CENTRAL OPERA SERVICE BULLETINVOLUME 19, NUMBER 3

Sponsored by the Metropolitan Opera National Council

Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (2I2) 799-3467

CENTRAL OPERA SERVICE COMMITTEE

FounderMRS. AUGUST BELMONT

Honorary National ChairmanROBERT L. B. TOBIN

National ChairmanELIHU M. HYNDMAN

National Co-ChairmenMRS. NORRIS DARRELL GEORGE HOWERTON

Professional Committee

KURT HERBERT ADLERSan Francisco OperaPETER HERMAN ADLERAmerican Opera CenterVICTOR ALESSANDROSan Antonio SymphonyROBERT G. ANDERSONTulsa OperaWILFRED C. BAINIndiana UniversityGRANT BELGARIANUniversity of So. CaliforniaMORITZ BOMHARDKentucky Opera AssociationSARAH CALDWELLOpera Company of BostonTITO CAPOBIANCOSan Diego OperaROBERT J. COLLINCEBaltimore Opera CompanyJOHN CROSBYSanta Fe OperaWALTER DUCLOUXUniversity of Texas

PETER PAUL FUCHSLouisiana State UniversityROBERT GAYNorthwestern University

DAVID GOCKLEYHouston Grand OperaBORIS GOLDOVSKYGoldovsky Opera TheatreRICHARD KARPPittsburgh OperaJOHN M. LUDWIGSpring Opera, San FranciscoGLADYS MATHEWCommunity OperaRUSSELL D. PATTERSONKansas City Lyric TheaterMRS. JOHN DEWITT PELTZMetropolitan OperaJAN POPPERUniversity of California, L. A.GLYNN ROSSSeattle Opera AssociationJULIUS RUDEL

, New York City OperaGEORGE SCHICKManhattan School of MusicMARK SCHUBARTLincoln CenterROGER L. STEVENSJohn F. Kennedy CenterLEONARD TREASHEastman School of MusicGIDEON WALDROPThe Juilliard School

Editor, COS BulletinMARIA F. RICH

Assistant EditorJEANNE KEMP

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CENTRAL OPERA SERVICE BULLETINVolume 19, Number 3 Spring, 1977

NEW OPERAS AND PREMIERESAMERICAN OPERAS

On March 23, 1978, the New York City Opera will give the world premiere ofRoberto Ginastera's fourth opera, BARABBAS, based on a biblical subject aftera play by Michel de Ghelderode. The opera, first announced for the AmericanBicentennial in the October 1973 COS Bicentennial Information Program, wascommissioned by the City Opera which will then have all of Ginastera's operas inits repertoire. The performance will mark the eleventh world premiere presented bythe company.First mentioned in the Summer '75 COS Bulletin, Anton Wolf's MADAMEJUMEL was commissioned and premiered by the Opera Studio at SUNY inBuffalo on December 3, 1976. Buffalo historian Roger Squire based his librettofor this Bicentennial production on the life of Eliza Jumel Burr, wife of AlexanderBurr and "America's wealthiest and most controversial woman of her day". Theopening performance, as well as the repeats on the 4th and 5th at WilliamsvilleHigh School, were co-sponsored by the SUNY Buffalo Musictheater Advocatesand the Zodiac Dance Group, conducted by John Landis, directed by MurielHebert Wolf and designed by Robert Winkler.When the historic Opera House in Lexington, Kentucky, recently reopened afterrenovation, audiences heard the premiere of an operatic version of RUMPLE-STILTSKIN with music by Joseph Baber and libretto by John Gardner. The two-act opera after Grimm was premiered on January 22. The same team is nowworking on another new opera, FRANKENSTEIN, apparently the first operaticventure on that subject.SALOME, DAUGHTER OF HERODIAS was premiered on January 19 at theUniversity of Washington in Seattle, where the composer, Carol Sams, receivedhis doctorial degree in composition two years ago. Ivan Janer is responsible for thetext of the opera, which received a preview reading on November 4, 1976.Yet another ARIA DA CAPO, the fourth after Edna St. Vincent Millay's play,appeared in operatic form. The composer is Bern Herbolsheimer. The first per-formance took place November 6, 1976, in Seattle at the Cornish Institute ofAllied Arts. Joseph Levine conducted.

The second opera based on the bloody story of Lizzie Borden was premiered atShenandoah College in Virginia last November. The composer, Thomas Albert,received an NEA grant for the completion of the one-act "psycho-drama"LIZBETH, which has a libretto by Linde Hayen Herman.

Composer Sally Lutyens collaborated with author Nicholas Deutsch on THE MIN-ISTER'S BLACK VEIL after Hawthorne. The 30-minute opera, written for so-prano, bass, tenor and chorus, was first heard at Boston's Old South Church onNovember 19. Performance rights and material are available from Mr. Deutsch,92A Pinckney Street, Boston, Mass. 02114.The Thursday Music Club in Bismarck, North Dakota, made its contribution tothe women's movement by performing, for the first time last October, GraceMueller's WOMEN OF THE WORLD UNITE.

The National Arts Club commissioned Jack Beeson (Captain Jinks of the HorseMarines, Lizzie Borden, Hello Out There, My Heart's in the Highlands) andlibrettist Sheldon Harnick (Fiddler on the Roof) to write a one-act opera on Haw-thorne's DR. HEIDIGGERS EXPERIMENT.

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Two distinguished composers, Peter Mennin and Gian Carlo Menotti, were com-missioned by the Newark Boys School in New Jersey to each write a 30-minuteopera or cantata for performance by the school's chorus and soloists next season,William and Barbara Kraft's THE INNOCENTS, based on witch trials in Salem,was given its first performance by the Roger Wagner Master Chorale in Pasadenaat the Ambassador College in January 1976.

AMERICAN PREMIERESBritish composer Thea Musgrave will see two of her new operas in premieres onthis continent next season. On September 30, the New York City Opera will offerthe first American performance of THE VOICE OF ARIADNE (see Fall 74Blltn.) conducted by the composer, directed by Colin Graham, designed by CarlToms, and featuring Diana Soviero in the leading role. The opera was first heardin Aldeburgh in 1974 and repeated by the English Opera Group in London laterthat same year. The story is based on Henry James's The East of the Valeri. —Miss Musgrave's other American premiere will be of MARY, QUEEN OFSCOTS in Norfolk, Virginia, in April 1978 as reported in the Fall 76 Blltn.

The Curtis Institute of Music Opera Theatre presented the first American stageperformance of Richard Strauss's INTERMEZZO on February 25, 1977, con-ducted by David Effron and staged by Dino Yannopoulos, at the Walnut StreetTheatre in Philadelphia. It was sung in the Porter translation used in Glynde-bourne in 1974.THE EMPEROR OF ATLANTIS, written in a German concentration camp in1944 by Viktor Ullmann and first performed in Holland in December 1975, waspresented in its United States premiere on the West Coast, a performance fol-lowed only a month later on the East Coast. The Spring Opera of San Franciscogave the first performance on April 21 on a triple-bill together with Hoist's Savitriand Monteverdi's // Combattimento di Tancredi e Clorinda, the latter sung inEnglish and billed as The Combat. The East Coast performance of the Ullmannopera is scheduled for May 20 at the Brooklyn Academy of Music with the NewOpera Theatre Company as producer. The second work on that program will beArgento's Water Bird Talk.

The first performance by an opera company of Castelnuovo-Tedesco's THE IM-PORTANCE OF BEING EARNEST is scheduled for December 1977 in SanDiego. The company is the newly founded Pacific Lyric Opera, William Roeschproducer (see New Companies); performances will take place at the Casa delPrado in Balboa Park. The world premiere of the work took place posthumouslyat La Guardia College in New York in 1975.

On its recent United States tour, the British group "The Fires of London" gave thefirst American performance of Peter Maxwell Davies' MISS DONNETHORNE'SMAGGOT. The date was November 3, the place the Brooklyn Academy of Music.The world premiere was at the Adelaide Festival in Australia, performed by thesame group.Licinio Refice's CECILIA, A Sacred Action in Three Acts, first performed in 1934,was given its American premiere on December 13 at New York's Avery FisherHall. The Sacred Music Society of America, Inc., presented it in a concert per-formance featuring Renata Scotto and Harry Theyard. Last season, the sameorganization gave the American premiere of Massenet's Marie Magdaleine, alsoin a concert version.

Debussy wrote two versions of LA CHUTE DE LA MAISON USHER after Poe'sstory. However, neither seems to have been published or performed. W. Harwoodof the Yale University Symphony found parts of the opera and from it recon-structed the score. The first performance took place in New Haven in February,presented as The Fall of the House of Usher on a double-bill with La Servapadrona.

Rossini's TANCREDI, premiered in Venice in 1813, the same year as his Italianain Algeri, will be brought to Houston next Fall in a new edition by Philip Gossett,musicologist and professor at Columbia University, and authorized by the Fonda-zione Rossini. Within a few years, the opera had become an international success,

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reaching each major European city and enjoying performances in New York,Mexico, Rio de Janeiro and Buenos Aires in the 1820's. There have been very fewperformances of the work during this century and only lately have some produc-tions emerged in England and France in new editions. The Houston Grand Opera'sperformances, opening on October 13, seem to be the first American performancessince the 1852 production in New Orleans. Opening night will coincide with theCOS National Conference (see "COS Inside Information") and will feature MarilynHome and Luigi Alva. — Another forgotten Rossini opera was revived by theVienna Kammeroper last June. A manuscript copy of LA GAZZETTA was foundin the municipal library of Naples, microfilmed and edited by Hans Gabor wholed the revival.Donizetti's BETLY, originally conceived and premiered as a one-act opera(Naples, August 1836), was enlarged by the composer into a two-act version inthe same year (Palermo, November 1836). It is the two-act version which iscustomarily performed. However, Dr. John Large of the University of Californiain San Diego discovered a handwritten manuscript of the original one-act operain Naples. It is on this score, edited and translated by Dr. Large and VincentRusso, that the performance on April 15 by the University's Young Artist OperaTheatre in San Diego was based. Johnson's Four-Note Opera completed thedouble-bill.

FOREIGN PREMIERESThe long-awaited decision on the premiere of the complete version of Berg's LULUhas been announced, and it is not surprising that the Paris Opera, under its directorRolf Liebermann and conductor Pierre Boulez, has been favored with this event.Universal Edition in Vienna will publish the complete score, with the Viennesecomposer and scholar, Friedrich Cerha, responsible for filling in the incompleteorchestration which is now described as "primarily incomplete in 16 bars of anoctet, of which the leading voice is in the score and seven voices in the short score".The first performance is projected for February 1979.

With the aid of a Canada Council grant, the Guelph Spring Festival in Ontariocommissioned Canadian composer Derek Healy to write an opera on a Canadiansubject. SEA BIRD ISLAND, a West-Coast Indian legend of the Tshimshiam tribe,is the basis of Norman Newton's libretto for the two-act opera. It is composed"in a tonal idiom with some exotic scales and wherever possible linked ethnicallyto native Canadian music". The orchestration includes woodwinds and brass, astring quintet, percussion and pre-recorded tape. First performances are pro-grammed for May 7, 10, and 13 at Guelph University where the composer isprofessor of music. The cast will include Canadian singers Roxolana Rolak, DonaldBell and Garnet Brooks in the leading roles; Nicholas Goldschmidt will conduct.

THE LOST CHILD by Godfrey Ridout is a Christmas opera for television andwas premiered during the holiday season by the Canadian Broadcasting Companyfeaturing Canadian baritone Alexander Gray. The one-act opera has a libretto byJohn Reid. A manuscript copy has been deposited with the Canadian MusicCentre. — Another new Canadian work which may be inspected at the Centre isthe latest opera by Charles Wilson. The three-act KAMOURASKA, with a librettoby the composer, is after a novel by Anne Hebert.

Other new television operas include Alan Hoddinott's MURDER THE MAGI-CIAN premiered over Welsh television stations and produced by Sir Geraint Evansand Terry de Lacey, Winifried Hiller's NIOBE after Aeschylus with a first per-formance by the Bayerischer Rundfunk in Munich in May '77 and staged by PeterWindgassen, and a BBC commission to Anthony Gilbert for a one-hour televisionopera for which he chose THE CAKREVAKA-BIRD, based on a Twelfth Centurydrama by the Indian poetess Mahadevi, scored for four singers accompanied by aGamelan orchestra. — Wolfgang Fortner, one of Germany's most successful operacomposers, wrote THAT TIME, after Samuel Beckett, for the Siidwest DeutscherRundfunk in Baden-Baden. Premiere date was announced as April 24, 1977, andthe short opera is written for a mute actor, a speaker, two singers, a piano, a guitar,and electronic tape.British composer Elisabeth Lutyens' third opera, the three-act ISIS AND OSIRIS,

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was heard for the first time on November 26 at London's Morley College, followedby a radio broadcast over BBC in February. — March 15 marked the premiere ofCarey Blyton's THE GIRL FROM NOGAMI at another London school, theGuildhall School for Music and Drama. It was written on a commission by theschool with a grant from the Arts Council of Great Britain.On October 16, Stockholm Opera's smaller theatre, "Rotunden", offered the pre-miere of THE CALIPH'S SON by Eberhard Eyser, a violist in the opera orchestra.The libretto is by Axel Strindberg, a nephew of the famous Swedish playwright. —As in the past, Dutch composer Reinbert de Leeuw is joining with another com-poser to write a new opera. This time his collaborator is Jan van Vlijmen, theopera is called AXEL, with a text by Harry Mulisch after a book by the samename. June 10 is the premiere in Scheveningen succeeded by three performancesin Amsterdam. — Following the example of many major opera houses, Helsinkihas added a small experimental theatre. Tauno Marttinen's POLTETTU ORANSSIwas produced in its stage premiere for the opening. Burnt Orange, its English title,had a television premiere in 1971.

On April 2, the opera house in Gelsenkirchen premiered DAS WIRTSHAUS INSPESSART by Grothe, and last November 26 Theo Brandmuller's one-act opera,DER ROMAN MIT DEM KONTRABASS was given a first performance togetherwith H. J. von Bose's Das Diplom. — Rainer Kunad, composer of VerhexteNotenstander, recently completed LITAUISCHE KLAVIERE. The premiere wasin Dresden on November 4, 1976. — THE CRASH, a grotesque opera in tenscenes, conceived by the German artist Kurt Schwitters (1887-1948) with musicby Reinhard Karger, was premiered posthumously this season at the TubingenLittle Theatre. Among the Dadaist painter's original ideas was placing the audienceon a revolving stage, surrounded by the action, moving from scene to scene. —Austrian composer Paul Kont witnessed the premiere of his sixth opera, PLUTOS,when it was performed on February 10 in Klagenfurt under the baton of R. Filz-wieser and the direction of Victor Politt.Well after its Festival guests had departed, Spoleto offered first performances of twoItalian short operas at the Teatro Melisso. L'OMBRA DI BANQUO by PaoloRenosto with a libretto by Bruno Cagli was performed on October 15 together withPier Arcangeli's ROSITA Y CRISTOBAL after Lorca. — Another double-bill waspremiered in Trieste on November 19 and given five more performances. Theoperas were Fabio Vidali's LA MANNA and Paolo Merku's LA LIBELLULA.

The city of Tours in France offered two stage premieres on March 5 when itpresented a triple-bill of Claude Arrieu's LA CABINE TELEPHONIQUE (firstheard over the French radio in 1959), Jack Ledru's LA PEUR DES COUPS andSauguet's LA PLUMET DU COLONEL (premiere Paris 1924). — This June,Marius Constant's LE JEU DE SAINTE AGNES and Maurice Ohana's LOFFICEDES ORACLES will be heard for the first time in Toulouse. — Last summer'sAvignon Festival presented Georg Aperghis' L'HISTOIRE DU LOUP with atext by Marie-Noel Rio, after Sigmund Freud's celebrated dream case of the"Wolfman". The opera employs a chamber orchestra.

MOSES is the title of the first opera written by Hungarian Zsolt Durko. The Hun-garian State Opera in Budapest will give the first production in May with inter-nationally-known soprano Sylvia Sass in the role of the Mother of Moses.In addition to the previously announced Czech works, we learn of three moreoperas premiered there this season: Peter Doubravsky's two-act MAGDALEN Aat Liberec with a libretto by Antonin Kucera, Evzen Zamecnik's one-act operabuff a THE COMEDY OF THE TUB in a stage premiere in Olomuc, libretto bythe composer (there had been a preview in Brno in 1968) and Jan Fischer'schamber opera in six parts DECAMERONE freely adapted from Boccaccio bythe composer in collaboration with J. Dudek, premiere at the "Miniopera" of theBrno State Opera House.

The Teatro Colon in Argentina announced the premiere of EL CASO MAILLARDfor September 23, 1977.(Some of the above information courtesy of the following international periodicals:Opera, Opera Canada, Opera, Opernwelt, and Music News From Prague.)

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NEWS FROM OPERA COMPANIESSIXTEEN NEW OPERA COMPANIES

An unusually high number of new opera companies have emerged this season,most of them with the aim of offering performance opportunities to local youngprofessional singers and building new young audiences. The majority of thesecompanies present opera in English; some plan new or rarely performed works.In all, we can report on the founding of sixteen companies, only one of them theresult of a merger of three organizations.The BOSTON LYRIC OPERA COMPANY was formed by joining forces at themanagerial as well as at the board level of the Associate Artists Opera, the NewEngland Regional Opera, and the New England Chamber Opera. The new com-pany's plan is "to provide professional performance opportunities for talentedyoung artists from the New England region", and to continue the policy of thethree original groups established in 1967, 1970 and 1971 respectively, of stagingrarely performed works. Their past combined repertory amounts to some fiftyoperas, of which at least half are seldom heard. The new managerial team iscomposed of Brother James Curran O.S.F. as Managing Director, Ernest Triplettas Artistic Director, and Philip Morehead as Music Director; this season's schedulewill include Mozart's Zdide.The Brooklyn Academy of Music will be host to the recently founded NEWOPERA THEATER, headed by stage director Ian Strasfogel, who previouslydirected the Opera Society of Washington, the Philadelphia Lyric, and the AugustaOpera Company. The new group plans to present unusual operatic fare, and haschosen one triple and one double-bill for its opening season. The first productiontook place in February, Janacek's Diary of One Who Vanished, Ligeti's A ventureset Nouvelles aventures, and Guerramore, a combination of Monteverdi songs. Thenext program is planned for May with Ullmann's Emperor of Atlantis in its EastCoast premiere (see also American Premieres) and Argento's Water Bird Talk.Performances are given at the 400-seat Leperq Space which allows for a baroquesize orchestra (for details see Performance Listing).Another addition to the New York operatic scene is the VERISMO OPERACOMPANY, performing at the Beacon Theatre, Broadway and 74th Street, aformer movie palace. David Drisin is the director and the repertoire is to be chosenfrom the verismo style operas written around the turn of the century. The firstproduction will be Adriana Lecouvreur on May 10, followed next season byL'Amore dei tre re (September), L'Amico Fritz (November), Francesca da Rimini(February), and Mascagni's Lodoletta (May). Operas will be fully staged, withsets and costumes, ballet wherever required, and with orchestra accompaniment.CAMI Hall, Columbia Artists Management's concert auditorium, has frequentlyserved as a stage for fledgling opera groups. The latest one is THE BOUFFESPARISIANS OF NEW YORK under Brian Salesky, which performed an Offenbachoperetta in March in its New York premiere.In Atlanta, Georgia, two different companies are trying to bring locally producedopera to its citizens. Former Met soprano Mattiwilda Dobbs is musical advisor tothe LYRIC OPERA COMPANY OF ATLANTA which performed MadamaButterfly last November at the 4,000-seat Fox Theatre. — THE PHOENIXOPERA OF ATLANTA has evolved from the opera workshop at Mercer Uni-versity. Olga Loveland is the director. The Bartered Bride was announced as thecompany's first production this season.The thriving sunbelt has added opera companies in Florida. The ST. PETERS-BURG OPERA COMPANY, headed by former Met baritone Frank Guarrera asartistic coordinator, offered La Traviata on February 11. Joseph Rescigno, nephewof Dallas's Nicola Rescigno, conducted.—In Clearwater, the AMERICAN OPERAASSOCIATION was formed under executive director George Cayley "to performAmerican operas with local American singers".California, too, sports two new opera producing organizations and, as is the casewith other new companies, their primary aim is to provide performing opportu-nities for young American artists. OPERA PICCOLA in San Francisco offerschamber operas in English at the Little Theatre of the California Palace of the

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Legion of Honor. Ethel Evans is artistic director and she and musical staffmembers plan special training of young singers through instruction and extracoaching in addition to the regular rehearsals. The first production was a double-bill of The Husband at the Door and The Bear in March. — The Casa del Pradoat San Diego's Balboa Park will be home to the PACIFIC LYRIC OPERA.Headed by director William Roesch, the company will perform Puccini's Le Villiin May. August will bring Amelia Goes to the Ball and The Bear.

