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CENTRAL OPERA SERVICE BULLETINSumnu2r8 IVOLUME 23, NUMBER 1

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Sponsored by the Metropolitan Opera National Council

CENTRAL OPERA SERVICE COMMITTEE

FounderMRS. AUGUST BELMONT

(1879-1979)

Honorary National Chairman

ROBERT L. B. TOBIN

National Chairman

ELIHU M. HYNDMAN

National Co-Chairmen

MRS. NORRIS DARRELL

GEORGE HOWERTON

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Central Opera Service Bulletin • Vol. 23, No. 1 • Summer 1981

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

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

Permission to quote is not necessary but kindly note source.

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

Copies this issue: $3.00 ISSN 0008-9508

NEW OPERAS AND PREMIERES

For its 20th anniversary season in 1984-85, the San Diego Opera hascommissioned Leonardo Balada to create a new opera. The composer,together with Tito Capobianco, chose the life story of the Mexicanpatriot, EMILIANO ZAPATA, as the subject matter. Mr. Capobiancowill collaborate with Gabriela Roebke on the libretto. The title role willbe written for Sherrill Milnes, who has already agreed to perform in thepremiere. The Barcelona-born composer has been living in the UnitedStates for the last 20 years, and was a co-student with Mr. Capobiancoat Juilliard. This will be his first opera, although an earlier compositionis a dramatic choral work entitled Maria Sabina, which is also set inMexico.

Another world premiere planned for San Diego, this one for the 1982-83season, will be mounted by the Pacific Lyric Theatre. The companycommissioned California composer Robert Austin to write a three-actopera "for young adult singers".On May 2, the Golden Fleece Ltd. in New York gave the stage premiereof Seymour Barab's one-act opera NOT A SPANISH KISS, along withEugene Armour's WE'RE BACK. The former has a libretto by thecomposer, and tells the story of a love triangle, using Spanish-stylemusic. The latter opera's libretto is by Richard P. Schmidt, its twocharacters are Gertrude Stein and Alice B. Toklas, and it is set in Paris.

Another new work by Seymour Barab is called THE RUINED MAID.The composer identifies the 20-minute, two character piece as an "operaskit". It is based on a poem by Thomas Hardy and was premiered inconcert at New York's Abraham Goodman Hall on June 3, with pianoaccompaniment.

Robert Baksa is the latest in a long line of composers to turn Edna St.Vincent Millay's ARIA DA CAPO into an opera. The Academy of VocalArts in Philadelphia gave it a concert reading on March 10, and a firstfull production on May 11, 1981.

Lazar Weiner's THE GOLEM was heard for the first time in a full pro-duction with orchestra on May 2. It was performed by the Jewish Operaat the Y, at Kaufman Auditorium, in New York.

Jonathan Sheffer and Stephen Wadsworth's THE MISTAKE, first men-tioned in Volume 22, Number 1, will receive its first performance inColorado this summer. It will be presented by the Central City Singers,the young ensemble of the Central City Opera.

On April 5, the Manhattan Opera gave the premiere of J. Lliso'sJUDITH. The one-act work was performed on a double-bill with L'Enfantprodigue at the Church of the Virgin Mary in Brooklyn.

Joanne Forman wrote the words and music for IKARUS, a one-act operapresented by the Southwest Chamber Opera at the First UnitarianChurch in Albuquerque. Kay Gardner/Gertrude Stein's Ladies Voiceswas the second opera on the program.

Robert Browning's poem THE CHILDREN OF HAMLIN forms thebasis of a two-act opera of the same title by Tom Ritchie. It will bepremiered November 17, 1981, at Northeast Missouri State Universityin Kirksville, where Mr. Ritchie is composer-in-residence.

Carnegie Recital Hall in New York was host to the premiere reading ofSEVEN SCENES FROM THREE SISTERS by Andrew Rudin, with alibretto by William Ashbrook after the Chekhov play. The date wasMarch 2.

