CENTRAL OPERA SERVICE BULLETINVOLUME 19, NUMBER 1

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

CENTRAL OPERA SERVICE COMMITTEE

FounderMRS. AUGUST BELMONT

Honorary National ChairmanROBERT L. B. TOBIN

National ChairmanEL1HU M. HYNDMAN

National Co-ChairmenMRS. NORRIS DARRELL GEORGE HOWERTON

Professional Committee

KURT HERBERT ADLER DAVID GOCKLEYSan Francisco Opera Houston Grand OperaPETER HERMAN ADLER BORIS GOLDOVSKYAmerican Opera Center Goldovsky Opera Theatre

VICTOR ALESSANDRO '^i ISan Antonio Symphony JMS^GROBERT G. ANDERSON J

S p r i n g O p e r a j San F r a n c i s c o

Tulsa Opera GLADYS MATHEWWILFRED C. BAIN Community OperaIndiana University RUSSELL D. PATTERSONGRANT BEGLARIAN Kansas City Lyric TheaterUniversity of So. California MRS. JOHN DEWITT PELTZMORITZ BOMHARD Metropolitan OperaKentucky Opera Association JAN POPPERSARAH CALDWELL University of California, L. A.Opera Company of Boston GLYNN ROSSTITO CAPOBIANCO S e a t t l e ° P e r a A 5 S o d a t i o n

San Diego Opera JULIUS RUDELROBERT J. COLLINGE St f fBaltimore Opera Company MaZtanSch 'oo l of MusicJOHN CROSBY MARK SCHUBARTSanta Fe Opera L i n c o | n C e m e r

WALTER DUCLOUX R O C E R L STEVENSUniversity of Texas J o h n F Kennedy CenterPETER PAUL FUCHS LEONARD TREASHLouisiana State University Eastman School of MusicROBERT GAY GIDEON WALDROPNorthwestern University The Juilliard Srhool

Editor, COS BulletinMARIA F. RICHAssistant EditorJEANNE KEMP

Next National Conference: Houston, October 12-14,1977

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CENTRAL OPERA SERVICE BULLETINVolume 19, Number 1 Fall, 1976

NEW OPERAS AND PREMIERESAMERICAN OPERASTwo one-act operas for the Bicentennial were premiered at Syracuse University onApril 23 under the title "Birthdays". Earl George, professor at Syracuse, is thecomposer of PURSUING HAPPINESS, playing on July 4, 1777, and ANOTHERFOURTH OF JULY set on that date in 1912.Written with an NEA Bicentennial grant, Alice Parker's FAMILY REUNION, achamber/folk opera, had its first hearing at Coe College, Cedar Rapids, Iowa,on April 10.The National Endowment for the Arts recently announced grants totalling$400,400 awarded to 138 composers and eleven librettists. Following is the listof 21 new operas commissioned under this program, with names of the recipientcomposers/librettists: Thomas Albert — one-act Lizzie; Roger Ames/VirginiaArtist — revolt on a slave ship in 1839 Amistad; Garland Anderson/J. L. Cooper— love and superstition in the Navajo tribe Bad-That-Woman; Henry & PatriciaBrant — Everybody, Inc.; Richard Cummings/ Henry Butler — to complete atwo-act opera The Picnic; Arnold Franchetti — after a story by Machiavelli TheDevil Takes A Wife; Jack Gottlieb — based on the Biblical book Song of Songs;Tom Johnson — one-act opera with piano The Doorbell; Caroline Lloyd — cham-ber opera after Lorca's Dona Rosita La Soltera; William Mayer — to completeA Death in the Family; Gian Carlo Menotti — various projects including opera;Ken Noda — based on the life of Andrew Jackson The Rivalry; Thomas Pasatieri/Frank Corsaro — one-act after O'Neill Before Breakfast; Burrill and AlbertaPhillips — two-act opera with chorus and chamber orchestra; Bruce Saylor —story after Hawthorne My Kinsman, Major Molineux; Alice Shields — storybased on American Indian witchcraft and mythology; Stanley Silverman/RichardForeman — story based on immigration to U.S. in early twentieth century; Wil-liam Russell Smith — three-act opera after Shakespeare King Lear; Lewis Spratlan— based on Calderon La Vida es Sueno; Conrad Susa — to complete Black River;Roy Travis — to complete The Black Bacchants.The previously announced LEGEND OF SLEEPY HOLLOW by Robert Haskins,based on the Irving story and composed under an NEA grant, was premiered at theSpringfield (Ohio) Civic Opera on October 30, 1976. The composer's first opera,Cassandra Southwick, set in 18th century America, was first performed by thesame company in 1964.James Savage's SANDERSON'S OTHER WORLD is a one-act opera, premieredon March 10 at the School of Fine Arts in Willoughby, Ohio. Repeat performancestook place in May at the same institution.SIMA by Leonard Lehrman is based on the novel Krasovitsky Couple. The firstperformance took place at Cornell University in Ithaca on October 22 and wasalso scheduled to be videotaped.Martin Kalmanoff announced the completion of his seventeenth opera. THEHARMFULNESS OF TOBACCO, with a libretto by Eric Bentley after a Chek-hov play, is a 30-minute mono-opera scored for one male singer.

Bicentennial Performances AbroadLondon's Contemporary Opera Company gave the first British performance ofArgento's POSTCARD FROM MOROCCO at King's College New Theatre onJuly 28. — Benjamin Britten's PAUL BUNYAN, based on the famous Americanfolk figure, was performed at the Aldeburgh Festival last summer and subse-quently brought by the English Music Theatre to London's Sadler's Wells Theatre

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in September. — Floyd's OF MICE AND MEN was part of the Holland Festival'scelebration of the American Bicentennial. The opera had its European premierein Augsburg in 1974. — The American Opera Workshop in Vienna gave the firstperformance of MUERTEDEMONZA on April 21. The American team ofStephen Hess (music) and James Fowler (libretto and design) created this "sur-real drama with music" based on the story of the Nun of Monza.

AMERICAN PREMIERESEINSTEIN ON THE BEACH (see Summer 76 Blltn.) by Philip Glass andRobert Wilson made its first American appearance at none other than the Metro-politan Opera House itself. Co-produced by the Byrd Hoffman Foundation, thefour-and-one-half hour music theatre piece was premiered without intermission onSunday evening, November 21, with a repeat performance the following Sunday.The Opera Company of Boston will offer the first staged production in the UnitedStates of Glinka's RUSSLAN AND LUDMILLA. The premiere is scheduled forMarch 19,1977.The American Opera Center of the Juilliard School announced the Americanpremiere of Chabrier's LE ROI MALGRE LUI for November 11. It was pre-sented in an English translation by Maurice Valency as The Reluctant King. Theconductor was the French composer Manuel Rosenthal (Poule noire).Nino Rota's II Cappello de paglia di Firenze, which enjoys great popularity in Italyand France, will be heard in the United States for the first time next Summer. TheSanta Fe Opera is beginning its season on July 6, 1977 with a new productionof the work, to be sung in English under the title THE ITALIAN STRAW HAT.— The title of Rota's latest opera is TORQUEMADA, not Torquenator, as pre-viously reported.The St. Luke's Chamber Ensemble has scheduled BREAKFAST AT SCHLAKEN-WALD CASTLE and EUROPEAN TOURISTS by Czech composer Josef Bergfor a premiere on November 25. Performances will take place at KaufmannAuditorium at the 92nd Street "Y" in New York. Both operas were first heard inthe composer's hometown, Brno, in the early '70's. — In May 1977, the samecompany will give the first performance of Haydn's La Vera costanza in a newedition by Michael Feldman and Joel Volk, based on the Paris autograph score.Robert Hess wrote the English translation.Another Bicentennial contribution was made by the Western Michigan UniversityOpera Workshop in Kalamazoo, when it performed Millocker's Bettelstudent ina new English translation by Holt as AN AMERICAN IN BOSTON in March.

EUROPEAN PREMIERESOn June 23, the Deutsche Oper Berlin presented the first performance of KINKA-KUJI or The Burning Temple. Sparked by a Japanese novel, the libretto waswritten by German writer and opera administrator Claus Henneberg, the music byJapanese Toshiro Mayuzumi. The premiere was directed by Gustav Sellner, con-ducted by Caspar Richter, and the cast included Americans William Dooley, BarryMcDaniel, and Donald Grobe. — Munich's Experimentierbiihne offered the firsthearing of Walter Haupt's one-act opera MOIRA on March 24, 1976. The re-mainder of the program consisted of symphonic music. — The same city's Theateram Gartnerplatzhas scheduled DIE TRAUUNG by Kirchner for March 31, 1977.— June 5, 1977 is the premiere date for Rudolf Kelterborn's EIN ENGELKOMMT NACH BABYLON. It will be heard during the Zurich Festwochen; thestage director will be Gotz Friedrich. — The previously announced KABALEUND LIEBE by von Einem (see Summer '75 Blltn.) will be produced by theVienna Staatsoper for the first time on December 17. 1976, with repeat perform-ances on the 21st and 27th and on January 2, 5, and 10, 1977.The Austrian city of Linz has also announced a world premiere for the currentseason. It is Helmut Eder's DER AUFSTAND. — The Darmstadt Opera is pre-paring the first West German production of Udo Zimmermann's SCHUHU UNDDIE FLIEGENDE PRINZESSIN for performances at the 1977 SchwetzingenFestival of Contemporary Music. The opera was first heard in Dresden in 1975-76.— Hans Jiirgen von Bose, who won first prize at the Hitzacker Musiktage, willenjoy premieres of two of his one-act operas this season. DAS DIPLOM will be

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performed in Ulm on November 18 under conductor Hubert Dapp and stagedirector Peter Pachl, and DER BLUTBUND on January 21 in Hamburg.Opening night of Michael Tippett's new opera THE ICE BREAK has now beenset for July 7, 1977, at the Royal Opera Covent Garden. The company's musicdirector, Colin Davis, will conduct and American theatrical producer HaroldPrince will stage his first opera in London. Timothy O'Brien and Tazeena Firthwill be responsible for the design. The cast will feature American soprano BeverlyVaughan and Britain's Heather Harper. — British composer Thea Musgrave isworking on MARY, QUEEN OF SCOTS under a commission by the ScottishOpera Company which will premiere the work in Fall '77. The American premierehas already been announced by the Virginia Opera Association, whose director,Peter Mark, is Ms. Musgrave's husband.Stockholm's Royal Opera has postponed the premiere date of Gyorgy Ligeti's LEGRAND MACABRE to April 23, 1977. The work, published by Schott undSohne, will be conducted by Elgar Howarth, directed by Michael Meschke, anddesigned by Aliute Meczies. — Summer '76 gave Goteborg opera goers a chanceto hear the first performance of Gbsta Nystrom's HERR ARNE PENNINGAR.The libretto, by Bertil Malmberg and Lars Runsten, is based on a book by SelmaLagerlof.

The new International Opera Festival and Workshop at Montepulciano (see NewsFrom Opera Companies) performed the world premiere of Thomas Jahn's PA-LAZZO ZOOLOGICO (Der Zoopalast). — Last summer's Spoleto Festival in-cluded a first performance of a one-act opera by Alberto Bruno Tedeschi (musicand libretto), PAOLINO, LA GIUSTA CAUSA E UNA BUONA RAGIONE,featuring a combination of symphonic and jazz orchestras. Ullman's Kaiser vonAtlantis was the second work on the double-bill. — Another premiere took placeduring Florence's Maggio Musicale. LA PARTENZA DELL' ARGONAUT A byMarcello Panni is based on writings by Alberto Savinio (brother of Giorgio diChirico). Called a surreal opera, it was performed on June 25 by the CompagniaLa Maschera, with Meme Perlini responsible for the "idea and staging", and Anto-nello Aglioti for the designs.East Berlin's Staatsoper gave the first performance of MEISTER ROECKLE onOctober 1, 1976. — Romania's Mansi Barberis had his third opera premiered onMay 9, 1976, by the Opera Company of Iassy. The three-act DOMNITA DINDEPARTARI (The Distant Princess) is based on a book by Rostand with a librettoby the composer.

COPYRIGHT LAW REVISEDThe long-awaited revisions of the 1909 American Copyright Bill have finally beenformulated and approved by the Senate. They will bring the United States intogreater conformity with the internationally accepted regulations. As is the case inthe 65 countries which form the Bern (Switzerland) Union for InternationalCopyright, the new bill protects copyrighted material for 50 years after the com-poser's/author's death. The 1909 bill covered material for 56 years after it hadbeen copyrighted — not relating it to the life of the creator — with a provisionalextension for all protected material voted in 1962. The U.S. is a member of thesmaller and more recently formed organization, the Universal Copyright Conven-tion, administered by UNESCO. The USSR was admitted to this group a shorttime ago and is not a member of the Bern Union, which was founded in 1886.

The revisions also provide guidelines to the limitation of copying original materialwhich is permitted only by libraries and schools and then only in limited copiesunder certain conditions. Non-profit performing organizations must, henceforth,pay royalties; educational and religious institutions are exempted in specific cases.The Public Broadcasting Corporation will have performance rights, with royaltiesto be determined by special tribunal. — One of the controversial suggestions, thatroyalties be paid to performers for use of their recordings by broadcasters, jukeboxowners, etc., was rejected.

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NEWS FROM OPERA COMPANIESExpansion of CompaniesFollowing the trend started ten years ago and greatly accelerated during the pasttwo years, we find again new programs by major American opera companiesdesigned to assist the training and furthering of the careers of young Americanoperatic artists. The recent Opera Survey article, "More of Everything", publishedin the November Opera News, details some of the progress of junior subsidiarycompanies, apprentice and internship programs, and concludes, "We may beapproaching the day when careers in opera can be built on experience in the U.S.alone".Sarah Caldwell may have taken her cue from the last COS Conference in Bostonwhere the question arose that, while the recent programs benefit young singers,little of comparable value is available for conductors, stage directors, designers,or technicians. She is now coming to the aid of these artists with an originalscheme. As trainees, they will have the opportunity to conduct/stage/design aproduction by OPERA NEW ENGLAND, the Opera Company of Boston's touringarm. The first project will be Copland's The Second Hurricane, which will beproduced anew at each community where it is to be performed. Since the operarequires audience participation (both children and adults), it can use a differentapproach with each audience. Depending on the enrollment in the training pro-gram, and the caliber of applicants, some may also get the opportunity to workon productions of the mother company. For further information write to OperaNew England, c/o Opera Company of Boston, 172 Newbury Street, Boston, Mass.02116. •— Opera New England's schedule for this season includes two-week resi-dency programs in eight communities. The company brings singers, orchestramusicians, technical crew and administrative staff to present 1) in-school pro-grams, 2) appearances by Affiliate Artists, 3) production of children's operas, and4) production of an adult opera preceded by a preview. The cities hosting thesemultiple programs will be: Portland, Maine; Manchester, N.H.; Burlington, Vt.;Worcester, Brockton and Lowell, Mass.; and Woodstock and Darien, Conn.The latest venture of the Houston Grand Opera and its director, David Gockley,is the creation of the HOUSTON OPERA STUDIO, a joint undertaking of theopera company and the University of Houston. In addition to Mr. Gockley, thenew project will be administered by Milton Katims, artistic director of the Uni-versity's School of Music (see Appointments), M. D. Anderson, Professor ofMusic at the University, and Carlisle Floyd, composer, who recently joined theUniversity's faculty. The Studio expects to enroll between eight and twelve youngAmerican artists chosen through auditions in eight metropolitan centers, withspecial consideration given to qualified local aspirants. Each participating artistwill receive a full scholarship and living expense stipend of $7,500. The extensivetraining, geared to the advanced young musician on his or her way to full pro-fessionalism, will stretch over a forty-week period. Eventually, the Studio mayinclude independent productions, but at this time performance opportunities willbe available with the Houston Grand Opera and its touring subsidiary, the TexasOpera Theatre. The final selection of students will be completed by May 15, 1977,and the Studio will open September 1. For further information on requirementsand auditions contact The Houston Grand Opera, 615 Louisiana Street, Houston,Texas 77002.

The TEXAS OPERA THEATRE, as well as the Houston Grand Opera in itsEnglish Series, have used apprentices in staging, designing and technical fields (ashas the Santa Fe Apprentice Program). TOT is now also booking half-to-full-weekresidencies on its touring circuit with teaching seminars and workshops in variousfields of opera production offered in addition to its performances of children'soperas and full opera productions. Planning now for February-April 1978, itsfifth season, the company will, for the first time, also tour the western part of itsstate. New productions are planned for Don Pasquale, and The Chocolate Soldier,and revivals of The Marriage of Figaro, The Medium, and Chanticleer. As aChristmas offering in December, the company will again perform the medievalmusic drama The Play of Herod in churches around the city.

The METROPOLITAN OPERA has initiated a program of free lunchtime con-certs throughout the city. Intended to "introduce opera to new audiences andserve the community beyond the facility of its 4,000 seat opera house", the 45-minute concerts will feature four young singers from the Met's roster, with pianoaccompaniment. Other parts of the company's community services are the freepark concerts in the summer and the distribution of about 1,000 free passes tocity school children for selected dress rehearsals. The first lunchtime concerts inthe city's rive boroughs will take place at churches, a shopping center mall, anda museum. — Another auxiliary service, the annual Preview Lecture Series devotedto the company's new productions, is back this season although in a changedlocale. It is offered in cooperation with an educational institute and the sessionstake place at Fordham University's Pope Auditorium at Lincoln Center. RobertSherman is the host for the entire series, with participating guests chosen fromthe respective production team and/or cast. Tickets are $2 and may be orderedfrom the Met Guild (1865 Broadway) or obtained from the Met box office or atFordham University.As we go to press, the Metropolitan Opera announced its first live telecast, to bebroadcast over PBS. On March 15, the new production of La Boheme, designedby Pizzi and featuring Scotto and Pavarotti, will be seen nationwide sponsoredby Texaco.The Met also announced its partnership with the American Ballet Theatre, andthe companies will jointly present the ABT's eight-week Spring season at theMetropolitan Opera House, beginning April 18, 1977. The Ballet will continue totour independently of the Met, but when in New York the house at Lincoln Centerwill be its home.The TUCSON OPERA COMPANY and the Phoenix Friends of the Tucson Operaare bringing opera to Phoenix. Thanks to the progress made by the Tucson Opera,the city which had booked first the Seattle Opera and later the San Diego Operais now able to support a company in its own state. Two of the organization's threeannual productions will be heard in Phoenix. Barbara Levy, the group's first full-time Director of Development, is also the coordinator for the Phoenix perform-ances and supervisor of the educational programs, consisting of student matineesand teachers' workshops. With the aid of a Martha Baird Rockefeller Fund forMusic grant, Tucson Opera was able to engage Richard Morgan as the full-timetechnical director. In anticipation of developing an apprentice training program,the company signed two stage directors, Richard Pearlman and Paul Sills, to holda one-week workshop for their respective productions prior to the scheduledrehearsals.The CINCINNATI OPERA'S Young American Artists Program offered its ownproduction of Postcard from Morocco last August in two performances.The WHITEWATER OPERA COMPANY in Richmond, Indiana, will expand its1976-77 season to include three productions performed in its home city as well asin surrounding towns. This represents a major step forward for this regional com-pany which was founded in 1972 by Charles Combopiano and until now has offereda single opera in several performances annually. The additional productions weremade possible by a challenge grant from the Lilly Foundation and the IndianaArts Commission, matched by private, corporate and foundation awards. Theregional character of the group is retained by hiring amateur and semi-professionalsingers and instrumentalists from the area and by touring to neighboring com-munities such as Madison and Connersville, Indiana. (For schedule see last Blltn.)

Michael Feldman's ST. LUKE'S CHAMBER ENSEMBLE is expanding its fieldof activity in New York. This season it will give three different series of perform-ances at St. Luke's Church, at Kaufmann Auditorium at the 92nd St. "Y", and atTown Hall. In addition, the group has initiated the "Children's Free Opera ofNew York" offering Haydn's marionette opera Philemon and Baucis with theNicolo Marionettes, professional singers, and the All City High School Chorus.These performances will take place in all boroughs, at Town Hall, the HarlemSchool of the Arts, Brooklyn Academy, and Queens Colden Center. Assisted bya grant from Con Edison, Children's Free Opera hopes to reach 60-70,000youngsters.

