CENTRAL OPERA SERVICE BULLETINWINTER, 1972

Sponsored by the Metropolitan Opera National Council

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

Sponsored by the Metropolitan Opera National Council

Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, N X 10023 • 799.3467

CENTRAL OPERA SERVICE COMMITTEE

ROBERT L. B. TOBIN, National Chairman

GEORGE HOWERTON, National Co-Chairman

National Council Directors

MRS. AUGUST BELMONT

MRS. FRANK W. BOWMANE. H. CORRIGAN, JR.MRS. NORRIS DARRELL

MRS. TIMOTHY FISKECARROLL G. HARPERELIHU M. HYNDMAN

Professional Committee

JULIUS RUDEL, ChairmanNew York City Opera

KURT HERBERT ADLERSan Francisco OperaVICTOR ALESSANDROSan Antonio SymphonyROBERT G. ANDERSONTulsa OperaWILFRED C. BAINIndiana UniversityROBERT BAUSTIANSanta Fe OperaMORITZ BOMHARDKentucky OperaSTANLEY CHAPPLEUniversity of WashingtonEUGENE CONLEYNo. Texas State Univ.WALTER DUCLOUXUniversity of TexasPETER PAUL FUCHSLouisiana State UniversityROBERT GAYNorthwestern UniversityBORIS GOLDOVSKYGoldovsky Opera TheatreWALTER HERBERTHouston & San Diego OperaRICHARD KARPPittsburgh OperaGLADYS MATHEWCommunity Opera

MRS. LOUDON MEI.LENOpera Soc. of Wash., D.C.ELEMER NAGYHam College of MusicMME. ROSE PALMAI-TENSERMobile Opera GuildRUSSELL D. PATTERSONKansas City Lyric TheaterMRS. JOHN DEWITT PELTZMetropolitan OperaJAN POPPERUniversity of California, L.A.GLYNN ROSSSeattle OperaGEORGE SCHICKManhattan School of MusicMARK SCHUBARTLincoln CenterMRS. L. S. STEMMONSDallas Civic OperaLEONARD TREASHEastman School of MusicLUCAS UNDERWOODUniversity of the PacificGIDEON WALDKOhJuilliard School of MusicMRS. J. P. WALLACEShreveport Civic OperaLUDWIG ZIRNERUniversity of Illinois

See COS INSIDE INFORMATION on page seventeen for new officers andmembers of the Professional Committee.

The Central Opera Service Bulletin is published bi-monthlyfor its members by Central Opera Service.Permission to quote is not necessary but kindly note source.

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

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

Copies this issue: $1.00

CENTRAL OPERA SERVICE BULLETIN

Volume 14, Number 3 Winter, 1972

NEW OPERAS AND PREMIERESAMERICAN OPERAS

American "ragtime" composer Scott Joplin wrote one opera, TREEMONISHA,which, at the time of its completion in 1911, received a partial reading in NewYork. The Texas-born composer died in New York in 1917 at the age of 49. Hismusic is now being rediscovered and the first complete, staged performance ofTreemonisha was presented on January 27, in cooperation with Morehouse College,at the Atlanta Arts Center. Robert Shaw conducted the Atlanta Symphony andKatherine Dunham staged and choreographed the work; the soloists included AlphaFloyd, Louise Parker and Simon Estes. The N. Y. Public Library is in the processof publishing Joplin's complete works with Volume I devoted to his piano musicand Volume II to vocal compositions. Performances of the works are licensedthrough ASCAP. Treemonisha is also on the summer schedule of the Wolf TrapFestival.

THE ARTIST is a multi-media theatre piece with music by Paul Reif, librettoby Kenneth Koch and visual realization by Larry Rivers. A dramatization ofthe life of an artist, it features his story as expressed by baritone Donald Gramm,excerpts from his journal conveyed by a mezzo soprano, and the actual creationof works of art on stage by The Artist, Larry Rivers. A Sprechchor will representthe public. Still and film projection will be part of the performance. Musical ac-companiment is scored for seven instruments. The performance will be on April17 at the Whitney Museum of Art in New York presented by The Music at theWhitney in The Composers' Showcase Series.

The Opera Theatre of the University of California in Santa Barbara will give thefirst performance of MIRRORS, a new "Theatre in Music" production, ComposerJeffrey Babcock collaborated with librettist Carl Zytowsky (director of the OperaTheatre) in creating the experimental piece which utilizes tapes and projection.

A "total environment work" entitled A RAGE OVER THE LOST BEETHOVENwas performed by the Center of Creative and Performing Arts at the State Uni-versity of New York at Buffalo on February 19. The music for this satire is byLejaren Hiller, the script by Frank Parman. A display of Beethoven artifacts pre-cedes the actual performance. The three-part story features personages aroundBeethoven and "exposes the cult of hero worship".

JOSEPH AND HIS TECHNICOLOR DREAMCOAT is the latest of a numberof "rock oratorio/operas" {Godspell, J. C. Superstar, Bernstein's Mass are someof the others). The 45-minute work, written by Andrew Lloyd Webber and TimRice of Superstar fame, was premiered by Detroit's Overture to Opera in No-vember.

Leonard Bernstein's MASS, which opened the John F. Kennedy Center last Fall,will be presented by Sol Hurok at the Metropolitan Opera House for four weeksbeginning on June 26. Prior to its New York opening, it will be performed at theCincinnati May Festival, followed by two weeks at the Kennedy Center in Wash-ington and one week at the Academy of Music in Philadelphia. It is scheduled forEuropean premiere in Vienna in 1973.

Chaucer's CANTERBURY TALES seems a natural subject for a rock opera. Thepremiere of just such a work will take place in November '72 during the openingweek of a new Performing Arts Hall at the University of Akron.

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Steinbeck's short story, THE PEARL, has been adapted by Dawn Crawford for aone-act opera of the same title. Miss Crawford, a member of the music faculty atDominican College in Houston, where the opera will be premiered in April, wrotethe libretto as well as the music.

THE ROCKET'S RED BLARE is a one-act parody by James Yannatos, first per-formed in May 1971 at Harvard University. Performances are licensed by BMI.

A new children's opera after Lewis Carroll's poem THE HUNTING OF THESNARK was recently premiered at the Whitney Museum in New York by theSystems Theatre, Inc. It was subsequently performed at Mannes College. Themusic is by Edwin Roberts, the libretto by Bill Tchakirides.

Three Canadian composers have recently completed one-act operas. NormanSymonds wrote THE SPIRIT OF FUNDY on a commission from the CanadianOpera Company; the work will be taken on COC's annual tour to schools. Theopera's central figure, Charles de la Tour, is of historical interest. He founded whatis now known as St. John in New Brunswick. The action takes place in 1623 atthe Bay of Fundy — Murray Schafer's third opera, PATRIA II: REQUIEMS FORA PARTY-GIRL, will be premiered at Stratford on August 23. It is a chamberwork incorporating live and electronic music. Excerpts were performed at NewYork's Shakespeare Theatre in January. Of the composer's two earlier operas, onewas premiered by CBC in 1966 (Toi, Loving), the other at Tanglewood in 1967(Gita). — Hungarian-born Canadian, Tibor Polgar, completed two one-act operasboth as yet unperformed. A EUROPEAN LOVER and THE TROUBLEMAKERare available from the Canadian Music Centre, 33 Edward St., Toronto. Mr.Polgar's first opera, Kerok, was performed by the Budapest State Opera in 1954.

AMERICAN PREMIERES

The Santa Fe Opera, which has been responsible for many important Ameri-can premieres, announced that it will give the first U. S. performance of AribertReimann's MELUSINE this summer. The work was first heard last year at theSchwetzingen Festival, later produced by the Deutsche Oper which performed it inBerlin and in Edinburgh on tour. It will be produced in New Mexico on August17 and 23. Christopher Keene will conduct, Bodo Igesz will direct and M. Jampoliswill design sets and costumes. The cast will include Betty Allen, Jean Kraft, GeorgeShirley and Michael Devlin.

For its second summer season, the St. Paul Opera will again offer a premiere. Thisyear it will be the first American performance of MASKARADE by Danish com-poser Carl A. Nielsen. The three-act comedy will be heard on June 23, 27 and 29in an English translation by Dudley Glass; the original libretto is by VilhelmAnderson. The opera had its world premiere in Copenhagen in 1906 and hasenjoyed several European revivals.

The first American premiere of the 1972-73 season will be offered by the SanFrancisco Opera on October 25. The work is Gottfried von Einem's DER BE-SUCH DER ALTEN DAME. Its world premiere at the Vienna Staatsoper lastseason was widely acclaimed with Christa Ludwig and later Astrid Varnay in thetitle role. In San Francisco, Regina Resnik will sing the Old Lady in an Englishtranslation by Norman Tucker.

DOWN BY THE GREENWOOD SIDE by British composer Harrison Birtwistlewas presented last summer at Tanglewood. The American premiere date wasAugust 11; the production was sponsored by the Fromm Foundation. The workhas a libretto by Michael Nyman after an Elizabethan Mummer's Play; it wasconducted by Bruno Maderna.

Among the earliest operatic composers is Pier Francesco Cavalli, whose Ormindohad its American premiere at the Juilliard School in 1968. It was heard in anadaptation by Leppard who is also responsible for a new arrangement of Cavalli's

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LA CALISTO premiered at Glyndebourne in 1970. It will be presented by theCollege-Conservatory of the University of Cincinnati on April 12. The per-formance will open the new Patricia Corbett Pavillion.

Jules Massenet's two-act opera, THERESE, will be presented in its first Americanperformance by the Peabody Institute of Music in Baltimore under the baton ofRobert Lawrence. The dates are March 24 and 25. It will be on a double-bill withMalipiero's surrealistic one-act opera Sette Canzoni. Therese had its world premierein Monte Carlo in 1907.

AMERICAN OPERAS ABROAD

Besides numerous productions of Porgy and Bess and some performances ofearlier Menotti operas (Amelia Goes to the Ball, The Medium, etc.), we are notingan increase in American operas abroad. Just as in the U. S., Menotti's works areon the top of the list; both Lucerne and Rome are offering his Help, Help, theGlobolinks! coupled in Switzerland with The Old Maid and the Thief and in Italywith Amahl and the Night Visitors. The Consul has recently been recorded onvideotape for distribution by USIA throughout Europe, the Mideast and SouthAmerica, and the composer's latest opera, The Most Important Man, had its foreignpremiere in Trieste on January 15.

Gunther Schuller's The Visitation, which was heard in Hamburg before it reachedthe composer's home shores, continues to be performed in various German citiesand has recently been seen on the BBC television network.

Elie Siegmeister's The Mermaid in Lock Number Seven was presented by theFlemish Chamber Opera in Antwerp in January, and a ballet suite from HaroldFarberman's opera The Losers was heard over BBC on February 25 with thecomposer conducting.

Last summer, the American Opera Workshop in Vienna performed Hollingsworth'sThe Mother.

Tennessee composer, Kenton Coe, received the second full production of hisopera Sud, this one in Paris in February; the premiere took place in Marseillein 1965.

Don Rodrigo by Argentinian composer Alberto Ginastera was performed in itsfirst European production in Braunschweig, Germany, this season. The composer'sBomarzo was featured at the Opernhaus in Kiel last season.

FOREIGN PREMIERES

Since the last COS publication was a Directory of Opera Companies, we seem tohave fallen behind in reporting European premieres and new works. Thus, thelisting is rather copious this time but we feel it important that we uphold ourtradition of supplying our members with complete reference material. More detailsand copies of reviews are available from our office for many of the new works,both American and foreign.

Hans Werner Henze, one of Germany's most prolific and successful opera com-posers, witnessed the premiere of his one-act avant-garde opera with the unlikelytitle of DER LANGWIERIGE WEG ZUR WOHNUNG DER NATASCHAUNGEHEUER in West Berlin on September 28, 1971. His next opera to bepremiered is DAS FLOSS DER MEDUSA in Nuremberg on April 15, 1972. —Veteran composer Carl Orff is finishing his latest opus, DAS SPIEL VOM ENDEALLER ZEITEN (De temperum fine comoedia), for a first performance in Stutt-gart next season. The company has already announced that it will take this operaas well as Penderecki's Devils of Loudon to the Vienna Staatsoper. — After itsworld premiere this Spring in West Berlin, Wolfgang Former's ELISABETHTUDOR will be presented in Munich, Kiel, Cologne and Zurich during the 1972-73season. — The Hamburg State Opera has set May 3, 1972, as the date for thefirst performance of Walter Steffens' UNDER MILKWOOD. — Conductor/

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composer Rafael Kubelik has completed his first opera. It is based on the life ofTitian and entitled CORNELIA FAROLI. It will be premiered on August 15 inAugsburg coinciding with the nearby Olympics. — Heinrich Sutermeister wascommissioned by German television (ZDF) to write an opera for video production.He chose Robert Louis Stevenson's Devil in the Bottle and it will be performed asDER FLASCHENTEUFEL this season. — DER FINDLING is a one-act operaby Klaus Hochmann, presented for the first time at the opera house in Ulm onSeptember 18, 1971. The libretto, written by the composer, is based on a Mau-passant story. — During the Olympics '72, Munich's Theater am Gartnerplatz willoffer the premiere of Gerhard Wimberger's LEBENSREGELN; the libretto is byH. Hassencamp. — PIPPI LONGSTOCKING, Astrid Lindgren's popular chil-dren's book, will appear in operatic form at the Hamburg Opera on December 2,1972. Swiss composer Constantin Regamy has been commissioned to write themusic. — Two German opera companies have premiered the latest works byItalian composer Francesco Valdambrini. Bonn commissioned and performed hisPENTHEUS on September 9, 1971; the libretto is by Virgilio Piicher afterEuripides. The work employs a large cast and features much projection. TheDortmund Municipal Opera offered Valdambrini's one-act work, CERA UNAVOLT A (Once Upon a Time) on November 25, 1971.

Meanwhile, Italy itself produced a number of operatic premieres. During thesummer 1971, Luigi Nono's opera CONTRAPPUNTO DIALETTICO ALLEMENTE was heard in Rome on a triple-bill with Stockhausen's Kontakte andPoulenc's La Voix humaine. — Other triple-bills of contemporary new worksoffered are: Danide Zanettovich's CELINE with Marco Vavolo's IL CANTO DELCIGNO and Luigi Manenti's LA GALLA in Bergamo in the Fall of 1971, andSalvatore Scirrino's AMORE E PSICHE with Paolo Renosto's LA CAMERADEGLI SPOSI and Gian Franco Malipiero's UNA DEI DIECI at the Piccola Scalain Milan on May 18, 1972. The latter opera was first heard in Siena in September1971 together with Malipiero's L'ISCARIOTA. — On November 19, 1971, GiulioViozzi's sixth opera, ELISABETTA (after Maupassant's Boule de suif), was firstproduced in Trieste. — Two new operas by Sylvano Bussotti should be noted. Onewas premiered during the last season, RARAMENTE, in Florence on February 5,1971, the other, LORENZACCIO, will be heard next season at the InternationalWeek of New Music in Palermo in November 1972. The composer's first opera,La Passion selon Sade, was performed in 1965.