NEWAMERICAN

OPERAS


Postponement

COMPOSER/LIBRETTISTLABS

The prolific composer Lionel Lackey reports yet another new work, thisone a 14-minute Verdi parody entitled LE SENATORI (The WomenSenators). Jacksonville University in Florida offered a concert readingon March 20, and will give the stage premiere accompanied by stringquartet and piano on June 19. The five-character opera will share atriple-bill with Trial by Jury and Comedy on the Bridge.Joyce Barthelson's sixth opera, LY SI STRATA, received its premiere onMarch 27, 1981. The one-act work was performed by the new OperaStudio of New York University under the direction of Thomas Martin,and coincided with the National Congress on Women in Music.On August 8, 1980 the Cornish Institute in Seattle gave the first per-formance of George Coates's THE WAY OF HOW. The one-act operacalls for four principals and eight supporting singers.FUGUE FOR TWO VOICES, with music by Dinos Constantinides andlibretto by David Madden, is a one-act, 27-minute opera for two sopranosand chamber orchestra. It was performed at Louisiana State Universityin Baton Rouge on February 23, 1981, and was also heard there in itsfirst version, with soprano, speaker, and four instruments, on July 25,1975, under the title Fugue for Two.Henry Mollicone, whose recent successes of Face on the Barroom Floorand Starbird have brought him into the operatic mainstream, is presentlyworking on A VAMPIRE TALE. The Minnesota Opera has scheduled thepremiere of the one-act work for April 30, 1982, when it will be per-formed at the Guthrie Theatre together with Barnes's Feathertop.THE REWARDS OF AMBITION is a two-act operetta by George Wolfe,based on a short story by Richard Garnet. Its setting is 7th centuryChina, and its central figure a young Chinese chess player. The premierewas staged by the opera workshop of James Madison University inHarrisonburg, VA, on April 30, under the musical direction of thecomposer.Billed as a mono-drama with a chamber ensemble of eight, Marc Nei-krug's THROUGH ROSES was presented at New York's Kaufman Audi-torium on April 14. With scenic designs by Christopher Cade and stagedby Stanley Brechner, the 50-minute work featured actor Sol Frieder asthe soloist, portraying a musician retelling his memories of a concen-tration camp.The premiere of Myron Fink's JUDITH AND HOLOFERNES, scheduledfor January 1982 by the Tri-Cities Opera in Binghamton, has been post-poned indefinitely.The two works selected by the Eugene O'Neill Theatre Center's Com-poser/Librettist Conference for summer '81 are RAPPACINI'SDAUGHTER, with music by Michael Cohen and libretto by LinseyAbrams after Hawthorne, and ADVENTURES OF FRIAR TUCK, musicby Glenn Paxton, libretto by Allan Leicht. Excerpts from the latter werepresented at the Opera America Showcase last January (see Vol. 22,No. 4).Composers-at-Central, presented by the Central City Opera, has selectedtwo operas for its 1981 workshop. They are Conrad Susa's THE LIVESOF LOLA MONTEZ (see Vol. 21, No. 4) and Charles Strouse's THENIGHTINGALE. The program is realized with the company's apprenticesingers.First Stage First, the composer/librettist workshop of Encompass, theMusic Theatre, has scheduled eight different programs of new worksat the Good Shepherd Faith Church in New York in June. They includeJose Luis Greco's ARIA DA CAPO (after Edna St. Vincent Millay), MaxKinberg's TORQUEMADA (libretto Al Reynolds), Waddy Thompson'sGIRL ON THE VIA FLAMINIA (book Elsa Rael), a cabaret pieceHEADSHOTS, Songs from a Romance (by Gene Paul Rickard and Nick

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Deutsch), two reviews COCKTAILS AT FIVE (by Elliot Weiss andMichael Champagne) and HOLDING PATTERNS (by Jeffrey Sweet,Sandra Hastie, Stephen Johnson, and Christine Kellogg), and finally, avaudeville TIMESTEPS (by Neal Tate and William Bremer).The next large-scale work planned by Robert Wilson and Philip Glass(Einstein on the Beach, etc.) will be entitled THE CIVIL WARS. Thepremiere is being considered for 1984 in Los Angeles to coincide withthe Olympic Games. Wilson is currently in Europe staging operas fromthe standard repertoire.The College Light Opera in Falmouth, Mass., will mount the first Ameri-can production of a British musical, ROBERT AND ELIZABETH, basedon The Barretts of Wimpole Street. First performed in London in 1964,the two-act work has a book and lyrics by Ronald Millar and music byRon Grainer.The Canadian Opera Company Ensemble is offering four performancesof a new "musical showcase", ONE STEP AT A TIME, written by com-poser David Warrack. The out-door presentations are supported by theMetropolitan Toronto Parks and Property Department and will openJune 18.The Comus Studio Ensemble in Toronto, Michael Bawtree, president,presented two adaptations of classic books this spring. THE CANTER-BURY TALES was adapted by Mr. Bawtree, and Lysistrata, performedunder the title WINE, WOMEN, AND WAR, had music and lyrics byJim Betts, with Briane Nasimok collaborating on the book.Roselyn Winokur's THE PRINCESS WHO TALKED BACKWARDSwas first performed at Sarah Lawrence College in Bronxville in April1955. More recently, the composer added a prologue entitled THE BOYWHO INVENTED OPERA to the original one-act, and the new versionwas premiered at the Lincoln Center Library in April '80. The Singer'sTheatre is touring the complete children's opera with piano accompani-ment through Westchester County in New York. Another work by thecomposer, THE NUTCRACKER AND THE MOUSE KING, was pre-miered by the Story Concert Players in White Plains, NY.This season, Lincoln Center's In-School Program offered the first per-formances of Edward Barnes's THE FROG WHO BECAME A PRINCE,published by Belwin Mills.The story of Jack and the Beanstalk has been adapted by Michael Col-grass to form THE TOWER. It was performed by 20 school children onMay 15 at a community center on Roosevelt Island in New York.The Third Street Music Settlement in New York commissioned NicholasScarim to write an opera for children. The resulting work, THE TIGEROF CHUNGSHAN, was premiered March 22, 1981. The opera is basedon a Chinese story of the Ming Dynasty, and requires a cast of at leastfive.Canadian composer Keith Bissell has written THE MIRACULOUSTURNIP, a three-act opera for young voices after a Grimm fairy tale.It calls for five treble voices and chorus, with a chamber ensemble asaccompaniment. A score has been deposited with the Canadian MusicCentre for perusal by prospective performing groups.John Gardner's children's opera, BEL AND THE DRAGON, will be givenits American premiere in Pittsburgh on August 19, performed by TheOpera Workshop. The first performance took place in London in 1973.John Mount, who is director of the opera workshop at the University ofHawaii, has assembled arias and ensembles from Mozart, Rossini, andDonizetti operas, added dialogue by himself and his wife, Lorna, andfashioned them into a continuous story. The 30-minute MINI-OPERA