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THE NEW YORK LYRIC OPERA COMPANY, which performed at the Uni-versalist Church auditorium, has announced its recently concluded affiliation withNew York University. It will henceforth perform at the University Theatre onWest Fourth Street.The CENTRAL CITY OPERA HOUSE ASSOCIATIONS reorganization was,regrettably, incorrectly reported in the last COS Bulletin. The four divisionsmaking up the Central City Association have the following programs: 1) FestivalDivision — to determine and direct the annual Central City Summer Festival;2) Opera/Theatre Division — to supervise the production of all opera in the As-sociation's name, including opera performances in Central City and in Denver;3) Historic Properties Division — restoration and management of all historicproperties owned or held in trust by the Association; 4) Guild Division — asupport organization for the three operating divisions. — The Tabor Opera Houseis in Leadville, Colo.NEW COMPANIESThomas Scherman has regrouped his forces following the demise of the LittleOrchestra Society and has formed the NEW LITTLE ORCHESTRA SOCIETY.Its first venture is a national tour of Naughty Marietta this Fall with Mo. Schermanconducting the concert version of the operetta and Cyril Ritchard appearing as theLt. Governor and narrator.A new company, THE AMERICAN OPERA REPERTORY COMPANY, has joinedother groups offering opera in concert form. The organization is headed by GraceHunt, President, and its conductor is Glen Clugston; soloists are members of RhodeIsland's Black Island Music Society (see Performance Listing). The first per-formance was La Juive on November 7 at New York's Town Hall, the first of theopera-in-concert groups to return to the auditorium once so popular for concerts.— The unusual Smetana and Puccini schedule of the OPERA ORCHESTRA OFNEW YORK was published in the previous Bulletin; performances continue atCarnegie Hall. — THE SACRED MUSIC SOCIETY OF NEW YORK, whichgave its first opera-in-concert last year at Avery Fisher Hall, will be back thisseason with Refice's Cecilia (see Performance Listing).FORECASTThe Seattle Opera announced the continuation of its PACIFIC NORTHWESTFESTIVAL in 1977. Following the success of the two previous summers, thecompany will again perform two complete cycles of Der Ring des Nibelungen,one in the original and the other in the Porter translation. The former is scheduledfor July 18, 19, 21, 23 and the latter for July 25, 26, 28 and 30.Renata Scotto, singing her first Norma, will open the CINCINNATI FESTIVALon June 22. Other operas on the program for next summer are The Barber ofSeville, Madama Butterfly, Don Giovanni, and Traviata, and for lighter fare, TheMost Happy Fella.James Levine at his CINCINNATI MAY FESTIVAL will feature a concert per-formance of Berlioz' Trojans at Carthage, the second part of Les Troyens. OedipusRex is also on the one-week program.As mentioned under American Premieres, THE SANTA FE OPERA will openits season with The Italian Straw Hat on July 6. The season will run throughAugust 27 and will include Cost fan tutte, Pelleas et Melisande, Falstaff, and anew production of Fedora.HARFORD OPERA THEATRE will again offer two series of all its productions,one at its theatre in Bel Air, another at Goucher College in Baltimore. The fiveproductions planned for Summer '77 are Carmen, Coronation of Poppea, Trova-tore, Cost fan tutte and, in celebration of Thomson's eightieth birthday, FourSaints in Three Acts.Combining the standard with the unusual repertory, the OPERA THEATRE OFST. LOUIS has announced its Spring '77 season. It too will perform Cost fantutte, also Comte Ory, and what seems to be the first professional American stageperformance of Rameau's Pygmalion on a double bill with Gianni Schicchi.The first announcement for the 1977-78 season comes from SAN FRANCISCO,where Renata Scotto will sing Adriana Lecouvreur. This opera, as well as Aida,will be conducted by Gianandrea Gavazzeni.

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Curtailed SeasonsFour weeks into its Fall season, the NEW YORK CITY OPERA was struck by themusician's union as a result of stalemated contract negotiations. It took three weeksof intensive talk and good will on the part of all groups involved to arrive at asettlement and reopen the house. Meanwhile, the threat of the cancellation of boththe remaining Fall and next Spring season came close to becoming a reality. Themusicians contract had covered two-week rehearsal and 24-week performance andtour periods, and the major dispute centered around an additional 11 weeks ofemployment for ballet, which had been guaranteed to orchestra members as partof their services in their previous contract, but which could no longer be continued.While AGMA members voted not to join in the strike, they decided to honor thepicket lines and all rehearsals were suspended. In addition to the dispute over thelength of the contract, there was also the question of a salary increase. The finalsettlement assured a minimum weekly wage of $415 in the third year of theagreement (a $70 raise over three years) and both rehearsal time and fees wereincreased to four weeks and $12 per hour for the final year of the contract.Furthermore, an additional sum was set aside to be distributed among those mu-sicians who would have been eligible for the contract's ballet extension.A number of symphony orchestras renegotiated their contracts, among them theNEW YORK PHILHARMONIC, where a strike was averted at the last minute.The three-year contract will bring the minimum salary to $480 in the last year andalso assure improvements in working conditions on tour and compensation forradio and TV performances. Last season, the minimum salary amounted to $380.— It was the CHICAGO SYMPHONY which walked away with the greatestincrease, setting a previously unheard of $500 minimum salary for the last yearof its agreement (1978-79). However, most other orchestras, realizing the pre-carious financial situation afflicting the arts and in the desire to avert cripplingstrikes, did not press for matching wages.The DALLAS SYMPHONY ASSOCIATION and DALLAS CIVIC OPERA haveconcluded a joint three-year agreement with their orchestra which, in its lastseason, guarantees its members 52 weekly payments at a $361 minimum. Duringthe past season, 47 weeks were paid at a minimum of $300. The new contract alsospecifies numerous benefits such as radio. TV and recording fees, health and lifeinsurance, regulated auditions procedures, and special agreements for effectiveutilization of orchestra musicians during free or vacation periods. A mandatoryretirement age was also agreed upon.The BUFFALO PHILHARMONIC'S recently concluded agreement sets the min-imum wage at $305 in three years with a 46-week guarantee of employment.

FOREIGN COMPANIESWhereas opera in America usually followed European examples, it seems that wewitness the first reversal in Hamburg where the HAMBURGISCHE STAATS-OPER has established an Opera Mobile and Opera Stabile. The former offersopera concerts and chamber opera in hospitals, community centers, schools andprisons; the latter performs modern and experimental works as well as somebaroque operas in a 150-seat room in the opera house. The ensembles of bothgroups are made up of junior members of the company.In order to retain its large federal subsidy, the PARIS OPERA has been requestedby the state to add performances in other cities and make its home performancesavailable to larger audiences through radio and videotaped broadcasts.In September, the new ENGLISH MUSIC THEATRE COMPANY offered a one-month season of mostly contemporary opera at London's Sadler's Wells Theatre.Under the guidance of music director Steuart Bedford and producer/directorColin Graham, the company's repertoire includes Britten's Paul Bunyan and TheTurn of the Screw, Steven Oliver's Tom Jones, The Threepenny Opera, and LaFinta giardinera in English as Sandrina's Secret.

The ROYAL OPERA. LONDON, announced a 15 percent increase in ticket priceswith the best seats selling at £8.80 instead of the former £7.50. Special perform-ances such as the Ring command up to £15.

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Italy has a new summer festival and workshop at Montepulciano, near Siena. Ger-man composer Hans Werner Henze is one of its directors, and among its instruc-tors is British composer Peter Maxwell Davies. The INTERNATIONAL OPERAFESTIVAL AND WORKSHOP'S first summer season included Paisiello's rarelyperformed Don Quixote and a world premiere (see New Operas).Reflecting its recent expansion through touring, the former New Opera SouthAustralia has been renamed STATE OPERA OF SOUTH AUSTRALIA. RussellMitchell is Planning Manager of the company.It is with regret that we learned that the Stratford Festival has discontinued itsopera productions. Established in 1964, the company offered as many as 45 operaperformances during summers and featured some operatic world premieres.Easter in Salzburg will again mean Karajan, this time conducting Trovatore withPrice, Cossotto, Aragall, and van Dam. The dates are April 6 and 10, the orchestrathe Berlin Philharmonic, the chorus from the Vienna Staatsoper.May 30 to August 7 are the 1977 opening and closing dates for Glyndebourne. DonGiovanni, Schweigsame Frau, and Ritorno d'Ulisse together with Voi.x humainewill be shown in new productions; revivals will include Falstaff, Rake's Progress,and Cunning Little Vixen.

MORE IDEAS FOR FUND RAISINGCorporate support of arts organizations can take numerous forms, and a variety —money and services — have been reported here over the years. We gratefullyacknowledge inspiration for some of them from newsletters of the Business Com-mittee for the Arts, the American Symphony Orchestra League, and Arts Man-agement. — One idea to stimulate wider support, is the offer by banks or businessorganizations to match contributions or membership fees paid by its employeesto local cultural institutions. Some offer dollar-for-dollar donations, others arewilling to spend two-for-one. Some of these companies help to increase funds byestabishing a program of voluntary payroll deductions. — The Pioneer ElectronicsCorporation matches donations made by its dealers. A pilot program with NewJersey dealers benefits the local New Jersey Symphony and, if successful, this pro-gram will go nation-wide, supporting a major national arts organization — theMetropolitan Opera. To increase funds further, the dealers will also collect moneyfrom retail customers and this cash will also be matched by Pioneer.A performing company, owning its own house or auditorium, can, of course,derive revenues from various rental arrangements. One of special interest receivednational publicity in the recent Carol Burnett/ Beverly Sills television show, whichwas taped at the Met on two successive mornings before a contributing audience.Publicity in a national magazine is extremely costly — but not if one is luckyenough to find unsubscribed space in a regional edition. A non-profit organizationwithin that region may request such space as is not contracted for by paid adver-tisement and need only supply the art work for the ad.A recently received fund raising brochure addressed to subscribers of the operacompany indicates next to each ticket price category the actual cost per seat —or how much each ticket would have to cost in order to cover expenses. Thisseems a very effective way of familiarizing the opera patron that even a $25 ticketcovers only half or less of its share of the cost of each performance. In fact, asdiscussed in detail in the COS Opera Survey (November Opera News), if boxoffice receipts cover 50 percent of the costs, it shows an economically well-runcompany.

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FEDERAL SUPPORT, SOME TAX INFORMATIONAttesting to government officials' better understanding of the indispensable rolethe arts have assumed in the American lifestyle and, in turn, of the indispensablerole the National Endowment for the Arts and the Humanities has assumed inpreserving and perpetuating American culture, a four-year extension of the NEAHto October 1980 was passed without dissention. The amount to be appropriatedfor these two agencies was another matter. Authorized figures, or spending ceilings,were established at $119.5 million for the Arts and $115.5 million for theHumanities for Fiscal '77 and at $137.5 million and $135.5 million, respectively,for Fiscal '78. The following two years of the program were left open-ended toset limits at a later date "as it may be found necessary". However, we find thatactual arts appropriations for Fiscal '77 came in at only $84.5 million, or $25million below the authorized amount. Considering that President Ford suggestedthe new program of Challenge Grants after appropriations were considered, it isvery much hoped that the amount of $50 million over three years to be used forthis program (discussed below) will be appropriated by Congress in addition tothe $84.5 million. $12 million would be added to the '77 appropriation, $18 millionreserved for '78, and $20 million for Fiscal '79.

Specific instructions earmark some of the NEA money, such as four percent in'77 and two percent in '78 for the Film Institute, $10 million in '77 and $12million the following year for the matching Treasury Funding, and of the re-maining program money a minimum of 20 percent to state arts agencies leaving,at best, $56.6 million for program grants. With the new Institute of MuseumsServices having been created under HEW and not under NEA, Congress authorized$15 million for '77 and $25 million for '78 for HEW's use towards this program.The administration of the two Endowment agencies is to be covered by a $10.9million appropriation.

The new Challenge Grant program was conceived to assist companies withnational or regional impact — only such groups are eligible — and to stimulatenew sources of support since Challenge Grants must be matched three-to-one bynon-federal funds. Before actually receiving this money the company mustprove that these privately raised funds were 1) received in response to the newChallenge Grants and 2) that they represent new donations and/or new sources.If the overall donations exceed those of the previous year by the required amount(three times the size of the Challenge Grant), this is acceptable too; however, onemust keep in mind that the funds must have been raised on the strength of theChallenge Grant. Applications must state the purpose for which the money is to beused, which may be towards operating expenses, special projects, improvement offacilities, cash reserve or endowment funds. (Long term use of the money has onedisadvantage, namely that federal grants may not generate dividends. This, inci-dentally, is also true of money matched by Treasury Funding.) Applicants mustshow long range plans, indicating the stability of the company at the terminationof the three-year grant. Companies presently receiving program money are the mostlikely candidates for Challenge Grants. Public agencies supporting the arts are alsoeligible.With President-elect Carter sympathetic towards the arts, as stated by him: "I amvividly aware of the importance of the arts to our communities . . . There is analmost unanimous perception among American people that the arts are not aluxury, but a vital part of American life . . . The National Endowment for theArts and the State Arts Agencies have made an excellent beginning, but muchmore needs to be done . . . I am committed to strengthen their support so thatwe can realize the goals I have outlined above . . .", we hope that the new appro-priations for the current season, Fiscal '77, will total $96.5 million while the '78figure could amount to over $150 million, considering the authorized $137.5million plus the $1 8 million of the Challenge Grant.

Still, the above figures are wishful thinking and, as always, the voice of the peoplewill be a determining factor in the final amount available for our arts organizationsand our creative and performing artists. The continuing contact with your Con-gressman, thanking him for his support, reminding him of the continuing and

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future needs as well as the accomplishments of the arts in his state and district,is essential. It is the action of the individual which has, in the past, stirred Wash-ington's consciousness to the importance and the impact of the arts on Americanlife and on all citizens. We must always be aware of the urgency of continuing thisstream of information. Write, phone, visit — keep your Hue of communicationopen.In this context it is good to report that the recent TAX REVISION ACT estab-lished, for the first time, definite guidelines regarding the lobbying of non-profitstatus organizations. It states that groups supported by tax-deductible donationsmay spend up to 20 percent of their budget on lobbying — up to a maximum of$ 1 million annually — while the propagandizing among ones own members is notconsidered "lobbying" at all! This term applies solely to efforts to directly influencelegislators. Thus, arts organizations are no longer at the mercy of interpreting anambiguously worded rule.However, due to restrictions incorporated into that Act, creative as well as per-forming artists using their homes as a place of work will find themselves at a greatdisadvantage. Expenses for legitimate use of the home as a studio — for prac-ticing or creating — will be more closely scrutinized by the IRS, particularly withartists who draw full or part-time salaries. Another defeat for the creative artistwas the ruling that, in donating his work, he may deduct from his income onlythe actual cost of materials used, not the resale value of his gift, e.g. cost of paperand ink versus the value of a handwritten manuscript of an original score.

NEA grants for 1976-77 have been announced. Forty opera companies and theNational Opera Institute received a total of $2,996,000. 103 symphony orchestrasshared $5,892,950 with another four percent still to be distributed, and 138 com-posers and 11 librettists were awarded over $400,000. (For a list of operas thuscommissioned and names of composers and librettists see "New Operas andPremieres").

The NEA Work-Experience Internship Program is planning its tenth session forSummer '77. To date, 70 interns have gone through the three-month training pro-gram, working in the Endowment's Washington offices in various departmentsand in a variety of positions chosen for maximum exposure and training towardsa career in arts administration. In addition to the work assigned to them, theyparticipate in seminars, meetings and field trips to get a working knowledge ofarts activities throughout the country. For this period they receive a stipend of$1,950 and travel money, and at the end of their training are assisted in findinga position with one of the arts organizations in their special field. Applicationsmust be submitted by an organization on behalf of the aspiring administrator.

MUSIC IN SCHOOLS

It is most encouraging to find more and more programs geared to ensuring thecontinuation of music in our educational system, and one may hope never to facea time again where it is possible that music is voted out of the curriculum, as itwas a few years ago in the Chicago school system.

A number of opera companies bring opera to schools, in workshops, educationalsessions and in actual performances. The Affiliate Artist program sends individualartists into the classrooms to perform AND communicate with the children. YoungAudiences has been doing this for more than fifteen years with instrumentalistsand small ensembles. All the above programs are contracted and paid for by thelocal school or board of education. The National Endowment spent $3.7 millionin payment to 2,000 artists, in both the creative and the performing fields, to visit7,500 schools as part of its Artists-in-School program.

Now the Federal Office of Education announced the first Congressionally supportedarts education program planned as an integral part of the daily school curriculum,in contrast to the elective or extra-curricular standing the arts held in the Americanschool system. Under the guidance of Dr. Harold Arberg, Director of the Officeof Education Arts and Humanities Department, a total of $750,000 is being madeavailable to 89 initial participants. These departments of education in 41 states

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will receive grants varying from $2,000 to a maximum of $10,000 for pilot pro-jects, some going into new school arts programs, others towards the special trainingof teachers presently employed by the local school system.Of great significance to performing ensembles must be the fact that non-profit artsorganizations are, at times, eligible for aid by grants from state humanities coun-cils, while art groups affiliated with educational institutions, colleges or universities,have been assisted by grants from state arts councils if their activities were "forthe benefit of the community", such as performances in community centers, tours,etc.

APPOINTMENTS

Government Agencies and Arts Service OrganizationsEight new members have been appointed to the National Council of the Arts by PresidentFord. They are replacing those whose term has expired, among them Beverly Sills andMaurice Abravanel. The new advisors to NEA include MARTINA ARROYO, HAL C.DAVIS, president of the American Federation of Musicians and the first union repre-sentative on the august body, WILLARD C. BOYD, president of the University of Iowa,WILLIAM H. EELLS, chairman of the board of governors of Blossom Music Festivaland long-standing member of the Metropolitan Opera National Council, and HALPRINCE, New York theatrical producer who has also staged opera at the New YorkCity Opera. — According to a recent ruling, new members of the National Council onthe Arts — NEA's advisory body — who are always appointed by the President, musthenceforth also be confirmed by both Houses of Congress. Each member is appointedto a three-year term and, since starting years vary, each year finds some new appointees.The aim to have a wider diversification among its members has been heeded, as witnessthis year's list of names.

P. DAVID SEARLES, former deputy director of the Peace Corps, has been namedAssistant Chairman of the National Endowment for the Arts; HENRY PUTSCH is thenew Director of the NEA Federal and State Partnership Program, succeeding ClarkeMitze, who became Executive Director of the California Arts Council.

ADRIAN GNAM from Cincinnati has joined the Endowment's staff as Assistant Directorof Music, a position vacated when Ralph Rizzolo moved to Phoenix (see OrchestralAppointments). — The new Challenge Grant Program — discussed elsewhere in thisissue — is administered by JAMES THOMAS and LAWRENCE REGER; IRA LICHTis the Program Director for NEA's Visual Arts Program.

The New York State Council on the Arts has a new Chairman (as she prefers to beknown) in the person of KITTY CARLISLE HART, succeeding Joan K. Davidson, whoresigned. Mrs. Hart's appointment to this unsalaried position was announced by Gov-ernor Carey. She, in turn, chose the Executive Director for the state agency, ROBERTA. MAYER, former assistant director of the New York Community Trust. He had alsoserved on Mayor Beame's Committee on Cultural Policy and was for eleven years withthe Ford Foundation.H. CLAUDE SHOSTAL was named New York City Commissioner of Cultural Affairs,heading the newly independent agency which previously had been part of the city's Parksand Recreation Department. The agency pays mostly for maintenance of facilities whilethe New York State Council on the Arts makes its grants mainly in program areas.CHERYL ILENE McCLENNEY was named Assistant Commissioner.

The Illinois Arts Council's new Executive Director is WILLIAM DENTON, formermanaging director of the National Symphony Orchestra in Washington, D.C. — RICKGEORGE rejoined the South Carolina Arts Commission as its Director.

Mrs. GERTRUDE LAING, of Calgary, was named Chairman of the Canada Council,succeeding John Prentice, and CHARLES LUSSIER is the new Director succeedingAndre Fortier, who was appointed Under Secretary of State.

NARAYANA MENON was named President of the International Music Council for1976-77, succeeding Yehudi Menuhin. — The International Society of Performing ArtsAdministrators named manager Clinton Norton of Akron, Ohio, President; he succeedsWalter Pierce of Boston.

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HORACE H. IRVINE has been elected President of the National Opera Institute. Heis also on the board of directors of opera companies in Boston and Minneapolis. Hewill be the organization's second president, succeeding its founder Roger L. Stevens.Julius Rudel was re-elected Chairman of the Board, and George London continues asExecutive Director.American Composer LEO KRAFT was elected President of the American Music Centerand took over from Ezra Laderman when his term expired. — Opportunity Resourcesfor the Arts named FREDA MINLIN Executive Director, replacing GARY FIFIELDwho became Manager of the Opera Society of Washington, D.C. Ms. Minlin was withthe Volunteer Lawyers for the Arts.New appointments at the Music Educators National Conference include Dr. ROBERTH. KLOTMAN, Chairman of Music Education at Indiana University, Bloomington, toa two-year term as President; JAMES A. MASON, Chairman of Music Education atBrigham Young University, to President-elect; and Dr. THEODORE TELLSTROM,Chief of the New York State Bureau of Music Education, to Executive Director. CharlesL. Gary, Executive Secretary of the MENC since 1968 and Director of Publicationssince 1965, resigned to accept a professorship at Purdue University in Indiana. GENEMORLAN was named Acting Executive Secretary.At this year's Music Critic Association meeting, the following officers were elected:ELLIOTT W. GALKIN of the Baltimore Sun as President, succeeding Irving Lowens,and WILLIAM LITTLER of the Toronto Star, THOMAS WILLIS of the ChicagoTribune and ROBERT COMMANDAY of the San Francisco Chronicle as First, Secondand Third Vice-Presidents, respectively.W. McNElL LOWRY was named Director for a historical and analytical study of thearts in the United States conducted under the auspices of the American Council ofLearned Societies. He retired last year from the Ford Foundation where he headed theArts Program for 17 years.ERIC LARRABEE, architect and former executive director of the New York State Coun-cil on the Arts, is special Consultant for the latest study undertaken by the NationalResearch Center for the Arts, Joseph Farrell, Director.

Arts Centers and FestivalsTHOMAS R. KENDRICK, former editor of the Washington Post, is filling the newlycreated position of Director of Operations at Washington's Kennedy Center. — LOTFIMANSOURI, General Director of the Canadian Opera Company, was also namedOpera Advisor to Ottawa's National Arts Centre, where Bruce Corder is GeneralManager. J. ROBERTS, Music Supervisor at CBC for the past four years, is nowManager of the National Arts Centre Orchestra. — HARVEY LICHTENSTE1N,Executive Director of the Brooklyn Academy of Music for the last nine years, waselected President and Chief Executive Officer of the institution. JUDITH DAYKINbecame Executive Vice President and General Manager, PAUL LEPERCQ continues asChairman of the Board.

