOURCEBOOK, which offers helpful information on various organiza-tions, conferences, artist colonies, publication opportunities, and statearts councils. In addition, the 126 pages contain an article on thesubmission of a play for production, and submission guidelines. TheatreCommunications Group, $6.95.

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The ninth annual TCG THEATRE DIRECTORY is a 57-page, pocket-sizelisting of almost 200 not-for-profit theatres across the country. Ad-dress, telephone number, director(s) name(s), and "contact person" arelisted; service organizations and associations and a regional listing oftheatres are also included. Theatre Communications Group, $3.95 plus$.75 postage and handling.

GRAPHIC COMMUNICATIONS FOR THE PERFORMING ARTS is anattractive paperback book of graphic designs which have been used inprofessional theatre, dance, and music. The book groups these examplesunder the headings of posters and other display advertising, directmail, fund-raising, playbills and publications, and institutional design,and includes sections on photography and working with a designer. Abibliography completes the 152 pages. Theatre Communications Group,$12.95.

ALL IN ORDER: INFORMATION SYSTEMS FOR THE ARTS is designedto help nonprofit arts agencies collect and organize information aboutarts activities. Various systems are explained in the 192 pages, fromcard files to computer systems. The latter part of the book is devotedto the "National Standard for Arts Information Exchange", abbrevia-tions, mail codes, and various directory systems specifications. Thebook was written by Mary Van Someren Cok in collaboration withHenry A. Bromelkamp, Ellen Thurston, and Thomas Wolf. NationalAssembly of State Arts Agencies, $7.95.

Two recent books answer many questions posed by people forming anon-profit corporation. STARTING AND RUNNING A NONPROFITORGANIZATION, by Joan Hummel, begins with a checklist of thingsto do, and continues through the establishment of a board of directors,by-laws, legal aspects, program planning, budgets, fundraising andaccounting, building the staff, and keeping in touch with the community.Ms. Hummel sets out her material in a logical manner. She includessamples and worksheets, and concludes each section with a bibliography.An index closes this 147-page instruction manual. University ofMinnesota Press, $10.95.

IN ART WE TRUST defines the role of the Board of Trustees in thePerforming Arts. Robert W. Crawford has compiled this 72-page bookfrom articles written by various authors on the structure and functionof a board. He has also included a chapter on the board "retreat",and one on sample by-laws. FEDAPT (Foundation for the Extensionand Development of the American Professional Theatre), $12.95.

PARTNERS: A PRACTICAL GUIDE TO CORPORATE SUPPORT OFTHE ARTS is a handbook for the novice corporate manager in chargeof arts support. The 112 pages offer suggestions other than cashdonations: underwrite the advertising, donate materials, space, orservices, or establish a matching-gifts program with your employees.The format of double-spaced typing, coupled with headlines of anunfortunate combination of black and green make reading this booksomewhat difficult, but the material contained is worth the effort.Cultural Assistance Center (NY), $8.95 plus $2 postage.

CABLE TELEVISION AND THE PERFORMING ARTS is the transcriptof a conference sponsored by New York University School of the Arts

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MANAGEMENT& SUPPORT

MANUALS

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in June of 1981. The 83 pages were edited by Kirsten Beck, andcontain statements on industry structure, market analysis, state of theart, and rights and residuals. Appendices describe the conferenceagenda, provide the panelists' biographies, list the delegates, and closewith an annotated bibliography. New York University, no price given.

EDUCATION & T n e tenth edition of Oreon Keeslar's FINANCIAL AIDS FOR HIGHERCAREER GUIDES EDUCATION CATALOGUE has just been released. The 1016 pages

provide all the information needed by a student to apply for financialaid, presented in a logical, concise manner. The index of some 50pages provides a complete cross-reference. Wm. C. Brown CompanyPublishers, $19.95.

Jane Remer's CHANGING SCHOOLS THROUGH THE ARTS, The Powerof an Idea describes a comprehensive plan for school change anddevelopment through "arts in general education" (AGE) programs. Spe-cific examples are given, strategies of collaboration are discussed, andsupport systems needed are identified. The slim, 165-page book isindexed, and contains appendices and a bibliography. McGraw Hill,$14.95.

Jana Jevnikar divided CAREERS IN THE ARTS: A RESOURCE GUIDEinto five sections: performing arts, visual arts, film/video/audio, mu-seums/humanities/literature, and arts administration. Each sectioncontains a list of associations, unions and guilds, internship/apprentice-ship programs, and a bibliography. In addition, the arts administrationsection lists graduate programs, seminars, workshops, and conferences.A listing of state arts agencies and of publishers' addresses closes this48-page monograph. Center for Arts Information and OpportunityResources for the Arts, $6.75.

FACT FINDER: GOING TO WORK IN THE ARTS is intended as aguide to the resources for aid in finding employment in the visual,literary, or performing arts. However, 12 small pages can scarcelylist all the professional periodicals and newsletters, membership organi-zations, and arts publications which are available. The pamphlet'sgreatest aid would seem to be for those located in or around Min-neapolis, as it lists the holdings of the Minneapolis Institute of theArts. Arts Resource and Information Center, no price listed.

ARTIST EMPLOYMENT AND UNEMPLOYMENT 1971-1980 is ReportNumber 16 of the Research Division of the National Endowment forthe Arts, and will be of interest to all managers seeking arts-employment statistics. The 43 pages are filled with graphs detailinglabor levels in various artist occupations; the accompanying text de-scribes the trends. NEA Research Division, $3.00.

The following publications have recently been released, however, noreview copies have been received.

From Schirmer Books Division of MacMillan: Arthur Conn's RECORDEDCLASSICAL MUSIC, A CRITICAL GUIDE TO COMPOSITIONS ANDPERFORMANCES, over 12,000 compositions, 2,100 pages, indexed ($75).— From Washington International Arts Letter, Box 9005, Washington,DC 20003: CORPORATE SUPPORT DIRECTORY, second edition, 234pages ($75). — From Taft Corporation, TAFT FOUNDATION INFOR-

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MATION SYSTEM 1982 edition, 756 pages ($269.50 per year). — FromFEDAPT, 165 West 46 Street 310, New York, NY 10036: SUBSCRIPTIONGUIDELINES ($7.50), BOX OFFICE GUIDELINES ($7.50), INVESTI-GATION GUIDELINES NOT-FOR-PROFIT THEATRE ($15), INVESTI-GATION GUIDELINES DINNER THEATRE ($15), COMBINED INVESTI-GATION GUIDELINES ($25). — From the American Council on theArts: GUIDE TO CORPORATE GIVING IN THE ARTS 2 ($29.95 plus$.75 handling); EFFECTIVE CORPORATE FUNDRAISING by W. GrantBrownrigg ($14.95). — From Marcel Dekker, Inc.: THE ARTS MAN-AGEMENT READER, by Alvin H. Reiss ($27.50). — From Stein andDay: WHAT VOLUNTEERS SHOULD KNOW ABOUT SUCCESSFULFUND RAISING ($10). — From Volunteer, Box 1807, Boulder, CO80306: VOLUNTEERS IN THE ARTS AND HUMANITIES PORTFOLIO($2.50). — From La Costa Music Business Consultants, Box 147,Cardiff-by-the-Sea, CA 92007: MUSIC INDUSTRY BUSINESS AND LAWREFERENCE BOOK, by Robert Allen Livingston ($18.98 paperbound,$22.95 hardbound, plus $1 handling). — From NEA, distributed byPublishing Center for Cultural Resources, 625 Broadway, New York,NY 10012: ECONOMIC IMPACT OF ARTS AND CULTURAL INSTITU-TIONS ($3.50). — From Volunteer Lawyers for the Arts: FEAR OFFILING third edition completely revised for new tax laws ($8.00 plus$1 handling). — From Partners for Livable Places, 1429 21st StreetNW, Washington, DC 20036: ISSUES IN SUPPORTING THE ARTS,Cornell University Graduate School of Business ($6.00). •

Publishers and New Editions(continued from page 29)

Horn's three-act Heidi in Frankfurt, with Ger-man and English texts, originally published byJ. Schuberth & Co.

G. SCHIRMER is representing the Leppard ver-sion of Gay's The Beggar's Opera.

To mark the 75th anniversary of the premiereof Lehdr's Die lustige Witwe, LUDWIG DO-BLINGER, WIEN, and GLOCKEN VERLAG, Lon-don, are publishing a deluxe limited editionwhich includes a number of color productionphotos. The 500 numbered copies are slip cased,contain both the original German text and theChristopher Hassell translation, and are avail-able in the U.S. through Alexander Broude for$85.

AVON BOOKS has published Philip Caggiano'sThe Ring, the four plays for children based onWagner's Der Ring des Nibelungen (see Vol. 21,No. 3).

In its 1982 edition of Die Entfuhrung aus dem

Serail, BAERENREITER VERLAG includes mu-sic, not previously published, which extends theparts of each of the principals.

When the Metropolitan Opera performed Costfan tutte last season, a number of customarycuts were opened, including the rarely heardsecond aria for the tenor.

The original Carmina burana, a 13th centuryanonymous Passion Play written for the Bavar-ian Benedictbeuern monastery, was recently re-surrected by the Pro Arte Ensemble of theIndiana University School of Music. ThomasBinkley was responsible for the reconstructionof music and text from extant manuscripts;performances took place in Bloomington and atthe Cloisters of the Metropolitan Museum inNew York. Ross Allen was stage director, andMax Rothlisberger the designer.

The Hessische Staatstheater in Wiesbaden gavethe first performance of a new edition ofAuber's La Muette de Portici in January 1982. •

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OBITUARIES

Conductor and accompanist STEVENSON L. BARRETT, American, inNew York 3/5/82. He conducted opera in Chicago and Jacksonvilleand accompanied such internationally noted singers as Ezio Pinza, RoseBampton, and Eileen Farrell.

Bass HAROLD BLACKBURN, British, 56 years old, in London 11/27/81.He sang with the Carl Rosa Opera, the Sadler's Wells Opera, and theEnglish Opera Group, which toured abroad extensively. Part of hislarge repertoire included contemporary works, and he created roles inBennett's The Mines of Sulphur and A Penny for a Song.

Philanthropist and opera patron VERA (Mrs. Frank W.) BOWMAN,American, 87 years old, in Minneapolis 5/2/82. She was an active anddevoted member of the Metropolitan Opera National Council, servedas Regional Chairman for many years, and organized several CentralOpera Service meetings in the Twin Cities.

Educator JOHN T. CAMPBELL, American, in Indiana in fall 1981. Hewas director of the Opera Workshop, later Opera Theatre, at BallState University in Muncie, where he regularly produced a repertoryof grand, chamber, and contemporary operas.

Baritone IGOR (Charles) GORIN, Russian/American, 73 years old, inTucson 3/24/82. He studied and made his debut in Vienna, and movedto the United States in 1933 where his first major concert appearancewas at the Hollywood Bowl. In 1964, he sang the role of the elderGermont at the Metropolitan Opera. He was also a member of theNew York City Opera and the Lyric Opera of Chicago, and sangRigoletto with NBC television. After his retirement from the stage,he taught voice at the University of Arizona.

Musicologist and author JERALD GRAVE, American, 40 years old, inRochester, NY 4/22/82. He was head of the musicology departmentat Eastman School of Music in Rochester, contributed many articlesto periodicals and dictionaries, and reconstructed Andrew Barton'sopera, The Disappointment, written in 1767 and considered the firstAmerican opera.

Composer, conductor, and music publisher FELIX GREISSLE, Aus-trian/American, 87 years old, in Manhasset, NY 4/26/82. In his youth,he studied with Arnold Schoenberg, whose music he later conductedand who dedicated a composition to him. After his arrival in the U.S.in 1938, he joined G. Schirmer and, in 1946, became editor of theE.B. Marks Music Publishers. He also taught at the New School andat Columbia University. He recently completed a manuscript aboutSchoenberg.

Author and librettist DANIEL LANG, American, 68 years old, in NewYork 11/17/81. The prize-winning author and long-time contributorto The New Yorker wrote his first opera libretto for Robert Ward'slatest work, Minutes Till Midnight, which was premiered this June atthe New World Festival of the Arts in Miami. His widow accepteda special award on his behalf before the opera's premiere.

Baritone FORREST LOREY, American, in Knoxville 1/19/82. He made

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his debut with the Syracuse Opera in 1971, won the Baltimore OperaCompetition the following year, and sang with many regional Americanopera companies.