British composer John Gardner, whose Moon and Sixpence was performed bySadler's Wells in 1957, is collaborating with librettist Ormerod on a new three-actopera, THE VISITORS. It is based on a short story by Oliver Goldsmith and isscheduled for a premiere by the English Opera Group at the 1972 AldeburghFestival. — Benjamin Britten's next opera is after Thomas Mann's DEATH INVENICE. Myfawny Piper, who previously collaborated with the composer onOwen Wingrave, will again be responsible for the libretto. A first performance istentatively planned for the 1973 Edinburgh Festival. — Last summer's Edin-burgh Festival featured a new work by Melanie Daiken, MAYAKOVSKY ANDTHE SUN. — THE STONE WALL is the latest of Malcolm Williamson's one-actoperas. It was performed at London's Promenade Concerts on September 18,1971, under Colin Davis' baton. Two of Mr. Williamson's one-act operas will beheard in New York City on April 7 for the first time. They are Dunstan and theDevil and The Happy Prince and will be performed together at the Cathedral ofSt. John the Divine for the benefit of the Music Therapy Center. — Two premieresat British universities last Fall featured Elaine Murdoch's TAMBURLAINE,libretto by John Murdoch (Liverpool University, September 9), and StephenOliver's THE DUCHESS OF MALFI (Oxford University Opera Club, November23). — The University of Wellington in New Zealand offered two musicaltheatre pieces by its own composer, Jenny McLeod. She is a pupil of Stockhausenand Messiaen and is professor of music at the university. The titles of her twonew compositions are EARTH AND SKY and UNDER THE SUN.

On December 3, 1971, the Opera Comique presented the first performance ofClaude Prey's LE COEUR REVELATEUR. The one-act opera was heard on adouble-bill with The Medium. M. Prey will also be represented on a triple-bill ofpremieres at the Opera Comique on April 12. His work is entitled LE JEU DEL'OIE (not Le feu de joie as erroneously listed in some publications); the othertwo operas are Maurice Ohana's SYLLABAIRE POUR PHEDRE and Luis dePablo's PROTOCOLLO. — Summer 1972 will bring the first performance ofAndre Casanova's LE BONHEUR DANS LE CRIME at the same opera house.— PASSION SELON NOS DOUTES is the title of a new opera by Jean Prodro-mides and Francois Billetdoux, first heard at the Lyons opera on November 5,1971. The same company has scheduled AUTODAFE by Maurice Ohana (seealso above) for May 19, 1972. This performance will be directed by Louis Erloand conducted by Theodor Guschlbauer. — M. Erlo himself has written an opera,LES OISEAUX, in collaboration with Jacques Rapp, Serge Ouakine and CostasFerris. This adaptation of the Aristophanes tale was produced in Lyons in Spring1971. — The Bordeaux May Festival will feature a new work by Jean-MichelDamase, EURYDICE. This is the second of his works to be premiered in Bordeaux;the first was Colombe in 1961. In 1970, his Madame de . . . was performed inMonte Carlo. — On February 12, Bruzdowicz's LA COLON IE PENITENTIAIREwas premiered in Tours.

Brussels Theatre de la Monnaie gave the first performance of N. Ford's THELAST SWEET DAYS OF ISAAC in December 1971. — Swedish composer LeifThybo wrote a two-act chamber opera, THE IMMORTAL STORY (Den ododligahistorien), premiered at the 1971 International Festival of the Vadstena MusicAcademy. The libretto by Arnold Ostman is based on Karen Blixen's book of thesame title. — ORPHEUS TURNS AND LOOKS AT EURYDICE is the latestone-act opera by Norway's composer Torje Rypdal; it will be premiered duringthe current season. — The Flemish Chamber Opera in Antwerp gave the firstperformance of THE DUMB WIFE on January 10. The composer is British-bornJoseph Horovitz; the one-act work was presented on a double-bill with a one-actopera by Elie Siegmeister (see American Operas Abroad).

Siegfried Matthus' third opera, MARRY, OLD ENGLAND (sic), will be pro-duced by East Berlin's Komische Oper on April 20, 1972. Peter Hack is responsiblefor the libretto and the original mystery story. Another first in East Berlin was thepremiere of Giinter Kochan's KARIN LENZ on October 2, 1971. — The DresdenState Opera offered the first performance of Udo Zimmermann's LEVY'SMUEHLE by Johannes Brobowski.

MULTI-MEDIA AND EXPERIMENTAL THEATRE IN EUROPE

With the number of multi-media and experimental music theatre productions mul-tiplying rapidly both here and abroad, this art form may well become another"established form" of opera. In the age of electronics and computers, it seems anatural development to utilize these new techniques and to incorporate them intolive performances. In this context, it is interesting to note that an opera writtenin 1929, the first one to rely heavily on the use of film and film technique, finallyreceived its first stage performance last summer. It is Martinu's THE THREEWISHES, premiered in Brno, Czechoslovakia, on June 16, 1971. As part of theaction during the first two acts, a film is made on stage and subsequently shownduring the third act. The original libretto is by Georges Ribemont-Dessaignes. —On October 9, 1971, Dieter Schonbach and M. Wellersdorf's HYSTERIA-BLACKPARADISE was performed during Cologne's Arts Festival. It is described as"Theatre of Horror: a new language of noise, yells and lights". — Schonbach andG. Kieselbach have created three new music theatre pieces, THE STORY OF AFIRE, THE STORM and HYMNUS. The latter is conceived for audience par-ticipation. It was recently heard in Wuppertal.

In order to accommodate the new art form, a number of European opera houseshave added studio workshops or experimental stages, Experimentierbiihnen (see4/71 Blltn.). Thus, Munich's Experimentierbiihne presented Dieter Gackstetter-Walter Haupt's Sumtome and more recently the team's second avant-garde work

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DIE PUPPE, An Opera of the Absurd. The Doll, an inflatable vinyl mannequin,substitutes for a live woman. A quartet of musicians on stage supply the musicalaccompaniment and sound effects. •— Leipzig's Kellertheater is in the basementof the opera house allowing for a theatre-in-the-round. Two No operas by Japanese-born Hideo Kanze were performed there earlier this season, KANT AN and THEMOONSHOW. — For June 11, the Hamburg Opera, in cooperation with the Nord-deutsche Rundfunk, plans an AUDIOVISUAL EXPERIMENT with audienceparticipation. Pierre Henry will be responsible for the electronic music, NicolasSchoffer for light and color sculptures. — Mauricio Kagel has been writing forthe experimental theatre for some time. His Staatstheater was premiered lastseason in Hamburg and presented in a more improvisational style "without pro-fessional performers" as DIE PROBE (The Rehearsal) at the Avant-Garde Henie-Onstad Art Center in Oslo this season. Other new stage works by Kagel includeEVANGELISTI GUENAUER, performed by the Kiel Opernstudio on November1, 1971, and HIMMELSMECHANIK "a composition with scenery but no story"performed by Wiesbaden's Instrumental Theater. The same Wiesbaden group alsoproduced Renato de Grandis' EDUARD UND KUNEGUNDE "a cynical treat-ment of classical styles" on a triple-bill with two multi-media pieces, TAUTO-LOGOS III, VERSION FUNEBRE by Luc Ferraris and RITEN by Volker DavidKirchner. — PAL AST HOTEL THANATES by Dieter Einfeldt was performedby the Studio of the Hanover Municipal Opera while the Hanover Music Academypremiered Bernhard Krol/Friedrich Petzhold's mini-opera CONCOURS. — ANA-STASIS is the title of yet another experimental theatre piece, this one written byAnestis Logothetis and first performed in Selb, Germany, in March 1971.

Egon Seefehlner, future director of the Deutsche Oper, West Berlin, plans aStudio-Workshop for Contemporary Opera at the Academy of the Arts. The fol-lowing six composers have been commissioned to write short operas for the open-ing in October 1972: Boris Blacher, Gottfried von Einem, Aribert Reimann,Isang Yun, Gyb'rgy Ligeti and Krzysztof Penderecki. — The Experimental Stageof the Frankfurt Opera also hosted a guest engagement of the Stuttgart AudiovisualLive-Electronic Group and of Ann Arbor's (Mich.) Sonic Arts Group, RobertAshley, director. — Multi-media theatre pieces by Jiirg Wittenbach were per-formed by the Basler (Swiss) Ensemble for New Music during the WittenerChamber Music Week.

NEWS FROM OPERA COMPANIES

The last evening of the METROPOLITAN OPERA'S winter season at LincolnCenter will be a Gala Performance to honor the company's outgoing general man-ager, Sir Rudolf Bing. (His appointment as Distinguished Visiting Professor ofMusic at Brooklyn College of N. Y. City University, beginning Fall 1972, hasjust been announced.) The Gala on April 22 will be a benefit performance forthe company's Benevolent and Retirement Funds and will feature forty-twointernational opera stars in arias and ensembles. — Two days later, the companywill leave on its annual six-week tour and will return to Lincoln Center for athree-week Verdi Festival (see Performance Listing). This will coincide with theInternational Verdi Congress, hosted by the United States for the first time. (Fordetails see Conferences, Meetings, etc.) — The Metropolitan Opera's final offeringsfor the 1971-72 season will be the free opera-in-concert performances at city parksin late June and early July. — In January, the company instituted a new pricecategory of $12.50 to fill the gap between $16.50 for rear orchestra and reargrand tier and $10.75 for dress circle. The new price category is for seats in the

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last five rows of the orchestra and for grand tier boxes and is good for Tuesday,Wednesday and Thursday evenings as well as Saturday matinees. These ticketswill also be available on a subscription basis for the next season. (For the 1972-73 season's schedule, please see Forecast.)

The MUSIC CENTER OPERA ASS'N in Los Angeles, which had engaged GeorgeLondon as Artistic Director in the summer and planned to present its own pro-ductions by 1973 (see Fall '71 Blltn.), announced the indefinite postponement ofthose plans. Financial considerations were cited for this decision. Opera perform-ances planned at the Music Center, at present, are limited to those scheduled forNovember during the previously announced fifth annual guest engagement of theNEW YORK CITY OPERA. — Meanwhile, the Spring dates of the New Yorkcompany's guest performances at the Kennedy Center in Washington have beenannounced as May 3-14 when five operas will be given in a total of fifteen per-formances.

After one year of absence among opera producers (performances were limitedto musical comedy last year), the CENTRAL CITY OPERA HOUSE ASS'N willresume its operatic activities this coming summer. As in previous seasons, plansinclude two productions, however, rather than the usual forty performances, therewill be only about fifteen. Instead, the company has added an Opera Forum forContemporary Opera and an Artists' Development Program. Under the newly-appointed artistic director, Nathaniel Merrill, a panel of judges, made up of com-posers, conductors and directors, will review works submitted by contemporarycomposers. Those chosen will be rehearsed over a five-week period and fullystaged scenes will be presented in Showcase Performances during the last week ofthe summer season. At the same time, the company is working on a five-year planto include special events for the 1976 Olympics and Colorado State Centennialwith the ultimate goal of establishing a year-round opera repertory company.

Following the example of many summer festivals, RAVINIA FESTIVAL in High-land Park, summer home of the Chicago Symphony, has formed an affiliation withthe School of Music of Northwestern University in Evanston. A number of per-forming artists will teach and lecture in conjunction with their appearance atRavinia.

The PITTSBURGH OPERA COMPANY and the Pittsburgh Symphony haveagreed to a special arrangement whereby "graduate interns" enrolled in the MusicDepartment of Carnegie-Mellon University will have performance opportunitieswith these two organizations. Graduate singers with Bachelor's degrees may audi-tion. Those accepted will receive tuition and living stipends and work towards aMaster's degree.

The CENTER OPERA OF MINNESOTA (formerly Center Opera Company)has accepted the first intern for college credit. Twenty-year-old voice major DavidBeatty from Luther College, Decorah, Iowa, has begun work under the company'smusical director in January.

The BOSTON SUMMER OPERA THEATRE is a new non-professional companyunder the guidance of Richard Butler. In spite of its name, the company does notplan to limit its activities to the summer; it has so far offered two complete operas,Carmen and Britten's version of The Beggar's Opera at the Peabody School inCambridge.

The APPALACHIAN OPERA THEATER in Johnson City, Tenn., has beencreated by Dr. Lewis Songer "to promote and encourage operatic performers".

The Suburban Opera Company in Chester, Pa., has changed its name to thePENNSYLVANIA OPERA COMPANY. James Parkinson is general manager ofthis nine-year-old organization.

NEW ARTS CENTERS AND AUDITORIUMS

Cincinnati will enjoy two auspicious openings this Spring. On April 11, thePATRICIA CORBETT PAVILLION will be dedicated at the University of Cin-cinnati. Opening week ceremonies will include the American premiere of Cavalli'schamber opera La Calisto. The new building's main hall, designed for chamberopera, dance, drama or recitals, seats 400. The building, which is part of theCollege-Conservatory of Music, also houses rehearsal facilities, some especiallysuited for dance. The Pavillion adjoins the larger Corbett Auditorium completedin 1967.

On June 24, the ninety-three-year-old MUSIC HALL will be re-opened in newsplendor by the fifty-two-year-old Cincinnati Summer Opera. The 3600-seat hallhas been completely refurbished and modern technical stage equipment, includingthe latest electronic stage lighting system, has been installed. The Hall was air-conditioned and redecorated at a total cost of $6 million, borne jointly by theCity of Cincinnati and by the Corbett Foundation. The building also housesrehearsal halls and shops for building and storing scenery and costumes.

Other recently renovated halls now in successful use by opera companies includeHEINZ HALL FOR THE PERFORMING ARTS in Pittsburgh's renovated PennTheatre (see 3/71 Blltn.). Seating capacity of the auditorium is over 2700; it hasa convertible orchestra pit and, thus, serves both the Symphony and the OperaCompany. Principal architectural consultant was Heinrich Keilholz. — In cele-bration of its fiftieth anniversary, the Eastman School of Music's EASTMANTHEATER was renovated and modernized at a cost of $3.2 million. While mod-ern equipment and acoustical innovations were installed, the original Renaissancestyle decor was retained. The 3100-seat auditorium was cleaned and, where neces-sary, careful restoration was undertaken by experts.

Last summer, the ROANOKE CIVIC CENTER in Virginia unveiled a new2500-seat hall. A symphony concert was the opening event.

A gala opening with a star-studded production of Aida took place in February inCalifornia when the SAN JOSE COMMUNITY THEATER was inaugurated.

Besides the previously announced new MUSICAL ARTS CENTER in Indianaopening in April (see 3/71 Blltn.), four other universities are planning new perform-ing arts buildings. The first to open will be the EDWIN J. THOMAS PERFORMINGARTS HALL at the University of Akron in Ohio. Designed by architects Caudill,Rowlett and Scott of Houston, the main auditorium will be adaptable to opera,ballet, symphony concerts, drama, recitals and film showings. The hall will havea capacity of 3000 seats, however, it will be possible to reduce this number to2400 or 800. Ground was broken in July 1969 and the opening is now scheduledfor November 14, 1972, with a concert by the Akron Symphony. Opening fes-tivities will also feature a rock musical, Canterbury Tales, produced by theUniversity Theatre. Building costs are estimated at $12 million. — The GUS-MAN AUDITORIUM is scheduled to open at the University of Miami in January1973. The $1 million concert hall will be used by the University's School ofMusic. — A complex of eleven buildings will make up the WESLEYAN UNI-VERSITY CENTER FOR THE ARTS in Middletown, Conn. Kevin Roche, JohnDinkeloo and Associates are the architects of the Center which will offer the musicdepartment an auditorium, rehearsal halls and music studios. Estimates put thetotal cost at about $11 million. The opening is projected for early 1973. — Thesame architectural firm also designed and built the Arts Center at the Universityof Michigan in Ann Arbor, which opened last year. — Now the Michigan StateUniversity in East Lansing is planning to add a new PERFORMING ARTSCENTER. The $12-15 million Center will feature a 2500-seat concert hall/operahouse, a smaller recital hall and a theatre.