The Wolf Trap Foundation in Vienna, Virginia, has also announced one person for theposition of President and Chief Executive Officer. It is CHARLES H. WATTS II who,for the past ten years, has been President of Bucknell University in Pennsylvania.CAROL V. HARFORD, who was Deputy Administrator of the Foundation since 1972,was named Vice President. A newly-formed Development Committee will be headedby Chairmen RICHARD KLEINDIENST and MRS. NELSON ROCKEFELLER;PAUL B. WARD, formerly of the University of Louisville in Kentucky, is Director ofDevelopment. It was also announced just recently that the Foundation and Companywill have a new Artistic Director in the person of CHRISTOPHER HUNT, who hadbeen Opera Administrator at the Royal Opera, Covent Garden.CHRISTOPHER CLARK, National Chairman of the Regional Auditions Program ofthe Metropolitan Opera National Council, was named General Manager of the Festivalof Two Worlds. He will be in charge of the American end of the operations includingthe first Festival in the United States scheduled for May and June 1977 in Charleston,South Carolina. GAIL CHRISTOPHER (Mrs. Russell), formerly Auditions Secretary,has joined Mr. Clark at the Spoleto Festival Foundation office in New York; MRS.SYBIL BALDWIN is the new Auditions Secretary at MONC.The Chautauqua Institution, New York, has signed SERGIU COMMISSIONA as MusicDirector and Principal Conductor, a post left vacant since the resignation of Walter

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Hendl in 1972. Mo. Commissiona has also been chosen Music Advisor for TempleUniversity Festival in Ambler, Pa. During the winter he leads the Baltimore Symphony.The Chautauqua Opera Company will remain under the direction of Leonard Treash andEvan Whallon. — MARK P. MALKOVICH III is General Director of the NewportMusic Festival, produced by the Rhode Island Arts Foundation. — The MeadowbrookFestival, summer home of the Detroit Symphony, is now administered by LEONPETRUS, its new Managing Director.

CorporationsROBERT SUNTER has been named Head of Serious Music at CBC radio. He hadbeen Music Officer for the Ontario Arts Council, and more recently wrote musiccriticism in Vancouver, B.C.

Changes at Herbert Barrett Management include the appointment of JOSEPH LIPPMANto Executive Vice President, TITTICA ANN ROBERTS to Vice President, and theaddition of WILLIAM NIX, former Director of the Metropolitan Opera Studio and theMini-Met, to its staff. Besides managing individual artists, the corporation also booksensembles, among them the tour of the Goldovsky Opera Theatre.

Opera CompaniesChanges at the Metropolitan Opera include the appointment of EVA POPPER asDirector of Development, succeeding Floyd Landis, who became an independent fundraising consultant. From 1967-70, Miss Popper was Special Assistant to George Moore,Chairman of First National City Bank and President of the Association, and she becameExecutive Assistant to the Met's officers and administrators in 1971. The following year,she was named Assistant Secretary to the Board of Directors, a position she will continueto hold. Before joining the Metropolitan Opera, she was Assistant to the President ofthe Carnegie Endowment for International Peace. -— LOUISE GIRALDI, for one yearthe coordinator of the volunteer program at the Met, joined the staff as DevelopmentAssistant to Miss Popper. — Also new to the Met staff is WAYNE HORVATH, whowill coordinate the Met's emergency capital fund drive and assist in further developmentof the annual giving programs. Mr. Horvath was Director of Development at both theLyric Opera of Chicago and the Opera Company of Boston. — FRANCIS ROBINSONhas announced his retirement as Assistant Manager and Head of the Met's Press De-partment effective in Fall, 1977. He joined the company in 1948 as Tour Director, andbecame Assistant Manager in 1952. For twelve years he was also Head of Box Officeand Subscription. He will remain a part of the Met in retaining the position of TourDirector and will also serve as a consultant to the Press Office. — Succeeding Mr.Robinson as Head of the Press Office will be WENDY HANSON, who managed herown public relations firm in London, representing such prominent ensembles as thePhiladelphia Orchestra, the Israel Philharmonic, RCA Records, and The Beatles, andindividual artists such as Stokowski and Menotti. For more than two years she was alsoChairman of the Association of London Theatrical Press Representatives and, in Spring'76, was press representative for the American tour of the D'Oyly Carte Company.Before assuming full charge, the current season finds her as Deputy Director of Pressat the Met. — Also new to the Administrative Staff this season is ANN COUGHLIN.Executive Secretary to Erich Leinsdorf from 1963 to 1969, she was associated for thepast six years with Herbert Barrett Management. Since this Fall she has been AssistantArtistic Administrator at the Met, working closely with Charles Riecker and RichardRodzinski; Lawrence Stayer continues as Assistant Artistic Administrator. — NORBERTVESAK, Resident Choreographer of the Royal Winnipeg Ballet of Canada, is the newArtistic Director of the Metropolitan Opera Ballet; he will also head the fourteen-dancerMet Opera Ballet Ensemble (see Summer '76 Blltn.).

The Spring Opera Theater of San Francisco elected MRS. HARRIET QUARREPresident, succeeding Otto E. Mayer, who will be the new Chairman of the Board.Other new members of the board include Executive Vice President TULLY M.FRIEDMAN and Vice Presidents MRS. DEWEY DONNELL, MRS. A. BARLOWFURGUSON and JAMES SCHWABACHER, JR. — The San Diego Opera announcedthe election of JOSIAH NEEPER to President, succeeding Mrs. Lionel Ridout, and thePortland Opera announced the following new slate of officers for 1976-77: D. W.DONACA — President, ROBERT D. GEDDES — Chairman, Artistic Committee,JOHN C. HAMPTON -— Chairman, Maintenance Fund Committee, THOMAS ZWALD— Chairman, Finance Committee, MRS. RICHARD GERHART — Treasurer, andJACK B. SCHWARTZ — Secretary.

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GARY F1FIELD, founder and former Executive Director of Opportunity Resourcesfor the Arts, has joined the Opera Society of Washington, D.C., as its Manager; hispredecessor, David Baber, resigned from the post. (For new appointment at OpportunityResources, see above; for Mr. Baber's new position, see Academia.)

Officers of the Opera Company of Boston include Senator E. W. BROOKE — Chairman,ROBERT L. B. TOBIN — Vice Chairman of the Board, and LASZLO J. BON1S —President. Since September 1, the company has had a new Managing Director. MICHAELMAXWELL, native of New Zealand, had been manager of the London Philharmonicfor four years, then Promotion Director of the New York Philharmonic, and for the lastsix years General Manager of the Cleveland Orchestra. He also served on the music panelof the Ohio Arts Council and on the Board of Directors of the American SymphonyOrchestra League. His predecessor in Boston, Robert E. Reilly, resigned last summerafter five years in this position.

After four years as Director of Cultural Programming for National Public Radio,ROBERT BAILEY joined Western Opera Theater of the San Francisco Opera as itsManager. He is replacing Ms. PERRY-LYNN MOFFITT, who moved to Norfolk tobecome Assistant Manager of the Virginia Opera Association. That company's newManaging Director is JAY K. LONGACRE, formerly with Buffalo's Studio ArenaTheatre, and earlier with the Development Department of Juilliard. Peter Mark isArtistic Director of the company.

The Charlotte Opera Association has named RICHARD MARSHALL General Director.He had been founder and General Manager of the New England Regional Opera inBoston. LINDA JERKINS is his new Administrative Assistant in charge of promotion.— The Asolo Opera has appointed its first full-time professional head. PHILIP L. HALLis Executive Director of the Sarasota, Florida, company.

Former manager of the Vancouver (B.C.) Opera Company, BRIAN HANSON, tookover the duties of General Manager of the Southern Alberta Opera Association inCalgary.

The Houston Grand Opera has added new members to its administrative staff. JACKF. MASTROIANNI, who joined the company as Assistant to the Director in 1975, hasbecome Director of Development. He is also a musicologist and writer on opera, andwas the founder/director of Brown University's Opera Workshop in 1970. In addition,he worked in the University's Development Department. — MARGARET GENOVESE,who was among the first of NEA's Work/Experience Interns, is the new MarketingCoordinator for the Texas company. She has a Master's degree in Business Admin-istration and one in Fine Arts and Arts Administration from Southern MethodistUniversity.

GARY J. ADAMSON from Nova Scotia is the new Director of Administration for theCanadian Opera Company in Toronto. His previous positions include Project Con-sultant for the English Services Division of the Canadian Broadcasting Corporation. Hesucceeds Bruce Chalmer (see Summer '76 Blltn.).

MRS. PHYLLIS D. SNOW, who has been a volunteer worker of the Michigan OperaTheatre for six years, was appointed Director of Public Relations and Development. Shewill also handle all related business for the Detroit company's subsidiary group, theOpera-in-Residence program.

DR. CARDON V. BURNHAM, former Chairman of Carroll College's Department ofMusic in Waukesha, has been engaged as Chorus Master and Associate Conductor bythe Milwaukee Florentine Opera Company. — JACOB KRACHMALNICK, ConcertMaster of the San Francisco Symphony from 1964 to 1970, is the new Concert Masterof the San Francisco Opera, a post he accepted with special pleasure following therenovation and expansion of the orchestra pit at the War Memorial Opera House.

Symphony OrchestrasAmong Music Directors and Resident Conductors who started new tenures in September'76 are ANDRE PREVIN, Principal Conductor of the London Symphony, with thePittsburgh Symphony, succeeding William Steinberg; LORIN MAAZEL, Music Directorof the Cleveland Symphony, as Principal Guest Conductor with the New PhilharmoniaOrchestra in London, and MATTHIAS BAMERT to Resident Conductor of the

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Cleveland Orchestra and to Music Director of the Swiss Radio Orchestra; MAX RUDOLF,Music Director Emeritus of Cincinnati and previously Assistant Manager at the Metand Curtis Institute, as Artistic Advisor to the New Jersey Symphony following theresignation of Henry Lewis; EDO DE WAART of the Rotterdam Philharmonic andguest in Santa Fe, as Principal Conductor of the San Francisco Symphony; JOHNNELSON, formerly of the Greenwich (Conn.) Symphony and the Met, as MusicDirector of the Indianapolis Symphony succeeding Izler Solomon; IMRE PALLO,guest conductor at the New York City Opera and the Opera Society of Washington, toMusic Director of the Hudson Valley Philharmonic, succeeding Claude Monteux; BRUCEHANGEN, former Associate Conductor of the Denver Symphony, to Music Director ofthe Portland (Oregon) Symphony; MICHAEL CHARRY, Conductor of opera at theLake George Festival, Kansas City Lyric, (San Francisco) Spring Opera, and New YorkCity Opera, to Music Director of the Nashville Symphony Orchestra; WALTER HENDLto Music Director of the Erie (Pa.) Philharmonic, succeeding Harold Bauer, withCHARLES CHAPPELL as new General Manager; ROBERT ANDERS EMILE as MusicDirector for the Lincoln (Neb.) Symphony, where his predecessor, LEO KAPP, wasmade Conductor-Emeritus; PETER PAUL FUCHS, who retired from the University ofLouisiana, Baton Rouge, to Music Director of the Greensboro (N.C.) Symphony; andJAMES YESTADT succeeding Mo. Fuchs as Music Director of the Baton Rouge Or-chestra with CHRISTINE REED as Managing Director.

Occupants of important music chairs must be signed well ahead of time, and variousannouncements of such new contracts for 1977-78 and also for 1978-79 have been made.The 34-year old Italian RICCARDO MUTI will be the Principal Guest Conductor inPhiladelphia in 1977-78, with Eugene Ormandy going into his 38th season with thatorchestra. Mo. Muti is also Chief Conductor of the Maggio Musicale in Florence andthe New Philharmonia in London. — Beginning in Fall '77, the Dallas Symphony willhave the Mexican Maestro EDUARDO MATA as Music Director. He also holds thesame position with the Phoenix Symphony Orchestra. KURT MASUR of the GewandhausOrchestra in Leipzig is to assist him in Texas as Principal Guest Conductor. In additionto Dallas and Phoenix, Mo. Mata is also Artistic Director of the San Salvador Festivaland Conductor of the Casals Festival in Puerto Rico.

Fall 1978 will see ZUBIN MEHTA taking over the New York Philharmonic after thetermination of Pierre Boulez's contract. The Indian-born, Vienna-trained conductor hasbeen Director of the Los Angeles Philharmonic for the last 14 years, has conducted forseveral seasons at the Metropolitan Opera, and has been Music Director of the MontrealSymphony while still in his early twenties. He is now thirty-nine.

There are also a number of changes in administrators of symphony orchestras. RALPHRIZZOLO, former Assistant Director of the NEA Music Program, accepted the post ofManaging Director with the Phoenix Symphony, where he succeeds KASSON CROOKER,who moved to Columbus, O., to take over the managerial duties of the orchestra there.—The National Symphony's new Executive Director is OLEG LOBANOV, formermanager of the Baltimore Orchestra and, more recently, of the Denver Symphony. Hehas also been a member of Columbia Artists Management and, from 1969 to 1975, ofthe Ford Foundation. In Washington, he succeeds WILLIAM DENTON, who becameExecutive Director of the Illinois Arts Council. — MICHAEL J. WOODCOCK joinedthe Houston Symphony this Fall as General Manager; previously he had been withDecca/London. When, as reported above, Michael Maxwell moved to the Opera Com-pany of Boston, he was replaced as General Manager of the Cleveland Orchestra byKENNETH HAAS, formerly of the Cincinnati Symphony, where in turn STEVENMONDER succeeded Mr. Haas as General Manager, and JUDITH ARRON was namedhis assistant. NED CROUCH moved from Charlotte, N.C, to Grand Rapids, Mich., asGeneral Manager of the symphony orchestra. — The Milwaukee Symphony will have itsfirst salaried President in the person of ARTHUR WRONSKI; CRATG HUTCHTNSONis General Manager.

AcademiaSCHUYLER G. CHAPIN, General Manager of the Metropolitan Opera from 1972 to1975, was appointed Dean of the School of Fine Arts at Columbia University.

In addition to holding the positions of General Director of the Santa Fe Opera andPresident of Opera America. JOHN CROSBY began his tenure as President of theManhattan School of Music in September. He has taken over from George Schick who

continues on the School's faculty. DAVID BABER, formerly Manager of the OperaSociety of Washington and first Director of Opera America, was named ExecutiveAssistant to the President of the Manhattan School of Music.J. WILLIAM HIPP, formerly of Illinois Wesleyan University, has joined SouthernMethodist University in Dallas as Chairman of its Music Division. — The JuilliardSchool of Music has a new Assistant Dean, MARY H. SMITH. She was for many yearswith the Boston Symphony.The UCLA Management in the Arts Program was established by HY FAINE in 1969,and was the first program of its kind. Mr. Faine, who before moving to California hadbeen Executive Director of AGMA in New York, is retiring this year as director ofthis program although he will continue to teach, and will be succeeded by ICHAKADIZES, who has been with the University's program from the start. — MRS. JEANSQUAIR has been appointed Director of the Graduate Program in Arts Administrationat Golden Gate University in San Francisco. She is founding president of the Associationof California Symphony Orchestras, a founding member of the Friends of KennedyCenter, and is on the board of Western Opera Theater and many San Francisco artsinstitutions.New heads of university opera theatres or workshops include GUSTAV MEIER at theUniversity of Michigan as Director of Orchestras and University Opera Production,succeeding Josef Blatt, who retired last year, and interim director Theo Alcantara. Mo.Meier was conductor of the Yale Philharmonia Orchestra, taught at Yale from 1960 to1973, then joined the Eastman School of Music as Music Director of Opera andOrchestra. The Swiss-born conductor has also been guest conductor at the New YorkCity Opera. — MILTON KATIMS, former Music Director of the Seattle Symphony, isthe new Artistic Director of the School of Music of Houston University and will alsohead the Houston Opera Studio, newly created in conjunction with the Houston GrandOpera (see News from Opera Companies). — Another new faculty member at theUniversity of Houston is composer/conductor CARLISLE FLOYD, who has beencomposer-in-residence with the University of Florida in Tallahassee. — From the Uni-versity of Wisconsin in Stevens Point, DR. RONALD COMBS is joining the facultyof Northeastern Illinois University in Chicago as Director of the Opera Workshop.MARK GREENFIELD was named Assistant Director. — British conductor MICHAELMOORES, formerly with Sadler's Wells Opera in London and with BBC, is now Directorof the Opera Department at California State University in Los Angeles. — Followingthe retirement of Jan Popper from the Opera Theatre at UCLA in 1975, the Universityhas announced the first permanent replacement. SAMUEL KRACHMALNICK, whoheaded the Opera Department at Seattle's University of Washington and earlier hadbeen a conductor with the national touring company of the Met, was named for thispost. He will also conduct the University's orchestra. Dr. Popper is currently lecturingfor the San Diego Opera and will go to Tokyo in 1978 as artistic advisor. — RICHARDASLANIAN is successor to Peter Paul Fuchs' position of Opera Director at LouisianaState University in Baton Rouge (see Symphony Orchestras), and Mr. Aslanian in turnis succeeded by TONU KALAM as Music Director of the Illinois Opera Theatre inUrbana, where David Lloyd is Artistic Director. NICHOLAS DI VIRGILIO joined theschool's voice faculty.

Korean-born SUNG KWAK, a student and assistant of Carl Bamberger at the MannesCollege of Music in New York, is succeeding his teacher, who retired after 38 years atthe end of last season, as Music Director. JUDITH RASKIN joined the College's VocalDepartment. — MARGARET HAWKINS was named Director of Performances at theWisconsin Conservatory of Music in Milwaukee. — Beginning Fall '76, DAVIDZINMAN, Music Director of the Rochester (N.Y.) Philharmonic, became AdjunctProfessor of Conducting at the Eastman School of Music, where RICHARD PEARL-MAN joined the faculty as Stage Director. — The University of Cincinnati College-Conservatory announced the appointment of GERHARD SAMUEL, former AssociateConductor of the Los Angeles Philharmonic, to Director of Orchestral Activities. Hehad also been Professor of Music at the California Institute of the Arts, and Conductorof the Oakland Symphony. Working with Mo. Samuel are ROGER BRUNYATE, As-sociate Professor and Coordinator of Opera Workshop Programs, and DR. KELLYHALE, Associate Professor for Accompanying and Coaching.Other faculty appointments in opera related positions include that of music critic andeditor IRVING LOWENS to Senior Research Fellow at the Institute for Studies inAmerican.Music at Brooklyn College; ALAN SCHNEIDER to Director of the Drama

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Division at Juilliard succeeding John Houseman; DAVID BECKER to the Music Facultyat Lawrence University in Appleton, Wisconsin; Canadian composer R. MURRAYSCHAFER to Composer-in-Residence at Wichita State University College of Fine Artsin Kansas; ROBERT PETTERS to Professor of Music History and Conducting at NorthCarolina State University in Raleigh; former Met baritone ROBERT McFERRIN toVisiting Professor of Voice at Roosevelt University in Chicago; and A. CLYDE ROLLER,former Resident Conductor of the Houston Symphony, to Orchestral Conducting at theUniversity of Texas in Austin.

Two resignation announcements effective at the end of the current season came fromGUNTHER SCHULLER, President of the New England Conservatory, to concentratemore on composing, and from NICHOLAS HARSANYI, Dean of Music, North CarolinaSchool of the Arts in Winston-Salem.

European Opera HousesStage Director GOETZ FRIEDRTCH was named Principal Producer for the RoyalOpera, Covent Garden. — The Glyndebourne Festival has signed Dutch conductorBERNARD HAITINK to succeed Music Director John Pritchard in 1979, when thelatter takes a sabbatical after ten years with the company. He is expected to return asguest conductor. Mo. Haitink is also with the London Philharmonic and the AmsterdamConcertgebouw orchestras. — NICHOLAS BRAITHWA1TE is the new Music Directorof the Glyndebourne touring company, succeeding Kenneth Montgomery. — BRIANMacMASTER is the General Administrator of the Welsh National Opera in Cardiff, anewly created post which he will fill in addition to being Controller with London'sEnglish National Opera. — Following the termination of Charles Mackerras' contract inDecember '77, the English National Opera has contracted SIR CHARLES GROVES tobecome its Music Director. Mo. Mackerras will continue for another two years as theCompany's Principal Guest Conductor.

Dancer VERA ZORINA (Mrs. Goddard Lieberson) has been chosen to fill the post ofGeneral Manager of the Norsk (Norwegian) Opera in Oslo. She succeeds Brenda Last,Interim Director, and Ballet Mistress of London's Royal Ballet. From 1959 to 1960, theNorwegian company was headed by Kirsten Flagstad. — LARS RUSTEN of the NorskOpera has joined the Royal Swedish Opera in Stockholm as Chief Producer. The companyalso announced the successor to its present General Administrator Bertil Bokstedt,effective July '78. It is Swedish theatre director FOLKE ABENIUS. The GoteborgStora Teatern announced as its new Director the successful Swedish composer LARSJOHAN WERLE. — Tenor SIGURD BJOERNSSON returned to his home town,Reykjavik in Iceland, to become Director of the symphony orchestra and Artistic Ad-visor to the resident opera company.

JOACHIM HERZ, who has been Director of the Leipzig Opera since 1959, has beeninvited to assume the administration and guidance of East Berlin's Komische Oper,thus continuing Walter Felsenstein's legacy. — The Bolshoi Opera and Ballet Companieswill be under the General Administration of GEORGY IVANOV.

German librettist CLAUS HENNEBERG is the recently appointed General Admin-istrator in Kiel, Germany, with WALTER GILLESSEN as Music Director. — Kasselwill welcome PETER WINDGASSEN as Chief Producer (Oberspielleiter), succeedingUlrich Melchinger. He will terminate a short engagement as Resident Stage Director inLiibeck in Summer '77. — The Municipal Opera in Essen announced MATTHIASAESCHBACHER as its new Music Director. Between 1969 and 1976 he conducted atthe Zurich State Opera. — Japanese conductor HIROSHI WAKASUGI will be MusicDirector of the Cologne Radio Orchestra. Before establishing residency there, he con-ducted the Japanese Opera, offering premieres of Parsifal, Rheingold, Hollander, LesTroy ens and Ariadne auf Na.xos to that country. — The Gelsenkirchen Stadttheaterannounced the appointment of UWE MUND as its Music Director, and the StateTheatre in Saarbriicken has GUENTHER PENZOLDT as its General Administrator,following the retirement of Hermann Wedekind. — MICHAEL LEINERT, Musik/Dramaturg in Braunschweig, has accepted the same position with the Hamburg StateOpera.