Musicologist and music publisher FRITZ OESER, German, in Germany2/23/82. His musicological studies resulted in critical editions ofvarious operas, most notably The Tales of Hoffmann (1978), whichformed the basis of the Ponnelle production in Salzburg in 1980 andwas heard in the U.S. for the first time the same year in Miami. Hewas also responsible for a critical edition of Carmen. He founded themusic publishing house of Alkor Edition.

Composer and teacher CARL ORFF, German, 86 years old, in Munich3/29/82. This world renowned composer created a total of 19 operasand secular or sacred music theatre works. While Carmina burana isprobably the one work with most constant success, his one-act comedy,Die Kluge has been quite popular. His new concept of teaching musicto children, the Orff Method, or "Das Schulwerk", has been as re-sponsible for keeping his name before the public as have his com-positions.

Conductor WILFRID PELLETIER, Canadian, 85 years old, in New York4/9/82. He joined the Metropolitan Opera as an assistant conductorand in 1929 made his debut in Taylor's The King's Henchman. WithEdward Johnson, his Canadian compatriot, as general director of thecompany, Pelletier soon became head of the French repertoire andconducted at the Met regularly until 1950. During the same periodhe founded various performing ensembles in Montreal, among them theSocie'te' des Concerts Symphoniques and the Montreal Festival. Hewas also responsible for the creation of the Montreal Conservatory.In 1937 he married Metropolitan Opera soprano Rose Bampton.

Soprano MARIA PEDRINI, Italian, 71 years old, in Rome 12/8/81. In1934, she won an international competition in Vienna and soon sangleading roles at many Italian opera houses. When La Scala reopenedafter the war in 1946 with Nabucco, she sang the leading role. Sheappeared as a guest in other European theatres and in South America.

Conductor, coach, and teacher LUIGI RICCI, Italian, 88 years old, nearRome 11/4/81. For many years he was assistant to such celebratedmaestri as Toscanini, De Sabata, Serafin, and to Puccini himself. Forover 30 years he was assistant conductor and musical administratorat the Rome Opera until his retirement in 1968. During those yearshe also conducted some performances in South America. He subse-quently became a very successful voice teacher.

Composer RENZO ROSSELLINI, Italian, 74 years old, in Monte Carlo5/14/82. His compositions include ten operas, of which A View fromthe Bridge, after the Miller play, was also performed in the U.S.(Opera Company of Philadelphia 1967). He wrote symphonic musicand well over 100 film scores, and contributed music criticism toFrench and Italian newspapers.

Tenor and impresario LUIGI ROSSINI, Monacan/American, 84 years old,in New York 2/2/82. During the 1930's, he sang with the Ope>aComique in Paris, made his American debut in 1937 in Chicago, and

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founded the Rossini Opera Workshop in New York the following year.Several singers, who later became well-known, started in his workshop.He was supposedly a great-grand nephew of Gioaeehino Rossini.

Librettist FRED M. SAIDY, American, 75 years old, in Los Angeles5/14/82. He collaborated with Yip Harburg on books and libretti forsuch successful musicals as Finian's Rainbow, Bloomer Girl, andJamaica.

Administrator WALTER ERICH SCHAEFER, German, 80 years old, inStuttgart 12/28/81. From 1949 until 1972 he was Generalintendant ofthe Wurttembergisches Staatstheater in Stuttgart, and during thatperiod raised the quality of the performances to international standards.

Composer HUMPHREY SEARLE, British, 66 years old, in London5/12/82. A student of Anton von Webern in Vienna before World WarII, his early compositions reflect some of the 12-tone influences. Hewrote The Diary of a Madman, premiered in West Berlin in 1958 andfirst heard in the U.S. at Aspen in 1967. The full-length opera Hamletwas produced in Hamburg in 1968 and received a workshop performancein Toronto, its only staging in North America. A New York workshopmounted his Owl and the Pussycat in '68; his fourth stage work is ThePhoto of the Colonel (Frankfurt 1964).

Actor and teacher LEE STRASBERG, Polish-born/American, 80 yearsold, in New York 2/17/82. Artistic director of the Actor's Studio andcreator of "Method Acting in America", he began his stage careerwith the Theatre Guild in the 1920's. In 1931, he was one of thefounders of The Group Theater, and in 1948 he joined the one-year-oldActor's Studio. A great many leading actors of today owe their careersto his master teaching. Three days before his death he participatedin the "Night of 100 Stars" for the benefit of the Actor's Fund, andthe following day was informed that he had been elected to theTheatrical Hall of Fame.

Soprano URSULA VOLBEDING, German, 35 years old, in Germany3/8/82. She sang leading dramatic roles in several German and Swisstheatres (Leonore in Fidelio and Leonora in Ballo, also Briinnhilde,etc.). She was married to tenor Peter Straka.

Tenor ALBERT WEIKENMEIER, German, 73 years old, in Cologne10/21/81. He was a member of the opera in Hannover 1938-50, atwhich time he joined the Cologne opera where he sang until 1977.During that time he participated in the premiere of Die Soldaten, andmade guest appearances in many European capitals.

Tenor GIUSEPPE ZAMPIERI, Italian, 60 years old, in Verona 11/11/81.While singing comprimario roles at La Scala, he was called to Berlinto replace Giuseppe Di Stefano in a performance featuring Maria Callasand conducted by Herbert von Karajan. An invitation to sing Florestanin Salzburg followed in 1957, and he became a leading member of theVienna Staatsoper, where he appeared until 1976. His first U.S.engagement was in San Francisco in 1959, his only Metropolitan Operaperformance was as Cavaradossi in 1961. •

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PERFORMANCE LISTING 1981-82 (COMT.)

All performances are staged with orchestra unless marked "cone, pf." or "w.p." (with piano)— * following an opera title indicates a new production. — Performances and newsitems once announced will not be relisted at the time of performance.* A single dateappearing for a listing of several performances indicates the opening night.

ALABAMABirmingham Southern College Opera Wksp., T. Gibbs, Dir., Birmingham

11/6,7,8/81 Candide3/12,13,14/82 COM fan tutte

ALASKAAnchorage Civic Opera, E. Voth, Art. Dir., Anchorage (see also Vol. 23, No. 4)

5/20,22,24,26,28/82 Cosi fan tutteARKANSAS

Inspiration Point Fine Arts Colony, Opera in the Ozarks, Eureka Springs5/19-6/30/82 The Magic Flute; Carmen; The Most Happy Fella; Carry Nation

CALIFORNIACal-Poly University Opera Wksp., S. Burns, Dir., Pomona

4/2,3/82 The Face on the Barroom Floor & ScenesCalifornia State Univ. Opera Wksp., T. Acord, Dir., Hayward

2/18,19,20/82 Dialogues of the Carmelites w.p.5/20/82 A Game of Chance & A Hand of Bridge w.p.

Carmel Bach Festival, S. Salgo, Mus. Dir., Carmel (7/16-8/1/82)7/17,24,31/82 The Magic Flute Esham, Otley; Winter, Uppman, Burt; c: Salgo; also

8/6,7,8 at Paul Masson Vineyards, SaratogaCasa Italians Opera, M. Leonetti, Dir., Los Angeles

2/7/82 Aida 2 pfs. 4/25/82 FaustCinnabar Opera Theatre, M. Klebe, Art. Dir., Petaluma (see also VoL 23, No. 4)

5/28,29 6/4-6,11-13/82 The Bald Prima Donna & Opera, OperaEl Camino Opera, Cupertino High School, Cupertino (see also Vol. 23, No. 4)

2/5-20/82 Madama Butterfly Searpelli, Hamon; M. Scarpelli, Madsen; c/d: Olla; 6 pfs.Hollywood Bowl Summer Festival, E. Fleischmann, Gen. Dir., Los Angeles Philharmonicin Residence (7/1-9/18/82)

7/10/82 Le Sacre du printemps <5c Oedipus Rex Quivar; Hadley, Sells, Carlson, Booth;c: Tilson Thomas

International Congress on Women in Music, Univ. of Southern California, Los Angeles4/3/82 M. Moore's David Rizzio & Grigsby's Augustine, the Saint

Los Angeles Master Chorale & Sinfonia Orchestra, G. Guest, Cond., Chandler Pavilion3/20m,21/82 The Fairy Queen eonc.pfs.

Lyric Opera of Orange County, N. Crisci, Dir., Laguna Beach4/24/82 The Marriage of Figaro 6/4/82 Rigoletto5/28/82 Carmen 6/26/82 La Boheme

Marin Opera Co., B. McCubbrey, Adm., San Rafael (see also Vol. 23, No. 4)5/21,30 6/5/82 Martha 5/22,29 6/6/82 Cendrillon

Merola Opera Program, T. McEwen, Gen. Dir., San Francisco7/11/82 The Magic Flute d: Balk; at Stern Grove

Music Academy of the West, T. Alcantara, Art. Dir., Santa Barbara (6/27-8/21/82)8/14-17/82 The Barber of Seville e: Alcantara; d: Capobianeo

Music From Bear Valley, J. Gosling, Mus. Dir., Bear Valley (7/24-8/8/82)7/24/82 The Mikado Opera a la Carte7/25/82 Patience Opera a la Carte8/7/82 Madama Butterfly Victorino, G. Jones; Kunde, Freison; c: Gosling; d: Buckbee

Novato Lyric Opera, B. Wilkes, Mus. Dir., Novato6/18,20,25-27/82 Don Pasquale

Ojai Festival, R. Craft, Mus. Dir., Ojai (6/4-6/82)6/5/82 Oedipus Rex

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1981-82 Season

Opera Buffet, H. Leonetti, Dir., Los Angeles2/28/82 The Daughter of the Regiment 2 pfs.5/23/82 Cavalleria rusticana & Pagliacci 2 pfs.7/10,11/82 Die Fledermaus

L'Opera Comique, E. Porges, Mus. Dir., Van Nuys3/21/82 Don Pasquale

Pacific Symphony, K. Clark, Mus. Dir., Knott's Berry Farm, Santa Ana4/18/82 Fidelio conc.pf.

Pocket Opera, D. Pippin, Art. Dir., San Francisco (see also VoL 23, No. 4)6/20/82 Rinaldo 6/27/82 Luisa Miller7/4/82 Stiffelio 7/11,25/82 Martha7/18/82 Handel's Atalanta Am.prem. 8/1/82 The Marriage of Figaro8/8,15/82 The Coffee Cantata 6c The Cat Turned Into a Woman

RecDands Bowl Festival, C. Dragon, Mus. Dir., Redlands7/6-8/20/82 inch Madama Butterfly; Carousel

Riverside Opera/American Theatre of Opera, C. Candela, Dir., Riverside4/17/82 Rigoletto

San Diego Opera Center, T. Capobianco, Dir., (see also VoL 23, Mo. 4)2/82 The Isle of Tulipatan Eng.; c: Keltner; d: Tannenbaum2-4/82 tour: Offenbach's Not in Front of the Waiter <5c Many Moons

Shasta College Fine Arts Division, C. Johnson, Dir., Redding3/4-7,12,13/82 Cos! fan tutte Eng. Martin; c: Tognozzi

Sierra Chamber Opera, A. Rea, Gen. Dir., Fresno1/21-5/14/82 tour to schools: Rea's The Enchanted Flute

Sonoma State Univ. Opera Theatre, P. Donovan-Jeffry, Dir., Rohnert Park (see alsoVoL 23, No. 4)

10/28/81 Mariage aux lanterns Eng. Goldovsky; w.p.12/2-8/81 Hansel and Gretel 5 pfs. w.o.3/29/82 Scenes w.p.4/29,30 5/1,6,7,8/82 Hin und zuruck w.o.5/15/82 La Serva padrona w.o.

University of California Collegium Musicum, F. Hammond, Mus. Dir., Los Angeles2/24/82 Caccini's Euridice Am.prem. w. UCLA Dance Dept.

University of California Opera Wksp., S. Krachmalnick, Dir., Los Angeles4/30 5/1,7,8/82 Madama Butterfly

West Coast Opera, J. Lombardo, Gen. Dir., Wilshire Ebell Theatre, Los Angeles4/30/82 Lohengrin also 5/7 in San Gabriel

West End Opera, F. Fetta, Mus. Dir., Los Angeles (see also VoL 23, No. 4)2/27/82 Hansel and Gretel 5/8/82 Cavalleria rusticana & Pagliacci

COLORADOAspen Festival, J. Mester, Mus. Dir., Aspen

6/21-8/22/82 inch Berkeley/Impink's Dear Friends and Gentle Hearts reading7/14/82 Die drei Pintos

San Luis Valley Community Opera, M. Wienand, Dir., Alamosa6/3,4/82 COM fan tutte w.p.