MUSICTHEATREWORKS

CHILDREN'SOPERAS

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is performed by students of his workshop for school children in gradesthree to six.Novello has compiled a special catalogue of musical works for children.It includes Stephen Oliver's SLIPPERY SOULS, THREE INSTANTOPERAS, THE DONKEY, and THE GREAT McPORRIDGE DIS-ASTER, and Peter Aston's SACRAPANT, THE SORCERER. — OxfordUniversity Press also distributes a separate listing of children's operas,and G. Schirmer cross-indexes children's operas in its catalogue.The Metropolitan Opera Guild's Educational Department this year as-sisted fourth, fifth, and sixth graders in writing and producing theirown opera. This In-School Project resulted in IN THE BALANCEWE'RE JUST SMALL PEOPLE, mounted, to great acclaim, at and byPublic School 183 in Manhattan.The Welsh Arts Council has commissioned Mervyn Burtch to composea new operatic version of ALICE IN WONDERLAND for performancesin July '81 by the International Children's Opera Summer School inMonmouth.

AMERICAN Menot t i ' s LA LOCA, first performed in San Diego in June '79 and a tOPERAS the New York City Opera t he following season, had i t s first EuropeanABROAD performance in Giessen, Germany. It was presented under the German

title Johanna, die Wahnsinnige on April 26, 1981, with the composerdirecting.Seymour Barab's LITTLE RED RIDING HOOD, a favorite of Americanopera companies for school performances, may have the distinction ofbeing the first American opera to have been performed in the People'sRepublic of China.

AMERICAN Bernd Alois Zimmermann's DIE SOLDATEN is considered one of thePRtMimtS most interesting and one of the most difficult operatic scores among

contemporary works. Sarah Caldwell has announced the first Americanperformance for January 22, 1982, to be produced by her Opera Companyof Boston. The large-scale work was first heard in Cologne in 1965, andhas had several productions in German houses since then. The composerdied in 1970 at the age of 52.JAKOB LENZ, by Wolfgang Rihm, is a chamber opera which has beenextremely successful in Germany since its first performance by theOpera Stabile in Hamburg in 1979. It is based on Georg Buchner's Lenz,a biographical play on the life of the German dramatist who lived from1751 to 1792. Rihm's opera will receive its American premiere with aperformance by the Opera Theatre of Indiana University in Bloomingtonon July 11,1981.Next season will bring the first fully staged American performances ofLeos Janacek's THE EXCURSIONS OF MR. BROUCEK, to IndianaUniversity. The opening performance is scheduled for November 21,1981. The opera was first heard in the United States last January, whenthe Opera Ensemble of San Francisco gave it a semi-staged performance.The Opera Ensemble of San Francisco, together with the Berkeley Prom-enade Orchestra, will also give the first complete U.S. performance ofPfitzner's PALESTRINA on January 22, 1982. Only concert excerpts ofthe opera have been previously presented in America, by Mannes Collegeof Music in 1970 and by the New Jersey Symphony in 1972. The Cali-fornia production will be sung in an English translation by Ross Halper.Another American stage premiere will be celebrated next season when thePrinceton University Opera Theatre presents Beethoven's LEONORE,the original, first version of Fidelio. Co-directors Peter Westergaard andMichael Pratt have scheduled the opening for April 2, 1982. The onlyother U.S. performance took place at the Berkshire Music Festival atTanglewood in 1967, under the musical direction of Erich Leinsdorf.Hannelore Kuhse and George Shirley sang in that concert performance.