Following a resignation and three weeks of negotiations, PAOLO GRASSI has rejoinedthe Teatro alia Scala in Milan as its Soprintendente. He is retaining control over artisticdecisions and accompanied the company on the occasion of its United States visit. Heis also a member of the board of Directors of RAI (Radio Italiano). — The Teatro

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dell'Opera in Rome appointed GIOACCHINO LANZA TOMASI as Artistic Director;LUCO DE SCHIENA is the Administrator. — In addition to the post of Music Directorof the Cincinnati Symphony, THOMAS SCHIPPERS was named Music Director of theSanta Cecilia Academy Orchestra in Rome, beginning next Fall. — Venice's La Fenice hasZOLTAN PESKO as its new Resident Conductor, and Spoleto's Festival of Two Worldsconfirmed CHRISTOPHER KEENE as Music Director for 1976.American conductor ANTONIO DE ALMEIDA had been a regular guest conductorat the Nice Opera in France; he has now been named the company's Music Director, aposition he also holds in Monte Carlo. — Rolf Liebermann, General Director of theParis Opera, announced the appointment of French-born VIOLETTE VERDY, soloballerina with the New York City Ballet, to Director of the Paris Opera Ballet, beginningnext Fall. The dancer will continue to perform in New York and other cities, however,she declared that she does not intend to dance with the Paris company.

AWARDS AND WINNERSA number of competitions benefitting young singers have been started in memory offamous singers such as Richard Tucker and Norman Treigle, among others. Now, oneof the leading American sopranos has, herself, established a foundation to assist young,talented singers. The ELEANOR STEBER FOUNDATION, Box 342, Port Jefferson,New York 11777, is supported, in part, through the sale of a special recording, EleanorSteber in Recital, not sold commercially, but available from the above address for$18.75, $10 of which is tax-deductible. Competition is through auditions, and auditionersmust be recommended by music schools or conservatories. The Foundation sponsors a$1,500 scholarship.

The ZACHARY SOCIETY, 2250 Gloaming Way, Beverly Hills, Calif. 90210, offers anOpera Award consisting of a small cash prize and a contract with the opera house inGraz, Austria.The NEW JERSEY STATE OPERA joined various other American companies inoffering cash prizes and a possible contract to young vocalists with some stage experience.$1,000, $500, and $250 are awarded the three winners; further information is availablefrom the company at 50 Park Place, Newark, N.J. 07102.February 5 is the deadline for applications for the 1977 SAN FRANCISCO OPERANew York auditions at Town Hall, scheduled for March 1. Singers not presently residingin the Western U.S. must have lived there for five out of the last ten years. The border-line is west of and including Wisconsin, Illinois, Arkansas, Mississippi, and Ontario.Applications for the Eastern auditions should be addressed to Mrs. Thomas Martin, 219West 13 Street, New York, N.Y. 10011.The NATIONAL SYMPHONY ORCHESTRA in Washington, D.C., invited applica-tions by singers and instrumentalists before January 28 for participation in its annualcompetition. Open to music students enrolled in an undergraduate or master's degreeprogram in the District of Columbia area, the age limit for singers is 29. For moreinformation write to the Symphony, Murray Sidlin, Director of Auditions, KennedyCenter, Washington, D.C. 20566.The MARTHA BAIRD ROCKEFELLER FUND FOR MUSIC also held auditions inCalifornia in Spring. Both vocal and instrumental soloists were heard in May in LosAngeles and in San Francisco; the age limit was from 20 to 35. As always, applicantshad to be past their degree courses with some solo experience and in need of financialassistance, and had to present a specific career-related project to be financed. Grants werenot awarded as competitive prizes, but rather on the merit of the project and of theapplicant's artistic ability and accomplishments. For this season's dates contact theMartha Baird Rockefeller Fund for Music, 1 Rockefeller Plaza, New York, N.Y. 10020,room 3315.A new apprentice program for the benefit of conductors, slage directors, designers, andtechnicians in opera is being developed by Sarah Caldwell and her OPERA COMPANYOF BOSTON. Details may be found under the heading "Expansion of Companies".The COLORADO OPERA FESTIVAL at Colorado Springs is among the performinggroups which started a new apprentice program this year, It is open to singers and setand costume designers.

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Winners — VoiceSee note under "COS Inside Information".

The Metropolitan Opera National Council Auditions yielded a grand winner, 29-yearold tenor JOHN CARPENTER from Louisiana, who received a Metropolitan Operacontract and also the newly-established Richard Tucker Memorial Award of $2,500.ASHLEY PUTNAM, a 23-year old soprano from New Jersey was also awarded firstprize, and she and Mr. Carpenter shared a cash award of $9,000 between them. Nosecond prize was awarded, and the $3,000 third prize went to 22-year old sopranoSUNNY JOY LANGTON from Indiana. Since each of the eleven finalists was thewinner of a $2,000 award, here are the additional names: sopranos JANICE HALL —22 years old from Massachusetts, KATHERINE HENJUM — 25 from Iowa, JANETPRANSCHKE — 29 from New York; mezzo MARGARET ANN RUSSELL — 23from Seattle; tenor CHRIS MERRITT — 23 from Oklahoma; baritones EDWARDHULS — 31 from Virginia, WILLIAM STONE — 32 from Illinois; and bass-baritoneLORENZ MINTH — 25 from Ohio. The date of this season's Met Audition Finals isSunday, March 20, 1977, at 2:00 P.M. Ticket availability is discussed under "COSInside Information".

On August 22 the San Francisco Opera held its 1976 Audition Finals, and sopranoCAROL VANESS from Northridge, California, received the $2,000 first prize. SopranoEDDYE PIERCE BERRY from San Jose and tenor BARRY McCAULEY from Tempe,Arizona, shared second honors, and tenors DALE SMITH of Houston and JAMESHOBACK from Philadelphia were awarded third and fourth prize, respectively. In all,nine finalists competed. — The company's Merola Program chose the following partici-pants of its summer session as recipients of its annual prizes: first prize to mezzoADRIENNE PASSEN, second to tenor WILLIAM LIVINGSTON, and third to tenorDALE SMITH. — The special Bruce Yarnell Memorial Award of $1,000, given by theSan Francisco Opera in memory of the baritone, was received by PETER BARCZA, aCanadian baritone born in Sweden of Hungarian parents; he was also a regional finalistin the Met Auditions.

The Opera Company of Boston and its Guild enrolled 144 registrants for the 1976auditions. Seventeen young singers entered the finals and three were awarded prizes.First prize — soprano JANICE HALL who was also a finalist at the Met Auditions,second-prize — mezzo VALERIE WALTERS, and third prize — tenor KIM SCOWNwho also won a 1976 Tanglewood award.

Forty-seven auditioners were screened in the 1976 Cecilia Schultz Auditions for pos-sible participation in the Seattle Opera's 40-week Professional Singer's Training Pro-gram. The following preliminary winners received special coaching in preparation forthe finals; those marked (*) are now enrolled in the program: sopranos SHARON L.GROSS (Portland), ANNA KOLASINSKI (Seattle), DINAH LINDBERGH (Tacoma),KAROLHANSEN OAKLEY* (Oak Harbor), PATRICIA PEASE (Seattle), and MAR-GARET RUSSELL* (Seattle); mezzo LINDA LANE SMITH (Portland); baritonesJIMI MALARY (Seattle) and GREGORY SALAZAR (San Francisco); and bassesCRAIG HEATH NIM* (Seattle), and STEVEN TACHELL (Seattle). — The company's1977 National Artists Program features tenors LEONARD EAGLESON and DENNISBAILEY, baritone DONALD COLLINS and bass-baritone ARCHIE DRAKE.

Seventy-two applications were received for the first vocal competition of the New HavenOpera Theatre. A screening of audition tapes eliminated 24 and, following the liveauditions, eight singers remained for the finals. SUZANNE CALABRO, a 27-year oldlyric soprano from Waterbury, Connecticut, won first prize and also a solo role with thecompany; second and third prizes of $300 each went to soprano JANICE HALL (seealso Met and Boston winners) and 21-year old tenor EUGENE CARTER, who studiesat the Manhattan School of Music.

The current enrollment in the Opera School of the Lyric Opera of Chicago is the resultof nationwide auditions where some 400 singers were heard. Five new singers were chosenfor the program and another five returned from the previous year for a second season —the latter are annotated (*). An additional thirteen singers were invited to audit thetraining program and will receive first consideration as active participants for the nextseason. The 1976-77 roster is: sopranos LINDA BRINKERHOFF, WINIFRED BROWN*,

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and SARAH REESE; mezzos TRUDY HINES* and KATHLEEN KUHLMAN; tenorsMARIO ROCHER and DEAN SHOFF; baritones THOMAS BOOTH* and ROBERTTOTA; and bass CARL GLAUM. A $9,000 stipend is paid the singers during theirsix-month training period, and fully-staged performances of three or four productions atthe 850-seat Civic Theatre offer practical performance experience.

The 1976 summer Young American Artists Program of the Cincinnati Opera featuredfour apprentices: soprano DEBORAH LONGWITH from Indianapolis, mezzo MARIAVENTURA from Cincinnati, tenor JOSEPH FRANK from Pennsylvania and SanFrancisco, and bass-baritone LORENZ MINTH, a Met Auditions finalist, now singingin Bern, Switzerland.

This year's eleven recipients of the Lila Acheson Wallace Grants, awarded by theNational Opera Institute, were the following young professional singers: sopranosJUDITH HADDON from Brooklyn, ELIZABETH HYNES from Ridgewod, N.J.,DEBORAH POLASK from Cincinnati, ASHLEY PUTNAM (Met winner) from Frank-lin Lakes, N.J., PEGGY PRUETT from New York, GEORGINE RESICK from Mary-land, LINDA ROARK from San Francisco, mezzo JEANNE PILAND from ScotchPlains, N.J., tenor JOHN ADLER from New York, baritone JAKE GARDNER fromBinghamton, N.Y., and bass-baritone DONNIE RAY ALBERT from Memphis. Eachwinner received $5,000 for continued study and to further his career. These grants maybe repeated once. Auditions are held in San Francisco, Dallas, Chicago, Washington,D.C. and New York.

The Naumburg Foundation's 50th anniversary winner in voice was soprano JOYELIZABETH SIMPSON, who received a $1,500 cash award, sponsorship of a NewYork recital, and a contract with Judd Concert Artist Bureau. Runners-up includedCLAMMA CHURITA DALE, who sings Bess in the current Houston Opera/Broadwayproduction of Porgy and Bess.

WGN/Illinois Opera Guild announced two winners of its 1976 Auditions on the Aircompetition — VINSON COLE from Philadelphia and JOSEPH SHORE of Carthage,Missouri.SUSAN FAUST STRALEY won the first prize of the Norman Treigle MemorialScholarship, which is awarded jointly by the New York City Opera Guild and theCollege-Conservatory of the University of Cincinnati. Miss Straley, a lyric sopranofrom Hattiesburg, Mississippi, is currently assistant professor at the University ofSouthern Mississippi. Her winnings entitle her to full scholarship at the University ofCincinnati and a $3,000 stipend; she will also be heard in a special audition at the NewYork City Opera. Second prize of a full tuition scholarship went to 21-year old mezzoCAROLYN SEBRON from Cincinnati.

Baritone DANA TALLEY was named winner of the 1976 Liederkranz ScholarshipAward. He also received second prize at the New Jersey State Opera Auditions inNewark.Nine young artists are being presented by the Concert Artists Guild in debut recitals atCarnegie Recital Hall this Winter. Among them is one singer, mezzo KATHERINECIESINSKI, a 1974 Met Auditions winner. In addition, each winner will receive $250in cash.The New York Singing Teachers Competition awarded its first prize of a debut recitalat New York's CAMI Hall to soprano PHYLLIS FALLETTA.The list of 1976 Young Artists selected by Musical America includes the followingsingers: sopranos DAISY NEWMAN, DOREEN DeFEIS, ASHLEY PUTNAM (seeMet), JUDITH HADDON (see NOI grants); mezzo KAREN JOHNSON; tenor JOHNCARPENTER (Met contract winner); and bass-baritone JOHN CHEEK.

Various symphony orchestras have announced vocalists as winners of their annualcompetitions. These include the North Carolina Symphony in Chapel Hill: 21-year oldsoprano MELINDA LIEBERMANN; the Oklahoma Symphony: soprano MARTHAWHITMORE; and the Amarillo Symphony: baritone TIMOTHY JENKINS.

International competitions abroad also drew attention to a number of young Americanvoices. KATHERINE CIESINSKI, multiple winner including the Met, received the firstprize for women at the Geneva competition, with American MARGARET EVANS

taking second place. Hungarian ILONA TOKODY and Swiss PASCAL BORER re-ceived third prize in women's and men's categories, respectively. There was no first or

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second prize for men. — The previous year, second prize for women's voice was won byAmerican soprano RUTH FALCON, the second prize for men's voice by WILLIAMWESTNEY. There was no first prize in either category.

American soprano LYNDA SHARMAN won first prize at the 1976 G.B. Viotti Inter-national Competition in Vercelli, Italy, and her compatriot, soprano MARIA VENUT1,took first prize at the 's-Hertogenbosch International Vocal Competition. The otherwinners at the Dutch contest were British mezzo PATRICIA PRICE and Russian bass-baritone VLADIMIR PANKRATOV. — KEITH LEWIS received the Kathleen FerrierMemorial Scholarship. He will be performing with the Glyndebourne touring company.

"For Canadians only" must be the heading for the following contests and winners, buttheir inclusion will serve our numerous northern members. The Edward Johnson MusicFoundation, Box 1091, Guelph, Ont., offers six cash prizes ($5,000 — $1,000) and ap-pearances with the Toronto Symphony Orchestra to winners of its vocal competition.Open to Canadians or landed immigrants in Canada between the ages of 20 and 33, theFinals are scheduled for May 14, 1977, and will be open to the public. — The CanadianOpera Guild in Toronto has announced three scholarship winners: soprano NANCYHERMISTON, tenor JOHN KEANE and stage manager RON FURGUSON, all of theUniversity of Toronto's Opera Department. These scholarships are available to Canadiansenrolled in a Canadian university, either "singers or technical personnel with outstandingpotential in opera". — The Canadian Opera Company's annual J. Chalmer Award, givento a company member showing special promise as a performer or production assistant,was earned by FRED PERRUZZA, assistant stage manager for the last two years. —A competition more recently established by COC is for young designers. MICHAELMAHER won first prize with a design for The Barber of Seville which will be used forthe touring COC Prologue for the Performing Arts production. Second prize wasawarded to D. MICHAEL HARRIS; both winners are graduates of York UniversityVisual Arts and Theatre Department. A third prize of $100 went to MARLENE RAINof Toronto.

For Conductors & ComposersWinners of American contests other than singers include three conductors who receivedcash prizes from the Baltimore Symphony: CARL TOPILOW, KENNETH JEAN, andDAVID LOEBEL. Eligible for this annual contest are conductors under 30 with someexperience, but no position with a major orchestra. — A new group of participants inthe Affiliate Artists/Exxon/Arts Endowment Program for Young Conductors wasannounced earlier this season. They are DAVID STAHL (Cincinnati Symphony), PETERPERRET (Buffalo Philharmonic), and CARL TOPILOW (Denver Symphony and winnerin Baltimore). In addition, five conductors are returning for a second year: CALVINSIMMONS (Los Angeles Philharmonic), GERHARDT ZIMMERMANN (St. LouisSymphony), WILLIAM McGLAUGHLIN (St. Paul Chamber Orchestra), THOMASMICHALAK (Pittsburgh Symphony), and MICHAEL PALMER (Atlanta Symphony).— Out of the 64 candidates for the Karajan Conductor Contest, DANIEL OREN, 20-year old Israeli trained in Berlin, was awarded first place; Czech conductor STAN1SLAVMACURA was third; there was no second prize winner.

The annual Kurt Herbert Adler Award was bestowed on JUDITH O'DELL, head of theSan Francisco Opera's rehearsal department. OTTO GUTH, opera coach and the com-pany's musical supervisor, received the San Francisco Opera Medal.Operatic composers who received special honors include NED ROREM — PulitzerPrize; STANLEY S1LVERMAN — Guggenheim Fellowship; JACK BEESON — Mem-bership in the Institute of Arts and Letters; and AARON COPLAND — Award ofMerit from ACUCAA in December.

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COS INSIDE INFORMATIONWe hope that you have read the 1975-76 Opera Survey article "More of Every-thing" in the November Opera News. The response has been quite overwhelmingand, judging by the comments, it was found particularly useful as a tool for fundraising, since its statistics prove the general popularity and growth of opera in theU.S., both in metropolitan centers as well as at the grass roots level. Figures werefound to be so astonishing and newsworthy that William Glover of the AssociatedPress devoted a feature story to the COS/Opera News analysis, which was carriedby newspapers all across the country. Further details are available from CentralOpera Service, Met Opera, Lincoln Center, New York 10023, as is the completelist of U.S. Operatic Repertory 1975-76 (427 operas) priced at $2; the NovemberOpera News issue may be ordered from its offices at 1865 Broadway, New York10023, for $1.A new edition of the COS listing of Opera Companies and Workshops in the UnitedStates and Canada has also been compiled, and may be ordered for $6 plus 25^postage.If you came to the Met Bazaar, you would have seen the large crowds at the COSbooth, and may have wondered what specials we had to offer. It was the new COSOPERA QUIZ GAME, which was played by literally hundreds of people that day.We are in the process of enlarging and commercializing it, but meanwhile, will makeit available at a low $5 price to COS members who would like to test their mettleind stump their friends, and entertain at their next party with it. There are tenquestionnaires of ten questions each; answers are on separate sheets. Could youanswer the following? 1) Give the titles and composers of two operas which arguethe importance of words versus music? 2) What opera has an all-male cast?3) Who was the first American artist engaged to sing at the Bayreuth Festival (givename, role and year)? 4) What is a counter tenor? (a) the second tenor, (b) sing-ing soda jerk, (c) same voice range as an alto.COS Regional Roundtable Conferences are so successful that they are rapidly in-creasing. In January 1976, San Diego was host to such a meeting for the WesternRegion, and in February one was held in Houston for the Southwest. March saw aRoundtable at the University of Illinois in Charleston, where opera workshopmembers of the Central Region got together for two days, resulting in the for-mation of OPRILL, which will offer its own first production next summer. July19 and 20 were the dates of the Northwest Roundtable in Seattle, hosted by theSeattle Opera and its Northwest Ring Festival.

The next such meeting will be held in Miami for the participation of the GulfCoast groups. Scheduled for the second week in April, the two-day meeting willcoincide with a performance of Fanciulla del West and, in addition, the MiamiFamily Opera will offer a special performance of a one-act opera. Details andregistration information may be obtained from Mrs. Roberta Balfe, ] 257 MeriolaCourt, Coral Gables, Florida 33134.The Finals of the Metropolitan Opera National Council Auditions are scheduledfor March 20, 1977, at 2:00. Tickets are by contribution and a donation of $5,$7.50 or $10 per ticket is requested. The tickets are now available at the Metro-politan Opera box-office.Due to special COS surveys and other important news items, "Winners" and"Appointments" were last included in Volume 18, Number 1. The current issuefeatures all the latest news in these areas, but in order to keep our reports complete,we also include events of Spring and Summer 1976 which were not previouslymentioned.

Next COS National Conference: Houston, October 12-14, 1977.

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IN 1975-76 OPERA LOST...HELENE BERG, widow of Alban Berg, Austrian, 92 years old, in Vienna 9/30/76.She had recently donated her husband's creative output, valued at about $6 million, tothe Austrian National Library. However, in controlling the performance rights to thelast, unfinished act of Lulu, she never permitted a performance of that part of the operanor had she made Berg's sketches for it available. As soon as the estate is settled onemay expect the first production of a completed version. Mrs. Berg, whose maiden namewas Nahowski, was said to have been a natural child of Austria's Emperor Franz Joseph.

Tenor ETTORE BERGAMASCHI, Italian, 91 years old, in Bologna 8/75. He made hisdebut in Bari in 1912 and sang leading roles of the Italian repertory throughout Italy,also in Spain and South America.Baritone LUIGI BORGONOVO, Italian, 76 years old, in Rome 8/18/75. He made hisdebut in Milan when 23 years old, and sang in principal European cities until the earlyFifties.Bass ENZO BOZZANO, Italian, 98 years old, in Arcachon, France 7/28/75. He sang inmany Italian opera houses and during the 1908-09 season sang five roles at the Metro-politan in New York.Composer EDVARD FLIFLET BRAEIN, Norwegian, 52 years old, in Oslo 4/30/76.His two operas, Anne Pedersdotter and Den Studeslose were premiered in Oslo in 1971and in Bergen in 1975, respectively.Tenor VICTOR BREGY, Polish, 73 years old, in Warsaw 5/20/76. He sang leading lyricroles in Poland and France and in Switzerland, where he lived during the war. Later, heturned to staging and teaching.Composer VALENTINO BUCCHI, Italian, 59 years old, in Rome 5/9/76. Among hiscompositions are six operas, the earliest, La Vergine dei Veleni written in 1939, wasnever produced. // Giuoco del burone was first heard in Florence in 1944, his adapta-tion of Robin et Marion over the Italian radio in 1952, // Contrabasso in Florence in1954, Una Notte in paradiso in Como in 1960, and 11 Coccodrillo again in Florence in1970. From 1965 to 1967 he was Artistic Director of the Teatro Comunale in Bologna.

Baritone turned tenor VASCO CAMPAGNANO, Italian, 65 years old, in Milan 1/16/76.After singing smaller baritone roles for ten years, he became a tenor and sang leadingroles of the Heldentenor repertory in many major European houses.