The Sarnia Arts Foundation in Ontario is planning the 1200-1500 seat SARNIAOPERA HOUSE. T. Patterson, founder of the Stratford Festival, is the consultant,Robert Fairfield, Toronto architect who was also responsible for the Stratforddesign, is in charge of the new project. The opening is scheduled for summer 1973.

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Latest word from the SIDNEY OPERA is that a performance of The Magic Fluteis planned for the opening in 1973. Work on the opera house was begun in 1965but had to be interrupted various times due to design and financial difficulties.

An 11,000-seat ARENA in Goteborg, Sweden, featured its first opera performancelast summer. It was, of course, Aida, utilizing the vast spaces for one of theoperas with the biggest production possibilities. At other times, the Arena is usedfor sports events, pop concerts, etc. During the winter season, opera is performedat the 1 OOO-seat Goteborg opera house.

The EDINBURGH FESTIVAL, now in its 25th season, will finally receive a realopera house. Plans, still in the preliminary stages, call for an auditorium seating1400, with rehearsal rooms, conference halls and a restaurant in the same build-ing. Cost of the project is estimated at $12 million and the government is willingto defray half of the expenses. An opening is sought for 1976.

RESEARCH AND SURVEYS

Last November the NATIONAL RESEARCH CENTER OF THE ARTS wasestablished by Louis Harris and Associates with Joseph Farrell as president. Thenew organization will collect and analyze data on the arts 1) to identify the overallsocio-economic contribution of cultural organizations to their communities, regionsand states, 2) to provide arts organizations with basic data for a better under-standing of themselves and to be better understood by the public, and 3) to assiststate councils to better understand the relative position of cultural organizationsin the state, particularly as regards funding priorities. At present, the collectionand evaluation of information is done on a commission basis, however, as the databank grows, its resources will be available to more organizations. Market andaudience analyses, manpower needs and financial studies of the arts versus thestream of American social and economic trends will ultimately assist the arts aswell as guide the benefactors. Mr. Farrell, former vice president of the AssociatedCouncils of the Arts, and Louis Harris, one of the country's leading pollsters, seemideally matched for the job.

A similar but less comprehensive study is presently under way by THE FORDFOUNDATION (see 6/71 Blltn.).

Another organization doing research in the arts is THE ARTS INFORMATIONINTERNATIONAL, based at the University of Pittsburgh. It is in essence areferral agency on all the creative and performing arts, with information on or-ganizations that can competently answer specific inquiries. Ned Bowman is thedirector; he can be contacted at G-21 Hillman Library at the University.

Another national organization entering the field of research in the performingarts is possibly the largest U. S. information collecting agency, namely, the BUR-EAU OF THE CENSUS operating under the U. S. Department of Commerce.Questionnaires for the 1972 Business Census will, for the first time, feature specialforms for the performing arts.

A recent $3,000 grant from the NEA enabled Terry Wells of Penn State Universityto undertake a Survey of Performing Arts Facilities in Pennsylvania.

Publications

A number of recent surveys resulted in publications of more than routine interest;their contents can provide assistance in a variety of fields.

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A Survey of U. S. and Foreign Government Support for Cultural Activities wasprepared by the Congressional Research Service of the Library of Congress forthe use of the Special Subcommittee on the Arts and Humanities in its delibera-tions on recommendations to Congress for the federal support of the arts. Thisvery comprehensive study, listing detailed support by federal agencies as well asby states, is available free of charge from the Special Subcommittee on the Artsand Humanities, 4230 New Senate Office Building, Washington, D. C. 20510.It is a paperback, 245-page publication.

The Associated Councils of the Arts announced the forthcoming publication ofthe Directory of State Arts Councils. This year's listing will include informationconcerning the councils' structures and staffs, areas of interest and fund disburse-ments. A recently published compendium based on a pilot study yielded the fol-lowing figures: 27.7 percent was spent on drama, 24.7 on music, 14.6 on visualarts, 13.9 on dance, 7.0 on "various", 2.4 on public media, 2.4 on arts festivals,2.1 on literature, 1.9 on architecture and 1.0 on crafts. — Another new ACApublication in preparation is a Directory of Community Arts Councils.

The third annual book by the Business Committee for the Arts has been publishedby Paul S. Eriksson, Inc. The State of the Arts and Corporate Support isedited by Gideon Chagy, with a number of informed and interesting articles bybusinessmen and arts leaders. It is available for $10 from BCA, 1270 Avenue ofthe Americas, New York, N. Y. 10019.

The Washington International Arts Letter has published the eleventh listing ofPrivate Foundations Active in the Arts. The original publication of the same titleis available for $17.50, lists 8, 9, and 10 for an additional $18. The latest list addsanother 111 foundations. All may be ordered from W.I.A.L., 115 Fifth St., S. E.,Washington, D. C. 20003.

The latest edition of The Foundation Directory has been published, listing over5,000 philanthropic foundations with assets over $500,000. The 664-page directory,published by the Foundation Library Center, 444 Madison Ave., New York, N. Y.,is edited by Marianna O. Lewis; it is not limited to foundations active in thearts alone.

A third publication listing American foundations is Where America's Large Foun-dations Make Their Grants. It is edited by Joseph Dermer and published by PublicService Material Center. It lists over 600 foundations indicating recipients andindividual grants. The book may be ordered from P.S.M.C, 104 East 40th St.,New York, N. Y. 10016, at a cost of $19.50.

FREE SERVICES

The SHALLWAY FOUNDATION in Connellsville, Pa. 15425, has offered itsunique free services to Central Opera Service members. Dedicated to helping Amer-ican Boychoirs, the Foundation will assist companies in procuring trained boysingers or dancers for opera or concert performances. The Foundation has copiouslistings of trained boys in all major cities, many of them with previous operaexperience. For assistance, contact Mr. John B. Shallenberger, president of thefoundation, at the above address.

David Jeffreys, director of the NATIONAL CENTER FOR VOLUNTARY AC-TION, offers the resources of his organization to arts groups. The Center was,until recently, assisting in finding volunteers for welfare and community-orientedprograms only. For further information, address your inquiries to 1735 Eye Street,N. W., Washington, D. C. 20006.

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THE FEDERAL ARTS DOLLAR, Other Subsidies

While the NATIONAL ENDOWMENT FOR THE ARTS AND HUMANITIESis busy evaluating applications and disbursing the 1972 funds, President Nixon hasalready announced his support of almost full funding of the 1973 arts and human-ities' appropriation. A three-year plan, begun in 1971, designated appropriations of$40, $60 and $80 million respectively, i.e., $80 million for the 1973 fiscal year.Of this amount, the President requested Congress to authorize $78 million plusan additional $5.1 million for the Endowment's administrative expenses. Con-gressional subcommittee hearings are scheduled for mid-March to consider recom-mendation of this amount as well as to deliberate over a new plan for appropria-tions for the next few years. This plan must be formulated no later than June '72.— Although the first bill for the establishment of a government agency to assistthe arts was proposed in 1955, it did not find congressional approval until 1964.In 1966, the first money was made available to the arts and the humanities; thecombined amount was $5 million. The current fiscal year saw an authorizationof almost the complete amount appropriated by Congress (this is called full fund-ing), making $29 million available to the arts and an equal amount to the human-ities. Although the specific grants for 1972 have not yet been announced, a majorprogram for opera has been launched and the Endowment will make direct grantsto twenty-eight opera companies, all with budgets over $100,000. Two indirectgants will benefit opera companies on regional levels and a major grant, under theTreasury Fund Program, is earmarked for the National Opera Institute. With thistype of funding, three times the amount given by NEA is generated from non-government sources. In addition to the above, five major music schools will receivegrants specifically for the expansion of their professional training programs inopera. Thus, a total of $1,655,000 will be disbursed to opera involving a totalof thirty-six different organizations. — The program for symphony orchestrashas also been sharply increased and is expected to total $5.2 million for 1972; themuseums program is budgeted for about $4 million. — If near full funding can beachieved for fiscal 1973, NEA plans to distribute $6.9 million to State Arts Coun-cils, representing an increase of $1.9 million over 1972. About $28.6 million wouldbe disbursed to cultural organizations and individuals in the creative and perform-ing arts and an additional $3.5 million to institutions through the Treasury FundProgram. Out of this total of $32 million, a further growth in the Endowment'sopera program is anticipated; monies for orchestras and museums are expected toremain constant due to the increased amounts spent this year. The $5.1 millionfor administrative expenses would be shared by the arts and the humanities. Thiswould allow the agency a staff expansion since it constitutes an increase of $1.6million over the current year for administrative expenditures.

A new group of grants recipients have been identified under NEA's recentlyestablished EXPANSION ARTS PROGRAM. The initial funding of $1 millionis supposed to foster art in neighborhoods and in deprived rural areas. The stresswill be on grass-roots organizations that have grown within the community to filla local need rather than on groups imposed upon the community. They must havebeen in existence for at least one year and be professionally oriented. Vantile E.Whitfield from Los Angeles has been named director of the new program which,if successful, will certainly be allotted more funds in 1973.

A somewhat similar program, AMERICA THE BEAUTIFUL FUND, has re-ceived a $100,000 seed grant from NEA. The new Fund assists "art ventures insmall isolated communities" through $500-5,000 grants sponsoring native artsand crafts, folk festivals, artists-in-residence, art workshops or other local pioneer-ing groups. In contrast to NEA's grants, money awarded by this Fund does notalways carry the restrictions of a matching fund clause. Further information maybe obtained from Bruce Dowling, ABF, 1501 H Street, N. W., Washington, D. C;New York State residents may apply to ABF of N. Y., Suite 7D, 145 E. 52nd St.,New York, N. Y. 10022.

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Youth concerts with student tickets at reduced rates, special concerts for senior cit-izens and musicales in hospitals have been reported before. They are usually madepossible by subsidies from foundations or other philanthropic organizations. Newpurposeful outlets for performing arts groups have been found through cooperationwith labor unions. Thus, the N. Y. Philharmonic has given a number of concertsat union centers or brought large groups of union members to special concerts atLincoln Center. Both the NEA and the N. Y. State Council on the Arts have givensome financial aid towards these programs. Yet another civic-minded group ofmusicians went into prisons offering free concerts for inmates. Again state councilsand foundations defrayed the cost. COS members who were present at the CentralOpera Service National Conference in Washington, D. C, may remember that itwas just such community-minded programs that Congressman John Brademas(Ind.) urged arts groups to incorporate into their regular schedule.

Meanwhile, deliberation for support of the arts at the state level is also in thenews. The N. Y. State Commission on Cultural Resources as well as the N. Y.STATE COUNCIL ON THE ARTS urges the State legislature to approve the$13 million authorized as "emergency assistance" for this fiscal year. This wouldbe the same amount as last year although, at a later date, an additional $2.3 mil-lion was made available to save the N. Y. Public Library. It is hoped that this yearfunds for the Public Library will be included in the education budget but thatanother $2 million will be authorized for the Council's operational expenses. Tosubstantiate the necessity for assistance to the arts in the State, the Commission'schairman stated that the arts and related businesses are a $1 billion industry inthe State, that 25,000 people are employed by non-profit arts organizations at atotal payroll of $104 million. The director of the State Council added that audi-ences have increased 20 percent in the last year and now total 70 million in N. Y.State. If $15 million is approved in Albany, it would still be short of the Council'sfunding two years ago when the Governor himself pressed for and received arecord emergency budget of $18 million for the support of the arts.

In December, the NEW YORK BOARD OF TRADE hosted the third annualBusiness and Arts Awards Luncheon, established by ARTS MANAGEMENT.Glynn Ross, General Manager of the Seattle Opera, was named Arts Adminis-trator of the Year and Robert C. Schnitzer of the Professional Theater Programat the University of Michigan received the Career Service Award. Corporatesupport of the arts was feted by giving 198 companies of varied sizes in 104 citiesand 42 states awards and citations for their assistance to the arts within the lastyear. These were chosen from 1200 nominations submitted by the variousbeneficiaries. These "Business in the Arts Awards" are sponsored by EsquireMagazine and the Business Committee for the Arts. Nominations for next year'sawards should be sent to Sheldon Stone, Administrator, Esquire/BCA Businessin the Arts Awards, 221 E. 66th St., Room 4A, New York, N. Y. 10021. Nomi-nations for Arts Administrator of the Year and for the Career Service Awardshould be sent to Alvin H. Reiss, Editor, Arts Management, 408 W. 57th St.,New York, N. Y. 10019, before April 30.

The CANADA COUNCIL announced the disbursement of $6.5 million to thirty-seven Canadian arts groups. Among the recipients were the Canadian OperaCompany with $343,000, L'Opera du Quebec with $150,000 as well as theVancouver and Edmonton Opera Companies.

A new venture, co-sponsored by the National Endowment for the Arts and theCanada Council, will start an exchange program between U. S. and Canadianmusic critics. The program is under the auspices of the MUSIC CRITICS ASSO-CIATION in cooperation with the American Symphony Orchestra League andfeatures one to three month exchange visits by music critics working in cities ofcomparable size. Further information may be obtained from the Music CriticsAss'n, Irving Lowens, Pres., Washington Evening Star, Washington, D. C.

The Imperial Tobacco Products Ltd. in Canada founded the Du MAURIERCOUNCIL FOR THE PERFORMING ARTS. Over the next five years, this neworganization will have funds of $1 million at its disposal. Its aims and functionsare to encourage Canadian talent, to support already existing programs in the artsand to maintain popular prices for artistic events.

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An interesting note from LINCOLN CENTER: the results of Lincoln Center'sfirst joint fund-raising campaign for corporate giving are in and are most encour-aging. The consolidated corporate drive netted $1,244,000 while the combinedtotal of the individual constituents' campaigns the previous year amounted to$872,000; a 43 percent difference. Private sources, foundations and governmentagencies are still approached by each individual company.

San Francisco's SPRING OPERA THEATER announced the receipt of a grantfrom the National Endowment for the Arts under the Federal agency's policy ofassisting companies which produce new or rarely performed works. Thus, fundswere made available towards a new production of Monteverdi's Orfeo in a newedition by Denis Stevens. The orchestration includes original old instruments.

The NATIONAL OPERA INSTITUTE has awarded a grant of $18,000 toOPERA/SOUTH towards its forthcoming production of Turandot scheduled forMay 6. This is the second season of the inter-collegiate opera company, sponsoredby three black colleges and located in Jackson, Miss. Sister M. Elise, who retiredfrom Xavier College in New Orleans two years ago, is the company's founder/general director and the driving force behind the enterprising organization. Man-ager Dolores Ardoyno announced that, just as last year, Emma Goldman will singthe leading role and Walter Herbert will be the conductor.

Thanks to four $100,000 grants from the GRAMMA FISHER FOUNDATION,four American opera companies will share new productions. The companies werechosen for diverse regional representation and special emphasis was placed onhigh artistic standards, good opportunities for American singers and on perform-ances in English. The recipients are the Opera Society of Washington (Delius'A Village Romeo and Juliet), the St. Paul Opera (Nielsen's Maskerade), and theSeattle and San Diego Opera Companies (productions to be announced).