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Stefano Landi's SANT ALESSIO, premiered in Rome in 1632, was givenits first American performance on February 21 by the Collegium Musi-cum of the University of California at Berkeley. It was heard in anedition prepared by Alan Curtis, who also conducted this semi-stagedperformance. In May '81, he led the opera in a fully staged productionin Rome. The first contemporary revival took place at the Salzburg Fes-tival in 1977, where a Ponnelle production used an edition by HansLudwig Hirsch.

The Opera Workshop of the University of Minnesota in Minneapolismounted the first American production of Ernest Krenek's DAS GE-HEIME K0ENIGRE1CH (1928), and the same composer's DER DIK-TATOR (also 1928). They were presented in December 1980 on a triple-bill with Krenek's Schwergewicht; the performances alternated Germanwith an English translation by Vern Sutton, director of the Opera Work-shop.

Two New York based orchestras can always be relied upon to bring un-known or rarely performed operas in concert to their audiences. Nextseason is no exception, and the Opera Orchestra of New York has an-nounced the first American performance of Boito's NERONE for April12, 1982. While Boito's original libretto was published in 1901 for afive-act Nerone, the composition was left unfinished at the time of hisdeath in 1918. V. Tommasini and Arturo Toscanini are credited withcompleting the opera in four acts, and it was this version that waspremiered at La Scala in 1924. Eve Queler will conduct the U.S. premiereat Carnegie Hall. — On January 13, 1982, Clarion Concerts, under itsmusical director Newell Jenkins, will offer Agostino Steffani's L'AMORVIEN DAL DESTINO (1709) in its first American concert performance.The ensemble performs at Alice Tully Hall at Lincoln Center.

The new Opera at Peterloon Festival in Ohio (see Vol. 22, No. 4) hasannounced the American premiere of Rossini's LA GAZZETTA forSeptember '81. The Festival, under music director Robert Feist, issponsored by the American Opera Auditions of Cincinnati.

Heinz Holliger's Nicht Ich, first heard at the Festival d'Avignon lastyear, was performed in its American premiere on May 31, 1981 in Wash-ington, DC, by the Theater Chamber Players. Based on a Beckett play, itis written for soprano, tape, and film projection. Phyllis Bryn-Julson sangthe soprano part in an English translation. The work was presentedunder the title NOT I.

Summer '82 will bring the first American production of RichardStrauss's DIE LIEBE DER DANAE to Santa Fe. The same season thecompany will give the premiere of George Rochberg's THE CONFI-DENCE MAN (7/31/82).

In addition to the above-mentioned new work commissioned by the SanDiego Opera, the company plans the American premiere of A. E. Cha-brier's GWENDOLINE for fall '82. The first performance took place inBrussels in 1886.

The American premiere of Dvorak's CERT A KACA (The Devil andKate), planned by the Sokol Opera in Washington, DC, for June '81,has been rescheduled for October 17. The performance, in the originalCzech, will take place at the Terrace Theater of the Kennedy Center.The Seattle Opera announced a postponement of the American stagepremiere of Szymanowski's KROL ROGER (King Roger), originallyplanned for Spring '82. The production was to be prepared by the Wroz-law Opera (formerly Breslau), but due to the uncertain political situa-tion, could not be realized for the coming season.

1963-83

Postponements

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Raimondi's IL VENTAGLIO, scheduled to be performed by the Phila-delphia College of Performing Arts in May '81, has been rescheduled forMay '82. It will be heard as The Fan in an English translation by WilliamAshbrook.

NfW On April 1, 1981, the Royal Northern College of Music Opera WorkshopFOREIGN in Manchester mounted the first production of Alan Hoddinott's fifthOHftAS opera, THE TRUMPET MAJOR. The College had commissioned the

work. The libretto, by Myfanwy Piper, is based on a Thomas Hardynovel of the same title.

David Bedford, who wrote The Death of Baldour for the GordonstounSchool in Scotland, now has been commissioned by the School to createtwo more operas on Scandinavian myths. THE RAGNAROK and FRI-DIOF'S SAGA will complete the trilogy.

The latest music theatre work by Mauricio Kagel, PRESENTATION/DER TRIBUN, will be heard at the Theater im Marstall, the smallerexperimental stage of the Bayerische Staatsoper in Munich, on January30, 1982. — The Opera Studio of the Kiel Opera in Germany gave thefirst performance of Stahnke's version of DER UNTERGANG DESHAUSES USHER on January 29, and also of Schultz's TALPA.

Graz, Austria, has scheduled the first staged production of Prokofiev'sMADDALENA during the Steirischer Herbst Festival in fall '81. Theopera, completed by Edward Downes after the composer's death, hashad only a radio performance over BBC London in March '79.