Arts patron DOROTHY JORDAN CHADWICK, American, 90 years old, in New York1/17/76. Among the various arts institutions she supported were the Metropolitan Operaand the New York Philharmonic, where she was also a member of the board.

Voice teacher and coach LYDIA FEODOROVNA CHALIAPIN, Russian/American,74 years old, in New York 12/15/75. Daughter of the world renowned Russian bass, shehad among her students a number of well-known Metropolitan Opera singers. In CzaristRussia she herself was a singer and actress. She settled in New York in the Thirties.

Soprano FERNANDA LETIZIA CIANI, Italian, 71 years old, in Milan 5/14/76. Suc-cessful throughout Europe, she sang on the continent and in England both in classicaland contemporary opera repertoire.Composer and arts administrator LUIGI CORTESE, Italian,, 76 years old, in Genoa6/10/76. Among his compositions are the following three operas: Prometeo premiered in1951 in Bergamo, La Notte veneziana in 1972 in Genoa, and Le Notti bianche in 1973in Milan. He was also Artistic Director of the Teatro Comunale in Genoa.

Soprano GILDA DALLA RIZZA, Italian, 82 years old, in Milan 7/4/75. With almost60 roles to her credit, she was a favorite with Italian audiences, sang often under Tos-canini (although never in the U.S.) and was chosen by Puccini to create the roles ofMagda in La Rondine, Lauretta and Angelica in Gianni Schicchi and Suor Angelica,and also Liu in Turandot which, however, she did not sing in the premiere. Her repertoirealso included major roles in Strauss operas, and she made numerous recordings. Afterher retirement she taught, and among her pupils were Anna Moffo and Gianna d'Angelo.

Soprano GERRY DE GROOT, Dutch, in her forties, in Amsterdam 7/29/75. She sanglyric and dramatic roles in Holland and Germany, and for the last eleven years was amember of the Zurich Opera.

Baritone turned tenor WILHELM ERNEST, (ne Schlichting), German, 62 years old, inFiissen 4/23/75. From 1941-50 he sang baritone roles, then restudied voice, changed his

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name, and in 1952 began a successful career as Heldentenor. He sang at most majoropera houses on the continent, also at Covent Garden and in Mexico.

Public relations executive in the arts MAURICE FELDMAN, Austrian/American, 66years old, in New York 5/6/76. Born in Vienna where he received his Ph.D., he becamea financial reporter and editor. He came to the U.S. in 1938 and wrote for the ChristianScience Monitor, the Washington Post, Time, etc. and, in 1945, he established his ownpublic relations firm in New York. Besides working for major corporations, he repre-sented international operatic artists such as conductor Karl Bohm and singers Nilsson,Arroyo, Rysanek, Ludwig, and Peeree among others. His office also functioned as theofficial public relations agency for the Austrian government, publicizing tourist andartistic attractions.

Stage director and manager WALTER FELSENSTE1N, Austrian, 74 years old, in EastBerlin 10/8/75. Although active almost exclusively in East Berlin as director of theKomische Oper (while residing in the Western part of the city), he made an inter-national name for himself through his imaginatively and meticulously staged productions.The latter attribute was made possible by the unlimited rehearsal time granted him at theEast Berlin house — up to six months for one production. He favored operas by Mozart,Verdi, and Offenbach, he also produced Fiddler on the Roof, but presented little Straussand no Wagner. Before joining the Komische Oper in 1947, he first acted in thedramatic theatre and later staged opera in Germany and Salzburg. A number of operafilms (Les Contes d'Hofjmann, Tlie Cunning Little Vixen, The Bartered Bride, andothers) further strengthened his international reputation as the leading opera producerof his time. Although he never staged opera in the U.S., he visited here to lecture at aConsortium arranged by the Opera Company of Boston.

Tenor LUIGi FORT, Italian, 68 years old, in Milan 2/6/76. He sang leading roles inmost Italian opera houses including those of Rome and Milan, also in England —London and Glyndebourne — and at the Salzburg Festival.

Artists manager GEORGE FOWLER, American, 55 years old, in New York 8/18/76. Avice-president of Hurok Concerts, which he joined in 1957, he began managing per-forming artists in the early Fifties as a member of National Concert and Artist Cor-poration.

Arts patron LORRAINE L. L. FRANKS, American, 58 years old, in WellesJey Hills,Mass. 1/5/76. A philanthropist active in many music organizations in the Boston area,she was the founder/director of the Guild of the Opera Company of Boston, and itstreasurer for ten years.

Bass PIERRE FROUMENTY, French, 77 years old, in Agen 2/1/75. He sang majorbass roles including the Wagner repertoire throughout France, also in Buenos Aires,London and in Italy.

Tenor and administrator YOSHIE FUJ1WARA, Japanese, 77 years old, in Tokyo 3/22/76.European trained, he sang leading tenor roles first in Europe, then in Japan. There, in1934, he founded his own company, which toured the United States with MadamaButterfly in the Fifties .

Stage director and administrator HERMAN GEIGER-TOREL, German/Canadian, 69years old, in Toronto 10/6/76. General Director of the Canadian Opera Company from1959 to 1975, he was named Director Emeritus last year when he retired from that post.He helped to found the company in 1950 and two years earlier, when he arrived inCanada, he founded the opera school of the Royal Conservatory in Toronto. Before thathe staged opera, theatre, and films in Germany, Austria, Czechoslovakia, France, andArgentina, where he also appeared as an actor. In addition, he worked for CBC radio andtelevision, and staged one production for the New York City Opera and numerous othersthroughout Canada. He received various Canadian honors including the Centennial Medalof Canada.

Soprano PIERISA GIRI, Italian, 67 years old, in Genoa 6/4/75. She sang light lyricsoprano roles in Rome, Milan and at other leading houses in Europe including CoventGarden.

Baritone APOLLO GRANFORTE, Italian, 88 years old, in Milan 6/10/75. AlthoughItalian by birth, he studied and made his debut in Buenos Aires. Later he sang at LaScala and other major Italian companies and was repeatedly invited by Nellie Melba tosing in Australia. He also returned to Argentina and made many recordings. After his

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retirement as performer, he taught voice in Turkey and later in Italy, where he countedamong his students Leyla Gencer, Raffaele Arie, and Flaviano Labo.Conductor and composer V1TT0RI0 GUI, Italian, 90 years old, in Florence 10/16/75.A world famous conductor, he was still at the helm of an orchestra two weeks beforehis death, conducting symphony at the Teatro Comunale in Florence, an orchestra whichhe had founded 37 years ago. Among the many memorable events of his career was the1923 opening night at La Scala, when Toscanini invited him to lead Salome. He con-ducted opera as well as symphony regularly throughout Europe, was chief conductor atGlyndebourne, and only during the last five years of his life did he completely give upopera in favor of concerts, finding at 85, that an entire evening of opera conducting wastoo strenuous. He wrote Fata Malerba, an opera produced in Turin in 1927.Designer and director RUDOLF HEINRICH, German, 49 years old, in London 11/30/75.His first recognition came when he was working as set and costume designer with WalterFelsenstein at the Romische Oper in East Berlin. Beginning in the early sixties, hedesigned opera productions for most major German opera companies, also for La Scala,Vienna Staatsoper, the Bolshoi Opera and Covent Garden. Later he also directed someof these productions. In the United States he worked at the Santa Fe Opera, the OperaCompany of Boston, and the Metropolitan Opera, where he designed Salome, Elektrciand Tosca, and staged and designed Freischiitz. He taught at the Academy of Fine Artsin Munich and was once married to American soprano Joan Carroll. They frequentlyworked together in Lulu, where she sang the title role.

Conductor and manager WALTER HERBERT, German/American, 73 years old, in SanDiego 9/14/75. At the time of his death he was Music Director of the San Diego Opera,which he founded in 1965. He was also General Director of the Houston Grand Opera,another company which he founded and where he conducted from 1955 to 1972. Inaddition, he helped organize Opera/South in Jackson, Mississippi, where he also conducted.His first managerial position in the U.S. was with the New Orleans Opera House wherehe was General Director and conductor between 1943 and 1954. He started his careerin Czechoslovakia, and also conducted in Germany, Switzerland, and Austria. Afterarriving in the United States he first taught at Mills College and played viola in the SanFrancisco Symphony.Composer BERNARD HERRMANN, American, 64 years old, in Los Angeles 12/24/75.In addition to writing Academy Award winning scores for film, radio and television,often for Orson Wells or Alfred Hitchcock, he also composed an opera, WutheringHeights, and a television music-theatre piece, A Christmas Carol, shown on CBS in 1954.He resided in London, but at the time of his death was in Hollywood working on thescore for the film Taxi Driver.Teacher, coach and pianist OTTO HERZ, Hungarian/American, 81 years old, in NewYork 1/5/76. He was a professor at the Manhattan School of Music since 1972, andbefore that was on the faculty of New York University and the New York College ofMusic. He coached young singers in the vocal repertoire and accompanied them inrecitals. He was also accompanist to many world famous singers, among them LotteLehmann, Christa Ludwig and William Warfield, as well as to instrumentalists such asCasals, Francescatti, and Milstein.Mezzo soprano HELENE JUNG, 88 years old, in Gosenheim, Germany 12/75. Herhome company was the Dresden Opera, where she was a member from 1920 to 1941and where she created roles in a number of Richard Strauss operas, including The House-keeper in Die schweigsame Fran. She also sang Strauss and Wagner roles in London.After her retirement she taught voice in Weimar.Recording executive DAVID KAPP, American, 71 years old, in New York 3/1/76. Hewas a pioneer in recording musicals with original casts. He owned his own company,Kapp Records, which merged with MCA. Earlier he had been affiliated with RCA andDecca.Arts patron and officer DAVID KEISER, American, 69 years old, in Wilton, Conn.11/26/75. President of the New York Philharmonic from 1956 to 1963 and then BoardChairman and Honorary Chairman, a title he held at the time of his death, he was alsoChairman of the Board of the Juilliard School where he had studied piano. In 1959 hewas piano soloist with the Philharmonic in a benefit concert under Bernstein. He was alsoa Director of Lincoln Center for the Performing Arts.Conductor RUDOLF KEMPE, German, 65 years old, in Zurich 5/11/76. The inter-nationally acclaimed Maestro lead the first American performance of Arabella in 1955

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at the Metropolitan Opera where he also conducted Rosenkavalier, Meistersinger andTannhiiuser. His last official positions were as Music Director of the Munich Philhar-monic and simultaneously of the BBC Symphony Orchestra in London. 1961-75 saw himas Music Director of the Royal Philharmonic Orchestra in London. He conductedopera in most major German houses, in Vienna, Buenos Aires and frequently at CoventGarden. His specialties were Strauss and Wagner, although he seemed equally at homewith Verdi, Mozart and the French repertoire. Among the summer festivals he was aregular guest artist in Salzburg and Bayreuth.

Conductor and educator TIBOR KOZMA, Hungarian/American, 66 years old, in Bloom-ington, Indiana 3/24/76 following a car accident. Professor and conductor of opera andsymphony at Indiana University in Bloomington since 1957, he came to that post fromthe Metropolitan Opera where he had been assistant and associate conductor for nineyears. Among the operas he conducted in New York were Boris Godunov, Carmen, LaBoheme, Die Meistersinger, and Die Fledermaus. He also appeared as guest conductorof opera in various cities in Europe and, prior to his engagement with the Met, heconducted Porgy and Bess and Carmen Jones on Broadway.

Soprano LOTTE LEHMANN, German/Austrian/American, 88 years old, in SantaBarbara, Calif. 8/26/76. One of the world's most distinguished, illustrious and belovedsingers, with a life dedicated to music, her portrayals of the Marschallin, of Fidelio'sLeonore, of Elsa or Eva and of many other roles, were style setting and unforgettableartistic events. So were her famous lieder recitals, the last one offered at Town Hall inNew York in 1951, which she so touchingly and appropriately closed with Schubert'sAn die Musik. Bruno Walter, under whose baton she sang innumerable performances,was also often her accompanist at recitals; another was Paul Ulanowsky. She also sangwith Toscanini, Beecham, Klemperer, Schalk and Strauss, in whose operas she createdtwo roles: The Dyer's Wife in Die Frau ohne Schatten and the Composer in Ariadneauf Naxos. In both premieres she shared the spotlight with Maria leritza who sangKaiserin and Ariadne, respectively. She made her Metropolitan debut in 1934 asSieglinde; her American debut had come four years earlier in Chicago. She continuedto perform regularly at the Met until 1945, and returned in 1962 to stage a new pro-duction of Der Rosenkavalier, an opera in which she had sung all three leading roles inthe course of her long career. She moved to California and, for more than fifteen years,taught at the Music Academy of the West in Santa Barbara. Among her pupils weremany successful singers, notably Grace Bumbry. She was the author of six books, anove/ Eternal Flight, two autobiographies Midway in My Song and My Many Lives, andMore Than Singing, Five Operas and Richard Strauss, and Studies of Interpretation ofEighteen Song Cycles. She received many honors and decorations, among them the GoldCross of Austria and the Legion d'Honneur.

Composer and teacher NIKOLAI LOPATNIKOFF, Estonian/American, 73 years old,in Pittsburgh 10/7/76. Among his compositions is one opera, Danton, performed in con-cert by the Pittsburgh Symphony in 1967. He was also professor of composition atCarnegie-Mellon University and earlier at Hartt College of Music in Connecticut. He wasawarded various honors and grants from such institutions as the Guggenheim andKoussevitsky Foundations and the National Institute of Arts and Letters.

Conductor and composer JEAN MARTINON, French, 66 years old, in Paris 3/1/76.A conductor of international fame, he was Music Director of the Chicago Symphony forfive years beginning in 1963. Before that time he had headed the French LamoureuxOrchestre, the London Philharmonic, the Philharmonic of Israel and the SymphonyOrchestra in Diisseldorf. Returning to France from Chicago after Georg Solti took overthe orchestra, Mo. Martinon became Director of the National Orchestra of FrenchRadio and Television. Among his compositions is one opera, Hecube, premiered in 1954.

Soprano and artists manager LOTTE MEDAK, Hungarian/British, 68 years old, inLondon 5/5/75. After singing leading roles in Hungary and Germany, she moved toLondon in 1953. She pursued a performing career for another six years and thenturned artists manager, opening her own office which represented such internationalsingers as Helga Dernesch, Sylvia Geszty, Leonie Rysanek and Anja Silja.

Scenic designer JO MIELZINER, American, 75 years old, in New York 3/15/76. Withover 300 Broadway theatre productions to his credit, he was one of America's foremosttheatre designers. He was as successful and imaginative in drama as in situation comedy,in musicals as in opera. In addition to designing the scenery, he usually did his ownlighting. His first opera design was for the Met's premiere of Emperor Jones in 1933.

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He won numerous prizes, among them five Tony and five Donaldson Awards, and anAcademy Award, and his designs were exhibited in many galleries and museum shows.Mr. Mielziner also worked with theatre architects and functioned as lighting consultantfor the Vivian Beaumont Theatre, the Mark Taper Forum Theatre in Los Angeles, theUnited Nations' Conference in San Francisco, and others. He was the author of Shapesof Our Theaters and Designing for the Theater; his third book, dealing with the im-portance of collaboration in the theatre, was left unfinished.Bass NICOLA MOSCONA, Greek, 67 years old, in Philadelphia 9/17/76. For 25 yearshe had been a member of the Metropolitan Opera where he sang leading bass roles.His debut there came in 1937 after Edward Johnson heard him in Italy. He sangover 30 roles, often under the baton of Toscanini. During the last few years, Mr.Moscona had retired from singing and gave voice and coaching lessons at Philadelphia'sAcademy of Vocal Arts.Radio broadcaster and conductor HERMAN NEUMAN, American, 80 years old, inNew York 5/4/76 (during a dinner given by the Bohemians in his honor). Music Directorof New York City's own radio station WNYC which he joined in 1924, he inauguratedsuch programs of classical music as "Masterwork Hour" and "Hands Across the Sea". Heconducted the station's own orchestra, notably at its 32nd music festival in CarnegieHall; he also appeared as guest conductor in cities here and abroad and was an ac-complished pianist. For several years he was president of the National Association ofAmerican Composers and Conductors.

Soprano ELISABETH OHMS, Dutch, 86 years old, in Marquardstein, Holland 12/74(not previously reported). Specializing in the dramatic field, she sang major Wagnerianroles in leading German opera houses. Toscanini brought her to La Scala in 1926, whereshe sang for three seasons. She was also a member of Covent Garden and sang atBayreuth. In 1930 she came to the Metropolitan where she also performed Wagnerianroles including Briinnhilde and Isolde as well as Leonore in Fidelio.

Conductor ANTON PAULIK, Austrian, 74 years old, in Vienna 4/23/75. Founder of theBregenz Festival in Austria, he was a regular conductor there during the summer. Duringthe winter he was Resident Conductor at the Vienna Volksoper which he joined in 1939following seventeen years with the Theater an der Wien in Vienna.Soprano ROSE PAULY (nee Pollak), Hungarian/Israeli, 81 years old,* in Tel Aviv12/14/75. Soon after her official debut she was discovered by Klemperer, who broughther to the Kroll Oper, Berlin. She sang dramatic soprano parts, Fidelio's Leonore, DonnaAnna, Senta, Jenufa and many others, as well as Carmen. She starred in numerousStrauss operas, Hindemith, Krenek and Berg's Wozzeck. She moved from Germany toAustria and gave highly acclaimed guest appearances throughout Italy and at CoventGarden. 1938-40 found her at the Metropolitan Opera singing Elektra, Venus and Ortrud,and, once in the United States, she also appeared with the companies in San Franciscoand in Chicago, as well as at the Teatro Colon in Buenos Aires. In 1946, after her retire-ment she moved to Israel.Conductor and educator ANTONIO PEDROTTI, Italian, 73 years old, in Trento5/16/75. Beginning in 1938 he was for six years Assistant Artistic Administrator of theAccademia di Santa Cecilia in Rome and later for two years Director of the AccademiaFilharmonica in the same city. He also guest conducted with the Italian Radio Orchestraas well as orchestras in Hungary, Czechoslovakia, and Yugoslavia.

Coloratura soprano LILY PONS, French/American, 71 years old, in Dallas 1/13/76.Another of opera's greatest stars, this petite and charming singer enjoyed enormouspopularity during her 28 years with the Metropolitan Opera. After some years of sing-ing opera in French provincial houses, she was recommended to Gatti-Casazza, whogave her a debut performance at the Met as Lucia in January 1931. She sang most ofthe then popular coloratura roles such as Gilda, Rosina; Marie (Fille du regiment),Adina, Lakme and others, not only in New York, but also in San Francisco, Chicago,Montreal, Buenos Aires, Rio, Paris and in other international opera houses. She also madea number of motion pictures. From 1938-58 she was married to conductor Andre Kostela-netz. In 1971 she assisted in the formation of the Palm Springs Civic Opera Company,of which she remained Artistic Director. According to her wishes, she is buried inCannes, not far from her birthplace.Baritone THOMAS F. PYLE, American, 58 years old, in New York 1/22/76. Besidessinging in choral groups and solo parts with choruses, Mr. Pyle functioned as a con-tractor for choral groups, recruiting singers for such ensembles as the Robert Shaw

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Chorale, the Bach Aria Group, Amor Artis, Caramoor Festival, Musica Sacra, and manyothers. He kept records on all available singers in the New York area, assisting them toget jobs. In appreciation, they honored him with a choral concert in his memory.Public relations executive GRETA RAUCH (GOLDMAN), American, 74 years old, inNew York 1/13/76. She was affiliated for many years with Constance Hope, and waspublicity agent for such artists as Melchior, Pinza, Lotte Lehmann, Iturbi, and Ellman.She then worked as press agent for Carnegie Hall and for the past six years was associatedwith Jean Dalrymple. Her son, baritone Lawrence Shadur, is a member of the Metro-politan Opera.Soprano ELISABETH RETHBERG (nee Lisbeth Sattler), German/American, 81 yearsold, in Yorktown Heights, New York 6/6/76. This incomparable and cherished divawas equally at home in the German and the Italian repertoire and equally at ease in thedramatic and in the lyric repertory. In 1922 she made her Met debut as Aida and wasan immediate success with audiences and critics alike. She remained with the companyfor 20 years, an acclaimed star, beloved by her public and her colleagues. She was firstheard by Fritz Reiner in 1910 when she was 16, and given a small part in Lohengrinin Dresden. Her official debut came five years later in Zigeunerbaron, but engagementswere rare until, a few years later, she sang in Holland where she was discovered byGatti-Casazza. All during her operatic career she was also acclaimed as a lieder recital-ist, and she continued as such after her retirement from the Met in 1942. She returnedto the Met stage once more to bow to thunderous applause at the Gala closing of theold opera house on 39th Street. In 1956 she married Metropolitan Opera baritoneGeorge Cehanovsky.

Musicologist and teacher EDWIN R1PIN, American, 45 years old, in New York11/13/75. An expert on old musical instruments, he helped to mount the permanentexhibition of old instruments at the Andre Mertens Gallery at the Metropolitan Museumand was its Assistant Curator for the past several years. He helped found the AmericanMusical Instrument Society and was himself a collector and restorer of rare instruments.He taught at SUNY in Purchase and at New York University, and wrote scholarlyessays on music.Bass PAUL ROBESON, American, 77 years old, in Philadelphia 1/23/76. It seems in-credible today that Paul Robeson, with his beautiful voice and expressive talent foracting, never appeared on the operatic stage. Instead, he built his international artisticreputation on a concert career and his appearances in dramatic plays, most notably asShakespeare's Othello, and in film as O'Neill's Emperor Jones. In his recitals he suc-cessfully featured lieder and spirituals on the same program. Politically,, he becamea controversial figure in the late Forties and Fifties, and his passport was withheld.He accepted the Stalin Peace Prize in 1952, but could not travel before 1958 when hispassport was returned to him. At that time he left the U.S. to make his home in England,returning to New York briefly in the same year for a Carnegie Hall recital. In 1963 hemoved back to New York's Harlem area and, a few years later, to Philadelphia to livewith his sister. In 1973 a concert in honor of his 75th birthday was held at CarnegieHall, but he did not attend.