CONNECTICUTO'Neill Theatre Center National Composer/Librettist Conference, P. Haupt-Nolen, Art.Dir., Waterford

5/17-31/82 Friedman's Shakespeare and the Indians; Marren's Portrait of Jennie;Convery's Quince's Dream

DISTRICT OF COLUMBIAKennedy Center Imagination Celebration, J. Kukuk, Dir.

4/5-18/82 The Hobbit Montreal puppet theatre prod.; Alice in Wonderland MichiganOpera Theatre prod.; Do You Love Me Still? St. Louis Metro Theatre prod.;Menotti's A Bride from Pluto prem.; A Pride of Lions; Abigail and the Rainmaker

- 4 8 -

1981-82 Season

Opera Theatre of Washington, S. Mattingly, Gen. Dir., Washington10/18/81 Raigorodsky's The Promise of Peace prem.12/12,13/81 Tcherepnin's The Nymph and the Farmer6/28,29,30 7/4,5,6/82 Don Pasquale e: D. Mattingly

Sheridan School, R. Cogen, Music Prog. Dir., Washington4/16,17,18m/82 Davies1 Cinderella Am. prem.

FLORIDAMiami-Dade Community College Opera Wksp., Miami

6/6-11/82 El CapitanUniversity of Miami Opera Wksp., F. Summers, Dir. (see also Vol. 23, No. 4)

11/20,21/81 4/3/82 Scenes w.p.4/23,24/82 Slow Dusk & L'Heure espagnole Eng. Wolff

GEORGIADeKalb College Music Theatre, J. Bradford, Dir., Clarkston

1/26-2/1/82 The Fantasticks 6/1-8/82 Man of La Mancha7/25-29/82 South Pacific

HAWAIIUniversity of Hawaii Opera Wksp., J. Mount, Dir., Honolulu

11/23/81 Scenes w.p. 1/19,20/82 Dido and Aeneas w.o.7/8-25/82 Carnival 12 pfs. w.o.

ILLINOISLithuanian Opera Co., V. Radzios, Pres., Chicago

3/6,7,13/82 Der Freischiitz in LithuanianMidland Repertory Players, K. Snananan, Art. Dir., Alton

6/25,26/82 La Boheme Eng. Grist/Pinkerton; w.p.8/19,20,21/82 Hansel and Gretel Eng. Bache; w.o.

Morton College Opera Wksp., Cicero4/30 5/1,2/82 Trouble in Tahiti & The Stoned Guest

Opera Obscura/Mid-America Opera, K. Black, Gen. Dir., Chicago2/21/82 Puccini's Le Villi conc.pf.3/28/82 Handel's Radamisto cone.pf.4/25/82 Thomas' Hamlet cone.pf.

Peoria Civic Opera, C. Abt, Dir., Peoria4/24/82 Cavalleria rusticana 6c Pagliacci

Roosevelt University Opera Theatre, C. Reims, Dir., Chicago4/23,24/82 II Tabarro & La Cambiale dtt matrimonio Eng. Reims5/82 La Cambiale di matrimonio Eng. Reims; taped for television

Southern Illinois Univ. Marjorie Lawrence Opera Theatre, M. Blum, Dir., Carbondale(see also VoL 23, No. 4)

10-11/81 Thompson's Solomon and Balkis 17 pfs. on tour replacing Thirteen ClocksINDIANA

Indiana Repertory Theatre, E. Stern, Art. Dir., Indianapolis4/23-5/15/82 Operetta, My Dear Watson after Conan Doyle & Gilbert and Sullivan,

adapt. HaasIndiana State Univ. Opera Wksp., R. Hounchell, Dir., Terre Haute

11/2,3/81 L'Oca del Cairo Eng. Pugh; also tour w.p.2/ 9-23/82 The Yeomen of the Guard 5 pfs. w.o.3/26/82 Chip and his Dog w.p. videotaped8/9-20/82 The Pajama Game

Indiana University Opera Studio, C. Webb, Dean, Bloomington4/15,16/82 Dido and Aeneas & Hello, Out There c: Saye & Priddy; d: Shine &

HoomesIndiana Univ. Summer Opera Theatre, C. Webb, Dean (see also VoL 23, No. 4)

7/9,10,16,17/82 The Most Happy Fella c: Stoll; d: Allen; ds: Schmidt7/30,31 8/6,7/82 Die Fledermaus c: Baldner; d: Allen; ds: Higgins

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1981-82 Season

Michiana Opera Guild, R. DeMaree, Art. Dir., South Bend (see also VoL 23, No. 4)12/16-23/81 Hansel and Gretel Eng. Sudermann; 8 pfs. w.p. and marionettes7/14-20/82 Fiddler on the Roof 3 pfs. w.o.

Northern Indiana Opera Ass*n, W. Jaworski, Gen. Mgr., Huntington6/9,11,12/82 Cosft fan tutte

IOWADes Moines Metro Festival, R. Larsen, Art. Dir., Indianola

6/18,20,26 7/2,llm/82 Otello Lamy; Grice, McFarland, Guarino; c: Robertson; d/ds:Johnson

6/19,27 7/3,7,9/82 The Elixir of Love Pranschke, Mims; Morales, Opalach, MacFarland;c/d: Larsen; ds: Johnson

6/25,30 7/4,6,10/82 Don Giovanni Huffstodt, Ciesinski; Hartman, Guarino, Opalach,Kuether; ds: Johnson

University of Iowa Opera Theatre, J. Dixon, Dir., Iowa City7/22,24/82 The Barber of Seville Eng.

KANSASBethel College Opera Wksp., W. Jost, Dir., North Newton

4/82 The Impresario & Gianni Schicchi 3 pfs. w.p.LOUISIANA

Centenary College Opera Wksp., W. Riley, Dir., Shreveport12/3,6/81 Pendleton's The Miracle of the Nativity Am.prem.; 3 pfs. w.o.4/29,30 5/1,2/82 Der Vampyr Eng. Moriarty; w.p.

Louisiana State Univ. Opera Theatre, R. Aslanian, Dir., Baton Rouge10/30,31 11/1/81 Milhaud's Fiesta & The Medium w.o.12/9/81 1/28,29/82 Scenes w.p.3/12,13,14/82 A Midsummer Night's Dream w.o.2/7/82 A Hand of Bridge w.o.

University of Southwest Louisiana Opera Theatre, G.S.B. Griffin, Dir., Lafayette11/12,13/81 West Side Story3/28,29/82 Cosi fan tutte Eng. Martin4/21,23,26/82 Sweet Betsy from Pike w.p.; also tour to schools; videotaped

MARYLANDPrince George's Civic Opera, D. Biondi, Gen. Mgr. (see also VoL 23, No. 4)

1/29/82 Gershwin's Blue Monday & Henze's The Miracle Theatre Eng. BalkTowson State Univ. Opera Wksp., P. Frankel & S. Thompson, Co-Dirs., Baltimore

12/4,5/81 Amahl and the Night Visitors 4/24,25/82 The Consul w.p.MASSACHUSETTS

Berkshire Music Festival, Tanglewood, Boston Symphony in Residence, S. Ozawa, Mus.Dir., Lenox (7/1-8/29/82)

8/6/82 Oedipus Rex Norman; Riegel, Haugland, Cheek, Gilmore, McKee; c: Ozawa;d: Sellars

8/21/82 Fidelio Behrens, Gallamini; McCracken, Plishka, von Halam, Cole; c: Ozawa;d: Kneuss; ds: Deegan/Conly

Boston Conservatory & New England Conservatory Opera Wksp., J. Moriarty, Dir.10/20 11/3,12,17,24 12/1,8/81 5/2/82 Scenes11/12/81 The Rake's Progress excerpts w.o.1/22-24/82 Adolphe's The Tell Tale Heart prem. & Hindemith's Sancta Susanna Eng.

Moriarty & Ibert's AngeHque Eng. Rachlin4/1-4/82 Cavalli's L'Egisto Eng. Dunn/Leppard

Boston Lyric Opera, J. Balme, Gen. Dir., Trinity Church5/27/82 Bluebeard's Castle Fortunato; Honeysucker; c: Balme; benefit cone. pf.

Boston Lyric Opera & Northeastern Univ. & Wagner Inti Institution, Boston7/llm,18m,25m 8/lm/82 Das Rheingold; Die Walkure; Siegfried; Gotterdammerung

complete conc.pfs.; Jensen, Isachar, Dry, Walters; Lamb, Flavin, Roloff, Honeysucker,Brumit, Elvins; c: Balme

-50-

1981-82 Season

Boston University Opera Theatre, A. Bishop, Dir., Boston11/20,21/81 Four Note Opera w.p. 12/4,5/81 5/6,7/82 Scenes w.p.4/7,8/82 The Rape of Lucretia w.o.

Lenox Arts Center/Music Theatre Group, Stockbridge7/7-8/21/82 inch Ain's Bring on the Bears; Kesselman's A Tragic Household Tale;

Moore's CombinationsOpera New England, K. Porter, Hgr., touring company of Opera Co. of Boston

10-11/81 The Barber of Seville 37 pfs.4/82 La Boheme 6 pfs.5/82 The Impresario 10 pfs. replacing Toch's Princess and the Pea

Pro Arte Chamber Orchestra of Boston, R. Sirota, Mus. Dir., Adams House, Cambridge5/8/82 Sirota's Bontshe the Silent prem.; McDermott; Hildebrand, Pelletier, Frank;

d: M. Sirota; ds: Holmes/Schler; 2 pfs.MICHIGAN

Interlochen Arts Festival, E. Downing, Art. Dir., Interlochen6/27-8/23/82 incl: Carousel; Romeo and Juliet; Iolanthe

MINNESOTAOpera St. Paul, V. Olson, Gen. Dir., St. Paul (see also VoL 23, No. 4)

3/30,31 4/2/82 Let's Make an Opera6/23,25,26/82 Cos! fan tutte c: Forner; d: Jones

MISSOURILyric Opera of Kansas City, R. Patterson, Dir., (see also VoL 23, Nos. 1 & 4)

5/1,3/82 L'Oea del Cairo Eng. HarnickSpringfield Regional Opera, A. Bontrager, Mus. Dir., Springfield

6/4,5,11,12/82 The Barber of Seville at Fantastic Caverns7/21,23,24,26/82 Madama Butterfly at Landers Theatre

University of Missouri Opera Wksp., T. Becker, Dir., St. Louis11/8/81 Schubert's Die Advocaten (The Lawyers) Eng. Becker & Rita & Scenes w.p.12/5/82 Rita w.p.5/1,2/82 The Marriage of Figaro Eng. Becker; w.p.

NEBRASKANebraska Wesleyan Univ. Opera Theatre, W. Wyman, Dir., Lincoln

11/18/81 The Tell-Tale Heart 2/19-21,25-27/82 The GondoliersUniversity of Nebraska Opera Theatre, G. Tallman, Dir., Lincoln

10/29-11/1/81 Candide 4 pfs. w.o., videotaped2/4,5,6,7/82 Die Fledermaus Eng. Dietz; w.o. videotaped7/1,3,9,11/82 Madama Butterfly w.o., videotaped

NEW JERSEYOpera Classics of New Jersey, G. Ungaro, Gen. Mgr. (see also VoL 23, No. 4)

4/17/82 Faust Brustadt, Oxberry; Bullard, Aquino, Roy; c: Coppola; d: Gentilesca;ds: Sormani

NEW YORKC.W. Post Center Festival, Greenvale

6/2-30/82 incl: Sandow's Frankenstein prem. readingChautauqua Opera Festival, C. Auerbach, Art. Dir., Chautauqua

7/9,12,17m 8/13,14m,16/82 South Pacific S.E. Estes, Webb; Malas; c: Flint; d: Danner7/16,19,24m 8/6,9/82 The Barber of Seville Schuman; Price, Capecchi, Elvira; c: De

Main; d: Capecchi7/23,26/82 Regina Cariaga, Carron; Malas, Stenborg; c: DeMain; d: Auerbach7/30 8/2,7m/82 La Traviata Christos; Freeman, Cossa; c: Kojian; d: Auerbach

Delaware Valley Arts Alliance, G. Krause, Dir., Narrowsburg (see also VoL 23 No. 4)4/23,24,25/82 Show Boat 8/12,13,14/82 The Gondoliers

Eastman School of Music, R. Pearlman, Opera Dir. (see also Vol. 23, No. 4)4/2,3/82 Don Giovanni Eng. Guest; replaces Rake's Progress

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1981-82 Season

Lake George Opera Summer Festival, P. Haupt-Nolen, Gen. Dir., Glens Falls7/15,17,19m,21,23,24m/82 La Cenerentola Eng.; Treadway; Nolen; c: Manahan; d:

Major7/29,31 8/2m,4,6,7m/82 The Tales of Hoffmann Eng.; Estes, Powers; c: Stahl; d: R.