Boston's ASSOCIATE ARTISTS OPERA COMPANY received a grant from theMassachusetts Council on the Arts and Humanities and from the Association forthe Performing Arts to facilitate a special student-ticket program. Hence, low-priced tickets are made available through universities and colleges to students inthe Boston area; dress rehearsals will be open as Preview Matinees to grade andhigh school students.

Similarly, the CENTER OPERA OF MINNESOTA is able to offer a limitednumber of free tickets to senior citizens and disadvantaged groups within thearea. This was made possible through the cooperation of the Hennepin CountyCoordinator of Special Services.

In 1967, the THEATER DEVELOPMENT FUND was founded in New Yorkfor the purpose of assuring the continuation of worthwhile plays in the commercialtheater. Supported by the National Endowment for the Arts, the N. Y. State Coun-cil on the Arts, foundations and private individuals, the TDF buys blocks of ticketsfrom the producers at the reduced rate of $5 and makes these tickets available at$2 and $2.50 to groups such as students, senior citizens, union members, membersof minority groups and others who could not afford to pay full prices. The Fundhas been so successful that it has expanded into other art forms and has, duringthe last season, begun successful work with non-commercial theater and dancecompanies. Hugh Southern, executive director, has found that some performingcompanies are even willing to sell a block of tickets at $2 or $2.50, thus, allowingTDF to expand audiences on a non-subsidy basis. While the Fund handled 14,000tickets during the first year of operation, it expects to total 250,000 seats for thecurrent season. Mr. Southern is presently exploring possibilities of expandingthe operation to include 1) other performing arts, such as opera and film and2) other Eastern cities, such as Philadelphia and Washington, D. C.

The CORBETT FOUNDATION'S sponsorship of the production of Romeo andJuliet, first performed by the Cincinnati Summer Opera last year, has made itpossible for cities, such as Palm Beach, Tampa, Birmingham, Omaha, Houston,San Diego, Hartford and Vienna, Va., to share in the production.

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FORECAST

Summer '72

In addition to the aforementioned American premiere of Reimann's Melusine,the SANTA FE OPERA will feature new productions of Pelleas et Melisande andDon Giovanni. The latter will be given both in English and in Italian. Operas tobe repeated from previous seasons are La Grande Duchesse de Gerolstein, Salomeand Madama Butterfly; the Puccini opera will open the festival on July 8.

The summer season of the SAINT PAUL OPERA will open on June 20 withMadama Butterfly and continue for more than three weeks. The company willpresent a total of four operas. These will include the American premiere ofNielsen's Maskarade on June 23, Hoiby's Summer and Smoke and The Tales ofHoffmann.

The CINCINNATI SUMMER OPERA is entering its fifty-second season and is,thus, the oldest summer opera company in the country. It will open in the newly-refurbished Music Hall on June 24 with a benefit performance of the N. Y. CityOpera production of Mefistofele. The four-week season will offer two new pro-ductions, Le Nozze di Figaro and Turandot. Fledermaus (with Seattle Operasets), Traviata (with Boston Opera sets), and Madama Butterfly round out thelist of six productions. Each will be presented twice and one evening will be de-voted to an operatic concert.

Colorado's ASPEN MUSIC FESTIVAL has reinstated an Opera Workshop andplans to give fully staged performances at the old Opera House. For news fromCentral City, please see News from Companies.

Two summer festivals, which have been strictly instrumental until now, will in-clude concert performances of operas this summer. The BLOSSOM MUSICFESTIVAL in Cuyahoga Falls, featuring the Cleveland Orchestra, will offerKalman's Grdfin Maritza and the MEADOW BROOK FESTIVAL in Rochester,Mich., summer home of the Detroit Symphony, will give two performances ofAida.

1972-73 Season

The 1972-73 METROPOLITAN OPERA season will be the first under the newmanagement of Goran Gentele, although, of course, much planning was donebefore Mr. Gentele arrived in the Fall of 1971 to begin blocking out futureseasons. As everyone knows, opera schedules must be made far in advance,especially when they involve international stars who book three and four yearsahead. A new production of Carmen will open the season on September 19. Itwill feature the American debut of the famous Czech stage designer, Josef Svoboda,and that of Mr. Gentele as stage director. Leonard Bernstein will return to theMetropolitan Opera to conduct the Fall performances of the work; later, it willbe led by the young American conductor Michael Tilson Thomas who will bemaking his operatic debut on this occasion. Major roles will be sung by MarilynHome, Teresa Stratas, James McCracken and Tom Krause. The second newproduction will be Siegfried under the baton of Erich Leinsdorf who will also con-duct a revival of Die Walkiire. Set designs for both operas are by GiintherSchneider-Siemssen. The cast will feature Birgit Nilsson, Lily Chookasian, JudithBlegen, Jess Thomas, Thomas Stewart, Gerhard Stolze and the Metropolitandebut of Gustav Neidlinger. The Queen of Spades will return to the repertory,this time in the original Russian. It will be conducted by the young Polish con-ductor Kazimierz Kord, marking his American debut. Other conductors to appearat the Metropolitan Opera for the first time will be Roberto Benzi (Faust), CarloFelice Cillario (Norma, Sonnambula, Tosca, Trovatore), Sixten Ehrling (PeterGrimes), Peter Maag (Don Giovanni, Zauberfldte) and Charles Mackerras (Orfeoed Euridice). Returning to the company will be James Levine to lead // Barbiere

14

di Siviglia, Boheme and Otello. He will begin in the newly-created position ofprincipal conductor in the Fall of 1973. Besides the above mentioned operas, therepertoire will be completed by Aida, Ballo in maschera, Fille du regiment,Lucia, Macbeth, Madama Butterfly, Rigoletto, Romeo et Juliette, Rosenkavalier,Salome and Traviata. Among the singers making their Metropolitan Opera debutswill be Gwyneth Jones, Elizabeth Vaughan, Yvonne Minton, Carlo Cossutta, Rag-nar Ulfung, Hans Sotin and Ingvar Wixell. Mr. Gentele also announced an addedattraction in the educational program of the company. In addition to the custom-ary seven student performances, there will be several "Look-ins" especially con-ceived for young people. These will offer technical as well as artistic demonstrationsand close with a fully produced performance of one scene from an opera. These"Look-ins" will be about one and a half hours long.

As previously mentioned, the SAN FRANCISCO OPERA will offer a completeRing cycle as special celebration of its Golden Anniversary season. In addition,the company will give the American premiere of von Einem's Visit of the OldLady in an English translation by Norman Tucker. Other operas in new produc-tions next Fall will be Meyerbeer's L'Africaine (first time on the Westcoast),Tosca, Nonna and Lucia di Lammermoor. Repeated from previous years will beNozze di Figaro and Aida. Nonna with Joan Sutherland has been chosen for theopening gala on September 16; the season will close on November 26.

For its '72 Fall season, the LYRIC OPERA OF CHICAGO announced new pro-ductions of Die Walkiire, Un Ballo in maschera and of Verdi's rarely^heard / dueFoscari. The twelve-week season will also include Wozzeck, Cost fan tutte, Pelleaset Melisande, La Traviata and La Boheme. A total of fifty-two performances arescheduled and, for the first time, there will be thirteen different subscription series.At the close of the current season, the company announced a record attendanceof 99 percent.

Next season, the OPERA GUILD OF GREATER MIAMI will increase its num-ber of productions from three to four. It has scheduled The Daughter of theRegiment for January '73, Carmen for February, Werther for March and // Tro-vatore for April. As always, performances will be given first in Miami and re-peated in Fort Lauderdale.

Joan Sutherland will be presented in a new role by the VANCOUVER (B. C.)OPERA during the 1972-73 season. The Donizetti opera will be Lucrezia Borgiarather than Roberto Devereux, as previously announced (see 2/71 Blltn.).

MEETINGS, CONFERENCES, EXHIBITS

The twelfth National Conference of the UNITED STATES INSTITUTE OF THEA-TRE TECHNOLOGY will be held in San Francisco, March 25-29. The theme of theconference is The Designer: Artist and Technician. Headquarters for the meeting willbe at the Mark Hopkins Hotel. — Meanwhile various symposia and regional conferenceshave been held by US1TT, e.g. A Career Conference: Theatre Technology and Designin January in New York City and in Syracuse, Business and the Arts: A Collaboration,held in cooperation with BCA in February in Chicago, Neighborhood Arts Programs:What Are They? in Salem, Maine, and Spaces as Community Cultural Resources inJanuary in New York City.

This year's Annual Conference of the ASSOCIATED COUNCILS OF THE ARTS isscheduled for May 17-20 at the Radisson Hotel in Minneapolis. Arts on Main Street/New Cultural Crossroads for a Continent is the title. One half day will be devoted to ameeting of the North American Assembly of State and Provincial Arts Agencies.

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The Seattle Opera Guild will host the first INTERNATIONAL CONFERENCE FOROPERA GUILDS scheduled for March 7-9. Among the subjects to be discussed are:Guilds' Educational and Volunteer Services, Youth Programs, Public Relations, FundRaising and Study Programs. Conference delegates from the U. S. and Canada will alsoattend the premiere performance of Pasatieri's Black Widow by the Seattle Opera.

Twenty-five representatives from five countries will participate in a SEMINAR ONCULTURAL DECENTRALIZATION taking place in Dartington, England, on April16-21. Delegates from the United States will include Michael Straight and Clark Mitzefrom the National Endowment for the Arts and Ralph Burgard, arts consultant andformer director of ACA. France, The Netherlands, Sweden and England are the othercountries participating in the seminar and observers from UNESCO will audit themeetings.

Rome has been chosen to host the WORLD CONFERENCE OF THE OPERATICTHEATRE during the coming summer, while, for the first time, the two-week VERDICONGRESS will be hosted by the United States. An invitation was extended by theMetropolitan Opera to Mario Medici, director of the Institute of Verdi Studies in Parma,and, thus, the third International Verdi Congress will.be held in New York June 5-24at the Lincoln Center Library for the Performing Arts. It will coincide with the Metro-politan Opera's Verdi Festival; John Gutman, assistant manager, will be in charge of allevents at the Congress.

June 8 has been set for the the Annual Meeting of the NATIONAL MUSIC COUNCILin New York. The primary subject on the agenda is a discussion of methods by whichthe National Music Council and its constituent organizations can participate in andcontribute to the American Bicentennial Celebration. One of the suggestions is thesponsorship of commemorative plaques at special historical music landmarks. COS hassuggested that the former site of the Metropolitan Opera on Broadway and 39th Streetbe awarded this distinction.

The Friends of Music at the SMITHSONIAN INSTITUTION (National Museum ofHistory and Technology) are sponsoring A Musical Weekend in Washington on April28, 29 and 30. Scheduled events will include attendance at the American premiere ofDelius' A Village Romeo and Juliet, performed by the Opera Society of Washington atthe Kennedy Center on April 28 and at a special concert with soprano Carol Bogard,accompanied by old restored instruments, at the Museum on April 29. Various tours andsocial events are also on the calendar.

New York's Library for the Performing Arts is presently featuring an exhibition ofstage and costume designs entitled DIAGHILEV AND THE RUSSIAN STAGE DE-SIGNERS, on loan from the collection of Mr. and Mrs. N. Lobanov-Rostovsky. Theexhibit includes over one hundred items by thirty-six different artists. An attractive cata-logue is available from the Lincoln Center Library book store for $7.00.

A touring exhibit of FOUR HUNDRED YEARS OF STAGE DESIGN, on loan fromthe Theatrical Museum of Milan's La Scala, is circulated by the International ExhibitionFoundation. It opened in Washington, D. C , at the National Gallery of Art and hasbeen contracted by the Indianapolis Museum of Art for February and by the Museumof the University of Texas in Austin for March 18 - April 16. The show includes num-erous scenic designs, eighteenth century model stage sets, costume designs and operaposters.

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COS INSIDE INFORMATION

We are delighted to announce the appointments of Mr. ELIHU M. HYNDMANas the new Central Opera Service National Chairman and of Mrs. NORRISDARRELL as National Co-Chairman. Mr. Hyndman has been a Director ofCentral Opera Service for many years as well as Secretary of the MetropolitanOpera National Council for the last five years. He is an attorney, residing in St.Louis where he was president of the St. Louis Opera Theatre, and a member ofthe Board of Directors of the Community Music School and Young AudiencesInc. He succeeds Robert L. B. Tobin who, following his resignation, was namedHonorary National Chairman.

Mrs. Darrell was the first COS National Chairman when the organization wasfounded by Mrs. August Belmont in 1954. She has always remained affiliated withCentral Opera Service as a director. For the last two years she has been NationalChairman of the Metropolitan Opera National Council's public relations depart-ment. GEORGE HOWERTON will remain as her Co-Chairman.

The following opera producers have been named to the COS Professional Com-mittee: PETER HERMAN ADLER — Executive Producer/Artistic Director,NET Opera Theatre; GRANT BEGLARIAN — Dean, School of the PerformingArts, USC; SARAH CALDWELL — Artistic Director, The Boston Opera Com-pany; ROBERT J. COLLINGE — General Manager, Baltimore Opera Company;JOHN M. LUDWIG — General Manager, Center Opera of Minnesota; andGEORGE SCHAEFER — General Manager, St. Paul Opera Ass'n.

HOWARD J. HOOK Jr., who was National Chairman of the Metropolitan OperaNational Council Auditions for ten years and who was succeeded by CarrollHarper in 1970, has been named Honorary National Chairman of the Auditions'program.

It may be of interest to Central Opera Service members that representatives ofCOS have actively participated in or audited the following meetings of other or-ganizations: National Opera Ass'n National Conference, New York, October 71 ,Business and the Arts (Arts Management/N. Y. Board of Trade sponsored),December '71, National Music Council meeting, January '72, USITT Symposiumon Spaces for Community Cultural Resources, January '72 and the monthlymeetings of the COUNCIL OF NATIONAL ARTS ORGANIZATIONS EXEC-UTIVES. The latter held a full day meeting in February at which time the aimsand purposes were delineated and various representatives from non-member or-ganizations were invited to report on the activities of their organizations. Thisextremely interesting and useful exchange resulted in an increase in the member-ship as well as in a broadening of the sphere of interest and possible activities ofCNAOE to better serve all arts organizations and their constituents.

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BOOK CORNER

One of the most beautiful music/art books in recent years is CHAGALL AT THEMET. It contains fifty-two full page color reproductions of the original sketchesfor The Magic Flute and studies and sketches of the famous murals the artistconceived for the front of the Metropolitan Opera House. The text is by artcritic Emily Genauer; the introduction by Rudolf Bing. The book was printedand bound in Paris by Mourlot in collaboration with Leon Amiel of TudorPublishing Company of New York. The 150-page book is lO'/i" x 14V4" in size.The price is $37.50 and it is available, among other sources, from the MetropolitanOpera gift shop.

MUSIC AND THE THEATER, An Introduction to Opera, is written by ReinhardG. Pauly and published by Prentice-Hall Inc., Englewood, N. J. It traces operatichistory from the "Ancient Greeks" to modern times, choosing two or three operasas representative of the style of each period. Although these choices may at timesbe rather arbitrary, the book offers a wealth of information to the uninitiated andmight even succeed in making opera converts. The 460 pages contain numerousblack and white production photographs as well as some musical examples. Thebook is available in a clothbound edition for $13.95, in paperback for $9.95.