The DENVER OPERA REPERTORY COMPANY plans "to bring full-time operato Denver while offering performing opportunities to local and area singers. Onlyif leading roles can not be filled with resident singers will professionals be im-ported." The company's opening performance was La Boheme last Spring. Thethree major productions of this season are La Traviata, II Trovatore and TheMerry Widow (see Fall Blltn.) Nicholas Laurenti is general director and con-ductor; performances are staged at the Cherry Creek Performing Arts Auditorium.Four performances of Die Fledermaus in three different cities seem a cheerful wayof inaugurating an opera company's first season. THE NORTHERN INDIANAOPERA ASSOCIATION, under Warren Jaworski, artistic director, and MarleneLangosch, producer, will open in Huntington, Indiana, and travel to Warsaw andFort Wayne in the same state, giving two performances at the Froelinger OutdoorTheatre, Franke Park, in Fort Wayne on June 25 and 26.Claudia Pinza, daughter of the famous bass, is directing her own opera group inPittsburgh. THE LYRIC OPERA OF PITTSBURGH is the result of opera per-formances at Dusquene University. The company's inaugural production wasL'Amico Fritz last November."Using young local artists, performing rarely heard chamber operas" is the de-clared aim of the DETROIT CHAMBER OPERA, headed by 19-year-old MarkWatson. The opening production of Bastien and Bastienne together with Venusand Adonis, accompanied by a small instrumental ensemble, took place at theLecture Hall of the Detroit Art Institute.Ann Chotard is the artistic director of the ARKANSAS OPERA THEATRE inLittle Rock; The Marriage of Figaro was the company's first production lastOctober.The ATLANTIC OPERA SOCIETY, originally affiliated with Dalhousie Univer-sity in Halifax, N.S., but now simply renting the University's Arts Center Audi-torium for its performances, scheduled productions of Faust and Hansel andGretel for the current season; Dialogues des Carmelites was given a concert per-formance. Tatiana Vasilieva is artistic director; Nicholas Maloff is musical directorand president of the Society, which also conducts workshops, lectures and operaappreciation courses in schools and community centers.

MORE EXPANSION OF COMPANIESContinuing its new affiliation with ballet (see Fall Blltn.), the METROPOLITANOPERA and Washington's KENNEDY CENTER will jointly sponsor visitingballet companies and possibly other foreign performing groups appearing in NewYork and Washington and eventually touring to other major American cities. TheStuttgart Ballet is the first group to be presented under the co-sponsorship thissummer. It will also appear at Robin Hood Dell, Philadelphia, the Garden StateArts Center, New Jersey, and at the Airie Crown Theatre in Chicago.Planned for September 1978 is the first visit of the VIENNA STATE OPERA tothe United States. Dates at Kennedy Center have been reserved for September 15through October 1, and the following operas and conductors have been announced:Fidelio under Bernstein, Ariadne auf Naxos under Bohm, and Don Giovanni underBarenboim. Concert performances of Don Carlo under Karajan may be included,in which case extra performances may be offered in New York.The PACIFIC NORTHWEST DANCE COMPANY, under artistic director Me-lissa Hayden and managing director Leon Kalimos, will be the second Americanballet troupe to become a resident ensemble at an opera house (see Met, Fall

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Blltn.). February 10 to May 28 has been booked at the Seattle Opera House for aseason of dance with guest artists and full orchestra under the baton of the operacompany's conductor, Henry Holt.The liquidation of the St. Paul Opera, the only major American company to dis-continue operations since 1970. resulted in an expansion of the MINNESOTAOPERA COMPANY by incorporating former members of the St. Paul Opera'sboard of directors as well as by receiving support from some fifteen donors of thedefunct company. Furthermore, the Minnesota Opera moved from Minneapolisto St. Paul. The new offices are located at 850 Grand Avenue, St. Paul, 55105.Additional numbers of performances are under consideration for next season.The SAN DIEGO OPERA is on a steady course of expansion. Next season, thecompany has scheduled six productions with four performances each — the currentseason featured five operas and a total of 20 performances. In 1972, the San DiegoOpera gave only twelve performances. Rather than continuing productions dis-tributed equally throughout the winter, the company plans a Fall and Springseason of three operas each for 1977-78. In addition, Summer 1978 will mark thefirst International Verdi Festival of the San Diego Opera.

The Summer Festival in Flagstaff, Arizona, will, for the first time, offer an operaproduction, besides its customary symphonic and chamber music. The prudentTUCSON OPERA has arranged a guest engagement with its Northern neighborin June, where it will present its winter production of Rigoletlo. We have justlearned that the company has, most appropriately, changed its name to theARIZONA OPERA COMPANY, thus reflecting its state-wide activities (seealso Fall '76 Blltn.). Next season, the company will give three performances ofeach of its three productions in Tucson and two performances of each opera inPhoenix.The CINCINNATI OPERA will, for the first time this summer, give one opera,La Traviata, with two casts, one in the original and the other in an English version,thus joining other companies in Seattle, Houston and Miami. Another innovationis the "sampler subscription". Whereas regular series of the six-opera repertoirewill be available as always, the new series has been conceived to win new friendsby offering tickets for only two works, both in English: the above mentionedEnglish version of La Traviata and the musical, The Most Happy Fella.

The Tri-Cities Opera in Binghamton, New York, has established THE OPERACENTER, a touring ensemble of young singers, which brings various operaticprograms to schools, clubs, and community centers at low cost.

Indiana's four-year old WHITEWATER OPERA in Richmond, discussed here indetail in the Fall '76 Bulletin, is adding a third performance of each of its threeproductions next season according to director Charles Combopiano.

At the hands of its new artistic director, Lotfi Mansouri, the CANADIAN OPERACOMPANY in Toronto is undergoing some major changes. The Fall season, whilestill occupying six weeks in September and October, will no longer follow therepertory system but be based on .the stagione idea of each opera playing itsperformances in more or less consecutive order. There will be four productions,each given six performances, with The Magic Flute, Daughter of the Regiment andWozzeck in English, and only Don Carlos m its original French version. Totallynew will be a three-opera Spring season. Contrary to the Fall, performances willnot be at the O'Keefe Centre, seating 3155, but at the more intimate RoyalAlexandra Theatre. The Marriage of Figaro and The Barber of Seville will bothbe sung in English in eleven performances each, La Traviata will be heard inItalian ten times. As previously announced, tha company has severed its relationswith the symphony and will be forming its own opera orchestra.

the VANCOUVER OPERA ASSOCIATION will also change to a tighter schedulein 1977-78 as opposed to programing productions throughout the season. However,its operas will be performed in repertory (alternating). Mo. Bonynge, artisticdirector, announced three productions for next Fall, Don Giovanni. Massenet'sLe Roi de Lahore (in exchange with Seattle, originating in Vancouver), and LaFille du regiment. There will be five performances of each opera played over aone-month period (9/23-10/22/77). A fourth production, The Magic Flute, is

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scheduled for March; it, too, is an exchange with Seattle, but originates there.As in Toronto, the company has disassociated itself from the local symphonyorchestra, which facilitates more flexible scheduling. It was also announced thatthe symphony has moved to the renovated Orpheum Theatre while the opera con-tinues at the Queen Elizabeth Auditorium. Joan Sutherland will be featured in thefirst two operas mentioned, Constanza Cuccaro will be Marie in the Donizettiopera. The top ticket price for next season has been increased to $20.OPERA WEST, an organization of the Western Canadian opera companies withthe aims of closer cooperation, sharing of productions, etc., similar to OperaAmerica (whose membership includes Canadian companies), will now be ex-panding to embrace Eastern Canadian companies as well. With head offices inEdmonton under its president, E. W. B. Adamson, the yet unnamed conglomeratewill be made up of the original Vancouver, Edmonton, Calgary and Winnipegcompanies, plus the Canadian Opera (Toronto), the Guelph Spring Festival, andOttawa's National Arts Centre.The SAN FRANCISCO OPERA will again present a season of ten productions in66 performances, the same as last year. However, in addition to the customaryfive student matinees, there will be a new family-priced matinee which will be castwith different singers. The company is trying new curtain times for some per-formances; Wednesday evenings will start at 7:30, Saturday matinees at 1:30and Sunday matinees at 2:30. The season will run from September 9 throughNovember 27.

The OPERA COMPANY OF BOSTON has moved its office from Newbury Streetto 711 Boylston; zip code (02116) and telephone number remain the same.The Opera Society of Washington has changed its name to THE WASHINGTONOPERA. The company address (Kennedy Center) and its telephone number areunchanged. In accordance with George London's plans, announced at the timeof his appointment as General Director, the following expansion for futureseasons is being put into effect: 1977-78 will add one production to the presentthree, 1978-79 will add a fourth performance of each of the four productions,1979-80 will add a fifth production and finally 1980-81 will offer five perfor-mances of five productions. — At the same time, Mr. London is working on plansfor a "post-conservatory training program for American singers with star potential".Preparations are underway to initiate the training program in 1979. Joan Mondale.the Vice President's wife, has agreed to serve as Honorary Chairman of theCompany.The NEWPORT MUSIC FESTIVAL has changed its address to 50 WashingtonSquare, Newport, 02840.

COMPANIES PROVIDE MORE TRAINING OPPORTUNITIESIn response to the need of young American artists to complete their training to-wards full professionalism without taking engagements abroad, more and morecompanies are taking on the responsibility of filling this gap by offering training/performing opportunities. The last few years have brought forth numerous suchexamples, reported periodically in the COS Bulletin and also stated in the lastCOS/Opera News survey which was quoted by Robert Glover of AssociatedPress: ". . . we may be approaching the day when careers can be built on expe-rience in the United States alone". Both requirements and aims of the programsdiffer, as do the actual formats and financial arrangements. A comprehensive studywill be undertaken by COS and its results published together with an updatedversion of the Awards for Singers brochure to be titled A CAREER GUIDE FORTHE YOUNG PROFESSIONAL SINGER.Among recent projects is the SAN DIEGO OPERA CENTER which was created"to provide a bridge necessary for young talent to progress from training andpreparation to a professional career". Eight singers were chosen at the San DiegoOpera Auditions in March (for names see "Winners") to participate in the six-week intensive training program beginning next season, which will offer individual

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and group instruction. The trainees will also observe and discuss the preparationand performances of the company's Fall production. At the end of the course,a public appearance for each participant will be provided. A living stipend will bepaid each young artist, who must be a resident of California, Nevada or Arizona,as provided in the audition's rules. This program is to evolve into a young Americanrepertory company as a subsidiary group of the San Diego Opera.The SAN FRANCISCO OPERA has developed a new program in cooperationwith AFFILIATE ARTISTS. Through its manyfold activities, namely the summerMerola. the Brown Bag, and Street Opera programs, Western Opera Theater andSpring Opera Theater, in addition to its major international season, the companyis particularly suited for longterm development of careers. For the first year, SanFrancisco Opera and Affiliate Artists are choosing six singers, a music director,an administrator, and a stage director for participation in the program. Each willreceive a stipend of $15,000 for 48 weeks of instruction and work, with theunderstanding that they intend to continue in this program for three years. Inaddition to the two sponsoring organizations, the project is underwritten by variouscorporations and foundations and. in recognition of this assistance, each donor willbe assigned one artist for a maximum of forty days to give lectures, recitals, or"informances", a combination of both. The participants are listed under "Awardsand Winners".

In addition to sustaining Opera New England, the touring company of youngperformers, the OPERA COMPANY OF BOSTON is inaugurating a six-weekadvanced training program for twenty-five young singers between the ages of 18and 30, with a possible opportunity of performing with the touring group. In-structions are offered in stage deportment, acting, fencing, make-up, and inter-pretation and, here again, participants are chosen from the company's majorauditions. A tuition of $300 is charged for the course, scheduled for January 3to February 13, 1978.Four young singers were chosen for the Summer 1977 Young American ArtistsProgram of the Cincinnati Opera by its general director, James de Blasis. Theyare soprano DEBORAH LONGWITH, mezzo MARIA VENTURA, tenor RONGENTRY, and baritone C. EVANS CLOUGH. See Performance Listing for thisyear's production. The company has also added the CINCINNATI OPERA EN-SEMBLE, which may be booked by schools, clubs, etc. to "entertain and enlightenthrough performances and workshops". It is made up of young talented profes-sional members of the company.The MINNESOTA OPERA COMPANY offers a Summer Training Institute in"total music theatre techniques" July 18 — August 6. Open to singers, conductorsand directors, details may be obtained from Wesley Balk, director of the company,850 Grand Avenue, St. Paul, Minn. 55105.The Fall '76 COS Bulletin carried an article on the new HOUSTON OPERASTUDIO of the Houston Grand Opera. The following additional information hasbeen made public: the age limit for participating singers is 22-35 and. besidesHouston, auditions are held in Atlanta, New York, Chicago, Kansas City, SanFrancisco, and Los Angeles. (See "Awards and Winners" for first enrollees.)In Canada, where the Vancouver Opera Company has relinquished its YoungArtist Training Program for financial reasons, the KITCHENER-WATERLOOSYMPHONY ORCHESTRA in Ontario is initiating a residency program for ten"professionally advanced young singers." A twenty-week program will offer trainingand participation in eight performances, made possible by an $87,000 grant fromthe Canada Council. — The Opera Workshop of the Courtenay Youth MusicSociety in British Columbia received about $20,000 from the government agency,part of which will be used in the production of a new Canadian opera, part ofit for instruction and training of young singers.

NEWS FROM OPERATIC ACADEMIA

Before companies moved into the training field, there were and. of course, stillare the educational institutions themselves, many offering excellent opera work-

shops. During the late Sixties and early Seventies, these seem to have reached apinnacle, both in number and quality, with many clearly showing their ambitionfor professionalism by changing their name from opera workshop to opera theatreor opera company, and scheduling operas obviously above the capacity of youngvoices. This trend was reported in detail in the 1967-68 COS/Opera News surveyarticle. While the number of workshops with full productions is shrinking, someare developing in other ways. SOUTHERN ILLINOIS UNIVERSITY'S operadepartment, under Mary Elaine Wallace, has three different programs: the OperaWorkshop, the Marjorie Lawrence Opera Theater, and Opera-on-Wheels. Operafellowships and scholarships for graduates and undergraduates are availableamounting to a maximum benefit of free tuition accompanied by a $3,200 livingstipend. The program recently added credit courses for a Master of Music degreein Opera/Musical Theatre for singers, also for coach/accompanists, conductorsand technicians. Yet the most significant program seems to be Opera-on-Wheels,since it is dedicated to bringing opera into the community, performing variousprograms outside the University. It is, therefore, assisted by State Arts Councilfunds. This also affords the young performers a chance to play to other than schoolaudiences, and to acquaint themselves with a variety of stage conditions.

Similarly, the University Opera Studio of the State University of New York atBuffalo is much concerned with its community involvement. To further assist theseactivities, Muriel Hebert Wolf, the director, founded the MUSICTHEATERADVOCATES, INC. to support — both morally and financially — and further thework of the Studio programs. The Advocates is publicly supported, independentof University funds, and among its aims it lists providing young professionalartists with a stimulating environment, encouraging the creation and production ofnew operas, serving as regional resource library and information center, promotingtelevision opera, and developing new audiences. Specifically, the Advocates' firstproject was to assist with this season's production of a world premiere by theUniversity Studio (see New American Operas).

The venerable PEABODY INSTITUTE OF MUSIC in Baltimore joined forceswith Johns Hopkins University to share the University's fund-raising and admin-istrative staff and facilities. Founded in 1857, some twenty years before the univer-sity, the conservatory will henceforth be known as The PEABODY INSTITUTEOF THE JOHNS HOPKINS UNIVERSITY. Although it will be autonomous inits artistic and educational policies, it will rely on the University for accountingand money raising, while the University will benefit by adding the conservatory'sprograms to its curriculum.

Reflecting the recent expansion of its activities, Seattle's Cornish School of theArts, founded in 1914, has been renamed THE CORNISH INSTITUTE OFALLIED ARTS. The four-year college now offers bachelor degrees in music,dance, design, and fine arts, and college-level theatre training. The Institute'senrollment has increased by some 85% since it was accredited by the NorthwestAssociation of Schools and Colleges two years ago. Part-time courses for pre-college students and for adults are being continued, and various master classes havebeen added, most recently one in dance given by Merce Cunningham.

Changes in Philadelphia's academic/musical scene include the demise of theCURTIS OPERA THEATRE for financial reasons, following the appointment ofJohn de Lancie as director of the Institute. An announcement is expected regardingthe future of the Opera Studio, which performed with piano at Rittenhouse Squareand had programmed Pelleas et Melisande and Tosca for the remainder of theseason. The Opera Theatre performed with orchestra at the Walnut Street Theatreand still was to offer Don Giovanni and Cosi fan tutte, this Spring. — The formerdirector, Dino Yannopoulos, who resigned following the premiere of Intermezzoand the announcement of the theatre's closing, has now been named director ofthe ACADEMY OF VOCAL ARTS in the same city. This institution, foundedand headed, until now, by Vernon Hammond, offers full scholarships to all itsstudents, thanks to a generous endowment established in 1933. — The thirdmusical conservatory in the city, the Philadelphia Musical Academy, has expandedits activities and has been renamed the PHILADELPHIA COLLEGE OF THEPERFORMING ARTS, moving its offices to 250 South Broad Street, Philadelphia,19102.

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As we go to press we learn that Boris Goldovsky will be head of the new CURTISOPERA DEPARTMENT, with Frederic Popper as his assistant and Zinka Milanovjoining the vocal faculty. Mr. Goldovsky will retain his own touring theatre andthe Opera Studio in New York, as well as his customary summer workshops (seePerformance Listing).Many American summer music festivals also offer training opportunities or schoolsas part of their program, some in affiliation with local universities. These includethe Aspen Festival and Institute (Music School), Chautauqua Opera and Institute,Temple University's Festival and Institute at Ambler, and the Colorado OperaFestival with the Colorado College in Colorado Springs (see Summer PerformanceListing this issue). The Ravinia Festival in Highland Park offers master classesin conjunction with Northwestern University. The class on vocal repertoire willbe held July 25 and 27 by Donald Gramm, who also joined the Mannes Collegeof Music this winter to lead master classes in operatic and art-song literature.

Opera Fair Inc. in Denver will offer master classes by Met soprano Judith Raskinin June. During the winter she headed "Master Classes for Opera Singers" at theKaufmann Auditorium of the YWHA in New York, given in conjunction with"Language and Diction for Singers" courses at the same institute.The MISSISSIPPI RIVER FESTIVAL, summer home of the St. Louis Symphony,is located on the Edwardsville campus of Southern Illinois University. It will, forthe first time, offer a summer opera workshop, co-produced by the University andthe St. Louis Conservatory of Music with Rico Serbo and Carol Kirkpatrick asheads.Although Stockton on the Tees, in England, may seem an unlikely place for amusic school established by one part of the Wagner family, this is just what ishappening. Friedelind Wagner is opening her own school in September 1977,where she herself will offer master classes in stage direction. An internationalfaculty with emphasis on British and German artists — conductor Nicholas Braith-waite, composer Charles Fussell, actress Ute Hertz, singer Hanne-Lore Kuhse, anddesigners H. K. Bast and Wolf Siegfried Wagner — is affiliated with the school.Acceptance is by application, audition and interview. The registration fee is £30,tuition is £2,000 for a term from September 1977 to June 1978; room and boardis to be paid separately. Further information is available from Friedelind Wagner,1 Ragworth Road, Norton, Stockton on Tees, TS20 1HR, England.

SUCCESSFUL FUND RAISING PROGRAMSFrom time to time we cover this subject and the various methods by which operacompanies raise money, often recruiting new audiences in the process, and at thesame time enhancing their public relations. We do not speak here of the directappeals to individuals, corporations or foundations, but of creative ideas germi-nated by the companies activities. Vying for first place in popularity are suchfund-raising tools as opera bazaars, auctions, marathons, balls, art works such asposters, commemorative and souvenir books, recordings, and musical tours orcruises.

It is only natural that the MET, the largest of the American companies, shouldemploy all the aforementioned methods. The current season's radio marathon onOctober 1, which featured leading singers in arias and ensembles from the Metstage and broadcast over a national network, realized $165,000 including incomefrom tickets priced from $6.50 to $30. — The Met's first televised performancein many years, La Boheme with Scotto and Pavarotti, broadcast over national PBSstations and sponsored by Texaco, generated at least $1 million — hclas not tothe Met but to the Educational Television network.