Levine8/12,14,16m,18,20,21m/82 Gianni Schicchi <5c Pagliacci Soviero; Serrano, Nolen; c:

Stahl; d: Nolen/Uzan8/17,19/82 Mechem's Tartuffe c: Manahan; American Lyric Theatre prod.7-8/82 Opera on the Lake Cruises, 6 evenings

Nassau Lyric Opera Co., R. Lawson, Art. Dir., C.W. Post College, Greenvale4/18/82 The Barber of Seville Eng.; Goetz; Olsen, Huls, DiFesi; c: Lawson; d: King

Opera Theatre of Syracuse Educational Touring Ensemble, R. Driver, Dir., SyracuseSpring '82: Alice in Wonderland; n CampaneUo; Little Red Riding Hood

SUNY-Potsdam Opera Theatre, T. Holliday, Dir., Potsdam10/17 12/3/81 5/1/82 Scenes w.p.11/6,7,8/81 The Merry Widow Eng. Holliday; w.o.3/11,12,13,14/82 Cos! fan tutte Eng. Holliday; w.o.

NEW YORK CITYAfter Dinner Opera, B. Flusser, Dir., Theatre Row Festival

6/22,23,24/82 Barab's Fortune's Favorites <5c Fennimore's Apache Dance & Lockwood'sRequiem for a Rich Young Man & Moross' Sorry, Wrong Number Donahue, Low,Rodgers; Salter, Christopher, Lyle; c: Strasser; d: Flusser; 6/19 Flushing Meadows

Annas Repertory Theatre, R. LeNoire, Art. Dir.10/21-11/8/81 D'Agostino's The Winds of Change prem.1/27-3/7/82 Grant's Phillis prem. 4/21-5/9/82 The Hot Mikado

Bel Canto Opera, T. Sieh, Art. Dir., (see also VoL 23, No. 4)5/7,8,9,14,15,16/82 Herbert's The Enchantress Roffman rev.; c/d: Roffman; ds: de

Blass/SoluriBronx Arts Ensemble, A. Weisberg, Mus. Dir., Fordham University

4/3/82 Currie's The Cask of Amontillado prem.Brooklyn Opera Society, R. Tazzini, Dir., Brooklyn (see also VoL 23, No. 4)

5/2,8/82 ToscaBrooklyn Philharmonia Children's Series, L. Foss, Mus. Dir., Brooklyn Academy of Music

2/13m/82 da Costa's The Singing Tortoise & Baba's Juju prems.3/13m/82 J. Martin's The Secret Circuit prem.4/17/82 Trefousse's The Monkey Opera prem. & Barnes' The Frog Who Became a

Prince prem.Brooklyn Philharmonia Choral Theatre Festival, L. Foss, Mus. Dir.

3/4/82 Moore's Wagadougou prem. & Avshalom's Tom OTJedlam & Musgrave's LastTwilight & Henze's Moralities <5c Schonberg's Friede auf Erden; 3/5 Cooper Union

Chamber Opera Theatre of New York, T. Motyka, Gen. Dir. (see also VoL 23, No. 1)8/18,20,22,24,26,28/82 L'Ormindo Leppard vers.; Coburn; c: Hibbitt; d: Motyka; ds:

Montr esorConcert Royal, J. Richman, Art. Dir., & New York Baroque Dance Co., C. Turocy,Art. Dir., Schimmel Center

3/19,20,21m/82 Rameau's Les Incas de Perou Monoyios, Andrews; Schultze, Ronis; d:Haber; ds: Schneider

5/28/82 Llncoronazione di Poppea conc.pf.; Monoyios, Baird, Arnold, Hart; Pauley,Minter; c: Richman

Golden Fleece Composers Central Theatre, L. Rodgers, Dir., SoHo Theatre (see alsoVoL 23, No. 4)

5/7-23/82 Dembo/Miller's The Audience prem. & Chlarson's Mr. Lion prem. & Rodgers'Miyako prem; c: Klingberg; d: Clugstone/Rodgers; 12 pfs.

4/16-5/2/82 Hollister/Kaplan's The Girl Who Ate Chicken Bones prem.; 12 pfs.

-52-

1981-82 Season

Henry Street Settlement, S. Baker, Dir.1/29 2/1/82 The Magic Flute 5/21-23/82 The Merry Wives of Windsor

Indiana University School of Music, Pro Arte Ensemble, The Cloisters3/19,20m,20,21/82 Anonymous orig. Passion play Carmina burana Binkley ed.; c:Binkley; d: Allen; ds: Roethlisberger

Juilliard Opera Wksp., J. McPhee, Cond., Juilliard Theatre4/23,25m/82 I Quattro rusteghi Eng. Dent; d: Ayrton; ds: Yetman/McAlister

Light Opera of Manhattan, W. Mount-Burke, Prod, (see also VoL 23, No. 4)6/2-13/82 The Mikado 6/16-27 8/2-9/5/82 H.M.S. Pinafore6/30-7/11/82 The Merry Widow Eng. Hammerstein/Mathias7/14-25/82 The Pirates of Penzance7/28-8/8/82 Ruddigore 8/11-22/82 One Night in Venice

Magic Circle Opera Repertory Ensemble, R. Harrell, Dir., St. Peter's Church4/27/82 Guilmartin's The Marriage of Heaven and Hell prem; d: Brody

Manhattan Opera Theatre, A. Charlet, Art. Dir. (see also VoL 23, No. 4)2/21 3/16/82 Romeo et Juliette 5/13/82 The Girl of the Golden West

Marines College Camerata, P. Echols, Mus. Dir., Christ Church5/21,22/82 da Gagliano's La Dafne Am. prem.

Mannes College of Music Baroque Ensemble, K. Cooper, Dir., Mannes Recital Hall3/21m/82 Handel's Semele staged

Mannes Mozart Opera Project, D. Marek, Dir.5/31-7/24/82 La Finta giardiniera Eng. Holliday; The Magic Flute; The Marriage of

Figaro; Cos\ fan tutte 2 conc.pfs. each; e: Strasfogel/Kaiser/KreizbergMedicine Show Theatre Ensemble, J. Barbosa &. B. Vann, Dirs.

4/28-5/29/82 Hellermann/Lewis's Extraordinary Histories...and the Raven Of Courseprem.; 10 pfs. plus 6 previews; d: Barbosa; ds: Pucci/Bard; coord: R. Schmorr

Metropolitan Greek Chorale, L. Skipitaris, Dir., & Greek Theatre of NY, Tully Hall5/15/82 Tsontakis1 Erotokritos prem.; Karras; Velios, Kepros; c: Tsontakis

Metropolitan Opera in New York City Parks, A. Bliss, Gen. Mgr.6/15,18,23,26/82 D. Trovatore conc.pfs.; Bumbry, Berini/Conrad; Lloveras/Ciannella,

Quilico/Clark; c: Guadagno6/16,19,22,25/82 Fidelio conc.pfs.; Meier/Kubiak, Peters/Bergquist; Sooter/Nagy,

Meredith/Glossop, Macurdy/Berberian, Atherton; c: FultonMetropolitan Opera Spring Tour, A. Bliss, Gen. Mgr., Washington; Atlanta; Dallas;Memphis; Minneapolis; Detroit; Cleveland; Boston

4/19,28 5/3,10,13,17,24,31 6/7/82 Les Contes d'Hoffmann4/20,23/82 Parsifal4/21,27 5/5,11,19,26 6/2,9/82 n Trovatore4/22,26 5/7,15,21,28 6/4,11/82 Norma4/24m 5/l,8m,15m,22m,29m 6/5m,12m/82 n Barbiere di Siviglia4/24,30 5/8,14,22,29 6/5,12/82 Rigoletto4/29 5/4,18,25 6/1,8/82 Madama Butterfly5/lm,6,12,20,27 6/3,10/82 The Magic Flute Eng. Martin

Mostly Mozart Festival, G. Schwarz, Mus. Adv., Avery Fisher Hall (7/12-8/28/82)8/24/82 Llnfidelta delusa Eng.; McNarr, Britton, Gordon, Opalach; c: Nierenberg

New York City Opera, B. Sills, Gen. Dir., Eisenhower Park, Nassau County7/17/82 La Traviata Christos; Hadley, Cossa; c: Salesky; d: Corsaro/Smith; ds:

Fletcher/CampbellNew York Grand Opera, V. LaSelva, Mus. Dir., Central Park Mall

7/1/82 La Traviata 7/8/82 Rigoletto7/15/82 Aida

New York Latvian Concert Choir & Bronx Arts Ensemble, Carnegie Hall6/5/82 Kalnins1 Banuta Am.prem., conc.pf.; Niska, Paups; Hall, Grigas; c: Jansons

New York Quaigh Theatre6/1-4/82 Lieberson's Birdbath prem.; d: Margulis

- 5 3 -

1981-82 Season

New York Theatre Company, Church of the Heavenly Rest3/24/82 Richardson's Lola prem.; 20 pfs.

New York University Opera Studio, T. Martin, Dir.6/11/82 "An American Trilogy": Brisman's Whirligig & Henderson's The Last Leaf <5c

Cohen's The Cop and the Anthem prem.; c: Martin; d: CrittendenOpera Workshop, Blessed Sacrament School

1/17/82 Madama Butterfly 1/22/82 Romeo et Juliette1/31/82 L'Amico Fritz 2/5/82 Die Fledermaus2/12/82 Le Nozze di Figaro

Opera Shop, S. Thomson, Mus. Dir., Vineyard Theatre (see also Vol. 23, No. 4)4/15-5/2/82 La Finta giardiniera Am.prem. orig. It. vers. w. recitatives; w.p. & hpscd.

Queens College Opera Studio, H. Weisgall, Dir., Flushing (see also VoL 23, No. 4)11/16 12/11/81 5/7/82 Scenes w.p. (Six Characters in Search of an Author cancelled)3/11-14/82 Le M&tecin malgre* lid Eng. Goldstein/Frame; 4 pfs.

Theatre for the New City, G. Bartinieff, Pres.2/4-21/82 Spektor's Lady of the Castle prem.; 15 pfs.

TRG Repertory Company, Wonderhorse Theatrel/SIZI Carmines' The Evangelist prem.

Village Light Opera Group, R. Noll, Mus. Dir. (see also VoL 23, No. 4)4/17,18m,21,23,24,25m/82 Rose-Marie

WNET-Channel 13, Public Broadcasting System6/7/82 L'Orfeo Yakar, Turban, Schmidt; Huttenlocher, Franzen; c: Harnoncourt; d/ds:

Ponnelle; Zurich Opera prod.6/14/82 n Ritorno tfUlysse in patria Schmidt, Lenhart, Perry; Araiza, Straka, Estes;

c: Harnoncourt; d/ds: Ponnelle; Zurich Opera prod.6/16/82 "A Tribute to George London" Gala Concert at Kennedy Center taped 11/4/816/21/82 LTncoronazione di Poppea Yakar, Schmidt, Perry; Tappy, Salminen, Hutten-

locher; c: Harnoncourt; d/ds: Ponnelle; Zurich Opera prod.6/23/82 Summer and Smoke Peil, Barclay; Orth, Kiesgen, Hochhalter; c: Grisbie; d:

Galati/Browning; ds: Emmons/Bergh; Chicago Opera Theater prod.8/82 La Boheme Pavarotti; c: de Fabritiis; d: Menotti; Philadelphia Opera prod.

Young World Inc., P.S. 75 & Metropolitan Opera Guild5/14,15,17/82 Decisions prem.; student developed

NORTH CAROLINABrevard Music Center, J. McCrae, Dir., Brevard (7/2-8/15/82)

7/3/82 Don Pasquale Eng. 7/9/82 The Mikado7/16/82 Rigoletto Eng. 7/30/82 Oklahoma!8/6/82 Dialogues of the Carmelites Eng. 8/14/82 The Merry Widow

OHIOBlossom Music Festival, Cleveland Orchestra in Residence, Cuyahoga Falls (6/22-8/29/82)

8/22/82 Madama Butterfly conc.pf.; Mitchell, QuivarBowling Green Univ. Opera Theatre, W. Taylor, Dir., Bowling Green

3/82 The Marriage of Figaro 3 pfs. 4/82 The Rape of Lucretia5/82 Livietta e Tracollo & Four Dialogues & La Voix humaine Eng.6/82 De Pue's The True Story of the Three Little Pigs prem.