MORE STORIES OF THE GREAT OPERAS by Milton Cross, written in col-laboration with Karl Kohrs, is a sequel to his earlier publication, Complete Storiesof the Great Operas. No other non-singing voice has achieved the fame in operaas has that of "Mr. Opera" himself through the Met/Texaco broadcasts. In hislatest book he describes forty-five operas — some lesser known, some contem-porary — all not included in his first volume. The new book also features shortbiographical sketches of some 600 famous singers. The 750-page volume, pub-lished by Doubleday & Co., is an excellent buy at $6.95.

Rosemary Brown's UNFINISHED SYMPHONIES will raise some skeptic's browsbut will find a willing audience among devotees of ESP. Mrs. Brown, a Londonhousewife, retells the story of the visitations she experiences when famous com-posers (Schubert, Beethoven, etc.) "dictate" new manuscripts to her. Publishedby William Morrow & Co., New York, it sells for $5.95.

For certain entertainment, we recommend Victor Borge's MY FAVORITE IN-TERMISSIONS, published by Doubleday & Co. This light and lightweight volume,which closes on page 189 with an "Underture", is full of amusing anecdotes. Itoffers a diverting evening for $4.95.

A number of recently published books are devoted to lives of composers. Thus,SMETANA by Brian Large is a most welcome addition to music libraries, offeringa vividly written and interesting account of the life and times of the Czech com-poser. The 472-page book is illustrated with photographs and musical manuscriptpages, and contains a list of the composer's works and synopses of his operas. Itis published by Praeger Publishers and is priced at $16.50.

The English version of Roman Vlad's updated biographical sketch, STRAVINSKY,also includes a study of some of his music. (The first edition was published in1960). It has been published in paperback by Oxford University Press in anEnglish translation by Frederick and Ann Fuller. The 264-page volume includesmusical examples and is available for $3.95.

Another paperback published by Oxford is devoted to THE WORKS OF RALPHVAUGHAN WILLIAMS. It is a scholarly treatise written by Michael Kennedyand includes biographical information and letters. The 400-page soft-cover editionsells for $3.95.

In 1968, Willi Reich, musicologist and expert on Schoenberg, Berg and Webern,wrote SCHOENBERG, A Critical Biography, considered one of the most im-portant books on the composer and his contemporaries. It has now been translatedinto English by Leo Black and is available for $12.50; the publisher is PraegerPublishers, Inc. The 260-page book is interspersed with photographs, drawingsand musical examples.

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Geoffrey Skelton, author of Wagner at Bayreuth: Experiment and Tradition, nowoffers us WIELAND WAGNER, The Positive Skeptic. The 220-page book is aknowledgeable and well-written biography of Richard Wagner's grandson as wellas an analysis of his work in the operatic theater. The St. Martin's Press is thepublisher; the price is $6.95.Charles Reid has written JOHN BARBIROLLI, A Biography, tracing the extra-ordinary career of the British conductor. Mr. Reid, himself a music critic, de-scribes in a fluent style the conductor's life on two continents, the development ofhis career and the personalities that surrounded him. The 445-page book, pricedat $12.95, is published by Taplinger Publishing Company.Two books by highly respected music critics have recently been published. One isby Paul Henry Lang, CRITIC AT THE OPERA. However, contrary to the con-notation implied in the title, the book is not a collection of reviews but rather amusicologist's account and evaluation of many established operatic works. Thatthe 336-page book still has something special to offer, is due to the great knowledgeand taste of the writer, although, in principal, it is a history of opera in disguise.The publisher: W. W. Norton & Co.; the price: $7.95.

The other book is accurately entitled COMPOSER AND CRITIC, Two HundredYears of Music Criticism. It was written by Max Graf and appeared in a firstedition in 1946. It has just been reissued by W. W. Norton & Co. in a paperbackedition, available for $2.45 and should not be missed. It is fascinating readingand offers a wealth of interesting information on the art of music criticism andon the relationship of critics and composers and/or public. Last but not least, thebook quotes from knowledgeable (and less knowledgeable) reviews.

One of the largest undertakings in recent years, in research as well as in writing,is the three-volume reference study of ITALIAN MADRIGALS by Alfred Ein-stein. Any musicologist and student of the subject will be delighted at the wealthof information presented in Mr. Einstein's customary lucid style. Beautifully ex-ecuted by Princeton University Press, the three-volume boxed publication sellsfor $55.00.PATHS TO MODERN MUSIC by Laurence Davies deals with "The Aspects ofMusic from Wagner to the Present Day". Rather than presenting the musicalproblems, the author approaches the subject through the composers' personalitiesset against the social and cultural background of their times. Within chapters onindividual composers, Mr. Davies does discuss specific works of special significance.The book, published by Charles Scribner's Sons, is available in hard-cover ($10.00)and in paperback ($3.95). Either edition contains 330 pages.Rollo Myers has chosen a similar theme, MODERN FRENCH MUSIC, FromFaure to Boulez, but he has limited his subject matter considerably, both in timeand in nationality. A well-informed and informative book, it has been publishedby Praeger Publishers and its price is $12.50. It contains 210 pages; the text isinterspersed with photographs.Four guide books for singers have just reached us. Gladys Mathew, voice teacherand president of Community Opera, Inc., addresses herself mainly to the novicewith THE OPERA SINGER ON STAGE AND OFF. The first part of her bookis devoted to behavior and movement. Miss Mathew's description is extremelydetailed and may prove helpful to the young singer. The second part is a shorthistory of opera and the third gives a brief list of some contemporary operas.The 152-page book is published by Theo. Gaus' Son, Brooklyn, and may bepurchased for $5.95.

Lotte Lehmann, who needs no introduction, is sharing her knowledge and ex-perience in the book EIGHTEEN SONG CYCLES, Studies in Their Interpretation,published by Praeger Publishers. The songs chosen to demonstrate interpretivedetails are by Beethoven, Schubert, Schumann, Brahms, Wagner, Strauss, Berlioz,Faure and Debussy, thus, covering a wide variety of styles. This priceless infor-mation is available for $6.95. The introduction is by Neville Cardus. Mme.Lehmann has dedicated the book to the memory of Paul Ulanowsky.ENGLISH DICTION FOR THE SINGER by Lloyd Pfautsch (no phonetic keyto the pronunciation of the author's name) and TO SING IN ENGLISH, A Guideto Improved Diction, by Dorothy Uris, are the results of the generally poor state

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of affairs of English diction in singing. The first is a 149-page paperback, publishedby Lawson-Gould and available from G. Schirmer, Inc., for $2.00. It is copiouslyillustrated with drawings of the mouth, lips and oral cavity and the author attemptsto make his point in this manner. The second book, published by Boosey andHawkes, relies more on the written word and phonetic signs. It is a 316-page studyof sounds, language and artistic expression and sells for $6.95.

Two new dictionaries close this extensive list of new publications in musical books.HARPER'S DICTIONARY OF MUSIC by Christine Ammer offers 414 pages ofgeneral and diverse musical information for $10.00. Harper and Row is thepublisher.

The HARVARD DICTIONARY OF MUSIC, in its second, revised and enlargededition, is a voluminous source of information. In 935 tightly packed pages, brokenonly by numerous illustrations, it is one of the best and most up-to-date musicreference works of this size. Written by Willi Apel, it is published by The BelknapPress of Harvard University, Cambridge. Its price is $20.00.

A number of new publications on finances, grants and related information arelisted under Research and Surveys.

TRANSLATIONS AND ADAPTATIONS

Mozart's 1L RE PASTORE was performed by the Yale University Music Summer Schoollast July in an English translation by George Mully. The performance was the firstAmerican stage production of the opera.

LA TRAVIATA was sung in a new English translation by Charles Kondek when it waspresented by the Harford Theatre in Maryland last summer. Mr. Kondek may be con-tacted for all his translations at his new address: 789 West End Avenue, New York,N. Y. 10025. (Please make the necessary change in your copy of the COS Directory ofEnglish Translations on page 20.)

After successfully translating Walkiire and Gotterdiimmerung for Sadler's Wells, AndrewPorter has now made an English translation of DAS RHEINGOLD. It will be sung atSadler's Wells this season.

Commemorating the fiftieth anniversary of the death of Camille Saint-Saens, his LAPR1NCESSE JAUNE was given in concert performance at London's Wigmore Hall inJanuary. It was heard in an English translation by Stella Wright.

The University of California in Santa Barbara announces the completion of an adap-tation of Meyerbeer's LES HUGUENOTS. Professors Carl Zytowsky and Walter Burg,together with graduate student Michael Mitchell, revised and condensed the libretto andthe score, anticipating greater interest in this rarely heard opera if a shorter versionwere available.

Monteverdi's ORFEO was performed in English and Italian in February by San Fran-cisco's Spring Opera Theater in a new version by Denis Stevens.

British musicologist Raymond Leppard, who is responsible for the revival of twoCavalli operas due to his adaptation and translation of these works (Ormindo and LaCalisto), also has a new version of Monteverdi's L'INCORONAZIONE Dl POPPEAto his credit. On the occasion of its performance by Sadler's Wells this winter, theBritish magazine Opera quoted Mr. Leppard in an interview as stating that "there is nosuch thing as an Urtext for the work and that the two surviving manuscripts show widedivergencies".

For additional translations see also American Premieres (Besuch der alien Dame, andMaskarade).

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APPOINTMENTS

In addition to the previously announced members of the new Metropolitan Opera ad-ministration (Mssrs. Gentele, Kubelik and Chapin), 28-year-old American conductorJAMES LEVINE was named principal conductor under Rafael Kubelik. Mo. Levine,who has conducted at the Metropolitan for the last two seasons, made his debut at theage of ten conducting the Cincinnati Symphony. He served his apprenticeship underGeorge Szell in Cleveland where he became assistant conductor. More recently heconducted many major American symphony orchestras. He will return to the Met nextseason to conduct three operas and begin in his new post in September '73, at the sametime as Mo. Kubelik. — Two members of the Metropolitan Opera staff have been pro-moted by Mr. Gentele. CHARLES RIECKER, who joined the company in 1959, willbecome Artistic Administrator, succeeding Robert Herman; MICHAEL BRONSON,who has been with the company for the last ten years was named Technical Administra-tor and will succeed Herman Krawitz. (Mr. Herman and Mr. Krawitz resigned as perJuly 72.) Both new appointees are in their thirties but have had extensive trainingand experience even before joining the Met. Mr. Riecker, who has been with the com-pany for thirteen years, studied music and is an accomplished pianist, Mr. Bronsoncollected his first practical experience in summer and off-Broadway theatres. Both willbe responsible to Schuyler Chapin who will be an assistant manager. One of the presentassistant managers to continue under the new regime is FRANCIS ROBINSON, headof the press department.

The City University of New York has announced the appointment of SIR RUDOLFBING as Distinguished Visiting Professor of Music at Brooklyn College. Sir Rudolf willbegin in his new position next Fall.

Two new members of the Metropolitan Opera Board of Directors are DONALD M.KENDALL, who is, among other positions, President of Pepsicola and Chairman ofthe National Alliance of Businessmen, and IRVING MITCHELL FELT, Chairman ofthe Madison Square Garden Corp., and of the Hotel Corporation of America.

JOSEPH FARRELL, former executive vice-president of the Associated Councils of theArts, founded the National Research Center for the Arts of which he is the President(see Research and Surveys).

ROBERT MANN, founder of the Juilliard String Quartet, was named President of theNaumburg Foundation, succeeding Peter Mennin.

VINCENT PERSECHETTI, composer, and STUART POPE, managing director ofBoosey and Hawkes, have been appointed to the Board of Directors of ASCAP. Theyfill the unexpired terms of Peter Mennin and Rudolph Tauhert respectively, whoresigned recently.

GERT VON GONTARD, producer and professor at the University of Vienna, wasnamed to the Board of Directors of the New York City Center of Music and Drama.

The National Guild of Community Music Schools appointed DOROTHY MAYNOR,director of the Harlem School of the Arts, President Elect, and HARRIS DANZIGER,director of the Third Street Music School Settlement, as its new President.

DR. DOLL YE M. E. ROBINSON, chairman of the Fine Arts Division at Jackson StateCollege, was elected President of the Mississippi Inter-Collegiate Opera Guild whichsponsors Opera/South. He succeeds Dean Estus Smith. — ROGER E. JACOBI is thenew President of the National Music Camp at the Interlochen Center for the Arts inMichigan.

New appointments to positions of Artistic and/or Musical Director of performing com-panies include those of NATHANIEL MERRILL (stage director Metropolitan Opera,San Francisco, Chicago, Vienna, etc.) to General Director of the Central City OperaHouse Ass'n, where he had been directing opera 1958-63; — RICHARD WOITACH,conductor and accompanist (asst. conductor, Metropolitan Opera 1959-68) to MusicalDirector of the Western Opera Theater, touring company of the San Francisco Opera,where he served in the same capacity from 1968-70; — MONROE KANOUSE, recipientof the first Kurt Herbert Adler Award, to Associate Conductor at the same company; —ROBERT M. HEUER to General Director of Detroit's Overture to Opera.

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The newly created post of Director of Community Relations for Lincoln Center hasbeen awarded to LEONARD DE PAUR. — RICHARD G. HOUDEK was namedPublic Relations Director by the San Francisco Opera; SUSAN HELLER ANDERSONis the new Assistant Director and also in charge of public relations for the Spring Operaand Western Opera Theater. — DAVID M. BABER is the first Executive Secretaryof OPERA America which shares the offices with the Baltimore Opera.

Conductors

Some long-awaited decisions regarding conductorial positions with major Americanorchestras have recently been announced. LORIN MAAZEL, child prodigy who madehis debut when eight years old, was given a five-year contract with one of the choicestorchestras. Beginning next season he will be Music Director of the Cleveland Orchestra,succeeding the late George Szell. The 41-year old conductor is currently music directorof the Berlin Radio Symphony Orchestra, conductor of London's New Philharmonia(together with Otto Klemperer) and was, until last season, director of the DeutscheOper, West Berlin. — The venerable Boston Symphony has chosen as its next perma-nent conductor the young, Japanese-born SEIJI OZAWA. He will begin in his newposition in the Fall of 1973 but will act as Musical Advisor during the coming season.He is at present Artistic Director of the Berkshire Music Festival and Music Directorof the San Francisco Symphony, positions which he will keep even after assuming thedirectorship in Boston. Colin Davis and Michael Tilson Thomas will be principal guestconductors. — JORGE MESTER, music director of the Louisville Orchestra and ofthe Aspen Music Festival, was appointed Artistic Advisor of the Kansas City Phil-harmonic; JOHN COVELLI is the Resident Conductor. — THOMAS GRISWOLD,formerly with the Fresno Philharmonic, is the new conductor of the Des MoinesSymphony. He was also appointed Professor at Drake University in Iowa. — Actingmusic director of the San Diego Symphony, MICHAEL ZEAROTT, was also namedMusical Director of the 1972 Ojai Festival in California. — JAMES DE PREIST hasbecome Associate Conductor of the National Symphony Orchestra, and Swiss-bornMATTHIAS BAMERT is the first recipient of an award making him a George SzellMemorial Fund Conducting Assistant with the Cleveland Orchestra.