The Met Bazaar, the second in as many seasons and held on December 5, just intime for Christmas shopping, raised about $283,000 through admission charges,the sale of thousands of items from valuable memorabilia to $1 souvenirs, and araffle with 1,001 prizes headed by a Cadillac and a trip to Greece. The admission

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charge was $3. — The Met souvenir book, published by the Guild and now in itsfourth edition, is an attractive record of the season's artists and new productions,this year featuring the portrait of Lulu in her harlequin costume on the cover.Priced at $4, it is a good buy with its many color and black and white photos,while the ads make a profit possible. — The Guild also offers such items as MetT-shirts, umbrellas, tote bags and jig-saw puzzles through its "Met by Mail" cata-logue. Furthermore, souvenirs from paperweights and letter openers to gold cuff-links, pins, and pendants all depicting the Met's facade or proscenium are availableat the gift shop.Fund drives are usually enhanced by offering commercially unavailable gifts, anda $100 donation to the Metropolitan Opera Fund is awarded with an otherwiseunobtainable historical recording. This year's premium, the fourth in a series ofmemorable Met broadcast recordings attractively cased in gold-embossed velvet,is of the February 1940 Olello, with Elizabeth Rethberg, Giovanni Martinelli, andLawrence Tibbett, conducted by Ettore Panizza. Also in the cast were ThelmaVotipka, George Chehanovsky, Nicola Moscona and Alessio De Paolis. Producedby RCA records under the auspices of the Met Guild, the recording can beobtained by sending $100 to the Metropolitan Opera Fund, Box 930, New York,New York 10023. A few copies of the previously released historic he Nozze diFigaro, Madama Butterfly and Tristan und Isolde recordings are also available.Sunday, December 4, is the date of the first fully-professionally organized MetGala Benefit Auction. At present, the committee is collecting tax-deductible do-nations of art such as paintings, drawings and lithographs, jewellery, fine furnitureand antiques, silver, crystal, porcelain, and objects d'art, but not memorabilia.September 30 is the closing date for pledges to allow time for the preparation of anillustrated catalogue, which will be the responsibility of Christie's of London andNew York. Christie's will run the auction on the stage of the Met and will exhibitthe pieces one week prior to the auction at its new showrooms on Park Avenueat 59th Street. Admission to the auction will be by purchase of the catalogue, whichat this time is estimated to cost $6. Special tickets will be on sale for those wishingto attend a party after the auction.A week before the closing of its Spring season, the NEW YORK CITY OPERAheld an auction of memorabilia and art works in the concourse of its theatre.General admission was $5; $12.50 entitled one to cocktails and entertainment. Thetotal receipts for the day amounted to $40,000.THE CANADIAN OPERA COMPANY published an attractive souvenir book tocommemorate its 25th anniversary season. The cost of preparing and printing10,000 copies was borne by Pail Mall Canada, whose particular sphere of interestlies in underwriting such projects (e.g. a 50-year commemorative program for theToronto Symphony). The COC book is sold by the company for $5.Tours to festivals in Europe, or on this continent, to special winter opera seasons,to openings of new opera houses, have proven to be profitable undertakings,whether under the auspices of an opera company or a commercial travel agency.Similarly beneficial are cruises, and those offering musical entertainments on boardhave become extremely popular, whether cruising the Caribbean, the Mediter-ranean, or the Adriatic seas. On a more modest scale, opera guilds arrange weekendtrips to neighboring cities for opera attendance, bus or boat outings, all addinglarger or smaller sums to combat the ever-rising deficits.Among recent cruises in the Caribbean arranged by and for an opera companywas the OCEANIC OPERALOGUE II of the Greater Miami Opera Association.Shorter trips and visits to operatic performances bring to mind the programof OPERA WORCHESTER, among others, which offers tours to New York and/or Boston as well as sponsorship of local performances by the touring Opera NewEngland.The KENTUCKY OPERA ASSOCIATION in Louisville presents its own horserace, the Hard Scuffle Steeplechase at Hardscuffle Farm. Tickets for the day fea-turing six races are $3 and $5.The Federation of Women's Clubs and Affiliate Artists have entered into anarrangement whereby the Federation offers for sale and distributes a specialrecord of folk, patriotic, and religious songs performed by Sherrill Milnes; thealbum is entitled "Songs America Loves", and is available for $6 from local

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offices of the General Federation of Women's Clubs, or from its national office,1734 N Street N.W., Washington, D.C. 20036, attention Harry Wagner, Jr. Moniesreceived will be divided between Affiliate Artists for the establishment of a trustfund, local state arts councils for artists-in-residency programs, and the local clubwhich actually sold the album.The popularity of art posters, many examples of which were reported in previousissues, have made them an ideal source of income for non-profit organizations,and has also resulted in some fortuitous marriages between the performing andthe visual arts. In recognition of this, NEA has created a special grant-awardingcategory covering visual arts programs for the performing arts. Under this program,the Michigan Opera Theatre commissioned Alex Katz to create a design for anopera poster which, at the same time, would be suitable for the cover of the com-pany's program. Signed lithographs will sell for $100, printed posters for $5.Five American artists, George Motherwell, Robert Rauschenberg, George Segal,Saul Steinberg, and Trova, have participated in creating designs for a portfolioof lithographs to be sold to benefit the St. Louis Symphony.Even the President's Inauguration Committee defrayed some of its expensesthrough the sale of a special Inauguration Commemorative Art Folder. The fiveAmerican artists who donated their designs of paintings and drawings were JacobLawrence, Roy Lichtenstein, Robert Rauschenberg, Andy Warhol, and JamieWyeth. Copies were limited to 100 signed sets of lithographs, each set selling for$2,500.The Washington International Arts Letter has published the third edition ofGRANTS AND AID TO INDIVIDUALS IN THE ARTS, including some 1,500entries on 221 pages. It may be ordered from the WIAL, Box 9005, Washington,D.C. 20003, for $13.95 postpaid.The most basic of "fund-raising" is the money realized from box office receipts,although this comes, of course, under "earned income". Here, as in so many otherareas, professional opera companies and their policies vary widely, and the incomepicture moves from an all time high of over 60% box office income (e.g. SanFrancisco, New York City Opera), all the way down to 22% of the annual budget.A well managed company retrieves about 50% of its budget from ticket sales (Met,Houston, Seattle, San Diego and others), although this is not true for Europeanhouses, which are, on an average, 80% government subsidized, i.e., realize only20% of their budget from ticket sales. This is even more surprising when youconsider that orchestra seats at the Vienna State Opera sell at about US$75, withsome gala performances (Karajan productions, for instance) commanding aboutUS$200 (or 3,500 A.S.) per ticket, purchased officially at the box office. Thisseason's ticket prices in this country ranged from a top of $25 (Met, New Orleans,Miami), $24 (Seattle), $23 (San Francisco) to $12.95 (New York City Opera).The Met, which essayed the European policy of different prices for differentperformances depending on production costs and star performers, has revertedback to its uniform pricing, but announced that an overall rise in ticket prices wasunavoidable for next season. Thus, the front orchestra and Grand Tier will gofrom $25 to $30 and the sides and rear from $18.50 to $22. Dress circle front wasincreased by $2 to $16, and the lowest priced seat in the family Circle is now $7.Standing room may be purchased for $4 and $3, depending on location. Box seats,which are almost exclusively reserved by subscribers, will command $40. Othercompanies have not yet announced their price scale for next season.(Some of the above information comes courtesy of Arts Reporting Service, ArtsManagement, Washington International Arts Letter, Newsletters of the AmericanSymphony Orchestra League and Business Committee for the Arts, Opernweh andCultural Post.)Are you in need of a catchy title for your next fund-raising event? COS hasreported on some in previous issues ("Get Ahead with Salome"). The latest one,coined by the Cleveland Institute of Music, is "The Perfect Pitch", a baseball-oriented scholarship fund gala. — If you have a good and original slogan, why notlet us know? The three best will be reprinted, and the source credited.

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PUBLISHERS, LIBRARIES, ARCHIVES, SURVEYSA new music publishers corporation, the EUROPEAN AMERICAN MUSICPUBLISHERS (EAM) has been founded. The corporation, with headquarters atJoseph Boonin Music Publishers, in South Hackensack, New Jersey, will be theUnited States representative of Schott, Mainz and Schott, London, and UniversalEdition, Vienna, taking over these prestigious catalogues from G. Schirmer,Belwin Mills, and Theodore Presser. as of July 1. 1977. Joseph Boonin is thepresident, and George Sturm, formerly of G. Schirmer, is vice-president of thenew corporation; the address. Box 2124. South Hackensack. N. J. 07606. Pleasemake the necessary correction in your copy of Operas and Publishers.At the same time, Theodore Presser announces the acquisition of the AlphonseLeduc catalogue for the United States. Some of the French publisher's music usedto be available here from Southern Music and from M. Baron Co. Presserhas also acquired the Chappell catalogue.Sidney Tarpinian, formerly with Alexander Broude, Inc., has established his ownmusic publishing company, TARPINIAN MUSIC ASS'N at 2 West 67 Street,New York, N. Y. 10023. He has acquired the rights to Wesley Balk's Englishtranslation of The Abduction from the Seraglio.Oxford University Press, in collaboration with the Pierpont Morgan Library, haspublished a facsimile edition of the manuscript of Mozart's Der Schauspieldirektor(The Impresario) which is part of the Library's priceless musical collection. A$25 paperback edition is available from the Library at 29 East 36 St., New York10016, a deluxe $65 edition in hardcover and slipcase from Oxford University-Press, 200 Madison Ave., New York 10016."Americana", part of the Carl Haverlin Collection of the BMI Archives, is onspecial exhibition at New York's Hall of Science at Flushing Meadows, Queens,the former World's Fair grounds. In addition to musical manuscripts and firsteditions, letters, and memorabilia from the late 18th Century to the present, thecollection also includes important historical documents from political and literaryfigures. Both serious and popular music are represented, including various versionsof The Star Spangled Banner and, one of the most recent donations, the manuscriptof Kirchner's Lily, premiered this Spring by the New York City Opera.Following some discreet negotiations, it has finally — and happily — come to lightthat some of the world's most precious musical manuscripts have not been lostafter all. Originally part of the invaluable music collection of the PreussischeStaatsbibliothek, some 28 crates with 400 manuscripts were brought to a Bene-dictine monastery in a small town in Silesia at the beginning of World War IIfor safe storage. It now has been acknowledged that, when the town was occupiedby Poland, the priceless collection was shipped to Cracow. The Polish governmentis presently negotiating the return of the material to East Berlin's library. Includedhere is Mozart's handwritten score of Die Zauberflote, two acts of Le Nozze diFigaro, and his Jupiter Symphony. Beethoven's Seventh and Ninth Symphonies.and manuscripts of Haydn, Bach. Mendelssohn, and Schumann.

Kennedy Center announced plans for establishing a video computer library thatwill draw on the Library of Congress, "paving the way for a national clearing housefor bibliographical information on the performing arts".Meanwhile, Indiana University in Bloomington seems to have embarked on asimilar project, a computerized national data bank on the performing arts. ThisNational Research Institute for the Arts, not to be confused with the NationalResearch Center for the Arts, a division of the Lou Harris organization, has beenmade possible by an assisting grant from the National Endowment for the Arts.The University's Chancellor, Herman B. Wells, is chairman of the Institute;Leonard Pas, former head of the Illinois and Florida Arts Councils, is the firstfull-time director.The Research Center, on the other hand, has completed preparations for its mostcomprehensive national arts survey to date, directed by Eric Larrabee and JosephFarrell. Consulting with representatives from the various arts disciplines and fromthe National Endowment for the Arts, which assists with funding for this project.The Cultural Trend Data System should be of great significance and assistance tothe NEA and arts funding in general.

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The American Symphony Orchestra League, together with the Eastman School ofMusic and the University of Rochester Sociological Department, is conducting astudy on "The Attitudes of Orchestra Musicians". An NEA grant assists thisresearch.Chicago's Newberry Library houses close to 10,000 musical items dating backmore than 100 years. D. W. Krummel compiled and edited a $75 catalogue,Bibliographical Inventory to Early Music at the Newberry Library, available fromthe Chicago library.The Arnold Schoenberg Institute and the University of Southern California, wherethe composer's archives are located, will publish a Schoenberg Journal three timesannually. Subscription is $5: Leonard Stein will be the editor.Jackson State College, with the assistance of Opera/South, is establishing a WilliamGrant Still Archive, featuring manuscripts and memorabilia of the Mississippi-born82-year old composer.The Library of Congress recently received the archives of the periodical ModernMusic, published for twenty years by the League of Composers.The Kirsten Flagstad International Society, founded in 1975, is housed at theRoyal University Library in Oslo, as part of its National Music Collection. Mem-bership is about $10; funds are used for upkeep and acquisitions and for theFlagstad Memorial prize.The Jussi Bjoerling Memorial Archive, Dr. Jack Porter, Director, Box 283, Green-castle, Indiana 46135, was founded in 1968 and has an aggregate of over 1,000recordings, also films, photos, programs, articles, etc. Donations of memorabiliaor cash are solicited.Joining societies devoted to such conducting personalities as Furtwaengler. Tos-canini, and Bruno Walter, is the Fritz Reiner Society, c/o Bruce Wellek. Box 202,Novelty, Ohio 44072.Last year, New York University's Department of Music established the AmericanInstitute for Verdi Studies. Musicologist and chairman of the department. MartinChusid, is the director, Mary Jane Matz and Andrew Porter are co-directors.Serving on its board of directors are American opera producers Kurt HerbertAdler, Rudolf Bing, Sarah Caldwell, Walter Ducloux, David Gockley, Glynn Ross,Julius Rudel, James Levine, and Britishers Lord Harewood and John Tooley. Inaddition to building Verdi archives for research and study, the Institute has pub-lished a scholarly catalogue and directory to his works and their editions in manu-script and published versions. Among special projects was the preparation of aperforming edition based on the original Macbeth for the Kentucky Opera. Theminimum regular membership fee is $15, which includes subscription to a news-letter. Patrons and donors are invited: students pay $7.50. Address inquiries to268 Waverly Place. Washington Square Campus, New York University, NewYork, New York 10003. The international Istituto di Studi Verdiani is located inParma, Italy.Other archives and societies devoted to collecting and preserving musical materialand memorabilia of individual composers include:BEETHOVEN SOCIETY, Karl Haas, Director, 299 Park Avenue, New York.

New York 10017DELIUS SOCIETY, c/o Robert Lyons. 56 Kenneth Drive, Pittsburgh. PA. 15223.

Membership dues include subscription to a newsletterFONDAZIONE DONIZETTI, c/o Teatro Donizetti, Bergamo, ItalyPERCY GRAINGER LIBRARY SOCIETY. 46 Ogden Ave.. White Plains. NY.

10605HAYDN FOUNDATION, Antonio de Almeida and H. C. Robbins-Landon. co-

directors, c/o Orchestre Philharmonique de Nice. Nice, FranceHINDEMITH STIFTUNG, Weihergarten 5, D-6500 Mainz. West GermanyGUSTAV MAHLER SOCIETY OF AMERICA, 601 Fifth Avenue. 6th Floor.

New York, New York 10017MASSENET SOCIETY, Stella J. Wright, Director. 79 Linden Gardens #2, Lon-

don. W24 EU. EnglandFRIENDS OF MOZART/MOZART SOCIETY, operates under International

Foundation. Mozarteum. Salzburg; arranges lectures and concerts at AustrianInstitute, New York, eventually hopes to establish scholarship for Mozart

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study and research library. Membership organization with privileges at Salz-burg Mozarteum.

WAGNER SOCIETY OF AMERICA, Box 7176, Chicago, III. 60680. Monthlymeetings, later also newsletter

WAGNER SOCIETY OF TORONTO, Dorothy Graziani, Director, 83 WanlessCrescent, Toronto, Ont. M5N 3C2, Canada

INTERNATIONAL SIEGFRIED WAGNER GESELLSCHAFT, An der rotenMiihle 10, D63O1 Staufenberg 4, West Germany

COS would greatly appreciate receiving information on other composers" archivesor societies in order to complete this listing.The National Institute of Arts and Letters, founded in 1898, and the AmericanAcademy, established six years later, have merged into one organization, theAmerican Academy and Institute of Arts and Letters. Jacques Barzun has beennamed president, William Schuman treasurer. Other musicians on the board ofdirectors include Roger Sessions and Virgil Thomson.The 43-year old National Association for American Composers and Conductorshas been changed to serve composers exclusively, and thus is now the NationalAssociation of Composers, U.S.A. Offices have moved to Los Angeles, and thenew president is Larry Lockwood.

NATIONAL ARTS ORGANIZATIONS: CONFERENCES AND SEMINARSCENTRAL OPERA SERVICE — Houston, October 12, 13, 14 — see COSInside Information.July 26 through 29 will be the annual conference of OPERA GUILDS INTER-NATIONAL hosted by the Lake George Opera in Glens Falls, New York. Forinformation contact conference chairman Mrs. Richard Putney, 39 Pearl Street,Hudson Falls, New York 12839.Indiana University will offer its facilities to the NATIONAL OPERA ASSO-CIATION for its next annual conference programmed for November 3, 4 and 5.The ASSOCIATED COUNCILS OF THE ARTS will hold its 1977 conferencein Atlanta. The subject will be Business and the Arts, the dates are June 1-4.L'Enfant Plaza Hotel in Washington, D.C., was the headquarters for the nationalconference of the U.S. INSTITUTE OF THEATRE TECHNOLOGY on March16-19.The Illinois University in Urbana and Champaign was the site of the 1977 con-ference of the AMERICAN SOCIETY OF UNIVERSITY COMPOSERS; thedates were March 3-6."Symphony and All That Jazz" will be discussed at the AMERICAN SYMPHONYORCHESTRA LEAGUE conference in New Orleans, scheduled for June 20 to25. ASOL also held Management Seminars (New York, Avery Fisher Hall, 12/4-11/76; Los Angeles, Music Center, 1/2-9/77; St. Louis, Powell Hall, 2/19-26/77)and Regional Workshops (Pittsburgh 1/1-16/77: Memphis 2/4-6/77; Denver3/11-13/77). The seminars concentrated on problems faced by orchestras withbudgets of $50,000 to $1,500,000. — Reflecting rising costs, the Symphony Leaguehas reorganized its categories of orchestras adding one group and dividing themas follows: Major — over $1.5 million; Regional (new) — $500,000 to $1.5million; Metropolitan $100,000 to $500,000; Urban $50,000 to $100,000; andCommunity orchestras below $50,000. The new Regional category includes eigh-teen organizations, most of which not only serve their city but have expandedactivities to also serve their area or state.The former Institute for Orchestral Studies has been renamed ASOL's CONDUC-TOR/MUSICIANS WORKSHOP. Scheduled for July 5-31 at Orkney Springs,Va., this annual workshop is under the directorship of Dr. Richard Lert who willbe joined, for the first time, by an assistant director. Lawrence Smith, musicdirector of the Oregon Symphony Orchestra and formerly on the musical staff ofthe Met, has been appointed to the newly created position.

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The AFFILIATE ARTISTS CONDUCTORS PROGRAM, co-sponsored by NEAand Exxon (see Fall 73 Blltn.) will add a series of symposia for the young con-ductors enrolled in the program. Maestro Max Rudolf has been named MusicAdvisor and will also be in charge of the lecture-discussions.The ASSOCIATION OF COLLEGE, UNIVERSITY AND COMMUNITY ARTSADMINISTRATORS' next annual conference has been scheduled for December18-21, 1977, at New York's Americana Hotel. The 1976 conference was held at thesame place last December, where Aaron Copland received the organization'sAward of Merit.The Fortieth Annual Conference of the National Guild of Community Schoolsof the Arts, Inc., is scheduled for November 27-30 in San Francisco.Organized by the INTERNATIONAL RECORD AND MUSIC INDUSTRYMARKET, the third annual Musexpo '77 will meet at the Doral Beach Hotel inMiami Beach October 28 to November 1, 1977. Further information may beobtained from IRMIM, 720 Fifth Avenue, New York 10019. Last year's confer-ence was held in New Orleans in September.France will be host to the second International Fair for Cinema, Theatre andConvention Hall Equipment, Production Equipment, and Related Materials.October 3-7, 1977 are the dates CISCO will meet and exhibit at the Pare desExpositions, Porte de Versailles. Subjects of the sessions are geared to theatrearchitects, producers, theatre equipment manufacturers and distributors, serviceorganizations, technicians and designers. Registration forms may be obtained fromNicole Hiep, CISCO, 3 rue Gamier, 9220 Neuilly-sur-Seine, France.

Management SeminarsUpcoming workshops and seminars of particular interest to arts administratorsinclude ORGANIZATION MANAGEMENT, the annual Washington Non-ProfitTax Conference at the Washington Hilton Hotel on June 28. One-day's fee is$175; registration forms can be obtained from Organization Management. Box9203, Arlington, Va. 22209.OPERA AMERICA has organized an Executive Education program. This two-part project, partially underwritten by the Donner Foundation, offers a one-weekseminar in business techniques, including accounting, budgeting, and marketing,scheduled for the third week in August in Santa Fe. Member companies may applyfor the admission of one staff member to the program and, if accepted, he or shewill receive a stipend covering one-week's accommodation and two meals daily.The other part of the project is an Executive-in-Residence program whereby a staffmember can be placed with another company for three to eight weeks to observeadministrative /executive skills at first hand. Opera America will pay transporta-tion and a $250 per week salary for the duration of the residency.New York University's Division of Business and Management (360 LexingtonAve., New York 10017, phone 800-223-7450) has organized a two-day seminaron Understanding and Obtaining Federal Grants. The same sessions will be offeredthroughout the country: Cleveland 6/20-21; Washington, D.C. 7/25-26; SanFrancisco 8/22-23; Chicago 9/26-27; New York 10/3-4; Phoenix 10/17-18.Registration and attendance fee per organization amounts to S345 with an optional$95 for a possible third day. The seminar instructor is Arnold Fallender.UCLA, which had the first Arts Administration degree program, now offers thefirst "Executive Development Course for Arts Managers". For one week, Marcii28 to April 2, registrants will meet at the Coto de Caza Conference Center atTrabuco Canyon. The program is co-chaired by Hy Faine, the first Arts Manage-ment Program director at UCLA who served there five years, and Lee Cooper, itspresent director. Address inquiries to Executive Development Course, Managementin the Arts, Graduate School of Management. UCLA. Los Angeles, Calif. 90024.ACUCAA has announced its twelfth annual Summer Workshop for Arts Adminis-trators for July 24-29. Hosted by the California Institute of Technology and theUCLA Fine Arts Productions, meetings will be held at the Conference Center ofthe University of California in Lake Arrowhead. Registration and tuition amountsto $110, room and meals S145. Applications should be addressed to ACUCAAArts Administration Workshop, attention Tom Lehman, Caltech. Pasadena 91125.