Cleveland Heights Cultural Service, Cain Park, Cleveland7/27,28/82 Roy's Sterlingman

Ohio Light Opera, F. Knorr, Prod., College of Wooster, Wooster6/29,30 7/4m,9,15,24m,31 8/8m,15,20/82 The Gypsy Baron7/1,3m,10,16,25m,27 8/11,21/82 The Gondoliers7/2,3,8,llm,17m,28 8/7m,17/82 The Mikado7/6,7,10m,18m,22,30 8/14,19/82 The Sorcerer7/13,14,17,23,29 8/lm, 14m,22/82 H.M.S. Pinafore7/20,21,24,31m 8/5,8,13,22m/82 Ruddigore8/3,4,6,7,10,12,15m,18,21m/82 The Student Prince

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1981-82 Season

Opera al Fresco/Cleveland Institute of Music, T. Rotolo, Dir., Cleveland7/6,8,10,20,22/82 The Marriage of Figaro 7/13,15,17,24,27/82 The Gypsy Baron

University of Akron Opera Theatre, J. Goddard, Dir., Akron3/9,10/82 A Hand of Bridge & Scenes w.p.5/7,8/82 The Happy Prince & R or em's Three Sisters Who Are Not Sisters8/19,20/82 A Hand of Bridge <5c Four Note Opera

University of Toledo Opera Wksp., T. East, Dir., Toledo4/15,16,17/82 Rita & The Girl from Elizondo Eng. East

OREGONPortland Civic Theatre Summer Festival, Portland

6/15-7/31/82 Man of La Mancha d: Gauer 8/12-9/11/82 The Boyfriend d: DobsonSouthern Oregon State College Opera Wksp., J. Tumbleson, Dir., Ashland

4/9,10/82 Colgrass1 Virgil's Dream w.o. <5c Scenes w.p.PENNSYLVANIA

Berks Grand Opera, B. Long, Dir., Reading7/23,24,25/82 Gianni Schicchi Eng.

Muhlenberg College Opera Group, J. Slavin, Dir., Allentown5/1,2,3/82 Riders to the Sea <5c Trial by Jury6/24-27 7/1-3,8-11,15-18/82 H.M.S. Pinafore7/29-8/1,5-8,12-15,19-22/82 The Most Happy Fella

Opera Workshop/Pennsylvania Opera Festival, J. Meeva, ExecDir., Pittsburgh8/13/82 Scenes 8/15/82 Suor Angelica Eng.8/18,19/82 The Rape of Lucretia 8/20,21/82 La Traviata

The Pennsylvania Opera Theater, B. SQverstein, Art. Dir. (see also VoL 23, No. 4)7/10,11,13,14,17,18/82 Candide Peterson, Raphael; Evans, Jerome; c: Silverstein; d:

Harrer; ds: Lynch/Makovsky; at Port of History Museum, Penn's LandingPittsburgh Opera in the Parks, V. Artz, Gen. Dir.

8/29/82 The Marriage of Figaro Mallory, Sparrow; Ferrier, Shultze; c: Johnson; d:Miller-Posvar; ds: Heymann

TENNESSEECarson-Newman College Lyric Theatre, T. Teague, Dir., Jefferson City (see also Vol.23, No. 4)

2/26/82 A Fisherman Called Peter5/27,28/82 Oklahoma!6/18,19,25,26 7/1,2/82 You're a Good Man, Charlie Brown

TEXASHouston Grand Opera in the Park, D. Gockley, Gen. Dir., Miller Theatre

5/14-29/82 The Merry Widow Eng.; Huffstodt, Renee; Raines, Eisler, Hickman, Parcher;c: Ballard; d: Danner; ds: Laufer; 12 pfs.

Houston Opera Studio, D. Gockley & C. Floyd, Co-Dirs., Univ. of Houston5/8,9/82 Dido and Aeneas <5c The Spanish Hour Eng.; c: France/Pisani; d: Strane; ds:

Detweiler/Fleming; cgr: HolbyLamar Univ. Opera Theatre, J. Truncate, Dir., Beaumont

1/29-31/82 La Traviata Eng. Martin 8/3/82 Scenes w.p.University of Texas Opera Theatre, W. Ducloux, Dir., Austin

11/1,8/81 The Tales of Hoffmann Eng. Martin4/1-3/82 Owen Wingrave 4 pfs.

UTAHBrigham Young Univ. Music Theatre, C. Robison, Dir., Provo (see also Vol. 23, No. 4)

12/8,9/81 Scenes w.p.2/19,20,23-27/82 The Old Maid and the Thief & Beauty and the Beast w.p.; replaces

Susannah6/18,19,23,24/82 The Gondoliers w.o.

University of Utah Opera Wksp., L. Farr, Dir., Salt Lake City4/82 Falstaff 3 pfs.

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1981-82 Season

VIRGINIAAsh Lawn Festival, P. Little, Gen. Dir., Charlottesville

7/3,4/82 Hopkinson's America Independent c: Walens; d: Holliday7/9-11,16-18/82 Llvrogne corrige' Eng. Holliday; c: Walens; d: Holliday7/23-25,30,31 8/1/82 Allen's Follies and Fancies c: Walens; d: Holliday8/6-8,13-16/82 The Four Note Opera & Lo Spezdale Eng. Holliday; c: Walens; d:Holliday

Southwest Virginia Opera Society, H. Granger, Dir., Roanoke (see also VoL 23, No. 1)5/12,14,15/82 Carmen Crook, Fischer; Derr, Ford; c/d: Granger

Wolf Trap Farm Park for the Performing Arts, E. Com, Gen. Mgr., Vienna (6/15-9/10/82)7/15,16,18/82 Cosk fan tutte at The Barns7/24,31/82 Dr. Miracle at Theatre in the Woods8/5,6/82 L'Histoire du soldat & The Apothecary at The Barns8/9/82 Szymanowsky's King Roger conc.pf. Eng.; Metz; Cassilly, Monk; c: Woitach8/14/82 The Apothecary at Theatre in the Woods8/20,21/82 Regina Wolf Trap Company; e: Woitach; d: Bishop; ds: Joy; Lyric Opera

of Kansas City prod.8/31 9/1-5/82 The Sound of Music Peters; Bikel; 8 pfs.9/6/82 Jon Vickers in Concert

WISCONSINInternational Opera Ltd., P. Tiboris, Mus. Dir., Sheboygan

8/12,14,15,17,19,21/82 The Merry WidowSkylight Comic Opera, C. Cabot, Mng. Dir., (see also VoL 23, No. 4)

5/16/82 St. Pierre's John J. Plenty and Fiddler Dan prem.; preceded by 28 pf. tourto schools

WYOMINGGrand Teton Music Festival, L. Tung, Mus. Dir., Jackson Hole (7/14-8/21/82)

8/20,21/82 Carolina burana Russell; Evanko, Albrecht; c: TungCANADA

Banff Festival and School of the Arts, M. Bawtree, Dir., Banff7/14-17/82 The Rake's Progress c: Armenian; d: Macdonald; ds: Laufer

Canada Opera Piecola, P. Alarie, Art. Dir., Victoria (see also VoL 23, No. 1)7/18,19/82 n Matrimonio segreto8/22,23/82 II Pauvre matelot <5c Angdlique

Canadian Children's Opera Chorus, R. Mercer, Dir., Harbourfront Theatre, Toronto5/19-23/82 Holman's Dr. Canon's Cure prem.; Dodington; c: Holman; d: Thomas

Festival Ottawa Opera, A. Gingras, Adm. (see also VoL 23, No. 4)7/29/82 Haydn's Llnfedelta delusa conc.pf.; Carter, Welting; Blake, Monk, Fitch; c:

SkrowaczewskiGrand Theatre, Kingston, Ont.

5/9/82 Crawley's Bernardo Boy prem.; Rubes; c: Coles; d: CrawleyQuebec Chamber Opera, Quebec City

10/81 4/82 "Vive 1'opeYette"; La Chatte me'tamorphosee en fern me & Rosenthal's LaPoule noire

Stratford Festival, Ontario5/28-8/1/82 The Mikado c: Carriere; d: Macdonald; ds: Benson/McLean; 67 pfs.

Stratford Summer Music, Stratford7/6,7,8/82 Dido and Aeneas Robbin, Terrel; Pedrotti

University of Toronto Opera Division, J. Craig, Cond. (see also VoL 23, No. 4)11/81 La Pdrichole 4 pfs.5/82 Opera Excerpts 4 pfs.

- 5 6 -

FIRST PERFORMANCE LISTING, 1982-83

ARKANSASArkansas Opera Theatre, A. Chotard, Gen. Dir., Little Rock

9/ll,12m/82 Madama Butterfly Eng.; e: Harwood12/12/82 English Carol Service at St. Mark's Episcopal Church4/23,24m/83 Cos! fan tutte c: Harwood

CALIFORNIASan Diego Opera, T. Capobianco, Art. Dir., San Diego

10/2,5,8,10/82 Chabrier's Gwendoline Eng.; Am.prem.; Plowright; Raftery, Norman;c: Tauriello; d: Capobianco; ds: Montresor

10/9,12,15,17/82 Madama Butterfly Arroyo, Lerner; J. Evans, Burchinal; c: DeRugeriis;d: Levine

10/23,26,29,31/82 La Peiichole Eng.; Munro; Workman, Foss, Romaguera; c: Litton;d: Eddleman

2/11,13,16,19/83 Saint-Saens' Henry Vm Eng. Porter; Am.prof.prem.; Deutekom,Boozer; Milnes, Trussel; c: Tauriello; d: Capobianco

2/25,27 3/2,5/83 Aida Connell, Paunova; van Limpt, Pons, Kavrakos; c: Alcantara;cgr: Uthoff

5/22,26,29 6/1/83 Adriana Lecouvreur Sutherland, Silva; Moldoveanu, Brocheler; c:Bonynge; d: Capobianco

San Francisco Opera, T. McEwen, Gen. Dir., War Memorial Opera House9/10,13,16,19m,22,25,27/82 Un Ballo in maschera Caball6, Baldani, Battle; Pavarotti/

Moldoveanu, Wixell; c: Adler; d: Frisell; ds: Conklin9/11,14,17,21,26m,29 10/2/82 Norma Sutherland, Home; Mauro, Flagello; c: Bonynge;

d: Mansouri; ds: Varona9/24,28 10/l,6,9,12,17m/82 Salome Barstow, Dernesch; Belcourt, Devlin, Hensel; c:

Klobucar; d: Lehnhoff; ds: W. Wagner & Darling/Ritter10/5,8,15,20,24m,27,30/82 Le Nozze di Figaro* Doese, Popp, Esham, Sarfaty; Krause,

Prey; c: Varviso; d: Frisell; ds: Brown10/10m, 13,16,19,22,25,31/82 La Cenerentola Home, de la Rosa, Richards; Araiza,

Bruscantini, Montarsolo; c: Bernardi; d: Ponnelle; ds: Asagaroff10/23,26,29 11/3,6,9,14m/82 Dialogues of the Carmelites Eng. Machlis; L. Price,

Crispin, Vaness, Zeani, Norden; Hensel, Halfvarson; c: H. Lewis; d: Dexter; ds:Reppa/Greenwood; Metropolitan Opera prod.

ll/4,7m,12,15,18,22,27/82 Pique Dame* Zylis-Gara, Resnik, Quittmeyer, Sarfaty;Svetlev, Krause, Dickson; c: Agler; d: Merrill; ds: O'Hearn

ll/10,13,20m,25,29 12/3,6/82 Cendrillon* Greenawald, Welting, Forrester, WaUis,Herr, Erickson; Gramm; c: Bernardi; d: MacDonald; ds: Bardon; Festival Ottawaprod.

ll/19,23,28m 12/1,5m,8,11/82 Lohengrin Lorengar, Rysanek; Hofmann, Becht, Ward;c: Hollreiser; d: Weber; ds: Montresor

11/24,26,30 12/4,7,10,12m/82 Tosca Jones; Aragall, Diaz; c: Elder; d: Ponnelle/JoelSierra Chamber Opera, A. Rea, Gen. Dir., Fresno

Fall '82 Rea's Falstaff In and Out of Love prem.Spring '83 Rea's The Wizard's Ring prem.