In France, the Theatre de Caen performed the premiere of IsabelleAboulkar's LES SURPRISES DE L'ENFER, a "diabolic opera in oneact", on January 14, 1981, on a double-bill with The Medium. The samecompany is planning a production of another new opera, LE PROCESA JERUSALEM, for April 2,1982.

THE WAR FOR LIGHT is the title of the latest opera by Ilkka Kuusisto.As was the case with the composer's two previous operas, the FinnishNational Opera in Helsinki staged the first performance (4/2/81).

A late 16th century Danish comedy by Hironymus Ranch, Karrig Niding,has been adapted into an opera by the Danish poet Poul Borum and thecomposer Yngve Jan Trede. The two-act opera was premiered in Copen-hagen on November 6, 1980 under the title DANAFAE.

The Czech composer Josef Matej collaborated with librettist JarmilaKrulisova in writing a three-act opera, THE FORTY DAYS OF THEMOUNTAIN MUSA DAGH. It is based on the novel by Franz Werfel.A premiere date has not yet been set.

In June '81, the Dresden opera comany will stage the first performanceof DIE VOEGEL by Thomas Hertel and Peter Hacks.

The Badisches Staatstheater in Karlsruhe offered an evening of "OperaFragments of the Romantic Period" on April 25. Included in this pre-sentation were parts of operas never completed by their composers, andmost of them not previously heard. Robert Schumann worked on DERKORSAR in 1844, libretto by Oswald Marbach after Byron, but seemsto have completed only one chorus piece and one aria. Richard Wagnerwas represented by music from DIE HOCHZEIT — an early attempt leftunfinished in 1832, Carl Maria von Weber by RUEBEZAHL abandonedin 1805, Franz Schubert by the 1814 fragments from CLAUD IN E VONVILLABELLA after Goethe, and Felix Mendelssohn by parts fromLORELEY of 1847. B

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NEWS FROM OPERA COMPANIES

A major opera company with plans for an international season has been Newfounded in Denver. OPERA COLORADO has as its president and ar- COMPANIIStistic director the renowned stage director Nathaniel Merrill, of theMetropolitan Opera and many other international houses. Performanceswill be mounted at Boettcher Hall, which opened in 1978 and seats 2,750in the round. Negotiations are under way to contract the services ofthe Denver Symphony as the opera's orchestra. The opening productionis projected for April 1983. Three performances each of two operas willbe given in the original language, preceded by one or two performancesin English with special ticket prices for students and senior citizens.Opera Colorado has released an impressive list of singers who are toparticipate in the first few seasons, including such names as Cotrubas,Putnam, Stratas, Verrett, Domingo, Gedda, Milnes, McCracken, Plishka,Weikl, and Wixell. The open, center stage of the hall will challenge theimagination of such designers as Toni Businger, Robert O'Hearn, andGilnther Schneider-Siemssen. Performances are to be conducted byBruno Bartoletti, Giuseppe Patane, and Michel Plasson. The companyhas budgeted its first season at $1.7 million. Plans include the creationof a Colorado Academy for singers, coaches, and stage directors at theDenver Center for the Performing Arts, and an educational touringprogram consisting of young American artists performing at areaschools. Peter England has been engaged as administrative director,and company offices have been established at 121 Pearl Street in Denver.LIGHT OPERA WORKS is the name of a new company which will offerprofessional performances of light opera and operetta at the 1,200-seatCahn Auditorium in Evanston, IL. A board of directors was formed lastyear, with Lawrence Shawver presiding. Bridget McDonough and EllenDubinsky are the managing co-directors; Philip A. Kraus has beenengaged as artistic director, Barney Jones as music director, and AmyKekst as choreographer. The first season will offer H.M.S. Pinafore inSeptember '81, followed by Orpheus in the Underworld in December andJanuary. Each opera will be given four performances.

Syracuse, New York, can look forward to a rich operatic season. Inaddition to twelve performances by the Opera Theatre of Syracuse,which engages its* own orchestra, the SYRACUSE SYMPHONY underits music director, Christopher Keene, is scheduling two operas as partof its subscription series. Salome will be staged in the 1976 New YorkCity Opera production, and Turandot will be given in a concert per-formance. The Syracuse Opera Club, an independent organization, willcollaborate with the orchestra in its operatic ventures and also with theopera workshop at Syracuse University.

In May, OPERA SW introduced itself to Washington, DC, audienceswith performances of L'Ormindo at the Westminster United Presby-terian Church.Frequently, opera companies have developed out of the local symphonyassociation or out of academic workshops. The latest news includesexamples of each of these. The GREENSBORO OPERA COMPANYin North Carolina has evolved from the Greensboro Symphony, withPeter Paul Fuchs as its music director. Its first production, La Traviata,is planned for October 16, 1981. — In this context, mention should bemade of the Corpus Christi Symphony, which has staged one operaperformance annually since 1964 (see also page 7, Vol. 22, No. 3). —Valerie Goodall, director of the opera workshop at Rutgers Universityin New Jersey, is forming a professional ensemble, THE RUTGERSOPERA. Supported in part by a grant from the New Jersey StateCouncil on the Arts, the company will tour museums in various NewJersey cities with John Blow's Venus and Adonis, using baroque instru-ments for accompaniment.