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June 26 to July 22 are the dates of the Management Development Program ofHarvard Institute in Arts Administration, Cambridge, Mass. Registration for thefour-week course is $15, tuition is $1,450. For further information contact Assist-ant Director Janet Baker-Carr. Harvard Institute in Arts Administration, 1350Massachusetts Avenue, Cambridge, Mass. 02138.For the first time, the North Carolina State University's Continued EducationDivision offers courses in Arts Management and Programming at Oglebay Parkin Wheeling, West Virginia.San Francisco's Golden Gate University will offer five graduate seminars in artsadministration during its five-week summer semester beginning on June 6. Spe-cialists in various areas of the arts, including the manager of the Western OperaTheater, will lecture alternately.May 20-22 will bring a two-day seminar to the Institute of Arts Administrationat the University of Utah.Hofstra University in Hempstead, New York, is offering an undergraduate programin "Music Merchandising", and Lake Erie College, Ohio, instituted an under-graduate degree program in Arts Management.In addition, Hofstra University's Division on Continuing Education has scheduledits third annual BUSINESS OF THE ARTS seminar July 18 - August 5. Tuitionfor three weeks is $500; an additional registration fee of $26 is charged to thosetaking the course for academic credit.Adelphi University's MANAGEMENT PROGRAM FOR THE ARTS, led byAlvin H. Reiss, director and editor of Arts Management, recently offered coursesin "Support for the Arts: Funding and Services". The next five lectures in Junewill be devoted to "Utilizing Resources Available to the Arts". Each lecture seriesmay be attended for a $20 registration fee. In November, Mr. Reiss will againoffer his Performing Arts Management Institute in New York. For further infor-mation he may be contacted at 408 West 57 Street, New York. N. Y. 10021.The Albany League of the Arts scheduled a three-day conference April 22-24 onThe Role of the Board of Directors in Planning and Financing. The Subject of asubsequent meeting will be "In Search of an Audience". The League's address is135 Washington Ave., Albany, New York 12210.The Cultural Resource Management Programs at the Banff Centre offer five-dayseminars, each concentrating on a highly specialized subject. There are usually twoor three a month, and they are held year round, including the summer months. Afive-day course commands a $200 fee. At this writing, the forthcoming programhas not been received, but is available by writing to the CRMP at the Centre, Box1020, Banff, Alberta TOL OCO, Canada.

AWARDS AND WINNERS

In addition to the international vocal competitions listed in the COS AWARDS FORSINGERS brochure is the one in Pula, Yugoslavia. This summer will mark the secondyear of the ARENA PULA International Competition for Young Opera Singers con-ducted under the directorship of Prof. Hans Gabor, director of the Vienna Kammeroper.Preliminary and final auditions are scheduled between August 21 and 26. There is aJuly 1 deadline for applications which are available from Prof. Gabor, Fleischmarkt 24,1010 Vienna, Austria. The competition is open to singers of all nationalities, men underthirty-three, women under thirty. Repertory requirements list specific arias and all mustbe sung in the original key and original language. Musical performance material is theresponsibility of the contestant, accompanists may be but need not be provided by thesinger. Registration fee is 300 Dinars. Awards include some cash prizes, also participa-tion in a Gala concert and opera performance in Yugoslavia the following summer. Aninternational jury lists representatives from the Vienna Staatsoper, the Metropolitan

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Opera, Deutsche Oper Berlin, Welsh National Opera, and from recording and broad-casting corporations. — The winners of the 1976 competition were Italian soprano StellaDoz first prize, Austrian baritone Georg Ticky and Italian baritone Angelo Nardinocchisecond prize, and Greek soprano Sofia Masavakis and Yugoslavian tenor Igor Filipovicthird prize.

Reminiscent of the Butterfly competition in Japan, the TEATRO REGIO in Turin hasorganized an international competition for sopranos singing the role of Violetta. Atpreliminary auditions one of the three major arias will be requested, while finalists willbe asked to sing parts of the role with orchestra. The winner will sing in five performancesof La Traviata in Turin in the summer, receiving 3 million lire. Open to singers under32, applications must be accompanied by a birth certificate and a curriculum vitae.

Canada's Guelph Festival and the Edward Johnson Music Foundation co-sponsor theforthcoming vocal competition to be held at GUELPH UNIVERSITY in May. Prizesrange between $1,000 and $5,000; further information is available from the Foundation,Box 1091, Guelph, Ontario.

Among national competitions to be added to the COS listing is one conducted by theUNIVERSITY OF CINCINNATI COLLEGE-CONSERVATORY in late April. TheOpera Scholarship Competition offers its winners study and performance opportunitiesin school and in professional opera programs. First prize is the Norman Treigle Grad-uate Scholarship given in conjunction with the New York City Opera Guild; a $5,000stipend plus tuition fee. There are also several Corbett Opera Scholarships sponsored byJ. Ralph Corbett, varying in value from $2,000 to $5,000 stipends plus tuition to theCollege-Conservatory.

The SYMPHONY OF THE NEW WORLD, 881 Seventh Avenue, New York 10019, isan interracial young orchestra which offers cash prizes and performing opportunities toinstrumentalists and singers. There are no age limits, however, the applicant "mustnot yet have had national exposure, but be ready for a major New York appearance".A $500 cash prize and an engagement with the orchestra at Avery Fisher Hall await thewinner. Competition is in late April.

The NATIONAL SOCIETY OF ARTS AND LETTERS will sponsor its first nationalvocal competition in Scottsdale, Arizona, in April. $2,500 is the grand prize.

Celebrating its twentieth anniversary, the WGN-ILLINOIS OPERA GUILD Auditionsof the Air has increased its cash awards for this year to $4,000, $3,000 and $2,000. Theapplication deadline is November 1, 1977. For information on preliminary auditioncenters and requirements see the AWARDS FOR SINGERS brochure. — Last year'swinners were New York soprano Margarita Castro-Alberty and Philadelphia bass-baritone Stephen West. A list of past winners attests to the importance of these audi-tions by inclusion of many names which have become nationally and internationallyfamous.

Do not miss the article "Companies Provide More Training Opportunities" earlier inthis issue.

WinnersThe finals of the Metropolitan Opera National Council Auditions were presented beforea full house on Sunday, March 20. Eleven finalists competed for the ultimate prizes; the$3,000 Stoughton Award won by soprano ELIZABETH PARCELLS, the $4,000 FisherAward won by soprano CHRISTINE DONAHUE, and the $5,000 Weyerhaeuser Awardwon by tenor VINSON COLE. A Met contract was not awarded. Each finalist also wona $2,000 cash award for being chosen from among the semi-finalists and was given freecoaching by Met staff members. Here, then, are the names of the other young finalistswho competed that afternoon: sopranos MICHELE BOUCHER, GWENDOLYNBRADLEY, MARTHA FINCH, JUNG AE KIM, and CAROL VANESS; mezzoBRENDA BOOZER, baritone JOHN BRANDSTETTER, and bass RICHARD VER-NON. This year, in addition to Met musical administrators and staff members, therewere more singers among the judges than in previous years. Among them was tenorPlacido Domingo, who offered a contract with the Liceo in Barcelona to Miss Donahuein addition to her second-prize cash award.

Twelve singers were chosen by the National Opera Institute as recipients of the $5,000Lila Acheson Wallace grants for 1977: sopranos BARBARA DANIELS, EUGENIA

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GILTMAN, BARBARA HONN, GIANNA ROLANDI, and LOUISE WOHLAFKA;mezzo KATHLEEN KUHLMAN; tenors VINSON COLE (see also Met), JAMESHOBACK, MOISES SANTIAGO PARKER, and CESARE ANTONIO SUAREZ; bari-tone SAMUEL BYRD. and bass JAMES JULIEN ROBBINS.

Two programs described under "Companies Providing Training Opportunities for Sing-ers" have announced their choice of participants for the first season. The San FranciscoOpera/Affiliate Artist project has enrolled the following six singers in its 48-week pro-gram: sopranos PAMELA SOUTH and CAROL VANESS; mezzo JANICE FELTY(the two latter are both Met finalists); tenor BARRY McCAULEY; baritone WILLIAMPELL, and bass-baritone DAVID CALE JOHNSON. In addition, the program alsoincludes internships for a conductor — PAULETTE HAUPT-NOLEN, an administrator— SUSAN PATTON, and a stage director yet to be announced.

Eight singers were chosen at the San Diego audtions in March to participate in the six-week in-residence program of the San Diego Opera Center. They are sopranos PAMELAHICKS, APRIL M1LLO, and JOAN ZAJAC; mezzo MARY FOX; tenor GARYFISHER; baritones JOHN DEL CARLO, LESLIE HARRINGTON, and ANDREWTAYLOR. To insure that the program will be used to its full capacity, four alternateswere also selected: mezzos Diana Davidson and Diane Elias, tenor James O'Neal, andbaritone Michael McClish.

The Houston Opera Studio, David Gockley and Carlisle Floyd co-directors, announcedthe first eight members of the new training program, chosen at auditions in seven majorU.S. cities: sopranos CHRISTINE DONAHUE, from Pennsylvania (see Met auditions),SUNNY JOY LANGTON from California, ERIE MILLS (winner NATS award) fromIllinois, mezzo CONSTANCE FEE, tenor ROGER OHLSEN, baritones ERIC HALF-VARSON (Met Regional winner) from Illinois, ALBERTO GARCIA from Pennsyl-vania, and bass RICHARD VERNON (see Met auditions) from Tennessee.

The Seattle Opera's National Artists Program, founded in 1968, offers full-year contractsto five young promising singers. Those chosen for the coming season include two newnames, soprano CAROL WEBER and tenor WILLIAM LIVINGSTON, and three whohave been in the program during the current season, tenor LEONARD EAGLESON,baritone DONALD COLLINS, and bass-baritone ARCHIE DUKE.

Soprano DENISE GOCEK, winner of the Metropolitan Opera National Council RegionalAuditions for the Great Lakes Region, was named this year's winner of the NationalAssociation of Teachers of Singing award. She studies at the Cleveland Institute ofMusic. — All winners of last summer's American Opera Auditions hailed from NewYork. They were soprano MARILYN BRUSTADT, baritone JAMES TYSKA and bassCARLO THOMAS. As part of their prize they participated in the Wiener Kammeroperperformances of Rossini's La Gazzetta in Vienna.

After extensive auditions in New York, the William Matheus Sullivan Foundation des-ignated the following singers as eligible for support when needed for the preparation ofcertain roles: sopranos KATHLEEN BATTLE, ALICIA FERRER, SHARON HAR-RISON, JANET PRANSCHKE and PEGGY PRUETT, mezzos KATHRYN ASMANand KATHRYN CARTER, tenors JOHN ALAR, JOHN CARPENTER and ABRAMMORALES, and baritones DAVID ARNOLD and MARC EMBREE.

A $1,000 vocal scholarship was awarded BEVERLY MORGAN by the Financial Fed-eral Savings and Loan Association, which sponsors the Musical Showcase auditions ofMiami's Senior Symphony.

The 1976 Eaton Graduating Scholarship of $2,000 was won by Canadian sopranoCAROLYN TOMLIN. Former recipients of this Canadian award include Teresa Stratas,Lois Marshall, Lillian Sukis and Jeanette Zarou. — Two Canadian Opera Guild Scholar-ships were awarded in 1976. The winners were soprano NANCY HERMISTON andtenor JOHN KEANE. — The first place winner of the 76 CBC Award was sopranoROSEMARIE LANDRY.

Among the prestigious international voice competitions is the one in Munich where nofirst prize was given this year. Second prize went to Japanese soprano MITSUKOSHIRAI and the third prize was shared by two Americans, JANET PRANSCHKE andELIZABETH RICHARDS. Miss Shirai also won the Athens International Contest forSolo Singers; there she was awarded first prize. — The young Canadian, EDITH

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WIENS, won at Geneva's International Voice Competition. — Another Canadian so-prano, BARBARA ARTER, received the second prize at Chile's International SingingCompetition held in Vina del Mar, which included a contract with the opera companyin Santiago. — Besides the aforementioned $5,000 grant from NOI, ANTONIOSUAREZ received the first prize of the Verdi Competition in Parma. The Cuban-borntenor faces a busy season with engagements by various American regional companies. —The City of Toulouse in France honored American soprano BETTY LANE by bestowingon her the first prize in the women's division of its International Song Contest. Otherwinners included Romanian mezzo CORINA CIRCA and Islandic mezzo N. SIGRIDUS.In the men's division, only a third prize was awarded: Polish bass KAZIMIERZ KO-WALSKI. — The International Chant de Paris selected Russian baritone SERGELE1FERKOUSS as its first place winner and, in addition, awarded him the Prix d'artlyrique and the Prix Mozart. Second and third places were won by French bass-baritoneJEAN-PHILIPPE LAFFONT and Russian baritone VALERY BOUIMISTER; onlysecond and third prizes were awarded to women: Romanian soprano CORNELIA POP-ANGELESCU and Greek mezzo ALEXANDRA PAPADJIAKOU. — The Greek mezzosoprano was also featured as Rosina in a production of // Barbiere di Siviglia in Trevisoras a result of her winning the Italian competition there. REBECCA LITTIG, an Americansoprano, and MARTA TADDEI, Italian soprano, received second and third prize inTrevisor. — SHIMADA NORMA is the name of another winning Japanese soprano.She made second place in Peschiera; there was no first place award. — Bulgaria's Inter-national Opera Competition in Sofia differs from other such contests by presenting thefinalists to be judged in regular local opera performances at which time the actual win-ners are chosen. Former winners include singers who have made international reputationsfor themselves (Sylvia Sass, Dimiter Petkov, Anna Tomowa-Simtow and others), Thisyear's Grand Prix — not always given — was awarded Russian baritone ROMAN MAI-BORODA, who was presented as Figaro. First prize went to Romanian tenor EMILGHERMAN who sang Rodolfo, and second prize was shared between two Bulgarians.STEFKA MINEVE who sang Carmen, and VENETA YANEVA as Violetta.

Not for SingersFrance's music prize, the Grand Prix de I'Arl et des Lettres, was awarded Greek-bornFrench-resident composer YANNIS XENAKIS.

The seventh annual Kurt Herbert Adler Award was presented to RENEE ROATCAP, co-ordinator of San Francisco's Brown Bag Opera. She joined the company one year agoas an administrative intern under the Comprehesive Employment Training Act (CETA),and is a graduate of Stanford University, where she studied composition and conducting.

This year's Julius Rudel Award went to BRIAN SALESKI, a young American conductorwho will be joining the New York City Opera next season. He has worked in musical oradministrative positions with the opera companies of San Francisco, Chicago and Miami,and recently conducted a production by his own company, the newly formed BouffesParisiens in New York.

The first Metropolitan Opera National Council Verdi Medal of Achievement was awardedto MARIA RICH, Administrative Director of Central Opera Service and editor of itsBulletin since 1962. The presentation of this annual award was made by the MONC'spresident, Alexander Saunderson, during the finals of the Met Auditions on the stage ofthe opera house "for the greatest service to opera in the past year". The beautiful gildedbronze medal, designed and donated by the American sculptress Betti Richard, has Verdi'sprofile in relief on one side, and the name of the award, the recipient and the yearengraved on the reverse.

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COS INSIDE INFORMATIONProgramsAmong the various projects initiated this season, none seems to have found amore enthusiastic endorsement than the POSITION ASSISTANCE PROGRAM.The response was immediate and unanimous, congratulating COS on taking theleadership in providing this badly needed service. Another proof of its effectivenessis the registration of some 75 applicants (all qualified professionals in one oranother specific field) within the first three weeks, and the distribution of some 30notices of job openings! At this writing, all registrants will have received somecommunications, and we would greatly appreciate hearing from you if you havebeen successful through our endeavors. For those members who may not havereceived notifications of this new service, we are pleased to reprint our originalletter and description of the program below.

Dear Colleague:In response to ever increasing demands, Central Opera Service is delighted to announcethe formation of a COS POSITION ASSISTANCE PROGRAM for opera administratorsand professional artists, exclusive of singers.

COS, the service organization for opera from the academic workshops to the majorprofessional companies, is in a unique position to administer such a program. Operarelated positions at educational institutions and those at opera companies have often thesame or similar requirements. Professionals are known to be interested in engagementsby either or both.

The following job categories have been established:

general management development/fund-raising/marketingconductor/music director press/public relationsmusic coach/accompanist technicalstage director designer

Individuals interested in finding positions in any of the above fields must be membersof COS and, in addition, pay a $10 registration fee (total: $20 per year, September-August). Registration forms are enclosed. A resume for our files must accompany theregistration.

Companies, universities, colleges, conservatories, arts centers, arts councils, and otherinstitutions interested in listing job openings with COS must be group ($25) or insti-tutional ($50) members.

Copies of job descriptions will be circulated to the respective categories of registrantsas soon as the information is received, and it will be up to the individual to decide whetherhe/she is eligible to apply for the position.

A registrant may list his/her name in more than one category without extra charge.Since position openings occur at various times during the year, it is recommended thatartists/administrators register with this service while still employed. Registration does notobligate the registrant, and names will be kept in strictest confidence.

In order to make this service as effective as possible, we urge every indiivdual andorganization to give this announcement the widest possible distribution and to make theutmost use of it. Only this way will we be able to serve you fully and efficiently — andbe able to continue this service at the initial low fee.

MARIA F. RICHAdministrative Director

Registration forms are available from COS, Metropolitan Opera, Lincoln Center, NewYork, N. Y. 10023.

Other COS programs are mentioned throughout this Bulletin. We refer you 1) tothe article on ENGLISH TRANSLATIONS and the expanded COS informationand 2) to the article "Companies Provide More Training Opportunities" for theannouncement of a new and important COS publication planned for next fall, ACAREER GUIDE FOR YOUNG AMERICAN SINGERS.

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The COS LIST OF OPERA COMPANIES AND WORKSHOPS has always beenone of our most important publications; through a new system it is being keptcurrent quarterly. In addition, two new publications assist in further indentifyingthe groups listed: Major Companies in the U.S. and Canada (with budgets over$100,000) and Summer Opera Festivals and Workshops. Individually, the listsare available for $6 for the complete list of over 1,000 organizations and $2each for the two amendments. A complete set of all three lists may be ordered forthe special price of $8. (The complete list of 1,000 organizations is available onself-adhesive labels for $40.)

NEWS FLASH

In view of the appropriations recently approved by the Congressional InteriorAppropriations Committee in the amount of $3.6 million for "artists and organ-izations not eligible under present NEA guidelines", the National Endowment forthe Arts and the National Opera Institute have requested that COS collect sta-tistics on intermediary/community opera companies with budgets of $25,000 to$100,000, which have performed regularly during the last few years. We, therefore,urge all companies in that category to complete and return the COS/Opera Newsquestionnaire as soon as possible so that we may have all the data on the 1976-77season complete — COS company files date back into the Fifties and early Sixties.A vote on this appropriation is expected in the Senate sometime in June. If positive,NEA will prepare new guidelines and systems for the administration of these newfunds, and COS in turn will contact all companies within the above describedgroup with information and instructions on how to proceed. PLEASE DO NOTWRITE OR CALL THE ENDOWMENT OFFICE AT THIS TIME, BUT BESURE TO RETURN YOUR QUESTIONNAIRE TO COS. THIS WILL SUF-FICE FOR YOUR INCLUSION ON THIS LIST.

ANNOUNCEMENT OF APPLICATION DEADLINEAt their next meeting, to be held in Washington early in September, Trusteesof the National Opera Institute will consider applications from opera companiesfor support of projects taking place between January 1, 1978 and August 31, 1978.To be considered, applications must be received in the Institute's office not laterthan August 1, 1977 and must be complete in every respect.

Applications must also fall within the guidelines of the following Institute grantprograms: PRODUCTION OF NEW OR RARELY PERFORMED WORKS,INTER-COMPANY COOPERATIVE PROJECTS, and/or INNOVATIVEPROJECTS. The National Opera Institute encourages and supports productions(especially second productions) of new operas as well as revivals of those rarelyperformed operas existing outside the standard repertory. Companies wishing topool their resources in such ways as cooperatively acquiring and sharing new setsand/or sharing the services of specialized technical, artistic and administrativepersonnel may apply to the National Opera Institute for assistance with the costsof such Inter-Company Cooperative Projects. Assistance is also available to aidthe exploration of new and innovative techniques in the production of opera aswen as new approaches to its management, marketing and distribution (especiallyvia electronic media).