COLORADOOpera Colorado, N. Merrill, Art. Dir., Boettcher Hall, Denver

3/25*,27*,30* 4/5,7,9m*,9/83 La Boheme *Eng.4/4,8,10/83 Otello

CONNECTICUTConnecticut Opera, G. Osborne, Gen. Dir., Bushnell Hall, Hartford

10/27,28,29/82 Turandot Galvany, Kyung Hong; Dominguez; c: Coppola; d: Lucas;at Civic Center

12/2,4/82 Les Contes d'Hoffmann Boozer, Hunt, Marsee; Gedda, Sarabia; c: deAlmeida; d: Morelock

2/24,26/83 Lucia di Lammermoor J. Hall; Navarrete, Willoughby; d: Morelock4/14,16/83 Rigoletto Kyung Hong; Radovan, Di Paola; d: D. Kosloff

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1982-83 Season

Carlson Festival, University of Bridgeport, Bridgeport11/20/82 The Saint of Bleecker Street Connecticut Grand Opera prod.

Greater Bridgeport Symphony, G. Meier, Mus. Dir., Bridgeport9/25/82 La Boheme conc.pf.; Soviero

DISTRICT OF COLUMBIAOpera Company of Washington, H. Feinstein, Gen. Dir., Kennedy Center

10/30 ll/3,7m,12,15/82 Carmen Nafe", Knighton; BaUey, Raftery; c: Friibeck deBurgos; d: Kahn; ds: Conklin/Greenwood; at Opera House

ll/l,6,10,14m,19/82 Falstaff Wells, Hunt, Condo; Stewart, Devlin, Rosenshein; c:Kellogg; d: Schifter; ds: Skalicki; Canadian Opera prod.; at Opera House

11/5,8,13,17,21m/82 Tosca Verrett; Bergonzi, Long; c: Mauceri; at Opera House12/6,8,10,12m,14,18,20,22,25,27,29,31/82 l/2m,4/83 La Cenerentola* C. Peterson,

Levy; G. Bennett, G. Peterson, Glassman; c: Kellogg; d: Menotti; ds: Brown;at Terrace Theatre

12/7,11,13,15,17,19m,21,23,26m,28/82 The Turn of the Screw S. Peterson, Knighton,Hocher; Bailey; c: Mauceri; d: Rochaix; ds: Maret; at Terrace Theatre

l/l,3,5,7,9m,ll,14,16m,18,22,24,26,29/83 The Abduction from the Seraglio* Eng.Porter; Hunt, Gamberoni; D. Gordon, Hedlund; c: Schwarz; d: Saddler; ds: Brown;at Terrace Theatre

1/8,10,12,15,17,19,21,23m,25,28,30m/83 Trial by Jury & M. Choufleuri S. Peterson;Ballam, Loup, Finnley; c: Kellogg; d: Schifter; ds: Brown; at Terrace Theatre

FLORIDAAsolo Opera Guild, P. Hall, Exec. Dir., V. DeRenzi, Art. Dir., Asolo Theatre, Sarasota

12/17,19m,21,22,23,30,31/82 l/21,23m,25,29 2/l,3,5m,6,9,ll,12/83 Orpheus in theUnderworld Eng.

12/26,28,29/82 l/lm,7,8,12,13,15m,16m/83 Don Pasquale Eng.1/6,8m,9m,11,14,15,18,19/83 Orpheus and Euridieel/28,30m 2/2,4,6m,8,10,12m/83 The Turn of the Screw1/31/83 Artists Concert at Van Wezel Hall

ILLINOISChicago Opera Theater, A. Stone, Art. Dir., Chicago

2/19-27/83 Martha Eng.4/9-17/83 The Consul5/21-29/83 The Barber of Seville Eng.

Chicago Symphony Orchestra, G. Solti, Mus. Dir., Chicago2/3,4,5/83 Erwartung conc.pfs.3/10-12/83 Die Meistersinger von Niirnberg excerpts in cone; Gubrud; Rendall, Weikl,

Billings; c: Leinsdorf4/7,9/83 Das Rheingold conc.pfs.; Johnson, DeGaetani, Schnaut; Jerusalem, Tear,

Nimsgern, Becht, Bailey, Cheek; c: Solti; also 4/18 at Carnegie HallLyric Opera of Chicago, A. Krainik, Gen. Mgr., Chicago

9/18,21,24,27 10/2,6,9,14/82 Les Contes cTHoffmann Masterson, Welting, Vergara,Zschau; Kraus, Andreolli, Mittelmann; c: Bartoletti; d: Puecher; ds: Frigerio

9/20,25,29 10/4,8,12,15/82 Tristan und Isolde Martin, Veasey; Vickers, Little, Nimsgern,Sotin; c: Leitner; d: Poettgen; ds: Oswald/Lapiz

10/13,16,19,22,25,29 11/4,8/82 Tosca Bumbry/Marton; Luchetti/Domingo, Wixell/Nims-gern; c: Rudel; d: Gobbi; ds: Pizzi

10/23,26,30 11/1,5,10,12/82 Cos! fan tutte Yakar, Howells, Hynes; Winbergh, Stilwell,Evans; c: Kuhn; d: Sciutti; ds: Griffin/Clancy; Metropolitan Opera prod.

11/3,6,9,13,16,19,22/82 La Voix humaine Eng. & Pagliacci Barstow; c: Bartoletti; d:Joel; ds: Halmen; & Barstow; Vickers, Gordon, Carroli; c: Bartoletti; d: Zeffirelli/Melano; Metropolitan Opera prod.

11/11,17,20,23,26,30 12/3,6,14/82 Madama Butterfly Mauti-Nunziata, Zilio; CianneUa,Andreolli, Bruscantini; c: Gomez-Martinez; d: Prince; ds: Dunham/Klotz

12/1,4,7,10,13,15,18/82 Luisa Miller E. Shade; Pavarotti, Brendel, Ghiuselev; c:Bartoletti; d: Merrill; ds: Colonello; Metropolitan Opera prod.

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1982-83 Season

INDIANAIndiana University Opera Theater, C. Webb, Dean, Bloomington

9/25 10/2,9,16/82 The Barber of Seville Eng.10/23,30 11/6/82 Anderson's Soldier Boy, Soldier prem.11/13,20 12/4m,4,ll/82 Hansel and Gretel Eng.1/29 2/5,12,19/83 The Magic Flute Eng.2/26 3/4,5/83 The Ballad of Baby Doe4/9,16,23/83 H Tabarro & Suor Angelica & Gianni Schicchi Eng.

Indianapolis Opera, R. Driver, Art. Dir., V. du Rivage, Mng. Dir., Indianapolis10/8,10/82 n Trovatore12/10,12/82 The Magic Flute Eng.3/11,13/83 The Elixir of Love Eng.6/17,19/83 Porgy and Bess

Whitewater Opera, C. Combopiano, Dir., Richmond/Centerville10/1,2/82 Tosca Eng. Gutman; also 10/30 tour11/28 12/4/82 Amahl and the Night Visitors also tour2/18,19/83 The Medium & The Telephone4/22,23/83 Hansel and Gretel Eng. Longstreth9/11/82 Opera Gala9/25/82 Opera Recital

KENTUCKYKentucky Opera, T. Smillie, Gen. Dir., Louisville

10/23,27,29,31/82 Alceste* 1776 Paris ed.; Mekler; Goeke, Everette, Fabricci, Sam-uelsen; c: Badea; d: Hope; ds: Butlin/Reid

12/3,5,8,11/82 Madama Butterfly Lee, Kim; Cortez, Everette, Perry; c: Endo; d/ds:Darling; Central City Opera prod.

2/19,23,25,27m/83 Cosi fan tutte* Eng. Porter; Ciesinski, Ciesinski, Beardsley; Had-ley, Everette, Havranek; c: Badea; d: Muni; ds: Owen/Reid

4/2,6,8,10m/83 Rigoletto Greenawald, Fortunato; Cortez, Fabricci, Samuelsen; c:Somogi; d: Muni

LOUISIANABaton Rouge Opera, D. Dorr, Art. Dir., Centroplex Theatre, Baton Rouge

10/13,15/82 Aida Hinds, Jones; Paglialunga; c: Holt; d: Dorr3/9,11/83 Savitri & Dido and Aeneas Hodes, Casella; Karousatos, Harris, Densen; c:

Holt; d: Dorr4/20,22/83 La Boheme Hadani, Jones; Stamm

New Orleans Opera, A. Cosenza, Gen. Dir., New Orleans Theatre of Performing Arts10/14,16/82 Samson et Dalfla Cossotto; Cassilly, Vinco, Thompson; c: Fournet; d:

Morelock11/11,13/82 La Boheme Malfitano, Rogers; Mauro, Gardner, Martinovitch; c: Coppola;

d: Lucas12/9,11/82 I Lombard! Deutekom; Bergonzi, Furlanetto, Serbo; c: Coppola; d: Auerbach3/10,12/83 Tristan und Isolde Meier, A. Howard; Wenkoff, Hines, Braun; c: Mont-

gomery; d: HebertShreveport Opera, R. Murray, Gen. Dir., Shreveport Civic Theatre

9/19/82 Leontyne Price in Recital10/16/82 Tosca Eng. Murray3/26/83 Naughty Marietta5-6/83 Opera on Wheels tour

MARYLANDAnnapolis Opera, D. Platt, Mng. Dir., Annapolis

10/7,9/82 The Barber of Seville3/3,5/83 Sandow's Frankenstein prem.; P. Hunter; Glassman, Embree; c: Gore; d:

Getke

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1982-83 Season

Baltimore Opera, J. Holbrook, Gen. Mgr., Baltimore10/14/82 Verdi Requiem; Cruz-Romo, Cortez; Johns, Dworchak; c: Comissiona; w.

Baltimore Symphony & Opera Choruses; for opening of Maryland Concert Hall11/18,20,22/82 Cosk fan tutte Haywood, Forst, Lear; Stone, Stewart; c: Montgomery;

d: Hebert2/10,12,14/83 La Boheme P. Myers, Vasquez; Calleo, Burchinal, Madden, Albert; c:

Coppola; d: Bishop3/17,19,21/83 Porgy and Bess Hinds, Vasquez, McDonald; Albert, Sprague, Marshall;

c: R. Buckley; d: Lehmeyer4/21,23,25/83 The Daughter of the Regiment Eng.; Welting, Bonazzi; Brecknock, Cor-

beil; c: Manahan; d: HicksMASSACHUSETTS

Boston Concert Opera, M. Feibish, Mgr., Boston10/1,3/82 Ernani 11/20,21/82 Susannah1/21,23/83 Manon Lescaut 2/25,27/83 L'Amico Fritz

Boston Lyric Opera, J. Balme, Gen. Dir., Boston10/15,17m/82 Madama Butterfly Eng.; Isachar, N. Green; Haddock, Honeysucker; c:

Balme; d: A. Ewers11/12,14m/82 Ariadne auf Naxos Eng./Germ.; Phinney, Parcells, Fortunato; c: Balme;

d: Eddlemanl/14,16m/83 n Trovatore Kucenic, Walters; Outland, Honeysucker; c: Balme; d: Brumit

Boston Symphony Orchestra, S. Ozawa, Hus. Dir., Boston1/83 La Damnation de Faust conc.pf.; von Stade; Gedda, Haugland; c: Ozawa; also

1/26,27 at Carnegie HaU4/83 Concert excerpts from Salome Behrens; c: Ozawa; 4/13,14 at Carnegie Hall

NEW YORKOpera Theatre of Syracuse, R. Driver, Art. Dir., Syracuse

10/22,23/82 n Trovatore Brustadt, Thomas-Harris; Grice, McFarland; c: Caraher; d:Driver; ds: Ostroff

11/19,20/82 The Magic Flute Eng.; P. Hunter; Leech, J. Davies, West; c: Caraher;d: Driver; ds: Ostroff

4/15,16/83 The Elixir of Love Eng.; Knighton; A. Kays, Orth, West; c: Caraher; d:Driver; ds: Ostroff

6/3,4/83 Porgy and Bess c: Caraher; d: Charnin; ds: OstroffTri-Cities Opera, C. Savoca & P. Hibbitt, Art. Dirs., Binghamton

10/23,24,29,30/82 Norma Wohlafka, Clarey; Leech1/29,30 2/4,5/83 Die Fledermaus Harrison4/23,24,29,30/83 Fink's Jeremiah Reed

NEW YORK CITYBeethoven Society, Alice Tully Hall, Lincoln Center

1 /4/82 Leonore Princeton University Opera Theatre; c: Pratt; cb Westergaard4/16/83 Vestas Feuer Westerman ed.; Manhattanville College Chorus & Beethoven