Soprano EMILY HUBBARD ROOSEVELT, American, 82 years old, in Stamford, Conn.9/14/76. A distant cousin of Presidents Theodore and Franklin D., she made her debutin Boston in 1925 and continued to sing in opera and concerts for 25 years in principalcities in the United States. The Festival Opera Company of Chicago and the PhiladelphiaCivic were both home to her for a number of years.Bass SIGMUND ROTH, German, 70 years old, in Hamburg 6/24/76. He was a per-manent member of the Hamburg State Opera for thirty years, beginning with that com-pany in 1938. He also appeared as guest artist in other European opera houses.Educator and administrator JANET DANIELS SCHENK, American, 93 years old, inNew York 10/12/76. In 1917 she founded the Neighborhood Music School on East105 Street, which was the forerunner of the Manhattan School of Music. She remainedinvolved in the city's musical life and was an active member of various boards of di-rectors. She received several honors from musical organizations in New York.Opera manager ALFREDO SALMAGGI, Italian/American, 89 years old, in Far Rock-away, New York 9/5/75. He formed his first opera company in 1918 and gave per-formances in numerous rather unlikely places, some of them with very large audiencepotential such as the New York Hippodrome, Ebbets Field, Madison Square Garden,Yankee Stadium, Brooklyn's Academy of Music, Soldiers Field in Chicago, and Wash-ington D.C.'s Watergate. And some of his mammoth casts — Aida with 50 horses and

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five elephants — were a good match for those large crowds. He offered low-priced ticketsand played mostly to SRO houses. He himself, a flamboyant figure, started as a tenorin his native Italy, and although Caruso never sang in his company, the two men werevery close friends. Maestro Salmaggi's company gave its last production in Brooklyn in1971.Conductor, composer and administrator FRANZ SALMHOFER, Austrian, 75 years old,in Vienna 9/22/75. He was Director of the Vienna Staatsoper from 1945 to 1954, andof the Vienna Volksoper from 1954 to 1963. His compositions include various operas,among them Das Werbekleid and Iwan Tarasscnko.Composer DMITRI SHOSTAKOVICH, Russian, 68 years old, in Moscow 8/9/75.Internationally acclaimed and among the Soviet Union's leading composers, he fluctuatedbetween modern composition and the official Russian party line on art. However, thelatter persuasions must have been convincing, and his later compositions strongly reflectthat philosophy. He composed two operas, Lady Macbeth of Minsk premiered underthat title in Leningrad in 1934 and in its second version as Katerina Ismailova in Moscowin 1963, followed by the American premiere at San Francisco in 1964. His second opera,The Nose, was first heard in Leningrad in 1930 and received its American premiere inSanta Fe in 1965.Composer GIULIO CESARE SONZOGNO, Italian, 70 years old, in Milan 1/23/76. Hiscompositions include three operas, Reginci Uliva premiered in Milan in 1949, Passaged(Trieste 1961), and Boule de suif (Bergamo 1970).Conductor and teacher HANS SWAROWSKY, Austrian, 76 years old, in Salzburg9/10/75. He conducted numerous European symphony orchestras, but is best known asa teacher of world famous conductors, such as Abbado, Mehta and others. Since 1946, hewas professor at Vienna's Academy of Music.Coloratura soprano IDA SYLVANIA (nee Ida Heydt), American, 82 years old, inMelbourne, Fla. 4/19/75. She made her debut as Gilda and soon sang throughout Italy;she appeared in some performances under Tullio Serafin. In America, she gave a jointrecital with Jasha Heifetz.Conductor and educator WILLIAM TARRASCH, Austrian/American, 75 years old, inNew York 5/31/76. In 1955 he was appointed Music Director of the Hunter CollegeOpera Workshop, a post he held until the dissolution of the workshop in 1970. Amonghis students was Martina Arroyo. From 1964-69 he was also Associate Professor ofMusic at the college. Earlier he had been on the music staff of the New York City Operaand also served as accompanist to such international stars as Leonard Warren, BrunaCastagna and Giovanni Martinelli.Tenor FIORENZO TASSO, French/Italian, 74 years old, in Milan 3/29/76. He studiedat the Curtis Institute of Music in Philadelphia and made his debut in that city in 1930.Returning to Europe, he embraced the Heldentenor repertoire and in 1936 sang his firstTristan in Rome. He sang most Wagner tenor roles, but also the leading dramatic partsin Italian operas. He retired in 1953.Mezzo turned soprano GIULIA TESS, Italian, 87 years old, in Milan 3/17/76. Elevenyears after her debut as Mignon in Venice, she created the soprano role of Jaele inPizzetti's Debora e Jaele under Toscanini at La Scala (1922). It was upon the advice ofher teacher, Battistini, that she changed vocal repertoire, and sang both lyric and dra-matic soprano parts such as Orsola in the premiere of Wolf-Ferrari's Campiello, andFidalma in Matrimonio segreto, as well as Elektra and Salome. After her retirement as asinger, she staged opera at La Scala and other Italian houses, and also taught stage de-portment and interpretation. Among her students were Fedora Barbieri and FrancoTagliavini.Soprano MAGGI TEYTE (nee Tate), British, 88 years old, in London 5/26/76. Perhapsmost famous for her interpretation of Melisande, she sang that role one year after herdebut in 1908 at the Paris Opera Comique. It was in one of her last performances thatshe returned to this elusive character, which she had made her own, at the New YorkCity Opera in 1948. Her debut came at the opera in Monte Carlo in 1907, and she didnot sing in her home country until 1910 when she appeared as Cherubino at His Majesty'sTheatre under Beecham. Her first roles were French, followed by various Mozartcharacters (Blondchen, Zerlina, etc.). Her American debut occurred in Chicago in 1911,again in Nozze di Figaro, and she also sang in Boston. She soon added more French andthen Italian leading ladies to her expressive renditions (Gilda, Mimi, Oscar, Desdemona,Cio-Cio-San) and participated in a number of world premieres, notably in Hoist's PerfectFool, Montemezzi's V A more dei tre re, and several musical plays in London's West End.

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in 1951 she made her last operatic appearance as Belinda in Dido and Aeneas oppositeFlagstad's Dido. Except for one performance of Eva, she never sang any Wagnerianroles. Fine French interpreter that she was, her recitals were much awaited and usuallyfeatured art songs by Debussy, Faure, and Ravel. In 1958, the title of Dame of theBritish Empire was bestowed upon her.Tenor JOSEF TRAXEL, German, 59 years old, in Stuttgart 10/8/75. He created the roleof Mercury in Strauss's Liebe der Danae in Salzburg in 1952 and sang leading roles inBayreuth between 1954 and 1957. He had been a member of the Nurnberg Opera andat the time of his death was on the roster of the Stuttgart Opera, as he had been forthe past 23 years.Stage director and producer LUCHINO VISCONTI, Ttalian, 69 years old, in Rome3/17/76. Among Italy's most celebrated, important and influential theatre and film pro-ducers, he turned his attention to opera directing in 1955. That year he staged La Vestalewith Maria Callas at La Scala; it was the first instance of a long-time collaboration be-tween the Greek/American opera star and the Italian director, resulting in productionsof Traviata, Sonnambula, Anna Bolena, and Iphigenie en Tauride. In 1958 he was presentat the inauguration of the Spoleto Festival, staging Macbeth, and over the years addedDuca d'Alba, Salome, and Manon Lescaut to his repertory. In England he left his markwith productions of Traviata, Don Carlo, and Rosenkavalier, and in Vienna withFalstaff and Simon Boccanegra. He, regrettably, never worked for any American com-pany, although his Rome Opera production of Nozze di Figaro was seen in New Yorkwhen that company visited the United States in 1967.Scenic designer and water-color artist JOHN WENGER, Russian/American, 89 yearsold, in New York 8/24/76. He came to the United States from Russia after havingstudied at the Imperial Art School and continued his art studies here at the NationalAcademy of Design. After finishing school he designed scenery and was among the firstartists to use gauze, rejecting the then so popular heavy and realistic sets. His designsfirst appeared in movie houses (Rivoli, Capitol and Roxy), then on Broadway for theZiegfeld Follies and Funny Face, and in motion pictures such as Paramount on Parade.His operatic work started in Boston and in 1919 he designed Petroushka for the Metro-politan Opera. He was also a portraitist and painted still-lifes, abstracts, and decorativepieces. His last one-man show was in 1956, and samples of his work may be found in theMetropolitan Museum and the Museum of the City of New York.Author THORNTON WILDER, American, 78 years old, in Hamden, Conn. 12/7/75.Three times a Pulitzer Prize winner, he was one of America's foremost playwrights andnovelists. The award winning writings included The Bridge of San Luis Rey, a 1928novel which was turned into an opera by Hans Reutter in 1954, and two plays OurTown and The Skin of Our Teeth. He was also the recipient of the National Book Awardand the National Medal for Literature. In 1931 he wrote a one-act play The LongChristmas Dinner, which was set to music by Paul Hindemith in 1961 and received itsAmerican premiere at Juilliard in 1963. Mr. Wilder taught at various universities andoccupied the Charles Eliot Norton chair at Harvard in 1950-51.Bass-baritone and educator HAROLD WILLIAMS, Australian, 83 years old, in NewSouth Wales 6/76. During the Twenties and Thirties he sang in London, first with theBritish National Opera and later at Covent Garden, where he created the role of DonPedro in Goossens' Don Juan de Manara in 1937. His last performances in London cameas a member of the English National Opera Group, after which time he returned toAustralia as professor at the New South Wales Conservatory.Conductor PHILIPP WUEST, German, 81 years old, in Saarbriicken 10/75. During theThirties and Forties he held the position of Music Director in the following Germancities: Mannheim, Breslau, Stuttgart, and Saarbriicken.Choreographer and ballet master LEONID YAKOBSON, Russian, 71 years old, inMoscow 10/75. He was ballet master at the Bolshoi in Moscow and at the Kirov Balletin Leningrad. Recently he choreographed the American/Russian film The Bluebird, andthe premiere of Nono's opera Al gran sole carico d'amore last year at La Scala. A fewyears ago he founded his own ballet company, the Choreographic Miniature Ensemble,which earned him a gold medal from the Dance Academy in Paris.Soprano MARIA ZAMBONI, Italian, 85 years old, in Verona 3/25/76. As a memberof La Scala between 1924 and 1931 she created the role of Liu in Turandot in 1926,Toscanini conducting. She sang at most Italian opera houses and in South America.

FINAL PERFORMANCE LISTING 1975-76 SEASONAll performances are staged with orchestra unless marked "cone, pf." or "w. p."(with piano), — * following an opera title indicates new production. —• Perform-ances and news items once announced will not be relisted at the time of per-formance.

ARIZONAPhoenix Park and Recreation Dept, Phoenix8/8, 10/76 L'Enfant et les sortilegesUniversity of Arizona Opera Theatre, E. Conley, Dir., Tucson10/24, 25/75 The Tender Land w.o.4/23, 24/76 The Gypsy Baron Eng. Martin, w.o.7/1, 2/76 The Old Maid and the Thief & Davis's How a Fish Swam in the Air and

a Hare in the WaterALABAMA

Auburn University Opera Wksp., M. Howard, Dir., Auburn5/25, 26/76 The Marriage of Figaro Eng. Martin; w.p.Mobile Opera Guild, J. Lewis, Pres., Mobile12/1, 2/75 A Gift of Song w.p.Montgomery Performing Arts Society4/30 5/1, 2, 7, 8, 9/76 // Tabarro Eng. Machlis

ARKANSASHenderson State Univ., Opera Theatre, A. Chotard, Dir., Arkadelphia2/13 3/5, 26 5/2, 9, 16, 23, 30/76 The Old Maid and the Thief 16 pfs.

CALIFORNIABiola College Opera Wksp., W. Wall, Dir., La Mirada2/6, 7, 11, 12, 13/76 The Music ManCalifornia State Univ. Opera Wksp., Evelyn Troxler, Dir., Fresno11/12, 13/75 Opera Scenes w.p.4/30 5/1, 2/76 Gianni Schicchi w.p.; Eng. GrossmanCalifornia State Univ. Opera Theatre, M. Kurkjian, Dir., Fullerton10/19/75 4/30 5/1/76 Opera Scenes1/4-30/76 La Boheme 40 pfs.; Eng. Martin8/29-31 9/2-4/76 Gianni Schicchi & PagliacciCalifornia State University Opera Wksp., D. Scott, Dir., Northridge10/75 Don Giovanni 6 pfs. w.o.3-4/76 Antony and Cleopatra 6 pfs. w.o.6/76 The Tales of Hoffmann 6 pfs. w.o.Chico State University Opera Wksp., J. Kinnee, Dir., Chico1975-76 The Medium; The Jumping Frog of Calaveras CountyEuterpe Opera Club of Los Angeles, Mrs. S. Hitt, Pres., Chandler Pavilion10/28/75 Porgy and Bess w.p., 10:15 AM12/16/75 La Serva padrona & L'Heure espagnole2/10/76 Adriana Lecouvreur3IS/76 SusannahGuild Opera Co., J. Moss, Gen. Mgr., J. Barnett, Mus. Dir., Los Angeles4/20, 21, 22, 23, 26, 27, 28, 29, 30/76 Cinderella Eng. Gallagher; abridged w.o.Los Angeles Beach Cities Orchestra, L. Palange, Mus. Dir., Los Angeles6/4/76 Zador's Yehu cone. pf.Los Angeles Community College Opera Theatre, G. Fisher, Dir., Los Angeles2/13, 14/76 Bayou Legend w.o.5/21, 22, 28, 29/76 Die Fledennaus Eng. Fetta; w.o.Los Angeles Valley College, Opera Wksp., R. Chauls, Dir., Van Nuys1/15, 16, 17/76 Suor Angelica Eng. WithersSan Diego State Univ. Opera Theatre, L. C. Hurd, Dir., San Diego12/5, 6, 13/75 The Good Soldier Schweik w.o.5/1,7, 8/76 The Beggar's Opera w.o.Santa Barbara City College, Opera Wksp., Santa Barbara5/21, 22, 28, 29/76 Die Fledermaus Eng. MartinStanford Savoyards, R. Taylor, Prod., Stanford Univ., Dinkelspiel Auditorium11/13, 15,16,21,22,23/75 The Mikado w.o.5/1, 2, 7, 8, 9/76 The Sorcerer w.o.7/30, 318/1, 6, 7, 8/76 Patience w.o.

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1975-76 Season

Stanislaus State College, Music Dept., S. Coulter, Chmn., Turlock12/8/75 A Gift of Song 2 pfs. w.p.Stockton Opera Ass'n, G. Buckbee, Art. Dir., U.C.P. Conservatory, Stockton4/23, 24/76 Die Fledermaus Eng.UCLA Opera Wksp., J. Hall, Dir., Little Theatre, Los Angeles2/6, 7, 8, 13, 14, 15, 20, 21, 22/76 The Marriage of Figaro Eng. Hall; w.p.5/8/76 Reale's The Waltz King prem., cone. pf.. w.o.6/3, 4, 5, 6/76 Suor Angelica & Gianni Schicchi w.p.University of California Opera Theatre, S. Dudley, Gen. Dir., Santa Cruz4/8, 10, 16, 17/76 Don Pasquale Eng. Ellis; w.o.Univ. of Santa Clara Opera Wksp., J. B. Neely, Dir., Santa Clara (see also Fall

'75 BUtn.)2/27, 28/76 A Hand of Bridge & Opera Scenes (replaces Gallantry)5/7, 8, 9/76 Dido and Aeneas

COLORADOAdams State Music Theatre Wksp., E. Richmond & R. Talley, Dirs., Alamosa2/25/76 The Medium w.p.5/10-13/76 Godspell w.o.Central City Opera House, Apprentice Artists Program8/6/76 Capriccio Ciesinski; Myers, Lyon; c: Safflr; d: Morelock; w. 2 ps.Colorado State University Summer Opera Theater, Ft. Collins7/30, 31/76 Trouble in Tahiti & Help, Help, The Globolinks!Crystal River Opera Ass'n, Carbondale & Mountain College, Leadville7/27/76 The Ballad of Baby Doe

CONNECTICUTUniversity of Bridgeport Opera Theatre, J. E. Taylor, Dir., Bridgeport12/7, 8/75 The Telephone & La Serva padrona w.o.5/1/76 La Fanciulla del West Eng. Martin; Opera Co. of Boston prod.5/8, 9/76 Cinderella Eng. Comrie & Rita Eng. MeadYale University Music Dept., P. Nelson, Dean, Sprague Hall, New Haven3/26/76 Talma's The Alcestiad excerpts, 1st pf. in Eng.; w.p.

DELAWAREMinikin Opera Co., June Cason, Dir., Wilmington1975-76 The Telephone 6 pfs.; The Boor 9 pfs. w.p. in schools

DISTRICT OF COLUMBIACatholic University of America, Opera Theatre, M. Cordovana, Dir., Wash-

ington4/2, 3, 4/76 A Midsummer Night's DreamTrinity College Opera Wksp., Sharon Shafer, Chmn., Mus. Dept., Washington3/28/76 The Old Maid and the Thief w.p.

FLORIDABroward Community College Opera Wksp., R. B. Crawford, Dir., Fort

Lauderdale11/15/75 La Serva padrona w.p.3/31/76 Bastien et Bastienne & Opera Scenes w.p.Barry College Fine Arts Div., J. Ruffo, Chmn., Miami Shores12/27/75 Bray's Memoirs From the Holocaust prem.; w.p.Eckerd College Music Dept., W. Waters, Prof., St. Petersburg5/15, 16/76 Acis and Galatea w.o.Florida Tech. Univ. Opera Ensemble, Elizabeth Wrancher, Prod-Dir., Orlando12/4/75 Amahl and the Night Visitors cone. pf. w.p. & 2 oboes, & Hansel and

Gretel act I, w.p.4/15/76 Opera Scenes, cone, pf., w.p.6/3, 4/76 The Women & Opera Scenes, w.p.Stetson University, Opera Wksp., R. Rich, Dir., Deland4/8, 9, 10/76 Madama Butterfly

GEORGIAClayton Jr. College Music Dept., L. Corse, Dir., Morrow3/10-12/76 The Beggar's Opera Corse ed., w.o.Opera Inc., Alice Bliss, Dir., Decatur12/1, 3, 4/75 La Serva padrona w.p. 8/24/76 Opera Scenes w.p.

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1975-76 Season

Shorter College Opera Wksp., J. Ranisaur, Art. Dir., Rome2/21, 23/76 Gianni Schicchi Eng. Grossman; w.p.Truett-McConneU College Opera Wksp., R. Snead, Dir., Cleveland12/9, 10/75 Amahl and the Night Visitors w.p. 4/12/76 The Barber of Seville w.p.

HAWAIIOpera Players of Hawaii, R. LaMarchina, Art. Dir., touring co. of Hawaii

Opera Theatre5/15, 20/76 Cost fan tutle

IDAHOCollege of Idaho Opera Wksp., £ . Goss, Dir., Caldwell11/28, 30 12/1/75 Amahl and the Night Visitors w.o.3/28, 29/76 Pagliacci w.o.University of Idaho, Opera Theatre, C. W. Walton, Dir., Moscow4/7, 8, 9, 10/76 La Traviata Eng.

ILLINOISDePaul Univ. Music & Drama Depts., J. O'Malley & A. Gertz, Dirs., Chicago5/14, 15, 16, 21, 22, 23m, 23/76 OklahomaNorthwestern University Opera Theatre, T. Miller, Dean, Evanston12/3/75 3/11 5/26 7/28/76 Opera Scenes, w.p.5/22/76 La Serva padrona Eng. Kraus; w.o.5/23/76 La Boheme Eng. Martin; w. Northwest SymphonyPeoria Civic Opera, at Scottish Rite Temple7/2/76 Madama ButterflyUniv. of Chicago Music Dept., R. Marshall, Clnnn. & Music of the Baroque,

T. Wickman, Dir.4/22, 24/76 IdomeneoRepertory Opera Theatre/New Opera Wksp., W. Ludtke, Gen. Mgr., Oak

Park11/14, 15, 16, 21, 22, 23/75 The Magic Flute w.p.12/12, 13, 14, 19, 20, 21/75 Amahl and the Night Visitors w.o.2/28 3/13 6/13/76 Madama Butterfly w.p. 3/6 4110/76 Labne w.p.Roosevelt Univ. Opera Theatre, C. W. Reims, Dir., Chicago4/2/76 // Combattimento di Tancredi e Clorinda

INDIANABall State University, Opera Wksp., J. Campbell, Dir., Muncie2/19, 20, 21/76 Madama ButterflyButler Univ., Opera Wksp., J. Wiley, Dir., Indianapolis4/10, 11/76 Gianni Schicchi Eng. GrossmanIndiana State Univ., Opera Wksp., R. Hounchell, Dir., Terre Haute2/27, 28/76 Comedy on the BridgeIndiana University, Opera Wksp., M. Esselstrom, Dir., South Bend4/23, 25, 29 5/1/76 Rigoletto Eng. MartinSt. Mary's College Opera Wksp., S. Stevens, Dir., Notre Dame12/4, 5, 6, 7, 8/75 // Campanello Eng. Stevens; w.p.