Academia

Changes and promotions in leading positions in the academic music field include JAMESHUSTIS to Dean of the Peabody Conservatory of Music in Baltimore, JOHN BAILEYto Dean of the San Francisco Conservatory of Music, DONALD HARRIS to VicePresident of the New England Conservatory of Music, Prof. DONALD B. GOODALLto Acting Dean of the College of Fine Arts at the University of Texas in Austin, suceed-ing E. W. Doty, DAVID LLOYD, former director of the Hunter College Opera Workshop,to Chairman of the Opera Department at the University of Illinois at Urbana (succeedingthe late Ludwig Zirner) with R. ASLANIAN as Music Director, ARTHUR R. CORRAto Chairman of the Music Department at Illinois State University in Normal, OSCARKOSARIN to Director of the Music Theatre Workshop at the University of CincinnatiCollege-Conservatory.

The following personalities joined music faculties this season: DENNIS WAKELING,Stage Director, to the Opera Department at the University of Texas at Austin, GYOERGYLIGETI, Composer and Guest Lecturer, to California's Stanford University, BENJAMINLEES, Composer-in-Residence to the Manhattan School of Music, MICHAEL POLLOCKto the Opera Department of Illinois State University in Normal, RUTH GORDON tothe Voice Faculty of the Cleveland Institute of Music, and GEN IA DANOVA to theVoice Faculty at Chicago's American Conservatory of Music.

European Opera Houses

Changes in Directors at Europeon opera houses feature MASSIMO BOGIANCKINOwho became Artistic Director of Milan's La Scala beginning January 1972. Among thepositions he previously occupied were those of manager of the Spoleto Festival and ofRome's Teatro dell'Opera. In Milan he is succeeding Luciano Chailly. Also new at La

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Scala will be PAOLO GRASSI as Managing Director, succeeding the retiring AntonioGhiringhelli; CLAUDIO ABB ADO was named Music Director. — GERARDOAGOSTINI is the new General Administrator at the Teatro dell'Opera in Rome. He willbe working together with Artistic Director MARIO ZAFRED.

Following the death of Bernhard Paumgartner, JOSEF KAUT was named President ofthe Salzburg Festival. — MARCEL PRAWY, producer/director of Vienna's Volksoper,was also named Chef Dramaturg and Head of Production for the Vienna Staatsoper.The appointment was announced by Rudolf Gamsjager, the Staatsoper's new director.

Beginning this season, GABOR OETVOES became Music Director of the Augsburgopera. He has guest conducted in New York, both at the City Opera and at the Metro-politan. — Among the new appointments made by August Everding, future director ofthe Hamburg Staatsoper, is that of HANS LUDWIG HIRSCH as head of the company'sStudiobiihne (experimental theatre). — Composer GYOERGY LIGETI, presently resi-dent of West Berlin, will become Professor of Composition at the Hamburg MusicConservatory in 1973. — HEINZ FRICKE will be the successor to Otmar Suitner,Artistic and Managing Director of the Deutsche Oper in East Berlin. At the sameinstitute, WOLFGANG RENNERT was signed for a five-year contract as conductor.Brother of Giinther Rennert, he had been first conductor at Munich's Theater amGartnerplatz.

Composer RENZO ROSSELLINI will be the new Director of the Opera de MonteCarlo in Monaco. — Beginning next season, conductor REYNALD GIOVANINETTIwill head the opera company at Marseilles as its General Director. For his first seasonhe has announced the French premiere of The Devils of Loudon. — JOHN COXreceived a three-year contract as Director of Production at England's GlyndebourneFestival. — KAJ KAUHANEN, Head of the Music Division of UNESCO in Paris, hasbeen appointed Director of the Finnish National Opera in Helsinki.

WINNERS AND NEW AWARDSThe National Federation of Music Clubs named mezzo soprano CARLYNE JAMESand baritone STANLEY NORSWORTHY as the 1971 winners of the Young ArtistsAuditions in the voice category. Each received $1500 in cash and concert engagements.—The 1971 G. B. Dealey Award in voice given by the Dallas News was shared byEVELYN PETROS of Washington, D.C. and RICHARD M. BARRETT of Fort Worth,Texas. — First prize of the Emma Feldman Competition was won by baritone ALANWAGNER, second prize by PHILIP CHO, and third prize by MARIA JACOBI. —The Concert Artists Guild Inc. of New York has chosen baritone ROBERT CHRIST-ESEN to be awarded the 1972 debut recital in the Young Performers Series. — Mezzosoprano CAROLE WALTERS is the recipient of the first prize of the 1971 NationalArts Club Award. She will receive a cash award and a debut recital in New York in May.

While no first prize was awarded in Ihe International Music Competition in Munich in1971, the second prize was shared by two American singers, 25-year-old mezzo sopranoANITA TERZIAN and soprano PATRICIA WELLS. Both are Juilliard School grad-uates. — The 1971 Vocal Competition in Toulouse, France, yielded only one winnerfrom the Western Hemisphere. This was Canadian soprano EDITH TREMBLAY whoreceived the third prize in the women's division. — At the Geneva International SingingCompetition no first prizes were awarded in either the men's or women's division.Winners in the men's division were LEONARD MROZ (Poland), PETER LIKA (Ger-many) and KAREL SALABA (Czechoslovakia), — in the women's division EVELYNBRUNNER (Switzerland), ELIZABETH LANE (England), LYN VERNON (Canada)and HISA FUKUDA (Japan). — Holland's s'Hertogenbosch International SingingContest announced awards of its prizes in the following order: Romanian sopranoHORIANA BRANISTEANU, Japanese mezzo YUKO TSUJI, Dutch baritone ROBERTHOLL and East German baritone THOMAS TOMASCHKE. — The Canadian OperaCompany's Jean Chalmers Award went to baritone PETER BARCZA. The 22-year-oldCanadian singer received a cash prize of $1,000.

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The Dimitri Mitropoulos International Conductors' Competition was won by FrenchJACQUES DELACORTE (first prize), German WOLFGANG BALZER (second),and British TIMOTHY REYNISH (third). — Composer ANDREW IMBRIE was thefirst recipient of the Walter Hinrichsen Award for Composers. — GLYNN ROSS,General Director of the Seattle Opera, received the Arts Administrator of the YearAward from Arts Management at the New York Board of Trade luncheon. The cita-tion reads "in recognition of his innovations and adventurous programming".

New Award for Singers

For the first time the Gesellschaft der Musikfreunde will sponsor an International MusicCompetition as part of the 1972 Vienna Festival. The competition is open to singers,violinists and pianists under thirty. The winners will receive cash prizes and concertappearances. April 15 is the deadline for applications. Address inquiries to Gesellschaftder Musikfreunde, Lothringerstrasse, Vienna, Austria.

Composers' Competitions

The Italian Society for Contemporary Music offers cash prizes and performances in sixcategories of composition: one-act opera or other form of musical theatre (3 millionlire), orchestral work with soloist and/or chorus (1 million lire), instrumental and/orvocal composition for ensemble up to 36 performers (1 million lire), instrumental and/orvocal composition up to 11 performers (600,000 lire), religious composition within afore-mentioned categories (1 million lire), and electronic and computer music (1 million lire).Works published after 1969 are eligible. For further information write SIMC, PiazzaBuenos Aires 20, 00198 Rome, Italy. The Teatro La Fenice in Venice reserves the rightto the first performance of the prize-winning opera.

The Queen Marie-Jose Prize Contest is limited to compositions of chamber music. It isopen to composers of all nationalities and there is no age limit. Deadline for applicationsis May 31. Address all inquiries to Queen Marie-Jose Contest, 1249 Marlinge, Geneva,Switzerland.

The J. H. Beams Committee, 705 Dodge at Columbia University, New York 10027, hasannounced cash awards of $1200 for the best "large media" work, and of $900 for a"small media" work. American composers between the ages of 18-25 are eligible tocompete.

The National Federation of Music Clubs offers a $100 grant for the best compositionby a young (10-16 year-old) blind composer and $200 to the winner in the 16-30 year-old category. Applications should be submitted to the National Chairman of Music forthe Blind, Mrs. F. Onion, 133 Dumbarton Rd., Baltimore, Md. 21212. All compo-sitions will be returned to the composers with the judges' comments.

Indiana State University at Terre Haute solicits new orchestral compositions for pos-sible reading and performance during its sixth annual Contemporary Music Festival. Forinformation, write to Neal Fluegel, Chairman of the Festival at Terre Haute.

See also News from Opera Companies (Central City Opera House).

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PERFORMANCE LISTING, 1971-72 SEASON (cont.)All performances are staged with orchestra unless marked "cone, pf." or "w.p."(with piano). — Performances and news items once announced will not be re-listed at the time of performance. — * denotes new production; in — denotesmatinee.

ALABAMAMobile Opera Guild, J. Yestadt, Mus. Dir., Mobile3/15, 17/72 Carmen Casei, Stokes; cond.: Yestadt; dir.: R. HerbertSamford Univ. Opera Theater, R. Veazey, Dir., Birmingham3/13-15/72 Slow Dusk for Birmingham Civic Opera4/28, 29, 30/72 // TabarroTroy State University, Opera Workshop, P. Kelley, Dir., Troy11/16, 17/71 Musical3/3, 4/72 Carmen

ARKANSASArkansas State U., Opera Workshop, D. Niederbach, Dir., State University2/17, 18/72 Suor Angelica & The Jumping Frog of Calaveras County

CALIFORNIACollege of the Desert, Opera Workshop, J. Kneebone, Dir., Palm Desert11/12, 13/71 Orpheus and Euridice Eng. DuclouxFresno Opera Ass'n., N. Iacovetti, Art. Dir., Fresno11/5, 6/71 La Boheme Eng. Martin2/25, 26/72 Elixir of Love Eng.5/19, 20/72 Carmen12/71 Amahl and the Night Visitors 5 pfs. in schoolsImmaculate Heart College, Theresa di Rocco, IHM, Los Angeles5/20, 21/72 Riders to the SeaThe Lamplighters — Opera West Foundation, San Francisco10/9-11/6/71 lolanthe w.o.11/3/71 Trial by Jury w.p.12/5/71 Annual Opera Gala (G&S excerpts) w.o.3/11-4/15/72 H.M.S. Pinafore 10 pfs., w.o.7/8/72 Crosswell & Pockriss' Earnest in Love (adapt, of The Importance of Being

Earnest)San Jose Community Theater, Opening Performance2/17/72 Aida Galvany, Bumbry; McCracken, FlagelloSpring Opera Theater, prod, by San Francisco Opera, K. H. Adler, Gen. Dir.,

at Curran Theater2/11, 13, 19, 23/72 The Barber of Seville Eng. Martin; Matsumoto; Walker, Titus,

Booth; cond.: Woitach; dir.: Pearlman; des.: Loquasto2/12, 20, 25/72 Monteverdi's Orfeo Denis Stevens' edition; Eng. & Ital.; C. Lewis,

Blackett; Ferrante, Justus; cond.: Ryan; dir.: Freedman; des.: Conklin2/18, 24, 26, 27/72 Weill's Mahagonny Eng.; Bybee, Neway; Kness, Mosley; cond.:

Schneider; dir.: Francisco; des.: DarlingUniv. of California at Los Angeles, Opera Workshop, J. Popper, N. Limonick,

Dirs.12/7, 9, 12/71 Amahl and the Night Visitors5/21, 22, 28, 29/72 Cesti's Orontea

COLORADOPueblo Civic Symphony Ass'n., Mozart Festival, G. Track, Mus. Dir.1/27/72 The Magic Flute cone, pf.; Valente, Roche; Johnson

CONNECTICUTHartt Opera Theater, T. Capobianco, Art. Adv., University of Hartford2/16-19/72 The Marriage of Figaro Metcalf; cond.: Paranov; dir.: Karpo; des.:

MitchellNew Haven Opera Society, Herta Glaz Redlich, Dir., on tour

(see Fall '71 Blltn.)12/15, 16/71 Hansel and Gretel N.Y.'s Town Hall1/8/72 Cinderella Ridgewood, N.J.Simsbury Light Opera Co., W. K. Erhart, Art. Din, Simsbury4/28, 29 5/4, 5, 6/72 lolantheUniv. of Bridgeport, Music Department, Bridgeport1/14, 15/72 Four Saints in Three Acts

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DISTRICT OF COLUMBIANational Symphony Orchestra, A. Dorati, Dir., Kennedy Center, Washington4/25, 26, 27/72 Elektra Borkh, Resnik, Schauler; Ludgin, Nagy; cone. pf.

FLORIDAFlorida State Univ. Opera, School of Music, A. R. Thomas, Tallahassee10/71 Musical 7 pfs.11/13/71 La Serva padrona & Secret of Susanna12/3, 4/71 Madama Butterfly Eng. Martin2/18, 20/72 The Good Soldier Schweik31'20/72 Abstrakte Oper No. 14/12, 13, 14, 15, 19, 20/72 The Three Penny Opera Lenya; Chase5/20/72 An Evening of Opera ScenesMiami Beach Symphony, B. Breeskin, Mus. Dir., Miami Beach11/17/71 Carmen Eng.; cone, pf.; Merrige, Cavendish; Bartolf, MatthewsMiami Philharmonic Orchestra, A. Lombard, Mus. Dir.3/72 Bluebeard's Castle Lear; Stewart; cone. pf.

GEORGIAAtlanta Memorial Arts Center, R. Shaw, Mus. Dir., Atlanta2/1/72 Joplin's Treemonisha (1911) prem.; Floyd, Parker; Estes; dir.: K. Dunham

IDAHOCollege of Idaho, Music Dept, R. Skryin, Dir. Opera, CaldwcII12/71 Amahl and the Night Visitors2 additional productions to be announced

ILLINOISMarjorie Lawrence Opera Theater, Southern 111. Univ., Carbondale11/19/71 Opera Americana (Scenes from Am. contemporary operas)3/3, 4, 5/72 Falstaff Eng. Ducloux; cond.: Stroud; dir.: Mary Wallace; des.: Payne5/14/72 Opera/Alternative '72: From Bach to RockMidland Repertory Players, L. Leritz, Gen. Mgr., at Varble Hall, Alton9/18/71 Opera Scenes w.p.; dir.: ShanahanNorthwestern University Chamber Orchestra, B. Rubenstein, Dir., Evanston12/1, 2/71 Weill's Mahagonny Singspiel dir.: SchneidemanNorthwestern College Chamber Opera Workshop, V. Tarrell, Dir., Orange City1971-72 Trial by Jury1971-72 Bastien and Bastienne & La Serva padrona

IOWASt. Ambrose College, Music Dept., J. E. Greene, Dir., Davenport12/11, 12/71 La Perichole Eng. Valency

KANSASKansas State Teachers College Opera Workshop, R. B. Anderson, Dir., Em-

poria4/13, 15/72 d'Albert's Tiefland

LOUISIANALouisiana State University Opera Theater, P. P. Fuchs, Dir., Baton Rouge12/3, 4/71 Der Bettelstudent Eng. Martin

MARYLANDPeabody Conservatory of Music, Opera Theatre, R. Lawrence, Dir., Baltimore3/24, 25/72 Massenet's Therese Am. prem. & Malipiero's Sette canzo/ii cond.:

Lawrence; dir.: H. VincentMASSACHUSETTS

New England Conservatory of Music, Opera Dept., I. Strasfogel, Dir., Boston11/12/71 Opera Scenes2/13, 14, 16, 17/72 The Magic Flute preview 2/12; Eng. Martin; cond.: Schuller;

dir.: Strasfogel; des.: ColavecchiaOpera Company of Boston, Sarah Caldwell, Art. Dir., Boston2/3 & 4/72 2/6m & 6/72 Les Troyens Part I & II Amer. prem. of complete vers.;

Niska, Crespin; Alberts, Dowd, Tozzi, Quilico, Beni; cond./dir.: Caldwell; des.:Pond/Senn/Mess

4/5, 9/72 Tosca Niska; Gedda, Gramm5/12, 14/72 La Traviata Sills; Burrows, Glossop

— 26 —

Southeastern Mass. Univ. Opera Dept., Jacqueline Cobert, Art. Dir., N.Dartmouth

12/10, 11, 12/71 Ainahl and the Night Visitors & Help, Help, the Globolinks!3/17, 18, 19/72 Cosi fan tutte Eng. Martin4/22, 23, 24/72 Operatic Scenes

MICHIGANOverture to Opera, D. di Chiera, Dir., at Music Hall Theatre, Detroit and

Oakland U., Rochester11/5/71 Webber/Rice's Joseph and His Technicolor Dreamcoat prem. rock opera11/19/71 La Rondine Shade; Hall-Sundquist; cond.: Byrd; dir.: Lockwood2/26/72 Hoist's The Perfect FoolPiccolo Opera Co., Marjorie Gordon, Mng. Dir., Detroit1971-72 Fledermaus (Limbacher adapt.); Music Master & Quiet Game of Cribble

touring, pfs. w.p. or local orchestra. Other operas in repertory: The Impresario,Abu Hassan, The Old Maid and the Thief, Victory at Masada, Cost fan tutte,

The Telephone, Angelique, Hansel and Gretel (Limbacher adapt.); Little RedRiding Hood, Rumpelstiltskin.