Complete guidelines and necessary application forms are available from theInstitute on request.

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COS Roundtables and Conferences

The next Regional Roundtable is scheduled for Central City, Colorado, for July16, coinciding with the local opera season. Registrants will be able to hear TheBartered Bride either on Friday, July 15 or on the matinee of July 17, whileBritten's Midsummer Night's Dream will be performed on July 16. Programs andregistration forms are available from the COS Regional Director, Mrs. DeWittBrennan, 3131 E. Alameda #503, Denver, Colo. 80209.As previously announced, the next COS National Conference, OPERA, THEAMERICAN SCENE: 1977 — THREE HORIZONS, will be held in Houston,October 12, 13, 14, 1977. Stimulating subjects, provocative discussions, and excit-ing events will, we believe, make this one of the most interesting and best attendedconferences ever. Programs have been sent to all COS members, and it is suggestedthat those who have not yet responded do so soon, since we expect a heavyattendance and both the number of hotel rooms and opera tickets are limited.Following are the Three Horizons to be investigated: The Voice of AmericanOpera (Regional Companies Speak); Opera as Music Theater (discussion bymembers of the host company, which has been recognized for its exploration ofunusual repertory toured on an international scale), and Television: Stage andStudio (a full day devoted to television and opera in all of its aspects. Internationalauthorities will discuss, as informed critics, various excerpts from operas performedfor live audiences and televised, produced specifically for television, or written fortelevision. This investigation of a valid art form is based on concepts of theultimate role which television may play in the operatic world.) As always, COSwill bring together recognized experts, prominent figures in the operatic field, andcultural leaders of the community. The names of the speakers and panelists willbe announced soon. The Houston Grand Opera's performance to be attended willbe Rossini's Tancredi in a world premiere of an authenticated new edition and thecast will feature Marilyn Home and Luigi Alva. For additional copies of theprogram and registration forms please write or call Central Opera Service.Watch this space for news of a very special Regional meeting April 1-3, 1978, onthe East Coast (Middle-Atlantic and adjoining regions). Hosted by a youngAmerican company, it will offer the opportunity to attend an important Americanpremiere, meet new opera people and some old friends for discussion, and dosome unusual sightseeing. Note the dates now.

CorrectionThe Obituary column in the Fall '76 Bulletin should read: Elizabeth Ohms, diedin Margaretsstein Germany (not Holland). — Lily Pons died on February 13,1977 (not January).We thank the careful readers of the COS Bulletin for drawing our attention tothese occasional errors and shall always attempt to list a correction. Please docontinue sending us your letters and comments.

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NEW TRANSLATIONS

As a result of the recent COS survey, conducted in cooperation with Opera Amer-ica, regarding English translations used by major American companies and basedon information customarily received by COS throughout the season, we are pleasedto list below new or recently used translations not previously included in the COSBulletin or Directory. The few companies which have not yet returned the an-notated seasonal program supplied by us are urgently requested to do so now.

Operas are listed in alphabetical order by composer to facilitate combining theseentries with the 1973-74 COS Translations Directory. Further information as tothe use and casts of the translations is available from COS upon request.

BIZET: Dr. Miracle (Eastern Opera Theatre of the Baltimore Opera) RobertLehmeyer

BERLIOZ: Benvenuto Cellini (Opera Company of Boston) Andrew PorterCHABRIER: Le Roi malgre lui (Juilliard School) Maurice ValencyCIMAROSA: Maestro di cappella (Stanford Opera Theatre) Mark Starr, 132

Loucks, Los Altos, CA 94022Matrimonio segreto (Moorhead College) Bird/Witherspoon (see '73 Di-

rectory) not Robert Gay as erroneously reportedDONIZETTI: Betly (University of California, San Diego) Vincent Russo

L'Elisir d'amore (Illinois University, Urbana) David LloydLucrezia Borgia (Houston Grand Opera) David Alden

GIORDANO: Andrea Chenier (Kansas City Lyric Theater) PetrachGLINKA: Ruslan and Ludmilla (Opera Company of Boston) Francis DuvalGOUNOD: Faust (Tucson Opera Company) H. Reynolds StoneLEHAR: Die lustige Witwe (Omaha Opera) David AldenMASSENET: Manon (Illinois University, Urbana) Adelaide BishopMOZART: Zdide (Boston Lyric Opera Company) Nicholas Deutsch

Die Zauberflote (Kansas City Lyric Theater; Minnesota Opera) Wesley BalkDie Zauberflote (Michigan Opera Theatre) Randolph Mauldin & Yael GaniDie Zauberflote (Opera Theatre of Syracuse) P. Thompson & A. Crabb

OFFENBACH: La belle Helene (New York City Opera) Geoffrey Dunn, revisedby Julius Rudel

La belle Helene John P. Briske, 29 Ora Way, San Francisco, Cal. 94131La Grande Duchesse de Gerolstein Morgan Himelstein, 37 Maxwell Rd.,

Garden City, New York 11530ORFF: Carmina burana Mark Herman & Ronnie Apter, 13 Woodside Dr., Madi-

son, N. J. 07940PAISIELLO: // Barbiere di Siviglia — secco-recitatives only, Nicholas Deutsch

// Gare generosi/Slaves of Love (University of Virginia, Charlottesville) MariaEvans

PERGOLESI: // Geloso schernito (Belwin Mills) Paul MallalieuPUCCINI: Madama Butterfly (Tri-Cities Opera, Binghamton, N. Y.) G. Edgerton

RaceROSSINI: II Barbiere di Siviglia (Kansas City Lyric Theater) Petrach

La Cambiale di matrimonio (Augusta Opera Company, GA) V. HolderLa Cenerentola—Alidoro's aria added later by composer—Nicholas Deutsch

SCHUBERT: Alfonso und Estrella (Reading University Opera, England) RonaldWoodham

SMETANA: Prodana nevesta/The Bartered Bride (Metropolitan Opera/OperaAmerica commission for performance 1978-79 season) Tony Harrison

The Bartered Bride (Phoenix Opera Co., Atlanta, GA.) Olga LovelandSTRAUSS, J.: Eine Nacht in Venedig (English National Opera, London) Murray

DickieSTRAVINSKY: L'Histoire du soldat (New York City Opera) Frank CorsaroTCHAIKOVSKY: Joan of Arc/Maid of Orleans (Canadian Opera Co., Toronto/

Opera America commission for 1978) Richard BalthazarVERDI: Macbeth (Kentucky Opera/Opera America commission for 11/77)

Andrew PorterMacbeth (Nevada Opera Guild) Ted Puffer

WEILL: Die sieben Todsunden/Seven Deadly Sins (Michigan Opera Theatre)Auden & Kalman, revised Mauldin & Gani

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APPOINTMENTSGovernment and Service OrganizationsThe National Endowment for the Arts announced that BRIAN O'DOHERTY movedfrom Director of the Visual Arts Program to NEA's Public Media Program withCATHERINE WYLER as Assistant Director for Public Media. As previously announced,Ira Licht heads the Visual Arts Program.STEPHEN BENEDICT, Director of the Council on Foundations where he organizedand supervised eonomic surveys of the arts, has joined the National Endowment forthe Arts where he is charged with similar duties.The New York State Council on the Arts, under its Chairman, Kitty Carlisle Hart(Mrs. Moss Hart), and its Executive Director Robert Mayer, has named IOHN BOSDeputy Director for the Performing Arts in charge of music, dance, and theatre. He hadbeen with the Foundation for the Extension and Development of the American Profes-sional Theatre and also functioned as an advisor for the state arts agency. FRANK DIAZ,who has been with the Council since 1972, was given the post of Deputy Director ofSpecial Programs in the Special Programs and Arts Service Organization's section. Inorder to save money and consolidate the administration, the Council offices were movedfrom West 57 Street to the State Office Building at 80 Centre Street.The California Arts Council named CLARK MITZE as its new Director. He has beeninvolved with government and the arts for many years; his last position was that ofprogram director of NEA's Office of Federal/State Partnership.LOU HOCKETT, who was an NEA sponsored intern with the Alaska State Arts Council,was appointed Performing Arts Coordinator for the Southern Federation of State ArtsAgencies. Located in Winston-Salem, N.C., the Federation embraces an eight-stateterritory: Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, Northand South Carolina, and Tennessee.Actor HENRY FONDA was elected Chairperson of the National Council for Arts andEducation. The first action by the organization after his appointment was its endorsementof the Fred Richmond Arts and Education bill in favor of a "check-off box" on individualInternal Revenue Service forms for specific contributions to either one (NEA or NEH)or both National Endowments.The National Opera Institute elected JOHN M. LUDWIG as Executive Director. Pre-viously, Roger Stevens and, for the last six years, George London filled this post. Mr.Ludwig developed the Minnesota Opera Company, then known as Center Opera inMinneapolis, where he was General Manager for nine years, followed by two years asGeneral Director of Wolf Trap Foundation and one year as Artistic Administrator of theSan Francisco Opera.ROBERT L. B. TOBIN, Central Opera Service's National and Honorary NationalChairman for the past fifteen years, who has functioned as consultant to many companies,has been elected to the board of trustees of the National Opera Institute. He will alsoserve as a member of the executive and program committees, announced Julius Rudel,the Institute's Chairman. Also new to the Board of Trustees are Mrs. Lee D. Gillespieand George London, who join the thirteen re-elected members. Horace H. Irvine isPresident.As previously announced, Eric Larrabee is directing the National Research Center forthe Arts' Data Trend Survey. JOSEPH FARRELL, founder of the Center and its pres-ident, has been named Vice Chairman of the Executive Committee. Although he willcontinue to be executively involved with the latest venture, he will be Managing Directorof the new West Coast operation, residing in Los Angeles.The chairmanship of the Corporation of Public Broadcasting changed hands this yearfrom Robert Benjamin, whose term expired, to W. ALLEN WALLIS, Chancellor of theUniversity of Rochester, New York. Dr. GLORIA L. ANDERSON, of the Morris BrownCollege in Atlanta, was elected Vice Chairman, succeeding Thomas W. Moore.BETH CROUCH, Director of Public Affairs at Affiliate Artists, has been named VicePresident of the organization. Prior to joining Affiliate Artists, she was Director of PublicRelations for the Houston Grand Opera. — The organization has also added a newDirector of Marketing and Resource Development in the person of GEORGE E.CULVER, Jr.

Music critic and journalist ZELDA HELLER was named Music Officer of the OntarioArts Council in Canada, a post formerly held by Rolf Sunter.

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Arts Centers and FestivalsThe Brooklyn Academy of Music has two new co-chairmen in ARTHUR D. EMIL andKENNETH S. ROSEN, as announced by Harvey Lichtenstein, President and ExecutiveDirector of the Academy.In contrast to administrators who move from company management to state arts organ-izations, RICHARD COLLINS, former President of the Western State Arts Foundation,accepted the job of Executive Director of the recently completed Denver Center for thePerforming Arts.Ottawa's National Arts Centre named DONALD MacSWEEN of Montreal's NationalTheatre School as General Director. He is taking over the duties of the Centre's firstdirector, Hamilton Southam, on April 1. — Bruce Corder continues as General Manager.Following last year's resignation of David Kanter as Managing Director of TempleUniversity's Music Festival at Ambler, Maestro SERGIU COMISSIONA, former MusicalAdvisor to the Festival, was named its Artistic Director. He is also Music Director ofthe Chautauqua Festival and the Baltimore Symphony.MICHAEL SWEELEY, Executive Director of the Caramoor Festival in Katonah, NewYork, was also elected the Festival's President. lulius Rudel, who had been artisticdirector, retired from that position last summer, as previously announced. This year, hisduties have been divided between Brian Priestman and Alexander Gibson.The Spoleto Festival, U.S.A., in its first season, announced CHRISTINE L. REED asthe local Director of the Festival in Charleston, S.C. Gian Carlo Menotti is ArtisticDirector and Christopher Clark General Manager.Beginning this year, Chicago's popular summer concerts at Grant Park and the GrantPark Symphony Orchestra will be supervised and administered by General ManagerROBERT WILKINS.The six-year-old Colorado Opera Festival in Colorado Springs selected ANN Mc-GOWAN as its new Executive Manager.Wolf Trap Farm Park and its Foundation chose PAULA SILVER as Director of Com-munications and Marketing, succeeding Luke Bandle who resigned to open her ownpress and public relations office.

Opera Companies - OfficersAt its latest board meeting, the Metropolitan Opera elected two new officers for majorpositions on the board: FRANK E. TAPLIN was named the Association's new President,succeeding William Rockefeller, who was elected Chairman of the Board. The formerChairman, Langdon van Norden, will be Honorary Chairman. IAMES S. MARCUSwas named Chairman of the board's executive committee.

Mr. Taplin, formerly a practicing lawyer in Cleveland, now lives in Princeton, and isengaged in business and the serving of civic causes and cultural organizations. He hasbeen a member of the Met board since 1961, the year he was elected President of theMetropolitan Opera National Council, an office he occupied until 1964. His positions withmusic organizations include the presidencies of the Cleveland Orchestra (1955-57) andof the Cleveland Institute of Music (1952-56); he was the first president of the ChamberMusic Society of Lincoln Center and board chairman of the Marlboro School of Music,also a director of the American Friends of Covent Garden and vice president of theAmerican Friends of the Aldeburgh Festival. He is a member of the American BarAssociation, the Association of American Rhodes Scholars and, as a pianist, a memberof the American Federation of Musicians. — James S. Marcus, partner of the invest-ment banking house of Goldman Sachs and Co., joined the Met board in Spring 1973.

A reorganization of the Board of Directors of the Greater Miami Opera Association intodifferent groups has been fashioned somewhat after the recent example set by theMetropolitan Opera board. Thirty-nine members were chosen to assist in decisions af-fecting business matters such as finances, management, marketing and fund raising. 228members form the trustees of the Opera Guild, assisting in guiding social and membershipactivities. In addition, there is a small advisory Board made up of lifetime members.Newly appointed or re-elected officers and members of the Executive Committee areGEORGE BEEBE, Chairman of the Board.. RADFORD CRANE, Vice-Chairman, MRS.JOSEPH CRAWLEY, President, MRS. A. ADAMS and MRS. N. S. MORRIS, VicePresidents, TED BLUM, Secretary, and ROY PERRY, Treasurer. Robert Herman isthe General Manager.

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The Vermont Opera Theatre in Johnson has invited soprano PHYLLIS CURTIN to beits new Honorary Chairman; its board of directors includes composer Vivian Fine (Ben-nington College), Efrain Guigui (Music Director of the Vermont Symphony), andEdward Elmendorf (President of Johnson State College). Barbara Owens is the ArtisticDirector; she is also head of the Opera Department at Oberlin College.

The Canadian Opera Company announced the election of RODNEY J. ANDERSONas President, succeeding D. A. Sloan. The new appointee had been President of theToronto based company in 1967-70, and a board member since 1960.

Opera Companies — AdministratorsThe Opera Company of Philadelphia's search for a General Manager has come to anend with the engagement of EDWARD CORN, formerly Manager of the San FranciscoOpera (1968-75) and Director of Planning and Public Affairs at the Metropolitan Operafor the past two seasons. As Artistic and Musical Advisor, the Philadelphia companysecured the services of JULIUS RUDEL, who earlier this season relinquished a similarposition with the Kennedy Center and the Caramoor Festival.

PLATO KARAYANIS, former Executive Vice President and Treasurer of AffiliateArtists, Inc., has been named General Director of the Dallas Civic Opera, announcednewly-elected President JAMES H. W. JACKS. Mr. Karayanis joined the New Yorkbased organization, created in 1967 to assist young performing talent, the year it becamea national association. Together with Richard C. Clark, President of Affiliate Artists,he was responsible for numerous original programs furthering the careers of youngperformers and increasing the organization's budget from the first year's $162,000 tothe present $1.5 million. He is the first General Director in Dallas since the death ofLarry Kelly; Mo. Rescigno filled the office until a successor was named.

Changes in administrative personnel at the Houston Grand Opera include the promotionof ROBERT A. BUCKLEY from Manager and Director of Operations to AssociateDirector under David Gockley's General Directorship. He will also take charge of thesummer touring productions. — JOHN DeMAIN, who is Music Director of the TexasOpera Theatre, the company's junior touring arm, will become the Houston Grand'sPrincipal Conductor and Artistic Consultant. Mr. Buckley joined the company in 1973,Mr. DeMain in 1976.

Recent changes in the managerial department of the San Diego Opera feature theappointment of TITO CAPOBIANCO to General Director; he had been Artistic Directorfor the last three years. KENNETH CASWELL, who had been General Manager theresince 1972 and earlier held the same position in San Antonio for seven years, joinedthe Memphis Opera Theater as General Manager mid-season. The Tennessee companyhad been without an administrative head since the beginning of the season.

New faces at the San Francisco Opera this year include ANN NELSON VERMEL,former Executive Director of the Rhode Island State Council of the Arts, first asadministrative staff member and later, following the resignation of John Ludwig, asArtistic Administrator. She is also Vice President of the National Assembly for StateArts Agencies. — HERBERT SCHOLDER rejoins the company as Director of PublicRelations, a title he held between 1958 and 1970; he had also become Director ofDevelopment. Subsequently, he joined the Lyric Opera of Chicago for four years andthe American Ballet Theatre for three. His predecessor as Director of Public Relations,Anita S. Moceri, is opening her own public relations office in San Francisco.

The New York City Opera has appointed its first Director of Development. It is Dr.RICHARD STOLTZ, who comes to the arts with academic experience as president ofLincoln College, Illinois, and, prior to that, Assistant Director of Executive Programsat the Graduate School of Business at Columbia University. — Another addition to theNew York City Opera is SHEILA PORTER, who succeeds Nat Dorfman as head ofpress and public relations. Mr. Dorfman retired after 17 years of service to the CityOpera. Miss Porter, who also works as an independent, free-lance publicity agent, beganher experience in this field as press officer of the Royal Opera Covent Garden in hernative London. During the last few years she was a member of Hurok Concerts inNew York.

ROBERT C. BICKLEY, former manager of the Jacksonville, Florida, Symphony, hasbeen appointed General Manager of the Hawaii Opera Theatre, succeeding GordonCoats. CARSON MAGILL was named Director of Development.

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The Opera Company of Boston announced the engagement of three new staff membersin key administrative positions: SUSAN KUBANY, formerly of WGBH-TV, as PublicRelations Director, FORRESTER C. SMITH, formerly Director of Development at theBoston Symphony, as Director of the Opera Company's Sustaining Fund, and RICHARDA. BELLIVEAU as Comptroller.

Symphony OrchestrasANTAL DORATI, who concludes his seventh season with the National Symphony inWashington, D.C., will begin a three-year contract with the Detroit Symphony next Fall.While he is being succeeded by Mstislav Rostropovich in the nation's capitol, he, inturn, follows Aldo Ceccato as head of the Michigan orchestra.

ERICH LEINSDORF, who has kept a full schedule as guest conductor in opera andsymphony here and abroad, signed a three-year contract as Music Director and ChiefConductor of the Radio Symphony Orchestra of West Berlin, the former RIAS Orchester.Beginning in the Fall of 1978, he has agreed to spend a minimum of three months peryear in Berlin with additional time when needed for international tours and recordings.Former music directors of the orchestra were Lorin Maazel and Ferenc Fricsay. Leins-dorf's permanent positions as Musical Director made him a resident of Cleveland,Rochester (N.Y.), and Boston, in that order. The current season found him at the Metconducting Salome and Die Walkiire; the latter opera marked his American debut withthe same company 39 years ago.

Ever since Zubin Mehta's appointment to the New York Philharmonic became known(see Fall '76 Blltn.), the music world awaited with anticipation the announcement ofhis successor. Internationally famous symphony and opera conductor CARLO MARIAGIULINI will start in Fall 1978 as Music Director of the Los Angeles Philharmonic.He is committed for a minimum of ten weeks out of every year and an additional fouror six weeks for recording and touring when necessary. His symphonic positions asMusic Director included the Italian Radio Orchestras, the Turin Orchestra and theVienna Symphony.

Another important symphonic post has just been filled with a young Polish-born con-ductor. THOMAS MICHALAK, who has been assistant conductor with the PittsburghSymphony and conductor of the Utica (N.Y.) Orchestra, was named Music Directorof the New Jersey Symphony for the next three years. Henry Lewis resigned there in1976 and Max Rudolf served as artistic advisor during the last season. The 36-year-old,new director was educated in Poland and, in 1971, won the Koussevitzky conductingprize in Tangle wood.

In addition to holding the position of Music Director with the Cleveland Orchestra, andhis recent appointment as Principal Guest Conductor of the New Philharmonia ofLondon, LORIN MAAZEL was also appointed Principal Guest Conductor of theOrchestre National de France in Paris for the next two years.

BRIAN PRIESTMAN has been named Music Director of the Miami Philharmonicbeginning next Fall. He holds the same position with the Denver Symphony and is, amongothers, guest conductor at the Caramoor Festival this summer.