IOWACoe College Opera Wksp., JoAnn Lanier, Dir., Cedar Rapids4/10, 24/76 Parker's The Family Reunion prem.Cornell College Dept. of Music, A. Houkom, Chmn., Mt. Vernon10/10, 11, 15/75 The Threepenny Opera Eng. Blitzstein; w.o.Luther College Opera Wksp., D. Judisch, Dir., Decorah5/6, 7, 8/76 Suor Angelica Eng. Withers & Gianni Schicchi Eng. Grossman; w.p.Ottumwa Heights College, Opera Wksp., Ottumwa Heights11/14, 15, 16/75 Don Pasquale Eng. MeadSimpson College, Opera Theatre, R. Larsen, Dir., Indianola2/28, 29/76 A Midsummer Night's Dream

KANSASFt. Hays Kansas State College Music Dept., D. E. Stout, Opera Dir., Hays1/29, 30, 31/76 The Crucible w.o.Kansas State Teachers College, Opera Theatre, R. Anderson, Dir., Emporia4/24, 26/76 The Marriage of Figaro Eng. MartinWashburn University Opera, F. Hedberg, Prod-Dir., Topeka2/6, 7, 8, 13, 14, 15/76 The Devil and Daniel Webster

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1975-76 Scuson

Wichita State University, Opera Wksp., Wichita3/30 4/1, 2,3/76 Susannah

KENTUCKYUniversity of Kentucky Opera Wksp., Phyllis Jenness, Dir., Lexington1/28, 29/76 The Marriage of Figaro w.o.5/1, 2/76 The Gondoliers w.p.

LOUISIANANortheast Louisiana University Opera Wksp., C. Weedman, Dir., Monroe1/29, 30/76 Carmen Eng. Martin, w.o.4/23, 24/76 Opera Scenes, w.p.Shreveport Civic Opera Ass'n, J. Loewenstein, Pres., Shreveport Civic Theatre5/11 / 76 // Barbiere di Siviglia w.o.6/13, 14, 15, 16, 17776 La Boheme (abridged) w.p.Louisiana Tech Univ. Opera Wksp., S. Yang, Dir., Ruston1/8 2/19 4/1 5/6/76 Opera Scenes w.p.Southeastern Louisiana Univ. Dept. of Music, D. McCormick, Head,

Hammond11/24, 25/75 Gallantry & Captain Lovelock4/7, 8/76 The Merry Wives of WindsorTulane Univ., Opera Theatre, F. Monachino, Dir., New Orleans4/23, 24/76 El CapitanUniv. of Southern Louisiana Opera Guild, G. S. Beaman Griffin, Dir.,

Lafayette11/4, 6/75 The Tender Land3/10, 11 /76 The King and I

MAINEBowdoin College, Music Dept., Brunswick12/11/75 A Gift of Song 2 pfs. w.o.University of Maine Opera Theatre, L. Hallman, Art. Dir., Orono2/4, 6, 7, 9/76 Carmen Eng. Goldovsky; w.o.

MARYLANDComic Opera Co., P. Pendelton, Exec. Prod., Baltimore12/10, 11/75 The MikadoEastern Opera Theatre, J. J. Lehmeyer, Prod., Touring co. of Baltimore Opera9/22-10/3/75 Vne Demoiselle en loterie Eng. 16 pfs.Essex Community College, Opera Wksp., Baltimore12/14/75 1/17/76 The CrucibleMontgomery Community College Music Dept., G. MuIIer, Chiiin., Rockville10/8-12/75 Annie Get Your Gun w.o.12/6-8/75 The Telephone & A Hand of Bridge & Sunday Excursion w.p.4/1-4/76 Mullet's Joshua prem., w.o.; also 7/8-11/76 in Washington D.C.5/7-9, 14-16/76 // Tabarro w.p.Prince George's Community College, Opera Wksp., Annapolis11/20, 21, 22/75 Tender Land

MASSACHUSETTSSpringfield Orchestra Ass'n, J. Gidwitz, Mgr., Symphony Hall, Springfield5/4/76 Porgy and Bess

MICHIGANGrand Valley State College, Opera Wksp., A. Dutcher, Dir., Allendaie1975-76 Tosca Eng. Gutman; 4 pfs.Kellogg Community College Music Dept., Battle Creek12/8, 9/75 A Gift of Song 4 pfs. w.p.Marygrove College Opera Wksp., Emilia Cundari, Dir., Detroit12/1-6/75 The Little Sweep 11 pfs. w.p.4/21, 22, 24/76 Opera Scenes, w.p.Opera Ass'n of Western Michigan, J. Hatton, Gen. Mgr., Grand Rapids3/24/76 The Marriage of Figaro Eng. Martin; 5 pfs.Western Michigan University Music Dept., W. Appel, Dir., Kalamazoo3/18, 19, 20/76 Der Bettelstudent (as An American in Boston) Eng. Holt, w.o.6/4/76 The Scarf w.p.

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1975-76 Season

MINNESOTAMacalester College, Opera Wksp., L. Stripling, Dir., St. Paul1/26, 27, 28, 30/76 The Tender Land 3/4-7/76 TreemonishaMankato State College, Opera Wksp., W. Hettinga, Dir., Mankato4/27, 29 5/1/76 The Marriage of Figaro Eng. MartinMoorhead State University Opera Theatre, R. Visus, Dir., Moorhead5/13, 14/76 // Matrimonio segreto Eng. Gay

MISSISSIPPIDelta State Opera Theatre, R. Zaieck, Dir., Cleveland11/24/75 Down in the Valley & The Telephone w.p.

MISSOURIUniversity of Missouri, Opera Wksp., H. Morrison, Dir., Columbia4/8, 9, 10/76 The Crucible

NEW JERSEYFair Lawn Summer Festival, D. Shapiro, Dir., Memorial Park, Fair Lawn6/27/76 Don Pasquale Eng. Mead; cone, pf; c: ShapiroGlassboro State College Opera Co., J. Shaw, Dir., Glassboro11/13, 14, 15/75 Little Red Riding Hood & Devil and Daniel Webster w.o.3/18, 19, 20/76 The Mikado w.o.Middlesex County College, Opera Wksp., Edison5/14, 15, 16/76 Cavalleria rusticana & The Old Maid and the Thief

NEW MEXICOEastern New Mexico University School of Music, R. Cage, Dir., Portales10/17, 18/75 The Magic Flute w.o.1/22-27/76 Annual variety show2/23-27/76 Little Red Riding Hood tour3/25-27/76 A Fawn in the Forest & Slow Dusk & Gallantry7/22-24/76 The Fantasticks

NEW YORKCornell University, Opera Wksp., L. Lehrman, Dir., Ithaca7/14, 16, 17, 21, 23, 29, 31 8/4, 6/76 Don PasqualeSUNY Buffalo Opera Studio, M. H. Wolf, Dir., Buffalo (see also Fall '75 Blltn.)3/26, 27 A\"ill'6 Jumping Frog of Calaveras County & The Old Maid and the

Thief w.p.7/9, 10/76 Gilbert & Sullivan a la Carte, w.p.SUNY Opera Guild, F. E. Dybdahl, Dir., Potsdam11/20, 21, 22/75 Le Rossignol & The Long Christmas Dinner w.o.; Eng. Craft2/12/76 Riders to the Sea & The Telephone w.o.2/13/76 Trouble in Tahiti & Bastien and Bastienne w.o.4/29, 31 5/1/76 The Merry Wives of Windsor w.o.; Eng. Blatt8/7, 8, 9, 10/76 The Music Man w.o.SUNY Opera Studio, W. Cole, Dir., Oneonta3/10, 11, 12, 13/76 Cos) fan tutte w.p.SUNY Opera Theatre, L. Eldredge, Dir., Fredonia3/25/76 Opera Scenes w.p.4/24, 25/76 Wiggins' The Doctor's Duty prem., w.p. & Grafs The State of Very

Good US. w.o.5/3-8/76 Man of La Mancha w.o.SUNY Opera Wksp., S. Osmond, Mus. Dir., Albany (see also Summer '76

Blltn.)4/11/76 Der Freischiitz Eng. Stanford, w.o.SUNY Opera Workshop, G. Gibson, Dir., Brockport11/11, 12, 13, 18, 19, 20/75 Gianni Schicchi Eng. Pitt; w.p.

NEW YORK CITYThe Cubiculo, P. Meister, Art. Dir., Cubiculo Theatre3/11, 12, 13/76 La Boheme w.p.Harlem Opera, E. Taylor, Art. Dir., New York and tour1975-76 Solomon and Sheba 12 pfs.4/28-30/76 Blue Monday Blues w.p.5/7/76 Black Cowboys w.o. in Buffalo7/15/76 Winter's Papa B on the D Train w.o.

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1975-76 Season

New York City Opera Theatre (Educational Dept.), T. Martin, Dir.10/16-11/20/75 Noda's The Canary w.p.10/24-30/75 1/15-27/76 The Barber of Seville Eng. Martin3/12-4/27/76 Pagliacci Eng. Martin; w.p.1975-76 "Opera Americana"; "Opera Event"; "Opera for All" tour to schools and

collegesNORTH CAROLINA

Central Piedmont Community College Opera Wksp., Jane Dillard, Dir.,Charlotte

11/11, 12/75 Beauty and the Beast w.p.5/7, 8, 14, 15/76 The Devil and Daniel Webster w.p.National Opera Co., A. J. Fletcher, Prod., Raleigh; pfs. on tour1/76 The Magic Flute Eng. Martin; 2 pfs. w.o.2, 3, 4, 5/76 The Daughter of the Regiment Eng. Martin; 12 pfs. w.p.2, 3, 4, 5/76 The Merry Wives of Windsor Eng. Blatt; 46 pfs. w.p.2, 3, 4, 5/76 La Cenerentola Eng. Czonka; 13 pfs.North Carolina School of the Arts Opera Wksp., N. Johnson, Dir., Winston-

Salem1/16, 17/76 Opera Scenes w.p.4/2, 3/76 The Tender Land w.o.

NORTH DAKOTADickinson State College Music Dept., E. Brown, Dir., Dickinson2/21, 22, 23/76 La Serva padrona Eng. Furgiuele & The Telephone & Sunday

Excursion w.p.University of North Dakota Opera Co., P. Hisey, Dir., Grand Forks11/25/75 Opera Scenes, w.p.4/1,2, 3/76 Col. Jonathan and the Saint w.o.

OHIOBluffton College Opera Wksp., E. Lehman, Dir., Bhiffton5/21, 22/76 The Magic Flute Eng. Martin; w.p.Bowling Green State Univ. Opera Wksp., T. Hoke, Dir., Bowling Green11/30 12/5/75 The Telephone & Amahl and the Night Visitors w.o., 1 pf. in

Vermillion2/12, 13, 15/76 The Daughter of the Regiment Eng. Martin; w.o., 1 pf. in Vermillion3/12, 13/76 Opera Scenes, w.p.5/28 6/4, 5/76 La Serva padrona & A Game of Chance w.p., 1 pf. in SanduskyCapital University Opera Wksp., G. Allen, Dir., Columbus4/2, 3/76 Perpetual & Frustration & Bertha w.p.Otterbein College Opera Theatre, M. Achter, Cliinn., Westerville1/22-24/76 Down in the Valley & The Jumping Frog of Calaveras County w.o.Performing Arts Ensemble, School of Fine Arts, J. Savage, Exec. Dir.,

WiUoughby9/8 11/10, 18/75 2/2 5/3/76 The Telephone w.p.10/2, 21 11/5, 11/75 1/27, 29 2/24 4/8 5/5, 20/76 Sweet Betsy From Pike w.p.11/7, 8, 9, 15, 16, 21, 22, 23/75 The Ballad of Baby Doe w.p.12/12, 13, 14, 19, 20, 21, 22/75 Amahl and the Night Visitors w.p.2/6, 10 5/4/76 Maid as Mistress w.p.3/10, 11 5/7, 14, 27 6/1/76 Savage's Sanderson's Other World prem., w.p.3/31/76 Opera Scenes

OKLAHOMAOklahoma City Southwest College, Opera Wksp., Oklahoma City8/15, 16, 17/76 Hansel and GretelSoutheastern Oklahoma State Univ. Opera Wksp., P. Mansur, Chmn., Durant12/5-7/75 Hansel and Gretel w.p.

OREGONCentral Oregon Community College, Magic Circle Theatre, G. Reinbold, Dir.,

Bend1/22, 23, 24, 25, 27, 28, 29, 30, 31/76 Treemonisha w.p.Univ. of Oregon Opera Wksp., L. Breidenthal, Dir., Eugene12/8, 9, 10/75 Hansel and Gretel w.p.5/28, 29, 30/76 Don Pasquale w.o.

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1975-76 Seasov

Willamette Univ. Opera Theatre, J. Viamonte, Dir., Salem11/8, 9/75 The Barber of Seville Eng. Martin

PENNSYLVANIAEdinboro State College Opera VVksp., G. Klausinan, Dir., Edinboro10/23/75 Gallantry & The Necklace w.p. (repl. Furnished Rooms & Nitecap)3/14/76 The Monkey's Paw & The Man on the Bearskin Rug & Opera Scenes, w.p.Orchestra Society of Philadephia, Drexel University11/14/75 Cascarino's William Penn prem.; c: RothsteinRittenhouse Opera Society, M. Farnese, Art. Dir., Philadelphia2/16/76 Slow Dusk & The Devil and Daniel Webster w.o.5/14-17/76 The Women & Signor deluso & Padrevia w.o.6/24 8/9/76 La Traviata w.o.7/21-29/76 The Devil and Daniel Webster

TEXASLamar University Opera Theatre, J. Truncale, Dir., Beaumont3/18-21/76 La Boheme Eng. Martin; w.o.8/9/76 Opera Scenes, w.p.Midwestern State Univ. Opera Theatre, D. Maxwell, Chmn., Wichita Falls10/31 11/2/75 La Boheme Eng. Martin; w.o.Southwest Texas State Univ., Opera Ensemble, J. Belisle, Dir., San Marcos2/18, 19,20/76 La PericholeTexas A & I Univ., Opera Wksp., R. C. Scott, Dir., Kingsville4/9, 10/76 The Marriage of Figaro Eng. MartinTexas Tech University, Music Theatre, C. Johnson, Dir., Lubbock11/21, 22/75 The Barber of Seville Eng. Martin

UTAHWeber State College Lyric Theatre, R. Wooden, Art. Dir., Ogden (see also

Summer '75 Blltn.)2/23, 28/76 Hello Dolly5/3-8/76 Trouble in Tahiti & Down in the Valley (replaces The Tender Land)

VIRGINIARichmond Civic Opera Ass'n, L. W. Batty, Dir., Hermitage Auditorium,

Richmond11/12, 13, 14, 15/75 The Telephone & Suor Angelica & Slow Dusk w.o.12/7/75 Amahl and the Night Visitors w.o., sponsored by Recreation & Parks Dept.4/15, 16, 17/76 Madama Butterfly w.o.

WASHINGTONCentral Washington State College Opera Wksp., J. DeMerchant, Dir., Ellens-

burg3/3, 5, 10, 12/76 DeMerchant's Thin Rain prem., w.o.Cornish School of Allied Arts, Summer Program, Marnie Nixon, Coord., at

Ft. Worden Port Townsend6/10-20/76 Boris Goldovsky Opera Wksp.Eastern Washington State College Music Theatre, J. Duenow, Dir., Cheney2-3/76 Carousel 6 pfs. w.p.5/20-23/76 The Stoned Guest & Opera Scenes, w.o.Pacific Lutheran Univ., Opera Wksp., W. Sare, Dir., Tacoma11/6/75 // Combattimento di Tancredi e ClorindaSeattle University, Opera Wksp., Seattle2/25, 27 3/2, 4, 6/76 The Tender LandUniversity of Puget Sound Opera Theatre, T. Golecke, Dir., Tacoma1/28, 29, 30/76 La Divina & The Women & Signor delusoUniv. of Washington School of Music, S. Krachmalnick, Mus. Dir., Seattle11/24, 25/75 Suor Angelica & Opera Scenes, w.p.12/8/75 6/7/76 Opera Scenes w.p.2/23, 25/76 The Marriage of Figaro Eng. Martin; w.o.6/1, 3/76 Hin und zuriick & The Consul acts I & II, w.p.Western Washington State College Opera Wksp., C. B. Pullan, Dir., Bel-

lingham11/75 Trouble in Tahiti w.o.1/23, 24/76 The Medium w.o.6/25, 26/76 The Tender Land

— 37 —

1975-76 Season

WISCONSINMilton College, Opera Wksp., Milton5/26, 27/76 The Beggar's OperaMilwaukee County Park Commission7/23/76 The Barber of Seville Eng. MartinUniversity of Wisconsin, Opera Wksp., K. Moser, Dir., Madison2/27, 28/76 Bluebeard's CastleViterbo College, Opera Wksp., Sister A. Laverdiere, Dir., La Crosse4/29/76 The Marriage of Figaro Eng. Martin; 4 pfs.

CANADAAtlantic Opera Ass'n, T. Vasiliera, Dir., Dalhousie Univ. Arts Centre, Halifax5/76 Madama Butterfly

PERFORMANCE LISTING 1976-77 SEASON (cont.)

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

ALABAMAAuburn University, Opera Wksp., M. Howard, Dir., Auburn3/2, 9/77 Madama Butterfly Eng.5/77 The Tales of Hoffmann Eng. Agate

ARIZONAArizona State University, Lyric Opera Theatre, J. S. Porter, Dir., Tempe10/1, 2, 3, 6, 8, 9/76 H.M.S. Pinafore c: Harkey11/19, 20, 21/76 Hansel and GretelEng.; c: Beer2/18, 19, 23, 25, 26, 27/77 Philemon c: Seipp3/6/77 Susannah Western Opera Theatre prod.3/7, 8, 9/77 In a Garden & Little Harlequinade & Portuguese Inn Western Opera

Theatre prod.3/11/77 Don Pasquale Western Opera Theatre4/22, 23, 27, 29, 30/77 The Magic Flute Eng.; c: SeippTucson Opera Co., J. Sullivan, Art. Dir., Tucson Community Center Music

Hall11/11, 12, 14m/76 Faust Eng. H. R. Stone; c: Sullivan; d: Pearlman; ds: Scultz/

Morgan; 11/19, 20 in Phoenix1/13, 14, 16m/77 Rigoletto Eng.; 1/21, 22 in Phoenix5/5, 6, 8m/77 Cenerentola Eng.

ARKANSASUniversity of Arkansas, Opera Wksp., M. Worthley, Dir., Fayetteville10/18-23/76 The Elixir of Love Eng., 6 pfs.

CALIFORNIACalifornia State University Opera Theater, M. Kurkjian, Dir., Little Theatre,

Fullerton10/30, 31 11/1/76 Suor Angelica & Cambiale di matrimonio w.p.5/6-9/77 La Perichole Eng. Valency; w.o.California State University, Opera Wksp., D. Scott, Dir., Northridge10/22, 23, 26, 27, 29, 30/76 The Coronation of Poppea Eng. Dunn3-4/77 Peter GrimesCalifornia State Univ. Opera Wksp., P. Donovan-Jeffry, Dir., Rohnert Park12/2, 3, 4, 7/76 Amahl and the Night Visitors 8 pfs. w.p., 2 pfs. w.o.Euterpe Opera Club, Mrs. S. Hitt, Pres., Chandler Pavillion, Los Angeles10/26/76 Carmen all pfs. w.p. 10 AM1/25/77 Lucia di Lammermoor3/8/77 La Finta giardinicra4/19/77 La Traviata

1976-77 Season

Guild Opera Co., J. Moss, Gen. Mgr., Shrine Auditorium, Los Angeles5/2-6, 9-13/77 Hansel and Gretel c: BarnettLos Angeles Philharmonic, Z. Mehta, Mus. Dir., Chandler Pavillion2/17, 18, 20/77 Portrait de Manon c: RozhdestvenskySan Diego State University, Opera Theatre, L. Hurd, Dir., San DiegoMild Of Mice and Men5/77 The Marriage of FigaroStanford Savoyards, R. Taylor, Prod., Dinkelspiel Auditorium, Stanford10/29-31 11/6, 7/76 The Pirates of Penzance4/29, 30 5/1, 6-8/77 The GondoliersUniversity of the Pacific, Opera Theatre, G. Buckbee, Art. Dir., Stockton9/19/76 Opera Scenes12/76 Amuhl and the Night Visitors3/25, 26/77 The Tales of Hoffmann

COLORADOCentral City Opera House Ass'n, R. Lotito, Exec. Dir., & Denver Symphony,

Denver Center for the Performing Arts11/11, 13/76 La Boheme Shirley, Edwards; c: Effron; d: Igesz; ds: Stevens/MessCommunity Arts Symphony at Loretto Heights College, Denver10/22, 23/76 Boris Godunov excerpts; Hines; c: Parks12/17/76 L'Enfance du Christ Fernald; Burgess; c: ParksDenver Opera Repertory & Apprentice Program, N. Laurenti, Gen. Dir. &

Cond., Denver11/19, 21/76 La Traviata Fernald; Jordan, Scari2/18, 20/77 // Trovatore A. Alexander, Matisse; Hogue, Scari6/3, 5/77 The Merry Widow at Cherry Creek Performing Arts CenterLoretto Heights College, Music Theatre, R. Clark, Dir., Denver11/17, 18, 19, 20/76 DiJulio's Portrait of Baby DoeRocky Mountain Opera Ass'n & Arvada Cultural Arts Center1/8/77 Carmen Eng.; 5 pfs.6/17/77 Madama Butterfly 3 pfs. Eng.; 3 pfs. orig.University of Colorado, Music & Theatre Depts., K. Hata, Dir., Boulder10/6/76 Effinger's The Gentleman Desperado (and Miss Bird) prem.; comm. for

Colorado CentennialCONNECTICUT

University of Bridgeport Opera Theatre, J. Taylor, Dir., Bridgeport12/76 A Game of Chance & The Mother & Hin und zuriick4177 Suor Angelica

DISTRICT OF COLUMBIAWashington Civic Opera Ass'n, R. Weilenmann, Art. Dir., Washington9/30 10/1/76 The Crucible

FLORIDAFlorida Tech Univ. Opera Ensemble, E. Wrancher, Prod., Orlando10/76 Opera Scenes w.p.12/3, 4/76 Amahl and the Night Visitors & Hansel and Gretel acts I & II w.p.Greater Miami Opera Touring Co., E. Buckley, Mus. Dir.10-12/76 Siegmeister's Miranda and the Dark Young Man 60 pfs.