Festival Orchestra; e: WestermanChamber Opera Theatre of N.Y., T. Motyka, Gen. Dir., Marymount Manhattan College

11/3,5,7,9,11,13/82 Bastien and Bastienne & Mozart and Salieri Eng.; Gentry, Shore;c: Sullivan; d: Motyka; ds: Giampa/Nadeaux

2/9,11,13,15,17,19/83 The Turn of the Screw d: Motyka; ds: Azouri11/10/82 2/16/83 Liederabend

Gala Rossini Opera Festival, Columbia Artists Management & Carnegie Hall11/14/82 La Donna del lago conc.pf.; Baltsa, Home; Raffanti, Blake; c: Renzetti;

American Symphony Orchestra; Orpheon Chorale1/10/83 Semiramide conc.pf.; Caballed Home; Ahlstedt, Ramey; c: Lopez-Cobos;

American Symphony Orchestra; Orpheon Chorale5/22/83 Taneredi conc.pf.; Cotrubas, Home; Merritt; c: Weikert; American Symphony

Orchestra; Orpheon Chorale

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1982-83 Season

Metropolitan Opera, A. A. Bliss, Gen. Hgr., Lincoln Center9/20,23,29 10/2,7,12,15,20/82 3/10,16,19m/83 Der Rosenkavalier9/21,24,27 10/1,6,9,16m/82 1/20,25,29m/83 Boris Godunov9/22,25m,30 10/4,8,ll,16,23m,28/82 La Forza del destino9/25,28 10/2m,5,9m,13,19,22/82 2/5,9,12m/83 La Gioconda10/14,18,23,27,30 ll/2,6m,ll,16,19/82 l/8,12,15m/83 Idomeneo* Cotrubas, Behrens,

von Stade; Pavarotti, Alexander, Jenkins, Clark; c: Levine; d/ds: Ponnelle10/21,26,30m 11/3,6,9,12,15/82 2/16,19m/83 Un Ballo in maschera10/25,29 11/4,8,13m,17,20m,23,26 12/2/82 3/24,28 4/2,5,9m, 16/83 n Barbiere di Sivigliall/l,5,10,13,20,24,27m,30 12/4m,9,13/82 Lucia ett Lammermoor11/18,22,27 12/l,4,7,10,15,18m,21,24/82 Macbeth* Scotto; Milnes, Giacomini, Rai-

mondi; c: Levine; d: Hall; ds: Bury11/25,29 12/3,8,11,17,20,28/82 l/lm/83 Tannhauser12/6,llm,14,18,23,27,31/82 1/5,7/83 Parade12/16,22,25,30/82 l/4,8m,ll,15 3/31 4/6,9,12,15/83 n Trovatore12/25m,29/82 1/1,3/83 Hansel and Gretel1/6,10,14,18,22m/83 Pelleas et Melisande1/13,17,21,26,29 2/2,5m,ll,15,18,24/83 Les Contes d'Hoffmann1/19,22,28,31 2/3,8,21,26m 3/4/83 Adriana Lecouvreur1/24,27 2/1,4,7,12,17,23,26 3/l,5,8,12m/83 La Boheme2/10,14,19,22,25 3/2,5m/83 Arabella* Te Kanawa, Battle, Dunn; Rendall, Weikl,

Gramm; c: Leinsdorf; d: Schenk; ds: Schneider-Siemssen/Canonero2/28 3/3,9,12,15,18,22,26m/83 Don Carlo3/7,11,14,19,23,26,29 4/8,11,14/83 Madama Butterfly3/17,21,25,30 4/2m/83 Die Walkiire4/1,4,7,13,16m/83 ParsifalRoster: sops: Amara, Andrade, Battle, Behrens, Bergquist, Blegen, Bradley, Brandson,Bumbry, Bureau, Burrowes, Castro-Alberty, Coss, Cotrubas, Craig, Cruz-Romo, Davis,Devia, di Franco, Dobish, Eda-Pierre, Freni, Galvany, Griffel, Higareda, Jones, Kovacs,Kubiak, Lear, Lorange, Malfitano, Martin, Marton, Meier, Merritt, Millo, Mitchell,Neblett, Negri, Norden, Peters, Putnam, Ricciarelli, Robinson, Rolandi, Rom, Savova,Scotto, Soederstroem, Stapp, Stratas, Sutherland, Te Kanawa, Valente, Wohlafka,Zylis-Gara; mezzos: Baglioni, Beer, Berini, Bybee, Catania, Chookasian, Conrad,Cornell, Cortez, Cossotto, Decker, Dubinbaum, Dunn, Elias, Ewing, Godfrey, Grillo,Harris, Hastings, Jones, Kesling, Kraft, Love, Ludwig, Nadler, Payne, Pecchioli,Petros, Quivar, Taillon, Toczyska, Troyanos, von Stade; tens: Alexander, Anthony,Atherton, Bergonzi, Best, Bini, Blake, Brenneis, Carreras, Cassilly, Castel, Ciannella,di Giuseppe, Domingo, Fowler, Frank, Franke, Gedda, Giacomini, Gilmore, Gonzalez,Jenkins, Jung, Kraus, Laciura, Lewis, Livings, Malamood, Mauro, Moldoveanu, Montana,Morell, Nagy, Naldi, Ochman, Pavarotti, Raffanti, Raitzin, Rendall, Riegel, Shicoff,Sooter, Stamm, Talley, Velis; bars: Bacquier, Boucher, Bruscantini, Bruson, Capecchi,Christopher, Clark, Darrenkamp, Devlin, Duesing, Ellis, Elvira, Fredricks, Glossop,Goodloe, Hagegard, Hammond-Stroud, Hartman, Holloway, MacNeil, Manuguerra, Me-redith, Milnes, Mittelmann, Monk, Nentwig, Nimnicht, Nucci, Pons, Quilico, Schex-nayder, Sereni, Shinall, Stilwell, Thompson, Weikl, Zancanaro; basses: Andersson,Berberian, Bertolino, Cheek, Courtney, Dobriansky, Estes, Fleck, Furlanetto, Ghiaurov,Giaiotti, Gramm, Haugland, Hines, Hiibner, Kopcak, Korn, Macurdy, Mazura, Moll,Montarsolo, Morris, Plishka, Raimondi, Robbins, Tajo, Talvela, Tschammer, van Dam,Vernon, Vineo; conds: Bonynge, Conlon, Fulton, Kohn, Leinsdorf, Levine, PatanS,Rosenthal, Rudel, Santi, Tate, Tchakarov, Varviso, Veltri.

New York City Opera National Company, B. Sills, Gen. Dir., B. Salesky, Mus. Dir.1982-83 tour: Carmen

Next Wave Series, Brooklyn Academy of Music10/28-11/7/82 L. Anderson's United States prem.12/16,17,18,19m,21,22/82 Bryars/Wilson's Medea prem.

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1982-83 Season

New York City Opera, B. Sills, Gen. Dir., State Theatre, Lincoln Center9/7,8,9,10,llm,ll,12m,12,19m ll/5,6m,12,13m,13/82 The Merry Widow* Eng. A. Ross;

Hynes/Rogers, Gutknecht/Marsee; Titus/Otey; c: Bergeson; d: Gile; ds: Pond &Senn/Mess; cgr: Saddler

9/14,16,19/82 Hamlet* Eng. Porter; Putnam, R. Freni; Milnes, Hale; c: Rigacci; d:Melano; ds: Toms; San Diego Opera prod.

9/17,25m/82 L'Amore de tre re9/18m,26m 10/3,9m,17m/82 La Traviata9/18,24 10/2/82 The Magic Flute Eng. Porter9/23,26,29/82 Medea9/25 10/2m,9/82 Tosca9/30 10/10m,15,20,27 11/4/82 Madama Butterfly10/1,5,8,16m/82 Gluek's Alceste* 1776 Paris ed.; Harper; Garrison, Eichorn; c:

Leppard; d: Macdonald; ds: Lee/Mess10/3m,10,31 11/10,14/82 Carmen10/13,16,21,23,29,30m 11/2/82 Candide* Mills, Costa-Greenspon; Eisler, Lankston; c:

Mauceri; d: Prince; ds: E. Lee/Dolan10/17,22,26/82 Le Nozze di Figaro10/23m,30 11/3/82 La Grande Duchesse de Gerolstein Eng. Martin10/24m,28 ll/7m,9/82 La Boheme10/24/82 Susannah10/31 ll/7,ll,14m/82 Mefistofele11/19-12/5/82 at Chandler Pavilion, Los Angeles: La Traviata; Alceste; Candide;

Mefistofele; Susannah; The Magic Flute; Le Nozze di Figaro; MadamaButterfly; La Boheme total 18 pfs.

New York Philharmonic, Z. Mehta, Mus. Dir., A very Fisher Hall9/23-28/82 Excerpts from Les Troyens Verrett; c: Mehta2/10,12/83 Special Wagner Anniversary Concert; c: Mehta2/17-22/83 Schonberg's Erwartung Behrens; c: Mehta3/24,25,26,29/83 Jana'cek's From the House of the Dead Eng. Graff/Jones; conc.pfs.;

first public U.S. pf.; Brunner; Cassilly, Cole, Creech, Grobe, Hirst, Cheek,Foldi, Mittelmann; c: Kubelik

Opera Orchestra of New York, E. Queler, Mus. Dir., Carnegie Hall10/28/82 Donizetti's n Duca cPAlba conc.pf.; Castro-Alberty; Bruson; c: Queler1/19/83 Strauss's Guntram Am. prem.; conc.pf.; R. Goldberg; c: Queler5/8/83 Berlioz' Benvenuto Cellini conc.pf.; Devia, Boozer; Gedda, Gramm, Lafont;

c: QuelerOHIO

Cleveland Opera, D. Bamberger, Art. & Gen. Dir., Hanna Theatre10/6,8,9m,9,10m/82 La Traviata* Eng.; Lamy; Orth; c: Bergeson; d: Bamberger11/12,13,14/82 "Shakespeare Meets Verdi" Scenes from Macbeth <5c Otello narr:

Goldovsky; at Great Lakes Shakespeare Festival12/3,4/82 The Secret Marriage at John Carroll University2/16,18,20m,26 3/5m/83 A Masked Ball Eng.; J. Evans; c: Page; d: Bamberger2/23,25,26m,27m 3/5/83 Falstaff Eng.

Opera/Columbus, L. Schaenen, Interim Art. Dir., Columbus12/2,4/82 La Traviata W. Brown; Kunde, Justus; c: Schaenen; d: J. Bookspan2/3,5/83 The Tales of Hoffmann Eng.; Woods, Reese, Graham; Livings; c: Schaenen;

d: Bakman3/3,5/83 Lucia di Lammermoor Harman-Gulik; Long, Markuson; c: Schaenen; d: Liotta

Toledo Opera, L. Freedman, Gen. Dir., Toledo10/16/82 Rigoletto1/29/83 Carmen3/12/83 Madama Butterfly4/30/83 The Student Prince

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1982-83 Season

OKLAHOMATulsa Opera, E. Purrington, Gen. Dir., Tulsa

10/30 11/4,6/82 n Trovatore Mitchell, Paunova; Johns, Ellis; c: Masini; d: Igesz3/5,10,12/83 Der Rosenkavalier Niska, Wise, Gwendolyn Jones; Rintzler, Clatworthy;

c: Somogi; d: Frisell4/30 5/5,7/83 Madama Butterfly Soviero, Kim; Bini, Otey; c: Hess; d: Bakman

OREGONPortland Opera, R. Bailey, Exec. Dir., S. Minde, Art. Dir., Portland

10/9,13,16/82 La Traviata Daniels; Theyard, Nolen; c: Minde; d: Boerlage; ds: Wright-Stevens

11/6,10,13/82 Herrmann's Wuthering Heights prem.; B. Smith, Rogers; Ludgin, Walker;c: Minde; d: Fraser; ds: Wong

3/5,9,12/83 La Fanciulla del West Zsehau; Ruohonen, Ludgin; Seattle Opera co-prod.4/30 5/4,7/83 Die Fledermaus Eng.; Boky; Titus, Nolen; d: Bentley; ds Gullicksen

PENNSYLVANIAOpera Company of Philadelphia, M. Everitt, Mgr., Philadelphia

9/29 10/1/82 La Rondine Ciannella10/17/82 Carreras in Concert11/22,26/82 Dido and Aeneas & Oedipus Rex J. Norman, F. Robinson; Lewis1/11,14/83 Don Pasquale Gulyas, Capecchi; c: Sieiliani2/3,6/83 Simon Boccanegra Freni; Carroli, Ghiaurov; c: Sieiliani; ds: Colavecchia4/19,22/83 Carmen Vergara; Giaeomini; a Korn; d: Schifter

Pennsylvania Opera Theater, B. Silverstein, Art. Dir., Trocadero Theatre, Philadelphia11/12,13,16m,19,20/82 Donizetti's II Furioso nell'isola di San Domingo Eng.; co-prod.

w. Opera Delaware5/6,8,10m, 13,15/83 Garwood's Rappaccini's Daughter prem.