After ten years as associate conductor with the Atlanta Symphony under Robert Shaw,MICHAEL PALMER was appointed Music Director of the Wichita Symphony, beginningwith the 1977-78 season. During the last few years, the orchestra's program included onestaged operatic performance annually. — Next season, GEORGE TRAUTWEIN willbe the new Music Director of the Tucson Symphony after occupying the same post withthe Savannah, Georgia, orchestra.

CARLOS WILSON, former manager of the Houston Symphony, is the new Managerof the Denver Symphony, succeeding Oleg Lobanov who took over the National Sym-phony in Washington.

AcademiaThe prestigious Curtis Institute of Music named the Philadelphia Orchestra's first oboistJOHN DE LANCIE as its new Director last Fall. A graduate of Curtis and a studentof Marcel Tabuteau, Mr. de Lancie is the Institute's seventh Director since its foundingin the 1920's. Some of the faculty changes include Dino Yannopoulos who resigned,

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BORIS GOLDOVSKY who succeeds him as head of the Opera Department andZINKA MILANOV who joined the vocal faculty (see Operatic Academia). Mr.YANNOPOULOS was named Director of the Academy of Vocal Arts in Philadelphia,succeeding Vernon Hammond, the first and only Director of the Academy, who retiredthis year.The Peabody Institute of Johns Hopkins University (see News from Operatic Academia)named faculty member FREDERICK PRAUSNITZ conductor of the Peabody Symphonyand Music Director of the Institute's opera workshop. His predecessor was Leo Mueller,who retired last year and returned to his native Vienna. It was also just announced thatthe present director of the Institute, Richard Franko Goldman, will be succeeded byELLIOT W. GALKIN, chairman of Goucher College's Department of Music and musiccritic of the Baltimore Sun.Also through retirement, the Eastman School of Music Opera Theatre lost its longtimedirector, LEONARD TREASH. As his successor, the School announced the appointmentof RICHARD PEARLMAN, a former stage director at the Met and at other Americanopera companies, to Associate Professor of opera and drama and Director of the OperaTheatre. Dr. Treash continues as head of the Chautauqua Opera Theatre.

Dr. WALTER DUCLOUX, Artistic Director of the Opera Theatre at the University ofTexas at Austin, will be spending next season as Visiting Professor and Conductor ofOrchestra at Stanford University in California. After the one year sabbatical, he willreturn to the Texas university. — Dr. OSCAR REMICK, former President of the Chau-tauqua Institution, was named Dean of Fine and Performing Arts and Professor ofPhilosophy at the State University of New York in Fredonia.

The Cleveland Institute of Music elected its Director, pianist GRANT JOHANNESEN,to the additional post of President of the Institute. Dr. RHODA PAYNE, pianist andactress, was named Administrative Assistant. — Following the resignation of HelenVanni, GEORGE VASSOS, a member of the Institute's voice faculty for over twentyyears, was appointed Chairman of the Voice Department.

Violinist MAX RABINOVITSJ will be the new Director of the St. Louis Conservatoryof Music. Concertmaster of the St. Louis Symphony for the past twelve years, he hasbeen on the faculty of the Conservatory for many years. — The University of SouthernCalifornia's Idyllwild School of Music and the Arts named Dr. MIRIAM E. ANSTEYDirector of Academic Affairs. She had been vice president of Marycrest College inDavenport, Iowa.

JANE BIRKHEAD moved from the University of Northern Iowa in Cedar Falls to theUniversity of Oklahoma in Norman. She had been Director of the Music Theatre andwill have the same responsibility in her Oklahoma position. — MISCHA SEMANITSKYwas named resident conductor of the Kansas State University Symphony. — SopranoLOIS MARSHALL joined the vocal faculty of the University of Toronto School ofMusic.

The Music Academy of the West in Santa Barbara, which is perhaps best known for itsworld-famous faculty members (Lotte Lehmann taught there for fifteen years), hasappointed SUSANNE L. BYARS to Executive Director, after her serving on the boardof directors of the Academy for six years. She succeeds VIRGINIA COCHRAN, whomoved to San Francisco to become Public Relations Director of the San FranciscoSymphony.

European Opera HousesThe Cologne Opera announced that, beginning January 1978, JOHN PRITCHARDwill be its Chief Conductor. Mo. Pritchard is on leave from Glyndebourne where hewill be replaced by Bernard Haitink.

GEORG W. SCHMOEHE, formerly Music Director in Bielefeld, is the new Music Di-rector at Munich's Theater am Gartnerplatz, where chief conductor Peter Falk resignedto become First Conductor at the Frankfurt Opera.

Tenor RAGNAR ULFUNG — and not composer Lars Johan Werle as erroneouslyannounced — will be the new Intendant of the Goteborg State Opera.

The Canadian conductor ALUN FRANCIS has signed a contract with the Teheran Operaas its new Artistic Director, and has agreed to produce twenty-five operas in his firstseason.

3ft

ResignationsLast December, Spanish-born conductor RAFAEL FRUEHBECK DE BURGOS resignedfrom his directorship of the Montreal Symphony, although his three-year contract hadmore than one year to go. A search committee was formed to look for guest conductorswith interest and qualifications for the permanent position. — Another resignation by aconductor took place in New Orleans, where, after 14 years, WERNER TORKA-NOWSKY will be leaving at the end of this season.NORMAN WORRELL, Executive Director of the Tennessee Arts Commission since itsfounding in 1966, has announced his resignation. A screening committee is interviewingapplicants.HERBERT HANDT resigned as Director of the Opera School of the Lyric Opera ofChicago to be free to accept conducting engagements in Europe.

AUDITORIUM NEWSSan Francisco is planning the construction of a Performing Arts Center which isto include a 3,000-seat concert hall, a smaller recital hall, and opera rehearsalfacilities. In addition, provisions will be made for an extension of the present operahouse to include better rehearsal space, offices, and storage space for scenery.Additions to the War Memorial Opera House are estimated to cost $4-$5 million;the new Performing Arts Center about $20 million. So far, pledges for about $13million have been received, including $5 million from the city from its FederalRevenue Sharing receipts.Built to the specifications of architect Minoru Yamasaki and Associates, the TulsaPerforming Arts Center contains The Music Hall seating 2,400, a smaller Play-house with 442 seats, and two Studios, each accommodating 300. Construction wasbegun in 1974; the opening takes place this season.Galveston, Texas, prides itself in its 1894 Grand Opera House which only re-cently was declared a national landmark. The 826-seat house is being restoredaccording to designs by Norman Pfeiffer, closed stage boxes are being opened,the balcony is being reinforced, new seats and floors have been ordered and aproper orchestra pit is being created. Alterations are estimated at $5 million, ofwhich a large part will come from the Economic Development Administration, afederal agency, in response to an application by the County Cultural Arts Council,which administers and supervises the reconstruction. EDA is a part of the Com-merce Department, and funds are allocated to regional EDA offices under Title 1of the local Public Works Employment Act (not related to CETA). An additional$2 million has been appropriated recently under this program, and companies areurged to apply to the state or local EDA office if they need funds for construction,renovations or repairs of "community important structures".The April/May production of Lucia di Lammermoor by the Tri-Cities OperaCompany served as the opening of the Broome Center for the Performing Artsin Binghamton, New York.A complete renovation of the Hollywood Bowl should result in much improvedtechnical and electrical facilities for Summer 1977. Frank Gehry is the architect.After an interruption of several months, construction has resumed on the LeonardDavis Center for the Performing Arts at New York City College. The multi-milliondollar structure housing the center will be known as the Aaron Davis Hall. Theperforming arts program will offer intensive instruction and professional trainingin music, theatre, dance and film for a selected group of students.The Semper Oper in Dresden hosted a great number of world premieres beforethe second World War, including many operas by Richard Strauss and some byRichard Wagner. The house was destroyed during the war, and the company hasperformed at the Schauspielhaus for the last 30 years. Reconstruction of thefamous opera house has now been undertaken to be completed in four years,retaining the original style of the historical building. A four-tier auditorium withabout 1300 seats and a stage featuring the latest in technical equipment will adjoina modern building with rehearsal and office space.

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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.ALABAMA

Opera Alabama, M.D. McClung, Mus. Dir., touring company of BirminghamCivic Opera

12/76 Amahl and the Night Visitors tour w. alternating castsARKANSAS

Arkansas Opera Theatre, A. Chotard, Art. Dir., Little Rock10/76 Le Nozze di Figaro Matsumoto

CALIFORNIACuesta College Music Theatre, N. Girolo, Dir., San Luis Obispo4/77 Carmina buranaFresno Opera Co., W. van de Graaf, Dir., Fresno10/22, 23/76 La Rondine2/25, 26 3/4, 5/77 Albert Herring4/15, 16, 29, 30/77 The Merry Wives of Windsor6/10, 11/77 The Daughter of the RegimentHidden Valley Opera Ensemble, P. Meckel, Dir., Carmel Valley1/77 La Boheme Eng.; 10 pfs.; James, Pelle; c: Bare; d: Pearlman; ds: P. SteinbergSpring '77 FalstaffThe Lamplighters, S. S. Beman, Exec. V.P., Presentation Theatre, San Fran-

cisco9/25 10/1, 2, 3, 8, 9, 15, 16, 17m, 22, 23/76 The Savoyards Am. prem.3/5, 11, 12, 18, 19, 20m, 25, 26 4/1, 2, 3/77 The Pirates of Penzance6/25 7/1, 2, 8, 9, 10m, 15, 16, 22, 23, 24m/77 The MikadoOpera Piccola, E. Evans, Art. Dir., Palace of the Legion of Honor, San

Francisco3/17, 19, 26/77 The Bear & The Husband at the DoorPacific Lyric Opera, W. Roesch, Dir., Balboa Park5/27, 29/77 Le Villic: Mysior; d: Roesch8/77 Amelia Goes to the Ball & The Bear c: MysiorSan Diego Opera Education Program at Town Hall & in schools1/31/77 The Medium Langton, Westbrook; w.p.; d: Irwin; ds: D. West; accomp:

ParkerSan Francisco Children's Opera Ass'n, N. Gingold, Dir., San Francisco11/20/76 Cinderella 2/27/77 Snow White and the Seven Dwarfs12/11/76 Santa Claus' Beard 3/26/77 Johnny Appleseecl1/22/77 The Emperor's New Clothes 5/15/77 Puss in BootsSpring Opera Theater, K. H. Adler, Gen. Dir., Curran Theatre, San Francisco4/14, 16, 22, 28m 5/8m/77 Carmen Eng.; Browne, Todd; McCauley, Cunningham;

c: Haupt-Nolan; d: Bakman; ds; Scheffler; also 5/2 in Concord & 5/4 in Sac-ramento

4/15, 17m, 23, 28/77 Titus (La Clemenza di Tito) Eng.; Vaness. Boozer; Manno;c: Salgo; d: Francisco; ds: Darling

4/21, 24m, 30 5/6/77 The Combat (II Combattimento di Tancredi e Clorinda) Eng.Stevens ed.; & Savitri Eng.; & Ullmann's The Emperor of Atlantis Eng.; Am.prem.; Bouleyn; Mallory & Meyers; Duykers & Bouleyn, Felty: Griffin, Dansby;c: Woodward; d: Levine; ds: Israel

4/29 5/lm, 5, 7/77 Viva La Mamma (Convenienze ed inconvenienze teatrali) Eng.;South, Peterson; Ferrante, Sandor; c: Bare; d: Minor; ds: Wright-Stevens; also5/10 in Berkeley

Western Opera Theater, K. H. Adler, Gen. Dir., R. Bailey, Mgr., Tour1/7-5/9/77 The Marriage of Figaro Eng.; Don Pasquale*; Susannah*: The Portu-

guese Inn; various educational workshops, 13 soloists w. 2 ps., in 7 states5/11-14, 19-22/77 above operas at San Francisco Palace of Fine Arts, Two Dollar

SeriesYoung Artist Opera Theater, Univ. of Calif. San Diego, J. Large, Dir., La Jolla4/15, 17/77 Donizetti's Betly Eng.: Russo; Am. prem. w La Jolla Symphony; c:

Nee & The Four Note Opera

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COLORADO 1976-77 SeatonClassic Chorale, J. Lepinski, Dir., at Calvary Temple, Denver12/2, 4/76 Amahl and the Night Visitors M. Miller; Watson, McGrathOpera Fair, Inc., H. Lawyer-Duvalo, Dir., Bonfils Children's Theatre, Denver,

& State tour2/77 Rita & 1 act play, 10 pfs.University of Colorado, Music, Drama & Dance Depts., K. Hata, Dir. Opera,

Boulder2/11-13/77 Falstaff Eng. Ducloux; c: G. Bernstein

CONNECTICUTYale University Symphony, W. Harwood, Mus. Dir., New Haven2/25-27/77 Debussy's reconstructed Fall of the House of Usher Am. prem. & La

Serva padronaDELAWARE

Minikin Opera Co., J. Cason, Dir., Wilmington12/29/76 Argento's The Boor for NATS Convention; also in schools alternating

with The TelephoneDISTRICT OF COLUMBIA

Handel Society, S. Simon, Mus. Dir., Kennedy Center1/17/77 Saul cone pf.; Robinson, Forrester; R. Lewis, Meredith2/28/77 Rinaldo cone, pf.; Shane, Valente, Wolff, Nadler; Michalski4/25/77 Solomon cone, pf.; Galvany, Brooks, Haywood; Reardon, HirstNew York City Opera, J. Rudel, Gen. Dir., at Kennedy Center5/3, 7, 9/77 Carmen Dunn/Arrauzau, Fowles; Mauro/Scano, Hale5/5, 8/77 Turandot Ballard; Mauro, Roy5/6, 7m/77 Die Fledermaus Rolandi; Price, Roe5/8m, 13, 15/77 La Traviata Robinson; di GiuseppeSI U*111 II Barbiere di Siviglia Sills5/12, 15m/77 Mefistofele Meier, Evans; Scano, Ramey5/ 14m, 14/77 The Pirates of Penzance*Benefit performanceSokol Opera, L. Brodenova, Dir., at Immaculate College, Washington11/14/76 "Grand Potpourri" scenes and arias by Czech, Austrian & Russian com-

posers; incl. one act from Pique DameFLORIDA

San Carlo Opera of Florida, F. Weaner, Dir., Jewish Community Center,Tampa

11/10/76 Madama Butterfly3111 Tosca Moffo; Dominguez, Fredricks; c: Coppola; d: StivanelloSt. Petersburg Opera Co., F. Guarrera, Art. Coord., Bayfront Center Audi-

torium2/11, 13/77 La Traviata Peters; Marini, Burchinal; c: J. Rescigno; d: Cosenza; ds:

GanoGEORGIA

Augusta Opera Co., R. Moores, Gen. Mgr., Augusta (see also Summer '76Blltn.)

2/26-3/18/77 The Italian Girl in Algiers Eng.; tour5/21, 22/77 Susannah (replaces Die Fledermaus, postponed to 9/77) c: Johnson;

d: AstinLyric Opera Company of Atlanta, M. Dobbs, Mns. Adv., Atlanta11 / 5-7116 Madama ButterflyPhoenix Opera Co., O. Loveland, Dir., Atlanta1976-77 The Bartered Bride Eng. Loveland

KENTUCKYUniversity of Kentucky, Opera Wksp., P. Jenness, Dir., Lexington1/21, 22, 23/77 Baber's Rumpelstiltskin prem.

LOUISIANAMatinee Musical Club, Inc., Opera Wksp., Mrs. F. Coughlin, Chmn., Alex-

andria3/12/27 Madama Butterfly Baxter, Alexander; English, O'Neil; c: Kushner; d:

Pettaway

— 33 —

1976-77 SeasonNew Orleans Recreational Dept. Opera Wksp., D. Morelock, Gen. Dir., New

Orleans1/23/77 La Cenerentola4/6/77 Die Kluge

MARYLANDBaltimore Center for the Performing Arts, S. Hillman, Pres., Mechanic Theatre6/6*, 8, 10, 11/77 Argento's Voyage of Edgar Allan Poe Minnesota Opera Co. &

Baltimore Symphony; c: Brunelle; d: Balk; ds: Moiseiwitsch•Benefit for Peabody Institute of Johns Hopkins UniversityEastern Shore Opera Society, N. Reeves, Pres., Salisbury4/77 Faust

MASSACHUSETTSBoston Lyric Opera Co., E. Triplett, Art. Dir., at Massachusetts College of Arts12/26/76 Amahl and the Night Visitors at Church of the Covenant, 2 pfs.2/18, 19/77 Mozart's Zdide Eng. Deutsch; Parcells; C. Walker, deVoIl; c: Moore-

head; d: Deutsch; ds: Mooney/DruhanCambridge Opera Workshop in cooperation with New England Repertory

Theatre3/27m/77 Help, Help, the Globolinks!Collage, with members of Boston Symphony, Boston2/13/77 Miss Donnithorne's MaggotCommunity Opera of Tufts Univ., P. Cokkinias, Art. Dir., Medford4/15-17/77 The Bartered Bride c: Cokkinias; d: J. Horacek; costumes: National

Opera PragueOld South Church, Boston11/19/76 S. Lutyens' The Minister's Black Veil prem.; c: Palumbo; d: DeutschOpera Company of Boston, S. Caldwell, Art. Dir., Boston (see also Summer

'76 Blltn.)5/25* 6/8, 9, 11/77 Orpheus in the Underworld alternating performances w. Orfeo

ed Euridice*Benefit pf.Springfield Orchestral Ass'n, J. Gidwitz, Mgr., Springfield4/15/77 La Boheme Suarez; c: Gutter

MICHIGANMichigan Opera Theatre, D. DiChiera, Gen. Dir., Opera-in-Residence tour2/28-4/25/77 The Magic Flute; Trouble in Tahiti; "The Wonderful World of Opera";

"Children's Workshop"Opera Ass'n of Western Michigan, J. Hatton, Gen. Mgr., Grand Rapids (see

also Summer '76 Blltn.)5/77 Don Pasquale PutnamOpera Organization of Detroit6/77 The Marriage of Figaro SteberUniversity of Michigan Opera Production, G. Meier, R. Herbert, Dirs., Ann

Arbor11/18-21/76 The Crucible12/9/76 Opera Scenes w.p., d: E. Likova (Wksp. prod.)University of Michigan, Comic Opera Guild, Ann Arbor2/7-11/77 The Merry Widow d: Likova3/24-27/77 Cost fan tutte Eng. Martin

MISSOURIOpera Theatre of St. Louis, R. Gaddes, Gen. Mgr., at Webster College, St,

Louis5/20, 26 6/4, 8/77 Cost fan tutte Eng.; Roark, Williford, Greenawald; Garrison,

Dickson, Blankenburg; c: Moriarty;d: Galterio5/21, 25, 27 6/2, 10/77 Rameau's Pygmalion & Gianni Schicchi Eng.; Greenawald;

Aler; & Blankenburg; c: Leppard/Moriarty; d: Galterio5/28 6/1, 3, 9, 11/77 Le Comte Ory Eng.; Putnam, Petros; Cole, McKee; d: Alden

NEBRASKAOpera/Omaha Touring Ensemble, sponsored by the Mid-American Arts

Alliance2-3/77 Don Pasquale w.p.; Greenawald; Blake, di Paulo, McKee; to St. Louis, Mo.

Norman, Okla., Salina, Kan., various cities in Nebraska & Iowa

— 34 —

1976-77 SeasonUniv. of Nebraska, Opera Dept., Lincoln10/20, 22, 23/76 Beadell's A Number of Fools

NEVADANevada Opera Guild, T. Puffer, Art Dir., Reno10/76 The Pirates of Penzance 2 pfs. each12/76 La Fille du regiment Eng. Puffer2/77 Rigoletto4/15, 16/77 Susannah N. Shade

NEW HAMPSHIREDartmouth College, Hopkins Center, Hanover1/29/77 Chadwick's Judith c: LedbetterSt. Anselm's College, Music Dept, Manchester12/5/76 Amahl and the Night Visitors Lowell Univ. prod.