ILLINOISMusic Theatre of Hyde Park, A. Roberts, Pres., Lombard/Chicago12/3, 4, 10, 11, 17, 18/76 La Vie parisienne Eng. RobertsNorthwestern University Opera Theatre, T. Miller, Dean, Evanston12/8/76 Opera Scenes w.p.2/25, 27/77 The Rise and Fall of the City of Mahagonny3/2 5/8 6/1/77 Opera Scenes w.p./w.o.Repertory Opera Theatre/New Opera Wksp., W. Ludtke, Gen. Mgr., Oak

Park9/18, 19, 25, 26 10/2/76 La Boheme w.p.11/20, 27 12/5, 12/76 Hansel and Gretel w.o.11/23/76 The Merry Widow w.o.1/22, 23, 29, 30/77 Gianni Schicchi w.p. & Ludtke's Atsumori at lkuta prem. w.o.Spring '77 Kismet; Dialogues des Carmelites

_ j ^ • —

1976-77 Season

Southern Illinois Univ., Marjorie Lawrence Opera Theatre, M. £. Wallace,Dir., Carbondale

10/17/76 Hansel and Crete! abridged & Opera, Opera12/9/76 5/6/77 Opera Scenes2/25, 26, 27/77 The Marriage of Figaro4/'3/77 The Play of Daniel1976-77 Opera-on-Wheels tour: Hansel and Gretel; The Marriage of Figaro; Ma-

dama ButterflyINDIANA

Indiana State University, Opera Theater, R. Hounchell, Dir., Terre Haute10/25, 26/76 The Marriage of Figaro Eng. Ashbrook; w.p.2/24, 25, 26/77 // Campanello di notte Eng. HassallSt. Mary's College, Opera Wksp., S. Stevens, Dir., Notre Dame3/314/1, 2/77 Dido and Aeneas staged in the round, harpsichord & string orch.

KANSASWichita State University, Music Theatre, J. Miller, Gen. Mgr., Wichita11/2, 4, 5,6, 13/76 Help, Help, the Globolinks!

LOUISIANALouisiana Tech University, Opera Wksp., S. Yang, Dir., Ruston10/28/76 Opera Scenes2/8, 9/77 The Pirates of Penzance5/3/77 The Merry Wives of WindsorShreveport Civic Opera Ass'n, J. Loewenstein, Pres., Shreveport Civic Theatre12/9/76 Carmen Howard, Norman; Devlin; c: Kruger; d: Hebert5/21/77 The Merry Widow Costa; Reardon, Wilcox; c: Rosekrans; d: Lucas

MARYLANDAnnapolis Opera, M. Wright, Pres., Annapolis11/76 Tosca2/77 The Student Prince5/77 The Elixir of Love

MASSACHUSETTSBoston Symphony, S. Ozawa, Mus. Dir., Boston & New York10/76 Eugene Onegin cone, pf.; Vishnevskaya, Davidson, Chookasian; Gedda,

Luxon, Plishka; Tanglewood Festival Chorus; 10/20 at Carnegie HallOpera New England, touring co. of Opera Company of Boston (see also

Summer '76 Blltn.)1976-77 tour: La Boheme; Rigoletto; Triumph of Honor; Second Hurricane; also

school pfs. w. children's participationOpera Worcester, M. Knight, Pres., Worcester12/11/76 La Boheme Opera New England419177 Rigoletto Opera New England

MICHIGANWestern Michigan Univ. Music Dept., W. Appel, Dir., Kalamazoo3/2, 3, 4/77 Rita & Pagliacci Eng.; w.o.

MISSISSIPPIDelta State Opera Theatre, R. Zaieck, Dir., Cleveland11/11, 12/76 Gianni SchicchiUniversity of Mississippi, Opera Theatre, L. Fox, Dir., University10/14, 15, 16, 21, 22, 23/76 Philemon1/28, 29/77 Trial by Jury4/1, 2/77 The Threepenny Opera

MONTANACollege of Great Falls Opera Studio, L. Mathews, Dir., Great FallsFall '76 Sunday Excursion & Down in the ValleyGreat Falls Symphony Ass'n, E. H. Jewell, Mus. Dir., Great Falls2/11, 12/77 The Marriage of Figaro stgd.

NEVADAUniv. of Nevada Opera Theatre, C. Kimball, Dir., Las Vegas12/76 Amahl and the Night Visitors w.o.

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1976-77 Season

NEW JERSEYGlassboro State College, Opera Co., J. Shaw, Dir., Glassboro11/14, 15, 16/76 Cavalleria msticana & The Old Maid and the ThiefNew Jersey State Opera, A. Silipigni, Art. Dir., revised schedule (see also

Summer '76 Bllrn.)4/16/77 La Fanciulla del West (replaces December Fidelio)

NEW MEXICOEastern New Mexico University, Music Theatre, R. Cage, Dir., Portales10/14, 15/76 The Old Maid and the Thief & The Four Note Opera & Trial by Jury1/24, 25, 27, 28, 29/77 Showboat2/17,18, 19/77 Godspell3/14-18/77 tour of children's opera4/28, 29/77 Susannah7/77 Musical

NEW YORKCornell University, Opera Wksp., L. Lehrman, Dir., Ithaca10/22, 23/76 Lehrman's Sima prem.Eastman School of Music, Opera Theatre, L. Treash, Dir., Rochester11/18, 19/76 CapriccioSpring '77 La BohemeHofstra University, Opera Theatre, Hempstead12/12/76 The Mermaid in Lock No. Seven & cantataIthaca Opera Ass'n, B. Troxell, Art. Dir., Ithaca11/19, 20/76 The Apothecary c: Lehrman; d: FrumessMarwick Opera Co., at Sayville Jr. High School, Commack10/23, 30/76 Die Fledermaus c: Kaiser; d: Clute; ds: Carr4/16, 23/77 Tosca

NEW YORK CITYAmerican Opera Center, P. H. Adler, Dir., Juilliard School11/18, 20, 21/76 Chabrier's Le Roi malgre lui Eng. Valency; Am. prem.; c:

RosenthalAmerican Opera Repertory Co., G. Clugston, Mus. Dir., Town Hall11/7/76 La Juive Hurney, A. Evans; Herrnkind, Roy; cone. pf.Brooklyn Lyric Opera, N. Myrvik, Art. Dir., Good Shepherd Church11/7/76 IlTrovatoreByrd Hoffman Foundation, at Metropolitan Opera11/21, 28/76 Glass/Wilson's Einstein on the Beach Am. prem.Children's Free Opera of New York, M. Feldman, Dir.11/8/76 Haydn's Philemon und Baucis w. Nicolo Marionettes, All City H.S. Chorus;

at: Town Hall, repeats at 92nd St. Y, Brooklyn Academy, Harlem School of theArts, Colden Center, Queens

Eastern Opera Theatre, D. Westwood, Mng. Dir., Pace University11/19/76 ElCapitan11/20/76 Circa 1900 a song-musicalFires of London, P. Maxwell Davies, Dir., Brooklyn Academy of Music11/3/76 Miss Donnithorne's Maggot Am. prem.Group for Contemporary Music, Manhattan School11/3/76 L'Histoire du soldat w. Richard Morse Mime Theatre; c: SollbergerJudson Poets Theatre, A. Carmines, Mus. Dir., Judson Memorial Church11/5, 6, 7, 8, 12, 14-20/76 Carmines' The Beast: A Meditation on BeautyManhattan Savoyards, Queens College11/20/76 The Pirates of PenzanceMannes College of Music, R. Stevens, Pres., at Marymount Manhattan College3/24, 25, 26, 27m/77 Tchaikovsky's Yolanthe Eng. Hess; c: Bychkov; d: Vincent;

ds: SchwartzNew Little Orchestra Society, T. Sherman, Art. Dir.10-12/76 Naughty Marietta cone, pfs.; Seibel/deFeis, Pritchett/Victor, Myers/

Rohrbacker; Glaze/Hirst, West/Corrado, Kordel-Juliano/Cheek; Ritchard. 52pfs. in 14 states.

1976-77 Season

Metropolitan Opera, A. A. Bliss, Exec. Dir., Lincoln Center (see also Summer'76 Blltn.)

l / lm,7 , 12,21,24,31 2/10 3/17,22,25/77 Tosca1/1, 8m, 10, 13/77 Faust1/3, 6, 11, 15m, 19, 29 2/4/77 iwcv'a di Lammermoor1/4, 15, 20, 27 2/2, 7, 12m, 18/77 Salome1/5, 8, 14, 17, 22m, 25/77 Die Zuuberflote1/18#, 22, 26, 29m 2/1, 5, 9, 17, 21 3/4, 7/77 Le Prophete* Scotto, Home;

McCracken, Hines, Little, Herincx; c: Lewis; d: Dexter; ds: Wexler1/28 2/3, 8, 11, 14, 19m, 24/77 Die Walkiire2/5m#, 12, 15, 19, 22 3/2, 11/77 Dialogues des Carmelites* Eng. Machlis; Crespin,

Verrett, Dunn ,Ewing, Welting; Dooley; c: Plasson; d: Dexter; ds: Reppa2/16, 26mI77 II Trittico2/23#, 28 3/3, 9, 12, 15, 19m, 23, 26, 28 4/8, 12, 15/77 La Boheme" Scotto,

Niska; Pavarotti, Wixeil; c: Schippers; d: DeLullo; ds: Pizzi; Lyric Opera ofChicago prod.

2/25 3/1, 5, 8, 12m, 16, 19/77 La Forza del destino2/26 3/5m, 10, 14, 21/77 Le Nozze di Figaro3/18#, 24, 30 4/2m, 5, 11, 16/77 Lulu* Stratas, Troyanos; Lewis, Gramm; c:

Levine; d: Dexter; ds: Jocelyn Herbert3/26m, 29 4/1, 4, 7/77 Andrea Chenier3/31 4/9/77 II Trovatore4/2, 6, 9, 13, 16m/77 Samson et Dalila4/14/77 Lohengrin #Guild Benefit1976-77 sop: Amara, Arroyo, Balthrop, Barstow, Behrens, Blegen, Boky, Bumbry,

Cotrubas, Cruz-Romo, Deutekom, Di Franco, Farley, Harper, Hunter, Kubiak,Lear, Ligi, Lorengar, Martin, Marton, Meier, Mitchell, Molnar-Talajic, Niska,Norden, Ordassy, Peters, Pilou, Pracht, Price, Rysanek, Sass, Scotto, E. Shade,Shane, Sills, Smith, Stratas, Sutherland, Valente, Verrett, Volkman, Welting,Zylis-Gara; mezzo: Barbieri, Casei, Chookasian, Cossotto, Crespin, Dalis, Dunn,Elias, Ewing, Forst, Godfrey, Grillo, Home, Kraft, Love, Munzer, Nadler,Obraztsova, Quivar, Tourangeau, Troyanos, Varnay; ten: Alexander, Anthony,Aragall, Atlantov, Bergonzi, Brenneis, Burrows, Carpenter, Carreras, Casellato-Lamberti, Caste), Cecchele, Chauvet, Domingo, Franke, Garrison, Gedda, Gia-comini, Gibbs, Harness, King, Kollo, Lewis, Little, McCracken, Morell, Nagy,Orofino, Pavarotti, Py, Raitzin, Riegel, Schmorr, Shicoff, Stark, Strieker, Theyard,Ulfung, Velis; bar: Bailey, Boucher, Capecchi, Carlson, Christopher, Dooley,Edwards, Goodloe, Guarrera, Herincx, MacNeil, Manuguerra, Mclntyre, Mere-dith, Milnes, Monk, Quilico, Sarabia, Sardinero, Sereni, Shadur, Stewart, Stilwell,Thompson, Uppman, Walker, Weller, Wixell; bass: Best, Booth, Corena, Diaz,Dobriansky, Flagello, Foldi, Giaiotti, Gramm, Grant, Hines, Karlsrud, Macurdy,Meven, Michalski, Morris, Plishka, Ridderbusch, Schenk, Smith, Tajo, Talvela,Vinco; cond: Bedford, Behr, Bonynge, Conlon, Ehrling, Gavazzeni, Hager, Kord,Leinsdorf, Levine, Lewis, Plasson, Pretre, Santi, Schippers, Woitach.

New York City Opera, J. Rudel, Gen. Dir., State Theatre2/23, 26m 3/1/77 // Barbie re di Siviglia2/24 3/10, 16/77 Der fliegende Hollander2/25 3/6m, 13m, 19 4/1/77 La Boheme2/26 3/27 4/3, 13, 19, 30m/77 Die Fledermaus Eng.2/27 3/3, 9, 26 4/20/77 La Belle Helene Eng. Dunn/Rudel2/27m 3/11, 22/77 The Marriage of Figaro Eng.3/4, 20m, 25, 31 4/2m, 12, 16/77 Carmen3/5m, 12, 29 4/21, 27/77 Madama Butterfly3/5, 17, 30 4/23/77 La Traviata3/6, 8, 12m, 15, 18 4/6/77 Louise3/ 19m, 23 4/15/77 Cavalleria rusticana & Pagliacci3/20, 24, 27m, 31 4/7, 10/77 Mefjstofele3/26m 4/3m, 9m, 17m/77 The Pirates of Penzance* d: Eddleman; ds: Evans4/2, 10m, 24/77 Rigoletto

— 42 —

1976-77 Season

New York City Opera (cont.)4/8, 16m, 23m, 30/77 Oedipus Rex & Carmina burana4/9 5/1/77 Ariadne auf Naxos4/14, 17, 28/77 Kirchner's Lily* prem.; c: Kirchner; d: O'Horgan4/22, 24m, 26, 29 5/lm/77 L'Hisloire du soldat* Eng. Corsaro & La Voix httmaine*

Eng. Machlis & The Impresario* Eng. Cardelli; c: Pallo; d: Corsaro; ds: Evans(presented as Trilogy)

Opera Ensemble of New York, C. Poppenger, Dir., Ansonia Hotel12/11, 12/76 Don Giovanni w.p.Opera Orchestra of New York, E. Queler, Mus. Dir. (see also Summer '76

Blltn.)10/14/76 The Pearl Fishers cone. pf. at Brooklyn CollegeSacred Music Society of America, R. Mickelson, Dir., Avery Fisher Hall12/13/76 Refice's Cecilia Am. prem.; ScottoSt. Luke's Chamber Ensemble, M. Feldman, Mus. Dir.9/25/76 L'Histoire du soldat at St. Luke's11/24/76 Berg's Breakfast at Schlakenwald Castle Eng. Smith & European Tourists

Eng. Hess; Am. prems.; Opera at the Y1/21/77 Renard at Town Hall2/5/77 Ancient Voices of Children S. Barnes; at St. Luke's2/24/77 Rieti's The Pet Shop & Debussy's The Toy Box w. marionettes; Opera at

the Y5/3/77 Haydn's La Vera costanza Feldman & Volk ed.; Eng. Hess; Opera at the YStuyvesant Opera, S. Sweeney, Art. Dir., St. Jean Baptiste Church9/26 10/2/76 Rigoletto10/31 11/5, 7, 14/76 The Flying DutchmanWaverly Consort, M. Jaffe, Mus. Dir., 92nd Street Y10/20, 24/76 Le Roman de Fauvel prem.WNET Great Performances, H. Griffith, Prod.10/18/76 Roberto Devereux Sills; New York City Opera/Wolf Trap prod.10/20/76 Madama Butterfly Freni, Ludwig; Domingo, Kerns; c: Karajan; d:

Ponnelle11/3/76 // Barbiere di Siviglia Sills; Titus, Gramm; c/d: Caldwell; New York City

Opera prod.; Live from Lincoln Center2/2/77 Salome Stratas, Varnay; Weikl, Beirer; c: Bohm3/15/77 La Boheme Scotto, Niska; Pavarotti; c: Schippers; Met Opera; Texaco spons.

OHIOBowling Green State University, Opera Wksp., T. Hoke, Dir., Bowling Green11/76 The Play of Herod2/77 II TrovatoreCleveland Opera Theatre Ensemble, A. Addison, Art. Dir., John Carroll Univ.,

Cleveland10/27m, 29 11/6/76 Cost fan tutte Eng. Addison; Alcorn, Vanni, Fling; Smith,

Hull, Crowe10/30 ll /3m, 5/76 The Tales of Hoffmann Eng. Addison1/23/77 La Serva padrona at Cleveland Museum of ArtOtterbein College, Opera Theatre, M. Achter, Chmn., Westerville1/13-15/77 The Pirates of PenzanceSpringfield Civic Opera, M. Kommel, Prod., Springfield, Dayton and Wil-

mington10/30, 31/76 Haskins' The Legend of Sleepy Hollow prem. & The Jumping Frog of

Calaveras County4/16, 17/77 The Barber of Seville

OKLAHOMAOral Roberts University, Opera Wksp., Tulsa11/19, 20/76 Help, Help, the Globolinks!

OREGONUniversity of Portland, Opera Wksp., P. Melhuish, Chmn., Portland12/2-5/76 Boehnlein's The Last Best Hope of Earth prem.

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1976-77 Season

PENNSYLVANIACarnegie-Mellon University, Opera Wksp., R. Fellner, Dir., Pittsburgh10/14-17/76 The Tender Land d: Libkin1976-1977 Das kleine Mahagonny c: Page; d: B. Karp; Vanessa d: Smuckler; Dido

and Aeneas & Bluebeard's Castle c: Page; d: LucasEdinboro State College Opera Wksp., G. Klausman, Dir., Memorial Audi-

torium. Edinhoro10/4/76 The Old Maid and the Thief317177 SavitriOpera Ebony, Sister M. Elise, Founder, at Philadelphia Academy of Music411/77 FaustPennsylvania Opera Theater, B. Silverstein, Art. Dir., LaSalle College Theater,

Philadelphia1/7, 8, 14, 15/77 Cenerentola Eng.5/13, 14, 20, 21/77. Postcard from Morocco

SOUTH CAROLINABob Jones University, Opera Wksp., D. Gustavson, Mus. Dir., Greenville3/22, 24, 26/77 Rigoletto French; Quilico, BlantonSpoleto Festival U.S.A., C. Clark, Gen. Mgr., Charleston5/25-6/5/76 The Consul; Pique Dame P. Craig, Olivero; Trussel; Dr. Miracle Curry;

also Eliot Feld Ballet; concerts and recitals. Spoleto Festival-Ttaly: 6/22-7717776

TEXASSouthwestern University, Opera Theatre, B. Thomas, Dir., Georgetown11/19, 20/76 Benjamin's The Devil Take HerTexas Tech University, Opera Wksp., C. Johnson, Dir., Lubbock10/1, 2/76 Rigoletto Eng. Martin

UTAHUtah Opera Society, A. Watts, Exec. Dir., Salt Lake City1/77 Cavalleria rusticana & Pagliacci Tucson Opera prod.Weber State College Lyric Theatre, R. Wooden, Art. Dir., Ogden11/29, 30 12/1-4/76 Candide w.p.4/25-30/77 The Mikado w.o.

VERMONTSt. Michael's College, Opera Wksp., W. Tortolano, Mus. Dir., Winooski3/77 The Devil and Daniel Webster 2 pfs.Vermont Opera Theatre, B. Owens, Art. Dir., Johnson6/14-18/77 tour: Help, Help, the Gloholinks!

WISCONSINUniversity of Wisconsin, School of Fine Arts, R. Corrigan, Dean, Milwaukee3/3-12/77 The Marriage of Figaro in rep. with Beaumarchais's play Figaro's MarriageUniversity of Wisconsin, Opera Wksp., W. Hanford, Dean, Stevens Point11/5, 6, 7/76 Amahl and the Night Visitors w.o.3/5, 7, 9, 11/77 Susannah w.o.512177 Gallantry w.p.

CANADACanadian Opera Junior Women's Committee Puppet Programs, Toronto9/25 10/2/76 Jack and the Beanstalk10/9, 16/76 The Little SweepCanadian Opera Touring Co., J. Leberg, Mgr., Toronto11/1-12/4/76 La Traviata 31 pfs. in 27 communities Ontario, British Columbia,

Northwest U.S.Gilbert and Sullivan Society, D. Packer, Pres., Univ. Western Ontario, London1/14, 15, 17-22/77 The GondoliersMontreal Symphony Orchestra, R. Friihbeck de Burgos, Cond., Place des Arts,

Montreal9/21/76 El Retablo de Maese Pedro & La Vida breveOpera Canada, B. Corder, Mgr., National Arts Centre, Ottawa, Ont.10/20, 22/76 La Boheme c: Barbini10/21, 23/76 The Grand Duchess of Gerolstcin c: Crosby

44

1976-77 Season

Opera-in-Concert, St. Lawrence Centre, Toronto, Ont.10/76 L'Amore dei tre re11/76 Thomas' HamletPrologue to the Performing Arts, J. Rubes, Dir., Canadian Opera Education

Div.1-4/77 The Barber of Seville abgd. vers.; tour to Ontario schoolsUniversity of Toronto, Opera Dept., £ . Schabas, Chmn., Toronto, Ont.1/21, 22, 28, 29/77 The Four Ruffians Eng. Dent; c: Feldbrill3/25, 26 4/1, 2/77 Katya Kabanova c: Craig5/3, 4, 6, 24, 25, 27/77 Opera Excerpts w.p.Vancouver Opera Ass'n, R. Bonynge, Art. Dir., Vancouver, B.C. (see also

Summer '76 Blltn.)4/21, 23, 28, 30/77 Un Ballo in maschera (replacing Les Huguenots)

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