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NEWS FROM COMPANIES

EXPANDING K u r t Herber t Adler, in his last season as General Director of the SANSEASONS FRANCISCO OPERA, will be present ing a record p rogram of 11 differ-

ent productions in a total of 70 performances in fall ' 81 .As a result of the previously announced agreement between the LYRICO P E R A O F CHICAGO and the orchestra committee, the company haspresented i t s first spr ing production this year. Costs are underwri t ten ,in par t , by the city 's hotel and motel tax, as offered by Mayor Byrnes(see page 20, Vol. 22, No. 1 ) . E igh t performances of The Merry Widowin English, wi th Evelyn Lear a l te rna t ing with Carole Farley in the t i t lerole, were heard between May 29 and June 6. Using the Canadian OperaCompany's production, the Chicago performances were staged by LotfiMansouri and conducted by Lee Schaenen, wi th the par t ic ipat ion of theChicago City Ballet.The company will also join in the CHICAGO I N T E R N A T I O N A L F E S -TIVAL, scheduled for July 2-31, 1982; all major local a r t s groupsare expected to participate. Fourteen arts administrators have beenassembled to form an Artistic Advisory Council, with Sir Georg Soltias honorary artistic director, and opera is represented by Ardis Krainikof the Lyric Opera of Chicago and Alan Stone of the Chicago OperaTheater. The costs of the Festival will also be partially underwritten bythe hotel and motel tax, and by corporate and private support. A Festivaloffice has been opened at 54 West Hubbard Street, and Thomas Willis,former music critic for the Chicago Tribune, is general manager.The OPERA COMPANY OF BOSTON is planning a total of five differ-ent operas for the coming season. Three of them will be new productions,including Zimmermann's Die Soldaten and Weber's Der Freischiitz. Thelatter will also be mounted for the first time by the New York City Opera.In the same city, the BOSTON CONCERT OPERA increased its numberof operas from three to four in 1980-81, and has again announced fourinteresting works for the coming season.

The ATLANTA CIVIC OPERA has scheduled three productions forthe 1981-82 season, as opposed to two during the current season.The CHAMBER OPERA THEATRE OF NEW YORK has announcedan ambitious season of 20 performances. The four full-evening produc-tions include two double-bills; the last opera of the season will be TheaMusgrave's The Voice of Ariadne, in its second professional productionin the United States.

UDUCID Houston's THEATRE UNDER THE STARS, which offered seven pro-stAsoNS ductions in 1979-80, mounted five in 1980-81, and has announced a

program of four musicals for the coming season. — The CHAUTAUQUAOPERA in up-state New York will present four operas this summer,compared to five operas and one musical in previous years.

SUSPENDED Due to the ill health of its Artistic Director, Robert Lawrence, FRIENDSSEASONS OF FRENCH OPERA has cancelled its 1981-82 production of Ariane et

Barbe-Bleue.After its initial season, the NATIONAL OPERA TOURING COMPANYof the New York City Opera will suspend performances for 1981-82. Thecompany will reorganize, and plans for a 1982-83 tour are in preparation.Temple University, which has sponsored the AMBLER MUSIC FESTI-VAL AND INSTITUTE since 1968, is suspending its operations thissummer. A feasibility study is currently underway and, depending onits results, the Festival may be permanently discontinued. The Pitts-burgh Symphony had been its resident orchestra.

EXPANDED The CONNECTICUT OPERA plans to celebrate its 40th anniversary inPRODUCTION style. It has announced a gala production of Aida, to take place at the

Civic Center Coliseum in Hartford, featuring elephants, camels, horsesand chariots, 80-foot pyramids, and a cast of 500.

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NEWS FROM COMPANIES

NEWANCILLARYACTIVITIES

The DAYTON OPERA, which was a sister company of the Toledo Opera ORGANIZATIONALsince its founding in 1960, has severed that tie and become an indepen- CHANGESdent organization. Cheryl Mulvaney is general manager, and David DiChiera was named artistic consultant. Henceforth, the company mayshare some of the productions mounted by the Michigan Opera Theatre.

OPERA/OMAHA is preparing its first educational and communityoriented program. It has engaged two singers, Evelyn Petros and JamesLongacre, who will give ten performances of "Operatunities for You"in five Nebraska communities.

Under the name OPERA-ON-WHEELS, Jacksonville's Opera-a-la-Cartegave a total of ten performances at Florida schools and senior citizenshomes. Rita, The Telephone, and The Impresario were performed inEnglish with piano accompaniment.