NEW JERSEYMostly Opera, at St. Anastasia Church, Teaneck2/27/77 Faust cone, pf.; w.p.4/17/77 Opera Scenes

NEW YORKCornell University and Ithaca Opera Ass'n (corrected listing)10/22, 23/76 Sima prem.Cornell University Dept of Music & Ballet Guild of Ithaca (Ithaca Youth

Bureau)5/13, 14, 21, 22/77 Hansel and Gretel Eng.; c/d: LehrmanIthaca Opera Ass'n, Inc., at Kulp Auditorium4/23, 24/77 The Turn of the ScrewRochester Philharmonic Orchestra, D. Zinman, Mus. Dir., Family Concerts,

Rochester1/30/77 Little Red Riding HoodSummer Repertoire Theater of Ithaca, Drama Depts. of Cornell Univ. &

Ithaca College (corrected listing)7-8/76 Don Pasquale w. 2ps., c: TroxellSUNY-Albany, Opera Wksp. & Theater Dept, S. Osmond, Dir., Albany11/4, 5, 6/76 2/11, 12, 13/77 Evenings of Opera in ConcertSUNY-Buffalo Opera Studio, Muriel Wolf, Dir., Buffalo9/3, 4/76 Das kleine Mahagonny11/3, 4, 5/76 Wolfs Madame Jumel prem.SUNY-Oswego, Music Dept, J. Soluri, Chmn., Oswego11 /10/ 76 de Hartmann's Esther c: Henry; 11 /11 at SyracuseTouring Concert Opera Co., G. Wilder, Mus. Dir., Craryville12/10, 11, 17, 18, 19m, 19/76 Amahl and the Night VisitorsTri-Cities Opera, P. Hibbitt & C. Savoca, Dirs., Binghamton (see also Summer

'76 Blltn.)318/11 The Opera Center Preview Concert, sample for pfs. in schools, clubs, com-

munity centers3/18, 19, 20/77 Scholarship Fund Opera Night, excerpts

NEW YORK CITYAfter Dinner Opera Co., B. Flusser, Dir., Flushing Town Hall4/30/77 The Telephone & Carmen adapt. LardnerAmerican Opera Center, P. H. Adler, Dir., Juilliard School, Lincoln Center4/2V22, 24/77 Falstaff c: Ehrling; d: Gobbi; ds: YodiceAmerican-Russian Bicentennial Concert, I. Buketoff, Mus. Dir., Avery Fisher

Han12/18/76 Dargomyzhsky's Rusalka excerpts & other selectionsAmor Artis Chorale and Orchestra, J. Somary, Art Dir., New York2/21/77 Acis and Galatea Hamilton; BresslerThe Bouffes Parisiens of New York, Brian Salesky, Art Dir., at CAMI Hall3/27/77 Offenbach's Croquefer N.Y. prem., Eng. narr. & dialogue; Mayo; Castel,

Postrel; semi-stagedBrooklyn Lyric Opera, N. Myrvik, Art. Dir., Good Shepherd Church1115jie Die Fledermaus1116/11 ToscaII mil The Barber of Seville3/20, 26, 27/77 Cilea's L'Arlesiana

— 35 —

1976-77 Season

Broque Opera Co., at Astor Place Theater11/24-28 12/27-31/76 The Music Master & RitaCamera Three/CBS-TV, National Network2/6/77 Metropolitan Opera Ballet2/13/77 Operas by Pasatieri: excerpts from Washington Square, The Seagull &

Black Widow Malfltano, Simon, Bonazzi; Ellis; accomp: PasatieriCathedral Church of St. John the Divine1/14, 15/77 The Play of Daniel & The Play of Herod3 / 26/77 Cox and Box & Auchincloss Rug ConcertChelsea Theater Players, Brooklyn Academy of Music3-4/77 Weill's Happy End adapt: M. FeingoldGene Frankel Theatre, First Avenue at 63 Street12/17, 19, 22, 23/76 The Medium d: OglesbyGolden Fleece, Ltd., New York University Theatre12/20-22/76 Amahl and the Night Visitors 4 pfs.Goldovsky Opera Theatre and Institute, B. Goldovsky, Art. Dir.10-11/76 2-3/77 tour: Madama Butterfly Eng. Goldovsky; 70 pfs.Gregg Smith Singers, G. Smith, Dir., St. Stephen's Church3/17/77 A Hand of Bridge & Introductions and Goodbyes & The HarpiesHear America First, Fifth Avenue Presbyterian Church3/1/77 one-act operas by Cuckson, Fennimore & Sandow4/12/76 Songs and Excerpts by Reif, Fennimore, MekeelInwood Chamber Opera Players, S. Edelman, Dir., Brooklyn12/15/76 Scenes from "Shakespeare in Opera," at Long Island University5/1/77 Le Nozze di Figaro "opera-in-miniature" w.p.Juilliard School Opera Workshop, M. Isepp, Dir., Lincoln Center3/3, 4/77 The Magic Flute d: UppmanLiederkranz Opera Showcase, T. Martin, Mus. Dir.12/4, 5/76 A Hand of Bridge & Yehu & The Magic Chair c: Martin; d: Crittenden3/5/77 GrdfinMariza5/14, 15/77 Die ZauberfloteLight Opera of Manhattan, W. Mount-Burke, Dir., Eastside Playhouse9-10-11/76 2-3-4/77 The Mikado 36 pfs. 10/76 Ruddigore 12 pfs.9-10-11/76 2-3/77 H.M.S. Pinafore 29 pfs.9-10/76 2-3-4/77 The Pirates of Penzance 23 pfs.11-12/76 1-2/77 The Merry Widow 35 pfs. 11/76 Princess Ida 5 pfs.12/76 1-2/77 Naughty Marietta 17 pfs.3-4/77 The Yeomen of the Guard 11 pfs. 1/77 The Vagabond King 11 pfs.Lubo Opera Co., J. Lasky, Dir., at CAMI Hall1/30/77 Cavalleria rusticana & excerpts, w.p.Lighthouse Music School, R. E. Krause, Dir.6/9, 10/77 The Stoned Guest w.o. & choral selectionsManhattan School of Music, J. Crosby, Pres.3/10, 12, 13/77 / Quattro rusteghi (The Four Ruffians)4/16, 17/77 Britten's Paul Bunyan 3 pfs.Mannes College of Music, Rise Stevens, Pres.3/24, 25, 26, 27/77 Tchaikovsky's lolania Am. stage prem.; Eng. Hess; c: Bychov;

d: Vincent; ds: Schwartz5/12/77 Opera Scenes by Wksp., w.p.Metropolitan Opera, A. A. Bliss, Exec. Dir., Spring TourBOSTON, HYNES AUDITORIUM4/18/77 Le Prophete 4/22/77 Lohengrin4/19/77 La Boheme 4/23m/77 The Magic Flute Eng. Martin4/20/77 Samson et Dalila 4123177 II Trovatore4/21/77 ToscaCLEVELAND, PUBLIC AUDITORIUM4/25/77 Samson et Dalila 4/29/77 Lohengrin4/26/77 La Boheme 4/30m/77 The Magic Flute Eng. Martin4/27/77 Le Prophete 4/30/77 // Trovatore4128177 Tosca

— 36 —

1976-77 Season

ATLANTA, ATLANTA CIVIC CENTER5/2/77 Samson et Dalila 5/6/77 Lohengrin5/3/77 La Boheme 5/7m/77 The Magic Flute Eng. Martin5/4/77 Le Prophete 511 111 U TrovatoreSI 5111 ToscaMEMPHIS, MUNICIPAL AUDITORIUM5/9/77 La Boheme 5/11/77 Samson et Dalila5/10/77 ToscaDALLAS, STATE FAIR PARK AUDITORIUM5/12/77 Le Prophete 5/ 14m/77 The Magic Flute Eng. Martin5/13/77 Lohengrin 5/14/77 // TrovatoreMINNEAPOLIS, NORTHROP MEMORIAL AUDITORIUM5116111 Samson et Dalila 5/20/77 Tosca5/17/77 Lohengrin 5/21m/77 The Magic Flute Eng. Martin5/18/77 Le Prophete 5/21/77 // Trovatore5/19/77 La BohimeDETROIT, MASONIC TEMPLE5/23/77 La Boheme 5121111 Lohengrin5/24/77 Samson et Dalila 5/28m/77 The Magic Flute Eng. Martin5/25/77 Le Prophete 5/28/77 // Trovatore5126111 ToscaVIENNA, VA., WOLF TRAP FARM PARK FOR THE PERFORMING ARTS6/6/77 // Trovatore 6/10/77 La Boheme6/7/77 Le Prophete 6/1 lm/77 The Magic Flute Eng. Martin6/8/77 Tosca 6111/11II Trovatore6/9/77 Lohengrin

New Opera Theatre, Ian Strasfogei, Dir., Brooklyn Academy of Music2/18, 19, 20m/77 Monteverdi's Guerramore & Janacek's Diary of One Who Vanished

Eng. & Ligeti's A ventures et nouvelles aventures Sperry, Walker; Baroque En-semble; & Blackett; Trussel; & Peterson, P. Hunter: Barrett; Speculum Musicae;c: Gilbert

5/20, 21, 22m/77 Ullmann's The Emperor of Atlantis & Argento's Water Bird TalkWilliams; Ludgin, Beattie; Orpheus Chamber Ensemble; & Sutton; c: Brunelle

New York Gilbert and Sullivan Players, B'nai Jeshurun Community Center10/10, 17 11/7/76 2/6, 13, 20/'77 H.M.S. Pinafore10/24/76 The Mikado10/31 11/14/76 lolanthe11/21 12/19/76 3/20, 27/77 The Mikado12/12/76 2/27 3/13/77 The Pirates of PenzanceNew York Grand Opera, V. LaSelva, Dir., Beacon Theatre3/26/77 Leoncavallo's La Boheme Wilkins; Herrnkind, Lambrinos4/23/77 Turandot semi-stagedNew York Lyric Opera, D. Johnston, Gen. Dir.3/24-27/77 FalstaffNew York Repertory Theatre, Grace Methodist Church, Brooklyn3/6/77 The Telephone & The Old Maid and the ThiefOpera Studio, Walden School12/12, 17, 19/76 // Tabarro & Suor Angelica 4 pfs.Queens Opera, J. Messina, Gen. Dir., St. John's Univ., Jamaica3/19 4/24/77 // Barbiere di Siviglia Ital./Eng.5/21/77 ToscaRegina Opera, Regina Hall, Brooklyn12/3, 5/76 La Boheme3/11, 13, 18, 20/77 Madama ButterflySt Luke's Chamber Ensemble/ Children's Free Opera of New York, M.

Feldman, Dir. (see also Fall '76 Blltn.)1/10-14/77 Lo Speziale Eng. Hess; Hepburn, Barnes; Brown, Best1/24-28/77 Baksa's Red Carnations c: Feldman: d: Gruenewald; at Colden Center

& Harlem School; 6 pfs.

— 37 —

1976-77 Season

St. Peter's Episcopal Church12/26, 27/76 Hansel and GretelStuyvesant Opera, S. Sweeney, Art. Dir.12/4, 11, 12/76 Otello 2/13 3/6,13/77 Carmen1/9/77 Cavalleria rusticana & Pagliacci 3/27/77 La Boheme1/21, 22, 28, 29 2/6/77 Cost fan tutte 4/30/77 La TraviataVerismo Opera Co., J. Lehart, Prod., at Beacon Theatre5/10, 12/77 Adriana Lecouvreur Bogen, Pauksis; Herrnkind, Poll; c: Morss; d:

DrisinVillage Light Opera Group, R. Noll, Mus. Dir., Fashion Institute Theatre12/4, 5, 8, 9, 10, 12/76 Utopia, Ltd.4/17, 20, 22, 23/77 La Vie parisienne 5 pfs.Yeh Yu Opera Ass'n, Fashion Institute of Technology3/26/77 The Beautiful Bait Chinese operaYoung Artists Opera, V. Mauret, Dir., Cooper Union10/15/76 The Tales of Hoffmann5/20/77 The Marriage of Figaro at Martin Luther King H.S.

NORTH CAROLINANational Opera Co., A. J. Fletcher, Dir., D. Witherspoon, Gen. Mgr., Raleigh

and tour1/29/77 tour opening: The Barber of Seville; El Capitan; The Daughter of the

Regiment 65 pfs.University of North Carolina, School of Music, R. Sander, Dir., Greensboro4/1, 2, 3m/77 Die Fledermaus Eng. Martin; c: Fuchs; d: Sander; ds: Maulden

NORTH DAKOTAFargo-Moorhead Civic Opera Ass'n, C. Hunke, Dir., Fargo10/21-23/76 The Boor & Comedy on the Bridge 3/3-5/77 Don Giovanni1/77 Carmina burana w. symphony 4/21-23/77 The Bartered BrideMinot State College Community Opera, W. Nelson, Dir., Minot1976-77 The Student PrinceThursday Music Club, A. Gray, Dir., Bismarck10/76 Grace Mueller's Women of the World Unite prem.

OHIOCincinnati May Festival, J. Levine, Mus. Dir., Cincinnati5/20/77 Oedipus Rex Ewing; Riegel, Gramm5/27/77 Troyens a Carthage Crespin; Carlson, Chauvet, PlishkaCleveland Institute of Music, Opera Theatre, A. Addison, Dir., Cleveland9/10/76 The Crucible w.p.2/2, 4, 5/77 L'Elisir d'amore Eng.; Gocek; Vining; c: Bragado-Darman4/20, 22, 23/77 La Clemenza di Tito Eng.; c: McCoppin; d: Addison; ds: Brown/

O'BrianColumbus Symphony Orchestra, E. Whallon, Mus. Dir., Columbus2/18, 19/77 Le Nozze di Figaro Cook, Lovett, Walker, Devlin, Holgate; d: Treash;

ds: Struthers4/14, 16/77 Aida Haywood, Rakusin, Bailey, Holmes; c: Whallon; d: Horner; ds:

SpiresOberlin College Opera Theatre, B. Owens, Chmn., Oberlin3/10-12/77 Noye's Fludde "In«Memoriam — Benjamin Britten"5/12/77 Albert Herring & The Rape of Lucretia excerpts; c: Baustian, d: OwensUniv. of Cincinnati College-Conservatory, E. Bonelli, Dean, Cincinnati (see

also Summer '76 BUtn.)3/4, 5/77 Opera Studio, R. Brunyate, Coord.3/11, 12/77 Musical Theatre Workshop, O. Kosarin, Mus. Dir.5/13, 14m, 14, 15/77 A Midsummer Night's Dream c: Samuel; d: Brunyate6/3,4/77 Opera Studio

PENNSYLVANIAAcademy of Vocal Arts, V. Hammond, Dir., at Drexel Univ. Aud., Phila-

delphia4/27, 29/77 // Tabarro & Gianni SchicchiThe Lyric Opera of Pittsburgh, Claudia Pinza, Art. Dir., Pittsburgh11/18, 20/76 UAmico Fritz Kissel; Espaillat

— 38 —

1976-77 Season

SOUTH CAROLINACharleston Opera Co., L. Vanella, Pres., Charleston11/76 Gallantry & The Medium 2 pfs.2/77 South Pacific 2 pfs.4/77 Mame 2 pfs.

TEXASHouston Symphony Orchestra, L. Schaenen, Cond., Houston2/77 Oedipus Rex cone, pf.; ShirleySan Antonio Symphony and Opera Ass'n, San Antonio (see also Summer '76

Blltn.)3/25, 27, 29/77 La Boheme Armstrong, Shuttle worth; Harness, Cowan, Kendall;

c: SidlinUniversity of Texas Opera Theater, W. Ducloux, Dir., Austin4/77 The Coronation of Poppea 4 pfs.

VERMONTAssociate Opera Artists of Vermont1976-77 tour: The Telephone & Am. opera excerpts

VIRGINIAShenandoah College Conservatory of Music, J. Sheats, Dir., Winchester11/18, 19, 20/76 Albert's Lizbeth prem.

WASHINGTONCornish Institute of the Arts, E. Hurschell, Dir., Seattle11/5/76 Herbolsheimer's Aria da capo prem., c: Joseph LevineUniv. of Washington, School of Music, R. Rosinbum, Dir., Seattle11/4, €116 The Consul1/19, 21/77 Sams' Salome, Daughter of Herodias prem.Washington State Univ., Opera Dept., M. Davis, Dir., Pullman12/12/76 W. Mayer's One Christmas Long Ago c: M. Meier; d: McComb

WEST VIRGINIAWest Virginia Opera Theater, D. Riggio, Art, Dir., Charleston5/1, 3, 7/77 The Barber of Seville Eng. Martin; Livings, Balshaw, Powers, Smith;

d: Murphy; ds: Stivanello; 5/20-6/1/77 school tour of abridged version, w.p.CANADA

Atlantic Opera Society, N. Maloff, Mus. Dir., T. Vasilieva, Art. Dir., Dal-housie Univ., Halifax

12/13-16/76 Die Fledermaus6/15, 16/77 Dialogues des CarmelitesCanadian Opera Co., L. Mansouri, Gen. Dir., touring ensemble1/6-3/11/77 La Boheme* 36 pfs. & La Traviata 19 pfs. in 53 cities in 26 states, U.S.

tour3/26-4/23/77 The Barber of Seville Eng. Goldovsky; Castaneda/Hermiston/Stubbs;

Evans/Ingram, Pell/Barcza; c: Vernon; d: Mansouri; 13 pfs. Ontario tour; alter-nating w. Traviata Castaneda; Evans, Kittask; d: Leberg; 7 pfs. Ontario tour

Edmonton Opera Ass'n, L. Moore, Adm. Dir., Opera-in-Schools prod.1976-77 The MikadoGuelph Spring Festival, N. Goldschmidt, Art. Dir., Guelph University, Ont.4/30-5/22/77 Festival includes Handel's Israel in Egypt5/7, 10, 13/77 Healey's Seabird Island prem., Roslak; Bell, BrooksNational Arts Centre Orchestra, M. Bernard!, Mus. Dir., Ottawa11/76 Comedy on the Bridge Little, Stubbs; Jeff Morris, Relyea, CorbeilOpera-in-Concert, S. Hamilton, Dir., St. Lawrence Centre10/24m, 25/76 L'Amore dei tre re12/5m, 6/76 Therese N. Am. prem.; L. Marshall & Djamileh2/13m, 14/77 II Corsaro3/13m, 14/77 Hamlet Carter/Roslak, MacPhail/Curry, Reinke/Silva-Marin; d: S.

HamiltonVancouver Island Opera Society, Victoria11/3, 4/76 The Marriage of Figaro Eng. Martin; Champion, Temple, Hood; Dor-

rington, Gislason; c: Chappie; d: Read

— 39 —

PERFORMANCE LISTING, SUMMER 1977All 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.Festivals featuring chamber music and recitals exclusively are not included.ARIZONA

Flagstaff Summer Festival, I. Solomon, Mus. Dir., Flagstaff6/12-8/6/77 incl. Rigoletto Tucson Opera prod.Northern Arizona University Summer Music Camp, M. A. Dutton, Dir.,

Flagstaff8/5/77 R.S.V.P. c: WeinzingerUniversity of Arizona Opera Theater, L. Day, Dir., Tucson7/1, 2/77 The Barber of Seville Eng. Martin

ARKANSASInspiration Point Fine Arts Colony, I. van Grove, Art. Dir., Eureka Springs

CALIFORNIACabriUo Summer Music Festival, D. R. Davies, Mus. Dir., Aptos (8/18-28/77)California State Univ. Opera Theater, M. Kurkjian, Dir., Fullerton8/20, 21/77 The Barber of SevilleCarmel Bach Festival, S. Salgo, Mus. Dir., Carmel7/18-31/77 incl. The Passion According to St. Matthew7/15, 22/77 Fidelia cone. pfs.Concord Summer Festival, E. de Waart, Mus. Dir., San Francisco Symphony

in residence, Concord (8/12-27/77)Hidden Valley Opera Ensemble, P. Meckel, Gen. Dir., Carmel Valley6/2, 4, 5; 8, 9, 11, 12, 15, 16, 18, 19/77 The Magic Flute Eng. Bare/DarlingHollywood Bowl, Z. Mehta, Mus. Dir., Los Angeles Philharmonic in residence,

Los Angeles (7/4-9/17/77)Long Beach Civic Light Opera, R. Waggoner, Dir., Long Beach6-7/77 OklahomaLyric Opera of Orange County, M. Kurkjian, Mus. Dir., Laguna Beach8-9/77 Wksp. and opera to be announcedMerola Opera Program of the San Francisco Opera, also Music at the Vin-

yards, SaratogaSummer '77 program to be announced; also opera concert at Stern Grove, San

FranciscoMusic Academy of the West, M. Abravanel, Mus. Dir., Santa Barbara6/27-8/20/77 incl. Der Rosenkavalier Eng.; d: SingherOjai Music Festival, M. Tilson Thomas, Mus. Dir., Ojai (6/3-5/77)Redlands Bowl Festival, H. Farberman, Mus. Dir., Redlands6/24-8/26/77 incl. Die Fledermaus; The Magic Flute; The Sound of MusicSan Luis Obispo Mozart Festival, C. Swanson, Mus. Dir., San Luis Obispo

(8/1-7/77)University of California at Sonoma, Opera Wksp., P. Donovan-Jeffry, Dir.,

Rohnert Park6/1-10/77 Goldovsky Opera Workshop

COLORADOAspen Music Festival and School, J. Mester, Mus. Dir., Aspen (6/24-8/21/77)7/12, 13/77 Opera Scenes7/28, 30/77 Incoronazione di Poppea8/11, 13/77 Cost fan tutteCentral City Opera Festival, R. Lotito, Exec. Mgr., Central City7/1-9/1/77 The Bartered Bride; Midsummer Night's Dream7/16/77 COS Regional Roundtable ConferenceColorado Opera Festival, D. Jenkins, Art. Dir., Colorado Springs6/15, 17, 19/77 Cos) fan tutte7/6, 8, 10/77 The Rake's Progress7/27,29,31/77 Aide

CONNECTICUTHartt College of Music, Opera Company, J. Zei, Art. Dir., West Hartford6/6-8/7/77 The Merry Widow; CarnivalYale in Norfolk, chamber, symphony and choral concerts (6/24-7/29/77)