MINNESOTACenter Opera of Minnesota, J. Ludwig, Gen. Dir., Minneapolis (see Fall '71

Blltn.)3/5/72 Four Saints in Three Acts cone. pf. at O'Shaughnessy Audit, (replacing

prev. announced Vox populous, Vox crapulous postponed for next season)MISSISSIPPI

University of Mississippi, Opera Theatre, L. Fox, Dir., University11/18, 19, 20/71 The Marriage of Figaro cond./dir.: Fox

NEVADANevada Opera Co. & Univ. Opera Theatre, T. Puffer, Dir., Reno11/26, 27/71 The Marriage of Figaro Eng. Puffer

NEW JERSEYThe Hoboken Opera Association, Hoboken1971 La Boheme w.p.4/7, 8/72 Romeo and Juliet w.p.Opera Society of Northern N. J., L. Newland, Art. Dir., Ridgewood4/28/72 La Boheme Eng.4/30/72 The Barber of Seville Eng.

NEW YORK CITYAssociation for the Furtherment of Bel Canto, S. Zucker, Dir. (253 W.

72nd St.)9/5 10/10/71 La Sonnambula (in orig. key) at Amalgamated Housing Corp.11/3, 9, 22/71 / Puritani (Pacini edition) at Spencer Memorial Church; Community

Center; N. Y. U.5/7/72 La Scala di seta at WBAI Free Music StoreBlue Hill Troupe, Ltd., C. D. Walker, Mus. Dir., at Hunter Coll. Playhouse3/29, 30, 31 4/1/72 G & S The Grand DukeBronx Opera Co., M. Spierman, Mus. Dir., at Bronx H. S. of Science1/7, 8, 14/72 The Barber of Seville Martin; Rigg, Carlson; dir.: C. KastendieckBrooklyn College Opera Theatre, K. Kdpe, Dir.12/4, 5/71 The Marriage of Figaro3/ lm, 1/72 Gallantry & Die Fledermaus (excerpts) workshop prod.Brooklyn College Theatre Department, S. Silver, Dir.2/17, 18, 19, 20, 22/72 The Cradle Will RockBrooklyn Lyric Opera Ass'n, V. La Selva, Mus. Dir.12/4/71 La Traviata cond.: La SelvaCathedral of St. John the Divine, A. Whiten, Music Dir.4/7/72 Williamson's Dunstan and the Devil & The Happy Prince benefit for Music

Therapy CenterCentury Opera, Mater Christi Auditorium, Astoria2/20/72 Madama ButterflyCommunity Opera Inc. of New York, Gladys Mathew, Pres.11/7/71 La Boheme at Brooklyn Museum; 1/31/72 at Lincoln Center Library12/4, 5, 11, 14, 16, 19/71 Barthelson's The Gift of the Magi2/6, 19/72 Opera Concert3/5, 27/72 Romeo et Juliette at Brooklyn Museum; at Donnell Library4/21, 22, 23/72 Noye's Fludde at All Angel's Church

— 27 —

L'Ensemble du Sacre Coeur, Duquesne Ballroom, Convent of the Sacred Heart2/27/72 Dido and AeneasThe Handel Society of N.Y., S. Simon, Mus. Din, Carnegie Hall1/21/72 Athalia Ross, Forrester, Wise; Stewart, Berberian; cone. pf.3/6/72 Judas Maccabaeus Blegen, Steffan; Morell, Estes; cone. pf.3/27/72 Rinaldo Marshall, Wolff, Bible, Shane; Dickie, Michalski; cone. pf.Interstate Opera Association, Inc., E. Papay, Mus. Dir.11/8/71 Opera Classics, at Donnell Library Center1 / 30/72 La Forza del destino at Brooklyn MuseumInwood Chamber Opera Players, Susanne Edelman, Dir., at Brooklyn Museum1/16/72 Bastien and Bastienne Eng.3/21/72 The Secret of Suzanne at Baruch College5/ 20/ 72 The Deluded Bridegroom & The Secret of Suzanne at L.I. Univ.Judson Memorial ChurchFall '71 Carmines' The Journey of Snow White prem.11/21, 22, 23, 26, 27, 28, 29, 30/71 Carmines' Joan prem.The Light Opera of Manhattan, W. Mount-Burke, Dir., at Jan Hus Playhouse12/5,8-12, 15-18,26,29-31/71 1/1, 12-16 2/16-20 3/1-5 4/5-9/72 lolanthe12/19, 22-25/71 1/19-23 2/2-6, 23-27 3/15-19, 29-31 4/1, 2, 19-23 5/17-21/72 The

Mikado1/2, 5-9, 26-30 3/8-12, 22-26 5/3-7, 21-28/72 H.M.S. Pinafore4/12-16, 26-30 5/10-14/72 The Pirates of PenzanceThe Lighthouse Music School and Lighthouse Singers, 111 E. 59 St.6/7, 8, 9/72 Barab's The Rajah's Ruby (for free tickets write to above)Manhattan School of Music, Preparatory Division, 120 Claremont Ave.4/8, 9/72 Kodaly's Hary Jdnos cond./dir.: Cynthia Auerbach (for other pfs. see

Fall '71 Blltn.)Mannes College of Music, Opera Workshop, P. Berl, Dir.10/30, 31 11/6, 7, 21, 22, 26, 27, 28/71 E. Roberts' The Hunting of the Snark11/30 12/1/71 Orff's Carmina burana Mannes Chorus; dir.: H. Aks12/7, 10/71 Scenes from Mozart operas at Finch College3/22, 23/72 Abu Hassan & The Old Maid and the Thief at Kaufman Audit.Metropolitan Opera Ass'n, R. Bing, Gen'I Mgr., tour 4/24-6/3/72BOSTON, AT HYNES CIVIC AUDITORIUM4/24, 25, 26, 27, 28, 29m, 29/72 La Fille du regiment, La Traviata, Otello, Faust,

Fidelio, La Boheme, Le Nozze di FigaroCLEVELAND, AT PUBLIC AUDITORIUM5/1, 2, 3, 4, 5, 6m, 6/72 La Traviata, La Fille du regiment, Fidelio, Faust, Otello,

La Boheme, Le Nozze di FigaroATLANTA, AT CIVIC CENTER5/8, 9, 10, 11, 12, 13m, 13/72 Otello, Faust, La Traviata, La Fille du regiment,

Fidelio, Le Nozze di Figaro, La BohemeMEMPHIS, AT MUNICIPAL AUDITORIUM5/15, 16, 17/72 Otello, La Boheme, La Fille du regimentNEW ORLEANS, AT MUNICIPAL AUDITORIUM5/18, 19, 20m, 20/72 Otello, Faust, La Traviata, La Fille du regimentMINNEAPOLIS, AT NORTHRUP MEMORIAL AUDITORIUM5/22m, 23, 24, 25, 26, 27m, 27/72 Otello, La Fille du regiment, La Traviata, Faust,

Fidelio, La Boheme, Le Nozze di FigaroDETROIT, AT MASONIC TEMPLE5/29, 30, 31 6/1, 2, 3m, 3/72 Otello, Le Nozze di Figaro, Faust, Fidelio, La Travi-

ata, La Boheme, La Fille du regimentMetropolitan Opera Verdi Festival, Lincoln Center6/5, 10, 16/72 Otello Tebaldi/Amara; McCracken, Gobbi; cond.: Molinari-Pradelli6/6, 15, 21/72 Don Carlo Tucci/Ross, Cossotto/Bumbry; Corelli, Merrill, Ghiau-

rov; cond.: Molinari-Pradelli6/7, 17, 24/72 La Traviata Moffo; Tucker/DiGiuseppe, Sereni/Milnes/Merrill; cond.

Bonynge6/8, 13/72 Falstaff Tebaldi, Peters, Barbieri; Alva, Gobbi; cond.: von Dohnanyi6/9, 23/72 La Forza del destino Tucci; Corelli/Tucker, Merrill/Sereni, Ghiaurov;

cond.: Veltri6/10m, 14, 19, 22/72 Rigoletto Sutherland; Pavarotti, Milnes; cond.: Bonynge6/12, 17, 20, 24/72 Aida Arroyo, Cossotto/Bumbry; Tucker/Corelli, Colzani/Sereni;

cond.: Molinari-Pradelli

— 28 —

National Orchestral Ass'n, J. Serebrier, Cond., Carnegie Hall1/11/72 Tchaikovsky's Iolanthe cone, pf., in Russian; Farley; Goeke, Dobriansky,

Ellis; chorus C. W. Post Coll.The New School Community Chorus, D. Labovitz, Mus. Dir., W. 12 St.1/28/72 Handel's SamsonNew York City Opera Co., New York State Theatre, J. Rudel, Gen. Dir., J. S.

White, Mng. Dir. Lincoln Center2/23, 27 3/2/72 Roberto Devereux2/24, 26, 29 3/5, l lm, 17, 26, 30 4/4, 30m/72 Carmen2/25 3/4, 12m, 18 4/15/72 La Traviata2/26m 3/5m, 9/72 The Marriage of Figaro Eng.2/27m 3/3, 11, 15 4/8m, 29/72 Madama Butterfly Eng.3/1, 4m, 8, 25, 29 4/6, 9/72 Mefistofele311, 14, 16, 21/72 Maria Stuarda* Sills, Tinsley; J. Stewart; cond.: Wilson; dir.:

Capobianco; des.: Lee/Varona3/10, 25m 4/15, 20, 30/72 Cost fan tutte Eng.3/12, 31 4/5, 19/72 Rigoletto3/18m, 26m 4/2, 8/72 Tosca3/ 19m, 22 4/1/72 Susannah3/19, 23 4/16/72 Summer and Smoke" Peil; Reardon, Titus; cond.: Rudel; dir.:

Corsaro; des.: Evans3/24, 28 4/lm, 12, 14/72 Giulio Cesare4/2m, 7, 27/72 The Turn of the Screw4/9, 11, 13, 22/72 Cavalleria rusticana & Pagliacci4/16m, 18, 28/72 The Makropoulos Affair4/21, 23m, 26/72 Manon4/22m, 23, 25, 29m/72 La Boheme

sop.: Anthony, Bayard, Brooks, Ciraulo, Clements, Craig, Cruz-Romo, Darling,Faull, Galvany, Meier, Neblett, Niska, Peil, Sauler, Schauler, Shade, Shuttleworth,Sills, Tinsley, Wells, Welting, Wise, Young; mezzos & contra.: Bible, Creed,Davidson, Evans, Gerber, Greenspon, Guilet, Hirschl, Kieffer, Killebrew, Lueders,Marsee; ten.: Carreras, Di Giuseppe, Fitch, Glaze, Grayson, Hall, Hirst, Jennings,Johnson, Lankston, Malamood, Molese, Montane, Novoa, Romaguera, Stamford,Stewart, Theyard; bar. & basses: Bittner, Chapman, Clatworthy, Cossa, Darren-kamp, Davis, Densen, Devlin, Fredricks, Gill, Hale, Jamerson, Ledbetter, Ludgin,Malas, Pierson, Quilico, Reardon, Schwartzman, Smith, Stilwell, Titus, Treigle,Yule.

New York Opera Theater & Workshop, Flushing YMHA12/19/71 1/9/72 Madama Butterfly 1/24/72 Bloomingdale House of Music, 1/29/72

Isidor Straus TheaterNew York State Opera Society, Inc., C. Yost, Dir.10/2/71 Norma at High School of Fashion Industries2/6/72 // Trovatore at Community CenterOpera Ensemble of New York, Miss C. Buehre, Dir., at N. Y. Libraries9/12/71 The Abduction from the Seraglio cone. pf.11/4/71 Opera Scenes by DonizettiSpring '72 Rita & // CampanelloOpera Festival Productions (formerly Ruffino Opera), C. Ruffino9/13, 20/71 Don Pasquale Provincetown Playhouse9/27/71 The Barber of Seville Provincetown Playhouse; 4/5, 12/72 Temple Theater10/13 11/3, 10/71 Cost fan tutte Temple Theater10/16/71 Carmen Kittay House 11/12/71 Cooper Union Forum11/13/71 // Trovatore Kittay House11/14/71 2/7, 13/72 Madama Butterfly Provincetown Playhouse 2/6/72 Temple

Theater11/17, 24/71 The Tales of Hoffmann Temple Theater11/29 12/6/71 Rigoletto Provincetown Playhouse 12/1, 8/71 Temple Theater

12/18/71 Kittay House12/13/71 1/17/72 La Boheme Provincetown Playhouse 12/19, 22, 29/71 Temple

Theater1/5/72 L'Amico Fritz Provincetown Playhouse 1/24, 31/72 Temple Theater1/16/72 Lucia di Lammermoor Temple Theater 1/22/72 P. S. 1802/21/72 Norma Provincetown Playhouse2/28/72 Excerpts

— 29 —

3/22, 29/ 72 Werther Temple Theater4/19, 25/72 Un Ballo in maschera Temple Theater5/10, 17/72 Fidelio Temple Theater5/24, 31/72 Macbeth Temple Theater6/21, 28/72 La Gioconda Temple TheaterOpera Workshop, Inc., Miss J. La Puma, Dir., Community Center10/17 12/22/71 LaBoheme10/24/71 3/1/72 Le Nozze di Figaro10/27 11/10/71 2/2/72 La Gioconda10/31 12/8/71 1/19 2/16/72 Un Ballo in maschera11/19/71 Carmen11/24/71 Faust12/1/71 Tosca12/16/71 1/26 2/23/72 Don Carlo12/19/71 Cavalleria rusticana & Pagliacci\l5l72Aida2/5 3/8/72 La Traviata2/9/72 RigolettoQueens Opera Assn., Inc., pfs. at Francis Lewis Auditorium, Flushing4/8/72 Madama Butterfly Mirasola4/22/72 Die Fledermaus Eng. (free student pf. 4/22m)5/27772 Rigoletto R. PaulSt. Peter's Church, 340 W. 20th St.11/25, 26, 27/71 Thomson's The Mother of Us AllSavoy Players, Fashion Institute Theater1/28, 29, 30/72 Princess IdaStaten Island Opera Co., T. LoMonaco, Art. Dir., S. I. Community College1/20/72 Cavalleria rusticana & PagliacciStuyvesant Community Opera, Stuyvesant Auditorium11/12, 19 12/10, 12/71 1/7/72 The Tales of HoffmannThe Systems Theater, Inc., at Whitney Museum of American Art9/9, 10, 11, 12, 16, 17, 18, 19/71 E. Roberts' The Hunting of the Snark prem.