Ten performances of Hansel and Gretel were taken to schools and hos-pitals in New Jersey by the MOTHER GOOSE OPERA COMPANY, theeducational program of the Jersey Lyric Opera. Sonia Lewis is generalmanager and artistic director of the Westfield-based company.

The Lake George Opera's Contemporary American Opera Studio, begunlast summer, will be held on August 5 and 7 in Glens Falls under its newname, THE AMERICAN LYRIC THEATRE. Opera scenes to be rehearsedand presented in readings will be announced shortly. This program, aswell as the Festival, will be under the artistic direction of PauletteHaupt-Nolen.

OPERA GUIDE, the Southern California newsletter edited by ManuelWeltman, co-sponsored an Opera Day for Los Angeles. Between noon and8:00 pm on May 9, ten resident opera companies performed short operasor operatic excerpts at the Trif orium, the Los Angeles Civic Center Mall.The following organizations participated: Valley Opera (Alice in Won-derland), American Theatre of the Opera (Cambiale di matrimonio),Viennese Volksoper of Los Angeles ("A Friml Bouquet"), Los AngelesMusic Theatre (Rita), Desert Opera (excerpts from Die Fledermaus),Euterpe Opera (excerpts from La Perichole), and University of South-ern California Opera Theater, South Coast Opera, California PolytechnicOpera Workshop, and The Opera Lovers (operatic scenes). The othersponsor of the event was the Los Angeles Cultural Affairs Department,and Mayor Tom Bradley issued a proclamation declaring May 9 OperaDay for Los Angeles.

This year's METROPOLITAN OPERA RAFFLE offers among its do- DIFFERENTnated prizes a full-length, white mink cape, a Lincoln Continental, a ASSISTANCEVenezuelan vacation, and assorted jewelry, vacations, antiques — in all, PROGRAMSover 3,333 prizes. Raffle tickets sell for $2. The 1980 Raffle grossed $1.6million, and the company hopes for receipts of $1.8 million for 1981.

The NEW YORK CITY OPERA reports that Philip Morris is payinghalf the cost of their employees' subscriptions to opera performances. —Waiving the interest fee on a loan to a performing arts organization isanother way of supporting the company. This beneficial arrangementwas made between Seagram's and the Canadian Brass Ensemble.

In celebration of its 30th anniversary, the CANADIAN OPERA COM-PANY staged a "Roaring Twenties Dinner and Dance". The admissionfee of $125 also included the dress rehearsal of Norma, featuring Suther-land and Troyanos, which immediately preceded the event, and $100 wastax-deductible!

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NEWS FROM COMPANIES

GIVING U.S.A., the annual study conducted and published by the Amer-ican Association of Fund-Raising Counsel, reported $2.96 billion indonations to culture in 1980. This figure represents an increase of 9.6%over the previous year, while overall philanthropic giving has increasedby 10.2% for the same period.

EUROPEAN From England comes news of the HOHNE PIERREPONT OPERACOMPANIES TRUST, situated in Nottinghamshire, sponsoring performances of 17th

and 18th century operas at the Hohne Pierrepont Hall. The first twoworks to be heard in fall '81 will be Pepusch's The Death of Dido andArne's Thomas and Sally.

TOURING The performances of Thomson's Four Saints in Three Acts, scheduleda t t he Tea t ro La Fenice in Venice (see Vol. 22, No. 4 ) , a r e to be pre-sented in I taly by Philadelphia 's N A T I O N A L O P E R A EBONY. Thecompany is rec rea t ing t he original 1934 Har t ford production. While LaFenice is assuming the cost of the production and the fees for the per-formers , t he American ensemble mus t ra ise the money to cover t r a n s -por ta t ion expenses.

The H A M B U R G I S C H E S T A A T S O P E R will play a two-week guest en-gagement in Moscow in June '82. The company will t ravel to Russia wi thth ree operas (Die Frau ohne Schatten, Lohengrin, and Die Zauberflote),each to be performed twice, and also two symphony concerts.

September '81 will find LA SCALA vis i t ing Japan to perform Otello, IIBarbiere di Siviglia, La Boheme, Simon Boccanegra, the Verdi Requiem,and Rossini 's La Pe t i t messe solenelle.

The COLOGNE O P E R A ensemble will t ravel to Tel Aviv, Jerusa lem, andHaifa wi th i ts productions of Cosi fan tutte and Wozzeck. Per formancesare scheduled for Feb rua ry '82.

FORECAST Summer '82 will b r i n g two new operas to San ta Fe , the world p remie reof Rochberg 's The Confidence Man and the American p remiere ofSt rauss ' s Die Liebe der Danae. In addition, the S A N T A F E O P E R Awill offer Mignon, The Marriage of Figaro, and Die Fledermaus.