— 40 —

Summer 1977

DISTRICT OF COLUMBIAAmerican Festival of Youth Orchestras, sponsored by National Park Service

and American Symphony Orchestra League, Carter-Barron Amphitheatre,Washington

6/26-713117 eight youth orchestras, incl. three from Washington D.C. areaCatholic University of America Opera Dept., M. Cordovana, Dir., Washington7/29, 30, 31/77 Die FledermausKennedy Center for the Performing Arts, R. Stevens, Chairman, Washington6/21-7/10/77 Of Mice and Men 18 pfs. Houston Grand Opera prod.Washington Civic Opera, R. Weilenmann, Art. Dir., Washington (see also

Fall '76 Blltn.) spons. D.C. Dept. of Recreation6/1, 2/77 The Pearl Fishers w. National Symphony at Lisner Aud.; Pranschke;

Sandor, Anderson, Bell; d: Crittenden; ds: Troll/Barnett-Wagner7/77 Carmen cone, pf., w. National Symphony at Lisner Aud.9/8, 9/77 The Merry Widow w. National Symphony at Lisner Auditorium

FLORIDAPensacola Jr. College, Summer Opera, S. Kennedy, Dir., Pensacola7/13, 14, 15, 16/77 The Pirates of Penzance

ILLINOISGrant Park Concerts, R. Wilkins, Gen. Mgr., Chicago6/25-8/28/77 incl. The Barber of Seville cone. pf.Illinois Opera Theatre, University of Illinois, D. Lloyd, Art. Dir., Urbana7/8, 10, 12, 14, 16/77 ManonMidland Repertory Players, "Opera at the Barn", K. Shanahan, Dir., Alton6/24m, 25m/77 The Maid as Mistress & Act 1 & 2 Le Nozze di Figaro & Rigone's

A Cup of Coffee prem. 8/5, 6/77 Die Zauherflote6/24, 25/77 Mignon 8/19, 20/77 La GiocondaMississippi River Festival, St. Louis Symphony in residence, Edwardsville6/22-8/20/77 with summer sessions and master classes with Southern Illinois Univ.Opera School of the Lyric Opera of Chicago5/19, 21/77 // Matrimonio segreto Eng. Bird/Witherspoon; c: Tauriello; d: Tajo;

ds: Foy6/3, 4/77 An Evening of BalletRavinia Festival, J. Levine, Mus. Dir., Highland Park (7/2-9/3/77)7/6/77 L'Histoire du soldat c: Levine7/21/77 "Verdi Opera Evening" excerpts; Arroyo; MacNeil; c: Levine7/25, 27/77 Master classes by Donald Gramm; education program with North-

western Univ.INDIANA

Indiana University Opera Theatre, W. Bain, Dir., Bloomington (6/24-7/31/77)7/2, 9, 15/77 Cos} fan lutte 7/22, 23, 30, 31/77 Naughty MariettaNorthern Indiana Opera Ass'n, W. Jaworski, Art. Dir., Huntington6/22, 23, 25, 26/77 Die Fledermaus also in Ft. Wayne and WarsawSummerfest '77, G. Dougherty, Mus. Dir., Pendleton6/1-8/12/77 incl. Kiss Me Kate; concerts, ballet, musical theatre, & masterclasses

KANSASMusic Theatre of Wichita, J. Miller, Prod., Wichita6/8-12/77 Camelot 7/6-10/77 Guys and Dolls6/22-26/77 Where's Charley? 8/3-7/77 South Pacific7/20-24/77 The Roar of the Greasepaint, the Smell of the Crowd

LOUISIANAUniversity of Southwestern Louisiana, Music Dept., Lafayette5/17-20/77 Opera Workshop, B. Goldovsky, Dir.

MARYLANDBaltimore Symphony Summer Festival, S. Comissiona, Mus. Dir., Merri-

weatherPost Pavillion, Goucher College, & Oregon Ridge (6/27-8/7/77)Harford Opera Theatre, S. Lilienstein, Art. Dir., Bel Air, and Goucher Col-

lege, Baltimore ( # )6/16, 18, 19, 23#, 25#, 26#/77 Carmen6/30 7/2, 3, 7# , 9# , 10#/77 Incoronazione di Poppea7114, 16, 17, 21#, 23#, 24#/77 Cosl fan tutte7/28, 30, 31 8/4#, 6# , 7#/77 // Trovatore

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Summer 1977

MASSACHUSETTSBerkshire Music Festival at Tanglewood, S. Ozawa, Mus. Dir., Boston Sym-

phony in residence, Lenox (7/8-8/28/77)7/15/77 The Impresario Grist, Parcells; Rosenshein; c: Ozawa7/23/77 Les Troy ens scenes; Verrett; c: CaldwellCastle Hill Music Festival, Ipswich7/15-8/13/77 incl. Handel's AthaliahCollege Light Opera, R. Haslun, Prod., Highfield Theatre, Falmouth6/28-7/2/77 lolanthe 8/2-6/77 FMan's Rainbow115-9111 Naughty Marietta 8/9-13/77 La Perichole Eng.II12-16/77 Carousel 8/16-20/77 H.M.S. PinaforeII19-23/77 The Sorcerer 8/23-27/77 Anything Goes7/26-30/77 The Desert SongMohawk Trail Concerts, Federated Church, Charlemont7/15-8/20/77 incl. La Serva padronaSoutheastern Massachusetts University, Opera Wksp., B. Goldovsky, Dir.,

N. Dartmouth6/26-7/16/77 incl. Rigoletto Eng. Goldovsky

MICHIGANMeadow-brook Music Festival, A. Ceccato, Mus. Dir., Detroit Symphony in

residence; with Summer Sessions at Oakland University, Rochester (6/25-8/28/77)

National Music Camp, G. Wilson, Chmn., Interlochen6/26-8/22/77 Operas to be announced; 8/12 concert w. J. NormanUniversity of Michigan Summer Music Festival, Ann Arbor7/77 incl. concert and master classes by Schwarzkopf; various workshops

NEW HAMPSHIREDartmouth College Summer Concerts, Hopkins Center, Hanover (7/8-

8/13/77)New Hampshire Music Festival, T. Nee, Cond., Plymouth, Gilford & Mere-

dith (7/4-8/11/77)White Mountain Festival of Arts, D. R. Davies, Mus. Dir., Jefferson (7/1-

8/21/77)NEW JERSEY

Garden State Arts Center, New Jersey Symphony in residence, Telegraph HillPark (5/28-10/1/77)

6111111 Aida New Jersey State Opera prod.NEW MEXICO

Santa Fe Opera, J. Crosby, Gen. Dir., Santa Fe7/6, 8, 22 8/1, 13, 17, 27/77 Rota's The Italian Straw Hat Am. prem., Eng. Kondek;

Putnam, Bouleyn, Meyer; Atherton, Dickson, Pedrotti, Corbeil, Ulfung, Ward;c: Crosby-; d: Galterio/Ulfung; ds: Granata

7/9, 13, 15, 27 8/4, 6, 9, 18, 22, 26/77 Falstaff Forrester, Shade/Elvera, Greenawald,Kraft; Cole/Kaun, Carlson/Hoback; d: Graham; ds: Klein/Mess

7/16, 20 8/2, 11, 19, 24/77 Pelleas et Melisande Mandac, Kraft/Gibbs; Carlson,Berberian; c: Baustian; d: Hebert; ds: Klein

7/23, 29 8/5, 10, 15, 23/77 Fedora Eng. Hammond; Lear, Vanni; Trussel, Stewart,Dansby; c: Crosby; d: Graham; ds: Conklin/Granata

7/30 8/3, 8, 12, 16, 25/77 Cost fan tutte Eng. Martin; Zoghby, Petros, Kern; Gar-rison, Dickson, Corbeil; c: Leppard, d: Wood; ds: Steinberg

NEW YORKArtpark Opera, D. Midland, Exec. Dir., C. Keene, Mus. Dir., Lewiston (7/20-

8/21/77)6/29-7/10/77 Sound of Music7/27, 29m, 31 8/3, 5, 7m/77 Carmen Harris; also 8/10, 12, 13 in Syracuse7/28, 30 8/2, 5m, 7/77 Rigoletto7/29, 31m 8/4, 6/77 The Barber of Seville Eng. Martin; RandazzoCaramoor Festival, M. Sweeley, Exec. Dir., Katonah (6/25-8/21/77)6/21/77 Stravinsky's Persephone Ameling, Bressler; c: Priestman6/25 1116111 Arlan & Billings' Ballad of the Bremen Band prem., 4 pfs.7/23, 29/77 The Rape of Lucretia c: Gibson; d: Bishop; ds: Evans7/30/77 The Little Sweep 2 pfs.

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Summer 1977

Chautauqua Opera Ass'n, L. Treash, Gen. Dir., E. Whallon, Mus. Dir., Chau-tauqua (6/27-8/27/77)

7/1, 4/77 The Tales of Hoffmann Mercer-White, Bennett, Jeans, Terrell; DiVirgilio;c: Whallon; d: Treash; ds: Graham

7/8, 11/77 The Barber of Seville Bennett; Evans, Fleck; c: Whallon; d: Lloyd; ds:Graham

7/15, 18/77 Albert Herring Janes, Mercer-White; Evans, Fleck; c: Schanzer; d:Treash; ds: Struthers

7/22, 23, 25/77 Hello Dolly Solomon; c: Whallon; ds: Chesney7/29 8/1/77 Tosca Thomson; DiVirgilio, Holgate; c: Whallon; d: Treash; ds:

Graham8/5, 8/77 Rigoletto Evans; Lachonas, Booth; c: Schanzer; d: Lloyd; ds: Graham8/12, 15/77 Tannha'user Cook, Farris; Kjiess, Parker, Booth; c: Whallon; d: Treash;

ds: GrahamGlimmerglass Opera Theatre, P. Maoris, Art. Dir., Coopers town7/1, 3m, 5, 7, 9/77 Les Contes d'Hoffmann7122, 24m, 26, 28, 30/77 ToscaLake George Opera Festival, D. Lloyd, Art. Dir., Glens Falls7/14, 16, 18m, 22, 30m 8/6, 20m/77 LaBoheme7/21, 23, 25m, 29 8/3, 6m, 12, 18/77 Carmen7/28, 30 8/lm, 5, 13m, 16/77 Don Pasquale8/11, 13, 15m, 17, 19/77 The Last of the Mohicans7117, 24, 31 8/7/77 Opera-on-the-Lake cruises7/25-29/77 Annual meeting of Opera Guilds International8/4, 8m, 20/77 GalaSaratoga Performing Arts Center, Saratoga Springs (7/5-8/28/77)7/5-30/77 New York City Ballet8/10-27/77 The Philadelphia Orchestra, incl. excerpts War and Peace c: Caldwell7/21-8/20/77 The Acting CompanySummer Festival of Music on the Hudson, Lyndhurst, Tarrytown (7/2-

8/13/77)

NEW YORK CITYMetropolitan Opera in the Parks, A. A. Bliss, Exec. Dir., concert perfs. in

city parks6/14, 17, 22,25/77 Tosca6/15, 18, 21, 24/77 La BohemeMostly Mozart Festival, Avery Fisher Hall (7/10-8/27/77)Naumburg Concerts, Central Park Mall5/29 7/3, 31/77 orchestral concerts9/4/77 The Pirates of Penzance cone, pf., Light Opera of Manhattan prod.New York Philharmonic, A. K. Webster, Mgr.8/2, 3, 4, 5, 9, 10, 12, 13, 16, 17, 19, 20, 22, 23/77 Concerts in N.Y. ParksWNET Opera Theater, D. Griffiths & S. Paul, co-prods., PBS television stations7/5/77 The Mother of Us All excerpts; Santa Fe Opera prod.7/12/77 The Gondoliers c: Lloyd-Jones; Royal Philharmonic Orchestra7/19/77 "The World of Victor Herbert" Shuttleworth7/26/77 Jack: A Flash Fantasy8/2/77 "The World of Ivor Novello" Costa; c: Bonynge8/9/77 Trouble in Tahiti8/16/77 La Traviata8/23/77 The Mikado D'Oyly Carte prod.8/30/77 Die Fledermaus9/6/77 Der fliegende Hollander

NORTH CAROLINABrevard Music Center Opera Wksp., H. Janiec, Art. Dir., Brevard7/2/77 The Marriage of Figaro 7/29/77 Camelot7/8/77 Romeo and Juliet SIS/77 The Merry Wives of Windsor7/15/77 The Impresario & Cavalleria rusticana 8/13/77 The MikadoEastern Music Festival, Summer School of Performing Arts, S. Morgenstern,

Mus. Dir., Gilford College, Greensboro (6/25-8/6/77)

— 43 —

Summer 1977

OHIOBlossom Music Center, L. Maazel, Mus. Dir., Cleveland Orchestra in resi-

dence, Cuyahoga Falls6/14-9/10/77 incl. The Passion According to St. Matthew7/24/77 The Little Sweep New Cleveland Opera Co. w. Cleveland OrchestraBowling Green State Univ., T. Hoke, Dir. of Opera, Bowling Green6/3, 4/77 The Tender Land w.p.Cincinnati Opera, J. DeBlasis, Gen. Dir., Cincinnati Music Hall6/22, 25/77 Norma* Scotto, Grillo; Mauro, Dworchak; c: Guadagno; d: DeBlasis;

ds: Stevens6/29 7/2/77 The Barber of Seville Eng.; Rolandi; Garrison, Holloway, Foldi, Fox;

c: Ryan; d: Tajo; ds: Brown7/6, 9/77 Madama Butterfly Pellegrini, Harris; Alexander, Burchinal; c: Pallo7/13, 16, 22#/77 The Most Happy Fella N. Shade; Fox, Quilico; c: Coppola; d:

DeBlasis7/20, 23/77 Don Giovanni Niska, Farley; Bullard, Morris, Dworchak; c: Peters;

d: Fisher7/27, 29#, 30/77 La Traviata E. Shade/Farley: Stewart, Justus/Burchinal; c;

Perisson; d: DeBlasis; ds: Shortt# Opera in English seriesCincinnati Opera Young American Artists Program8/10-13/77 Silverman's Hotel for CriminalsCleveland Institute of Music, Opera al Fresco, A. Addison, Art. Dir., Cleveland7/17,20,31 8/10/77 La Boheme 8/3, 13/77 Student Workshop7/24, 27 8/7, 14/77 The Merry Wives of WindsorLakeside Musical Festival & Summer Symphony, R. L. Cronquist, Mus. Dir..

Lakeside (6/25-8/26/77)7/8, 9/77 Where's Charley? 8/13/77 Gilbert & Sullivan a la Carte8/12/77 Little Red Riding Hood

OREGONPeter Britt Gardens Music and Arts Festival, J. Trudeau, Mus. Dir., Jackson-

ville (8/5-20/77)Summer Festival of Music, H. Rilling, Dir., Univ. of Oregon, EugeneII15-Ml 11 incl. Elijah

PENNSYLVANIARobin Hood Dell Concerts, Philadelphia Orchestra in residence, E. Ormandy,

Mus. Dir., Philadelphia6/20-8/4/77 incl. Tristan und Isolde cone, pf., c: Bernstein; Carmina bur ana cone.

pf., c: TennstedtTemple University Music Festival and Institute, S. Comissiona, Art. Dir.,

Pittsburgh Symphony in residence, Ambler (7/5-8/27/77)7/31/77 An Evening of Operetta 8/4/77 El Capitan

RHODE ISLANDNewport Music Festival, M. Malkovich, i n , Gen. Dir., Newport (7/20-30/77)University of Rhode Island Festival of the Arts, Kingston (6/8-8/26/77)7/9/77 La Boheme Cruz-Romo; also The Merry Widow Costa

SOUTH CAROLINASpoleto Festival U.S.A., G. C. Menotti, Art. Dir., C. Clark, Gen Mgr.,

Charleston5/25, 27, 29 6/2, 5/77 Pique Dame P. Craig, Olivero; Trussel; c: Ajmone-Marsan;

d/ds: Sanjust5/26, 30 6/3/77 The Consul Cariaga, Walker, Rakusin; c: Keene; d: Menotti; ds:

Wong5/25-6/5/77 also ballet, concerts, theatre

TENNESSEESewanee Summer Music Center, M. McCrory, Mus. Dir., Sewanee (6/25-

7/31/77)TEXAS

Houston Grand Opera Spring Festival, D. Gockley, Gen. Dir., Houston5/25, 26, 27, 28, 29, 30 6/1, 3, 4/77 The Daughter of the Regiment Eng. Martin6/7, 8, 9, 10, 11/77 Of Mice and Men also tour"Texas" Music Drama, Palo Duro Canyon State Park (6/15-8/20/77)

UTAHSnowbird Summer Arts Institute, University of Utah, Salt Lake City7/5-8/13/77 incl. opera workshop

— 44 —

VERMONT Summerl977

Marlboro Music Festival, R. Serkin, Art. Dir., Marlboro (7/9-8/14/77)Southern Vermont Art Center, Manchester6/25-8/28/77 Vermont Symphony and Festival Orchestra incl. Gilbert & Sullivan

selectionsVermont Mozart Festival, Burlington7/17-8/6/77 incl. concerts by Raskin and BresslerVermont Opera Theatre, B. Owens, Dir., Johnson (revised dates)6/4-19/77 Help, Help, the Globolinks! 10 pfs. on tour

VIRGINIAWolf Trap Farm Park for the Performing Arts, C. Hunt, Art. Dir., Vienna

(6/6-8/28/77)6/7-11/77 Metropolitan Opera (see 1976-77 listing for details)7/8/77 "Verdi Evening" Arroyo; c: Rudel; National Symphony Orchestra7/14, 15, 16/77 Hansel and Gretel Eng. Kelly; d: Merrill; Wolf Trap Co.7/29, 30/77 The Medium & The Telephone Wolf Trap Co., d: Rizzo, at Madeira

School7/31/77 The Messiah Balthrop; Bowman; c: Traver8/5, 7/77 Doktor Faust Eng. Dent; Rogers; Stilwell, Riegel; Wolf Trap Co.; c:

Kellogg; d: Corsaro; ds: Chase8/6/77 The Merry Widow Eng. Allers; Moffo; Reardon; c: Allers8/19, 20/77 L'Egisto Eng. Dunn; Balthrop; Bowman; d: Cox; Wolf Trap Co.

WASHINGTONSeattle Opera — Pacific Northwest Festival, G. Ross, Gen. Dir., H. Holt, Mus.

Dir.7/18, 25#/77 Das Rheingold Cariaga, Decker; Crook, Rivers, Parly, Tyl/Herincx7/19, 26#/77 Die Walkure Vinzing/Kingsley, Haywood, Cariaga; Penksalo, Tyl/

Herincx7/21, 28#/77 Siegfried Vinzing/Kingsley, Decker; Becker/McCray, Crook, Tyl/

Herincx7/23, 30#/77 Gdtterddmmerung Vinzing/Kingsley, Crook; Becker/McCray, Estes,

Rivers, Drake# Eng. Porter

WEST VIRGINIAOglebay Opera Workshop, B. Goldovsky, Dir., Wheeling, 25th Anniversary

Season7/24-8/15/77 incl. La Boheme Eng. Goldovsky

WISCONSINPeninsula Music Festival, M. Charry, Cond., H. Cruthirds, Art. Dir., Ephraim

(8/5-20/77)WYOMING

Grand Teton Music Festival, L. Tung, Mus. Dir., Jackson Hole (7/21-8/28/77)

CANADABanff Festival of the Arts, N. Armstrong, Dir., Banff, Alta.8/2-20/77 incl. La Boheme 3 pfs.; Gigi; wksp.: The Secret of Susanna & The Tele-

phone d: AlarieCourtenay Youth Music Centre, I. Guttman, Dir., J. Richard, Mus. Dir.,

Courtenay (7/10-8/21/77)Festival Canada '77, M. Bernard], Mus. Dir., National Arts Centre, Ottawa7/2, 8, 12/77 Ariadne auf Naxos Eng./Ger.; J. Martin, Cuccaro, Wallis: Badorek,

Opthof, Fitch; c: Bernardi; d: Kaslik; ds: Svoboda7/9, 13, 16, 20/77 Don Pasquale Mazzucato; Blake, Malas, Monk; c: Bellugi; d:

Frisell; ds: O'Hearn/Mess7/26, 28, 30/77 The Magic Flute Wells, Shane; Burrows, Holloway, Garrard; c:

Bernardi; d: Aster, ds: Rice/Cernovitch7/26, 27, 28, 29, 30/77 The Secret of Susanna & The Telephone Banff workshop

prod.; d: AlarieOrford Arts Festival, Jeunesses Musicales of Canada, Orford, Que.7-8/77 Festival concerts and courses, c: Decker; also master class by G. SouzayShawnigan Summer School of the Arts, J. Johannesen, Dir., Victoria (7/14-

8/25/77)Vancouver Heritage Festival '77, Vancouver, B.C.6-7/77 Symphony concerts, chamber music, vocal music incl. L'Infedelta delusa

— 45 —

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