12/5/71 at Trinity School Audit.Vienna Choir Boys, Philharmonic Hall and U.S. tour12/28, 29, 30/71 1/1, 2/72 Lortzing's Opernprobe spec, short vers.; dir.: U. TheimerVillage Light Opera Group, Ltd., R. F. Sabacek, Pres., at Fashion Institute

(see also Fall '71 Blltn.)4/21, 22, 23m, 23, 28, 29m, 29/72 German's Tom Jones (1st pf. since Am. prem.

1907) cond.: Noll; dir.: Koch; des.: Mikulewicz/Munday/SabelWagner Renaissance Opera Co. at Cathedral of St. John the Divine12/5/71 The Legend of the Holy Rood (Medieval Cornish miracle play)

NEW YORKEastman School of Music Opera Theatre, L. Treash, E. McArthur, Dirs.,

Rochester1/21, 22/72 A Midsummer Night's Dream2/25, 26/72 Argento's Christopher Sly4/28, 29/72 Falstaff Eng.Lyric Opera Co. of L.I., M. Signorelli, Exec. Dir., Bayport, pfs. at C.W. Post

College, Brookville, L.I.12/11/71 Carmen Rankin, La Bianca; Campora, Cossa; cond.: dell'Orefice; dir.:

Stivanello1/22/72 Madama Butterfly3/18/72 Tosca4/8/72 Cavalleria rusticana & PagliacciState Univ. of New York at Buffalo, Music Dept, Muriel Wolf, Dir., Buffalo12/17/71 L'Histoire du soldat Univ. Chamber Choir Concert2/19/72 The Rage Over The Lost Beethoven prem.; Creative & Pref. Arts CenterState Univ. of New York at Fredonia, Opera Theatre, R. Bunting, Dir.11/18-20/71 The Coronation of Poppea2/25, 26, 27 3/1, 2, 3/72 Susannah

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OHIOCleveland Institute of Music, Opera Theatre, A. Addison, Dir.11/17/71 Le Pauvre maieloi cond.: Sadin; dir.: Addison; Milhaud Festival ConcertCleveland Symphony Orchestra, Severance Hall, B. Barksdale, Mgr.3/72 Bluebeard's Castle cone, pf.; Troyanos; cond.: BoulezKent State Univ., Opera Workshop, D. Pegors & J. Stuart, Co-Dirs., Kent11/19, 20/71 Opera Scenes1/19, 20, 21, 22/72 The Pirates of Penzance3/9, 10, 11/72 Chanticleer & Les Mamelles de Tiresias5/18, 19, 20, 21/72 // Tabarro & Gianni SchicchiToledo Opera Ass'n, L. Freedman, Gen'l Dir., Toledo10/2, 3/71 Faust Fenn, DeCarlo; Duval, Justus, Ludgin; cond.: Woitach1/22/72 La Traviata Costa; Di Virgilio, Sordello; cond.: Coppola4/72 AidaUniversity of Cincinnati College-Conservatory (see also Fall '71 Blltn.)4/12, 15, 16/72 Cavalli's La Calisto Am. prem.; opening Patricia Corbett PavillionUniv. of Toledo, Opera Workshop, T. East, Dir., Toledo12/71 Amahl and the Night Visitors4172 Gallantry & // Tabarro

OKLAHOMAOklahoma City University Opera Theater, Inez Silbert, Dir.9/24, 25/71 Opera Scenes2/11, 12/72 Ariadne auf Naxos

PENNSYLVANIACurtis Institute of Music, Opera Dept., M. Rudolf, Mus. Dir., Philadelphia12/5, 6, 9/71 Handel's Rodelinda pfs. at Annenberg Audit., U. of Penna.; cond.:

Effron; dir.: YannopoulosPennsylvania Opera Co. (form. Suburban Opera Co.), J. Parkinson, Gen. Mgr.,

Chester3/4/72 La Traviata Bouleyn; Hindsley, Mazmanian; at Immaculata College Audit,

cond./dir.: Macatsoris; des.: Rubino4/15/7277ie Tales of Hoffmann Eng. w. dialogue; Davis, Magaziner, Rakusin; Hinds-

ley, Shapp; cond.: Macatsoria; dir.: M. Lewis; at PMC Colleges Audit.Philadelphia Musical Academy, J. Castaldo, Pres.11/71 Opera Scenes, at Walnut Street Theatre2/10/72 Opera Scenes, at "Plays and Players", st. dir.: CapobiancoPittsburgh Symphony, W. Steinberg, Mus. Dir., in Pittsburgh and NY's

Carnegie Hall1/7, 9, 19/72 Die Walkure Act I, cone, pf.; Home; Cochran, Berberian

RHODE ISLANDR.I. Civic Chorale and Orchestra, L. Pichierri, Mus. Dir., Providence11/6/71 Carmina burana & Poulenc's Gloria Altman; Meredith3/25/72 Aida Long, Alberts; Fernandi, Shinall

TENNESSEEMemphis Opera Theater, G. Osborne, Dir., Memphis State University10/71 Turandot Nilsson, Welting; Siess; 2 pfs.12/11/71 Don Giovanni Overton, Lansford, Savell; Diaz, Gramm; 12/15/71 stud,

cast2/26/72 La Sonnambula Robinson; Naldi, Carter; 2/29/72 stud, cast4/SI72 Samson et Dalila Dunn; Doussant; 4/12/72 stud, cast1971-72 school tour: The Barber of Seville, Little Red Riding Hood, The Em-

peror's New Clothes (co-sponsored by Tenn. Arts Commission)Tennessee Tech, Cumberland Repertory Opera Workshop, K. Breen, Dir.,

Cookeville12/71 Cosi fan tutte w. Cookeville Community Symphony

TEXASCorpus Christi Symphony, M. Peress, Mus. Dir.1/22/72 Beatrice and Benedict W. LewisDominican College, Music Dept., Opera Workshop, Houston4/21, 22, 28, 29/72 Crawford's The Pearl prem.; w. chamber orch.

32

San Antonio Grand Opera Festival, V. Alessandro, Mus. Dir.3/4/72 Rigoletto Robinson; Domingo, Quilico; dir.: Stivanello; des.: Wolf3/5/72 Carmen Cortez, Stokes; Tucker, Yarnell; dir.: Stivanello; des.: Wolf3/11/72 Boris Godunov Curry, Greenspon; Treigle, Berberian, Khanzadian; dir.:

Thompson; des.: Wolf; 3/13/72 in Austin3/12/72 La Fille du regiment Sills, Greenspon; Hirst, Gramm/Beattie; dir.: Thomp-

son; des.: Sormani; 2/19/72 in McAllen, 3/18/72 in ShreveportSouthern Methodist University Opera Theater, T. Hayward, Prod., Dallas1/27, 28/72 Trial by Jury & Rigoletto (Act IV) cond.: Crohn; dir.: Ayers4/19, 20, 21, 22/72 Susannah cond.: Crohn dir.: AyersTexas A & I University, Opera Workshop, R. C. Scott, Dir., Kingsville4/28, 29/72 The Good Soldier Schweik at Jones Audit.; first Tex. pf.University of Texas Opera Theatre, W. Ducloux, Dir., Austin (see also Fall

'71 Blltn.)11/18, 19, 20/71 Albert Herring cond.: Hale; dir./des.: Wakeling3/11, 14, 16, 18/72 La Boheme Eng. Martin; cond.: Ducloux; dir.: Wakeling; des.:

Rothgeb/BurtonVIRGINIA

Norfolk State College Opera Workshop, Gloria Amos, Dir., Norfolk5/5, 7/72 Tosca

WASHINGTONSeattle Symphony Orchestra, M. Katims, Mus. Dir., Seattle1/72 Janacek's The Diary of One Who Vanished cone, pf., Berendson-Bloch; Alex-

anderWestern Washington State College, Opera Workshop, M. Terey-Smith, Dir.,

Bellingham12/9/71 3/15/72 Opera Scenes w.p.4/18/72 Opera Scenes w.o.

WEST VIRGINIAWest Virginia Opera Theater, Inc., C. Schiff, Art. Dir., Charleston3/21, 24, 26 4/5, 8/72 La Boheme w.o. (3/6, 7, 8, 9, 10, 29, 30/72 w.p.)West Virginia Univ. Opera Theatre, J. Golz, Dir., Morgantown11/1,2/71 Scenes w.p.11/17, 18, 19, 20/71 The Rape of Lucretia w.o.4/19, 20, 21, 22/72 The Magic Flute Eng.; w.o.

WISCONSINFlorentine Opera Co., J. Anello, Mus. Dir., Milwaukee10/15, 17/71 Turandot Lippert; Montalvo, Molese; cond.: Scbermerhorn; dir.: Lucas11/18, 20/71 Cost fan tutle Craig, Kleinman, Wilcox; Glaze, Edwards, Beattie;

cond.: Anello3/16, mil Faust5/11, 13/72 La Boheme CostaWisconsin State Univ., Music & Drama Depts., R. Combs, Dir., Stevens Point12/8,9, 10, 11/71 Otello excerpts3/72 // Tabarro & Gianni Schicchi

CANADABrandon University, Opera Dept, L. Mayoh, Manitoba2/72 Opera Scenes; cond.: MacPhersonCanadian Broadcasting Co., Television Opera1/12/72 La Rondine Stratas, Shuttleworth; Vrenios, J. Walker, Opthof; cond.:

Priestman; dir.: Campbell; des.: Lawrence/Mess (90min.)1/26/72 Romeo et Juliette Lebrun, Lavigne; Duval, Letourneau, Laplante; dir.:

Gauvin (2 hrs.)2/72 The House of the Dead (NET prod.)2/16/72 The Secret of Suzanne dir.: Gauvin (1 hr.)Canadian Opera Company, H. Geiger-Torel, Dir., Toronto, Ont. (see also Fall

'71 Blltn.)1971-72 tour Orpheus in the Underworld Protero; Crofoot1971-72 tour to schools: Symonds' The Spirit of Fundy prem.; comm. by COCDalhousie University, Music Dept., Halifax, N.S.11/13, 14/71 The Beggar's Opera cond.: Halloway; dir.: Scott-Savage; des.: Cripton3/25, 26/72 The Magic Flute cond.: Mizerit; dir.: P. May

— 32 —

Hamilton Philharmonic Orchestra, B. Brott, Mus. Dir., Hamilton, Ont.11/27/71 Babar the ElephantMontreal Symphony Orchestra, P. Decker, Mus. Dir., Place des Arts2/72 Carmina burana ChristopherNew Brunswick Opera Co./Arts Council of St. John, N.B.11/29 12/1, 3, 4/71 The Tales of Hoffmann Oxner, Melangon, Foster; Gordon,

Reevell; cond.: Edwards; dir.: Garrod; des.: FryToronto Opera Society, G. Macina, Dir.12/8, 9, 10, 11/71 Rigoletto cond.: Ingwersen; dir./des.: Macina2/3, 4, 5/72 Opera Scenes3/15, 16, 17, 18/72 La BohemeUniversity of Calgary, Opera Workshop, Alberta3/10, 11, 12/72 The Tenor cond.: Cole; dir.: MurrellUniversity of Manitoba, Opera Workshop, Edmonton, Manitoba12/10, 12, 13/71 Dido and Aeneas cond.: Letkemann; dir.: R. IrwinUniversity of Toronto, Opera Dept., E. Barbini, Mus. Dir., G. Philip, Dir.,

E. Schabas, Chmn.12/2, 3, 4, 5/71 The Rake's Progress cond.: Craig; dir.: Philip; des.: Schlogl/Mess3/16, 17, 18, 19/72 The Marriage of Figaro Eng. Martin; cond.: Feldbrill; dir.:

Geiger-Torel12/15, 16/71 2/9, 10 4/12, 13/72 Opera ScenesWaterloo Lutheran University, Music Dept., Waterloo, Ont.12/71 Hansel and Gretel cond.: Kemp; dir.: Carrol Curry

NEW COS MEMBERS

Arioso Productions, Inc., Miss Nanette Clark, Pres., New York, N. Y.Berryman, Mrs. Marie, New York, New YorkBuketoff, Igor, New York, N. Y. (Mus. Dir., St. Paul Opera)Carthage College, R. D. Sjoerdsma, Chmn., Dept. of Music, Kenosha, Wis.Drummond, Andrew H., New York, New YorkEke, Verne M., Los Angeles, CaliforniaGadsden Cameo Opera, Mrs. W. A. Harris, Jr., Dir., Gadsden, Ala.Harrisburg Civic Opera, K. L. Landis, Dir., Camp Hill, Pa.Henderson, Mrs. Gail, Sarasota, FloridaHertzmann, Mrs. Evelyn, New York, New YorkHudson Valley Opera Theater, Mrs. J. W. Jessup, Exec. Dir., Hyde Park, N. Y.Khoury, Miss Adele, Los Angeles, CaliforniaLopez, Anthony M., New York, N. Y.Magnello, Miss Edda, Girard, Ohio

'National Research Center for the Arts, J. Farrell, Pres., New York, N. Y.Otten, Miss Judith J., New York, New YorkPurrington, Edward C , Santa Fe, New MexicoRam Island Arts Center, Mrs. Millicent S. Monks, Portland, Me.Shallway Foundation, J. B. Shallenberger, Pres., Connellsville, Pa.Stanford University Libraries, Stanford, CaliforniaStewart, Miss Una, Seattle, WashingtonTexas A & I University, R. C. Scott, Dir., Opera Workshop, Kingsville, Tex.Thornton, Miss Barbara, Amsterdam, HollandTruckenbrod, Phillip, Newark, New JerseyValentine, Miss Nancy D., Chicago, IllinoisWahrer, Nicholas, Dix Hills, New YorkYoung, Mrs. Eileen, Princeton, New Jersey

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CENTRAL OPERA SERVICE

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PUBLICATIONS, SURVEYS AND SPECIAL LISTINGSBulletin. Lists of: Opera Producing Companies in the U.S. and Canada. Annual Per-formances; Premieres in the U.S.; Available English Translations; Awards for Singers;Directories of American Contemporary Operas and Foreign Contemporary Operas.

MEETINGSCentral Opera Service National ConferenceCentral Opera Service Regional Conferences

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Bulletins, Publications, Conferences, Information and Full Research Service

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Please make checks payable to Central Opera Service Date 19