Pittsburgh Opera, V. Artz, Gen. Mgr., Heinz Hall, Pittsburgh10/7,9/82 The Bartered Bride Eng.; Craig; Stewart, Corbeil; c: Parker; d: Auerbach11/11,13/82 Rigoletto Gonzalez; Justus, Molese; c: Ryan; d: DeBlasis; ds: Klein12/9,11/82 The Abduction from the Seraglio Eng. Porter; d: DeBlasis; ds: Heymann1/13,15/83 Faust Christos; Brecknock, Diaz; c: Somogi; d: DeBlasis; ds: Singelis3/24,26/83 Fidelio Alexander, Patrick; c: Schuller; d: DeBlasis4/21,23/83 Manon Lescaut c: Coppola; d: DeBlasis

TEXASDallas Opera, P. Karayanis, Gen. Dir., Dallas

ll/5,7m,10,13/82 Pagliacci* & Gianni Schicchi* Craig; McCracken, Bordoni, G.Quilico; & Spacagna; Montarsolo, Wildermann; c: Rescigno; ds: Hall

ll/19,21m,24,27/82 Der Rosenkavalier Soederstroem, Howells, Cuccaro; Jungwirth,Gutstein; c: Klobucar; d: Mansouri

12/2,5m,8,11/82 Das Rheingold* Killebrew, Chookasian; Probst, Hiestermann, Rintzler;c: Rescigno

12/15,17,19m,21/82 Lucia di Lammermoor R. Welting; Kraus, Saccomani; c: RescignoDallas Opera High Noon Ensemble, C. Lewis, Adm.

8/23-10/19/82 tour to schools: "Opera Magic"; "Showdowns and Other Street Scenes";"Opera Concert"; Elixir of Love abbr. vers.

ll/l,3,4,9,/82 Pagliacci Educational ProgramFort Worth Opera, R. Kruger, Gen. Mgr. & Mus. Dir., Fort Worth

11/19,21/82 Tosea Lorange; Mauro, Nurmela; c: Kruger; d: Hicks; ds: O'Hearn/Mess1/14,16/83 The Gondoliers Evans, Hynes; Price, Billings, McKee; c: Kruger; d:

Eddleman; ds: Pitkin/Mess3/11,13/83 Don Giovanni Eng.; Vaness, Christos, Langton; Atherton, Devlin, Malas;

c: Kruger; d: Eddleman; ds: /Mess4/22,24/83 Eugene Onegin Eng.; Malfitano, Schuman; Ellis, Walker; c: Kruger; d:

Hebert; ds: Klein/Mess; cgr: Svetlova

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1982-83 Season

Houston Grand Opera, D. Gockley, Dir., Houston10/14,15,17m,19,22/82 Turandot* Knie, Niculescu; Mauro; c: Rescigno; d: Hebert; ds:

Klein; joint prod. w. Miami, San Francisco, and Dallasll/5,7m,9,12/82 Wozzeck* Eng.; Armstrong; L. Cooper, Trussel, Dansby, Sergi; c: L.

Foster; ds G. Friedrich; ds: Skalicki12/3,7,10,12m/82 Arlecchino <5c Pagliacci Soviero; Vickers, Manuguerra, Raftery; c:

Simmons; d/ds: Ponnelle1/83 Rigoletto Gulyas3/24,27m,30 4/2/83 Lohengrin* Altmeyer, Randova; King, Nimsgern, Plishka; c: Lopez-

Cobos; d: Weber; ds: Montresor4/83 Les Contes d'Hoffmann Mills, Hunt, Rawlins, Wallis; Gedda, Krause, Gordon;

c: De Main; d: Merrill; ds: Schneider-Siemssen4/22/83 Pavarotti in Concert; c: E. Buckley

Texas Opera Theatre, H. J. Weaver, Mgr., Houston1982-83 tour: The Daughter of the Regiment; The Marriage of Figaro; The Fan-

tasticksVIRGINIA

Southwest Virginia Opera Society, H. Granger, Dir., Roanoke9/82 Rigoletto 3 pfs.

Virginia Opera Ass'n, P. Mark, Gen. Dir., Norfolk10/22,24m,27,29,31m/82 Die Fledermaus Ciesinski, Ommerle', McCaffrey; c: Mark; d:

Farrar; ds: Romero12/3,5m,8,10,12m/82 Amahl and the Night Visitors Leonetti; Bender; c: Evans;

d: Farrar; ds: Hemink; plus 14 pfs. on tourl/21,23m,26,28,30m/83 Macbeth Ciraulo; Serrano, Adkins; c: Mark; d: Farrar; ds:

Romero3/ll,13m,16,18,20m/83 The Elixir of Love Ommerle'; Reed, Messing, Randolph; c:

Mark; ds: JoyUTAH

Utah Opera, G. Peterson, Gen. Dir., Salt Lake City10/21,23,25,27/82 Rigoletto 12/10,11/82 Amahl and the Night Visitors1/20,22,24,26/83 La Boheme 5/12,14,16,18/83 Die Fledermaus

WASHINGTONCornish Institute, R. Nelson, Dir., Seattle

Fall '82 Herbolsheiner's Aria da Capo prem.Spring '83 Giteck's A'agita prem. & A Hand of Bridge

Seattle Opera, G. Ross, Gen. Dir., Seattle9/23,25,26,29 10/1,2/82 n Trovatore Hunter, Cossotto; Lamberti, Vinco, Willoughby;

c: Holt; d: Ross11/4,6,10,12,13,14/82 Carmen Vergara; Maievski; d: Morelock1/20,22,23,26,28,29/83 EL Barbiere di Siviglia J. Anderson; Gimenez, Mangin; c: Holt;

d: Ross3/17,19,20,23,25,26/83 La Fanciulla del West Zschau; Ruohonen, Ludgin; c: Minde;

d: Bakman; ds: Wong; Portland Opera co-prod.5/5,7,11,13,14,15/83 Peter Grimes Kubiak; Vickers/Sooter

WISCONSINFlorentine Opera of Milwaukee, J. Gage, Gen. Mgr., Milwaukee

11/11,12,14/82 La Boheme 3/10,12,13/83 Fidelio4/21,23,25/83 Samson et Dalila

Skylight Comic Opera, C. Cabot, Mng. Dir., Milwaukee10/20-11/7/82 The Threepenny Opera 12 pfs. at Skylight Theatre12/1-31/82 Iolanthe 20 pfs. at Vogel Hall2/2-20/83 n Matrimonio segreto Eng.; 12 pfs. at Skylight Theatre3/16-27/83 Oh, Kay! 8 pfs. at Vogel Hall5/4-22/83 The Makropoulos Affair 12 pfs. at Skylight Theatre6/15-26/83 A Little Night Music 8 pfs. at Todd Wehr Performing Arts Center

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1982-83 Season

Wisconsin Opera Theatre of the Florentine Opera, J. Gage, Gen. Mgr., Milwaukee10/7,8,9,10/82 La Cenerentola Eng.; also tour to schools

CANADACanadian Opera Company, L. Mansouri, Gen. Dir., Roy Thomson Hall Opening Gala

9/15/82 Capriccio conc.pf.; Meier, S. Smith; Opthof, Oostwood, Rintzler, Pedrotti;c: Rudel

Canadian Opera Co., L. Mansouri, Gen. Dir., O'Keefe Centre, Toronto9/16,21,23,26,29 10/2/82 Falstaff* Roslak, Stubbs, Tomlin; DuBois, Quilieo, Monk; c:

Rudel; d: Copley; ds: Skalicki/Mess9/24,27,30 10/3,5,7,9/82 The Magic Flute Eng.; Cuccaro, Cummings; DuBois/Austin,

Baerg; c: Alcantara; d: Corsaro; ds: Sendak; Houston Grand Opera prod.1/14,18,20,22,23,26,29/83 La belle Helene* Eng. Warrack; c: Kunzel; d: Mansouri1/21,25,27,30 2/2,5/83 Elektra* Stapp, Forrester; c: Oetvbs; d: D. Alden4/8,12,14,17,20,23/83 La Fanciulla del West Meier; Lamberti; c: Klobucar; d: Mansouri4 19,22,24,26,28,30/83 LTncoronazione di Poppea Howells, Soffel; Pedrotti; c: Mont-

gomery; d: Mansouri; ds: Maximowna; San Francisco Opera prod.Edmonton Opera Ass*n, L. Moore, Adm. Dir., Edmonton

11/27,30 12/2,4/82 La Traviata Niculescu; Gibbs, Monk; c: Guadagno; d: Lehmeyer;ds: Toms; San Diego Opera prod.

1/29 2/1,3,5/83 Les Contes d'Hoffmann Thomson, Hermiston, Stubbs; M. Myers, Ramey;c: Pallo; d: Guttman; ds: Klein/Mess; Seattle Opera prod.

3/26,29,31 4/2/83 I Puritani Can.prem; Anderson; Suarez, Kavrakos, Edwards; c: Cop-pola; d: Guttman; ds: Toms; New York City Opera prod.

5/14,17,19,21/83 The Girl of the Golden West Zschau; Johns, Opthof; c: Silipigni; d:Guttman; ds: O'Hearn/Mess; New York City Opera prod.

Manitoba Opera, I. Guttman, Art. Dir., Winnipeg11/13,16,19/82 Carmen Davidson; West, Martinovich; c: Pallo2/19,22,25/83 La Boheme E. Shade, Forst; Cupido, Schexnayder, Corbeil, Bisson; c:

Guadagno; d: Guttman4/16,19,22/83 Otello Niculescu; W. Johns, Sarabia; c: Guadagno; d: Guttman

L'Opera de Montreal, J. P. Jeanotte, Art. Dir., Place des Arts, Montreal9/28 10/1,4,9,13,16,19/82 Norma Stapp, Lavigne; Stivan, Garrard; c: Silipigni; d:

Reichenbach; ds: Girard11/23,26,29 12/4,8,11,14/82 Lucia di Lammermoor Serra; Cupido, Opthof, Trepanier,

Corbeil; c: Armenian; d: Corsaro; ds: Eagan2/8,11,14,19,23,26,28/83 Fidelio Meier, Boky; Sooter, Trepanier, Braun; c: Decker;

d/ds: Oswald/Lapiz5/31 6/4,7,10,14,18,22/83 Macbeth Napier; Turp, Quilieo, Dworchak; c: Guadagno; d:

Kaslik; ds: SvobodaOpera Hamilton, S. Thomas, Art. & Gen. Dir., Hamilton

9/16,18/82 Madama Butterfly 5/83 Aida 2 pfs.Opera in Concert, S. Hamilton, Dir., Toronto

10/23,24/82 Vanessa Jean/Blaser, Loeb/James, Rideout/Berge; Silva-Marin/Evans12/4,5/82 The Gypsy Baron Tomlin/Roslak, Maltese/MacPhail; McLean/Stilwell2/19,20/83 Rameau's Hippolyte et Aricie Patenaude/Browning, Dorenfeld/Smith; Du-

Bois/McLean, Katz/Dodington5/7,8/83 Samson et Dalila Forrester; Jones/Shust, Barcza/Baerg

Saskatoon Opera Ass*n, D. Jones, Pres., Saskatoon11/25/82 Iolanthe 5/13,14/83 Humperdinck's Konigskinder

Southern Alberta Opera, B. Hanson, Gen. Mgr., Calgary10/28,30 11/1/82 La Forza del destino Ehrlich, Forst; Mauro, Augustini, Rouleau,

Bisson; ex Guadagno; d: Thomas1/27,29,31/83 The Gondoliers Glass, Norskog; Thompson, Eddleman, DuBois, Dodington;

c: Whallon; d: Eddleman3/24,26,28/83 Norma Deutekom, Marsee; Bini; c: Hetu; d: Cotton5/12,14,16/83 Madama Butterfly Thomson, Golden; Versalle, Monk, Lortie; c: Rose

krans; d: Symeox- 65 -

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