The four productions planned for 1982-83 by the O P E R A T H E A T R EO F SYRACUSE a re II Trovatore, The Magic Flute, Don Pasquale, andPorgy and Bess.

The 1982-83 season of the VANCOUVER OPERA COMPANY will offerEugene Onegin, La Boheme, La Forza del destino, and Fidelio.

The SEATTLE OPERA'S first production of that same season will beII Trovatore with Rita Hunter. •

ATTENTION COMPOSERS & LIBRETTISTS

On the occasion of a special birthday cele-bration for Rolf Liebermann, the HamburgOpera announced that it is establishing aROLF LIEBERMANN PRIZE for a new,unperformed opera. With the assistance ofthe Korber Foundation, the winning workwill bring a cash prize of 75,000 DM (about$35,000) and a premiere performance onLiebermann's birthday, September 14. Aprize is to be awarded every three years,

with the first one projected for 1983. Thecompany reserves the right for a six-monthoption on the first performance. Directors ofthe Metropolitan Opera, La Scala, the RoyalOpera, London, the Vienna Staatsoper, theParis National Opera, and the HamburgOpera will adjudicate. Further informationmay be obtained from the Korber Stiftung,Postfach 80-06-60, Kampchaussee 10, 2050Hamburg 80, Germany.

(continued on page 14)

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GOVERNMENT AND THE ARTS

Following the proposal of the 50 percent budget cut for the NATIONAL rfDtRALENDOWMENT FOR THE ARTS (see Vol. 22, No. 4), President Reagan PROGRAMShas appointed a Task Force to study possibilities of reorganizing NEAand NEH and to make recommendations to the President by the end ofthe summer on "how to make better use of existing Federal resourcesand to increase the support for the Arts and the Humanities by theprivate sector". One Government suggestion is for reshaping the En-dowments from their present form into a "public corporation", possiblyon a format similar to that of the Corporation for Public Broadcasting(which, itself, finds many programs in jeopardy due to the large cuts inits federal subsidy — see below). CPB is set up as a "private, not-for-profit organization, supporting non-commercial television and radiothrough money from government and corporate grants". The Chairmanfor the Arts Task Force is Charleton Heston, and the 35 members includeBeverly Sills (New York City Opera), Roger L. Stevens (Chairman ofNEA from 1965-69), Nancy Hanks (Chairman of NEA from 1969-77),Henry Geldzahler (New York City Commissioner of Cultural Affairs),Leonard Silverstein (National Symphony Orchestra), Arthur Mitchell(Dance Theatre of Harlem), and leaders from the business sector, foun-dations, philanthropy, academia, arts councils, and the media. Dr. HannaHolborn Gray was named Chairman for the Humanities of the TaskForce, and both parts of this newly created body will be under theguidance of Daniel Terra, Ambassador at Large for Cultural Affairs.W. Barnabas McHenry is Vice Chairman.

News comes out of Washington continuously, and some of the latestreports have been a little more positive. Both the President and Mr.Stockman, the new budget director, have responded to the public outcryregarding the cut in cultural programs by announcing their general andmoral support of the arts in the United States. In mid-June, the positionof the House Appropriations Subcommittee was made clear when itrecommended the fiscal 1982 appropriations for the National Endowmentfor the Arts be set at $157.5 million, which would represent a ten percentcut from the original figure requested by the previous administration.In a recent move, the House Committee on Education and Labor recom-mended $126.9 million for NEA, while the Senate Subcommittee onEducation's recommendation set a figure of $119.3 million. The Admin-istration's request was for $88 million. In each case, the figure suggestedfor the National Endowment for the Humanities was slightly lower thanthat for the Arts. The next step is for the full Appropriations Committeeto make its recommendation and send it to Congress, which has the finalvote. It is unlikely this will occur before the Task Force has turned inits report and recommendations.

Meanwhile, in May, the Senate Subcommittee on Education, Arts, andthe Humanities voted to rescind $32 million of the current 1981 NEAappropriation which had been approved last year (and $11 million outof the NEH budget). This move, unprecedented with regard to theEndowments and coming without warning in the middle of the grantperiod, would find the Endowments at the stage where the major partof the 1981 appropriations have already been disbursed. A temporaryfreeze on continued government payment to the Endowments has beenput into effect while the Subcommittee's recommendation goes to the fullLabor and Human Resources Committee for vote. (As we go to press,the amount temporarily withheld has been reduced to about $6 million.)

The latest development regarding the CORPORATION FOR PUBLICBROADCASTING is a vote by a House-Senate conference committee torecommend a cut of $35 million of the 1982 CPB's allocation, which had

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GOVERNMENT PROGRAMS

been fixed at $172 million. A congressional vote is expected to confirmthe cut. Since its founding in 1967, CPB had its Federal grants allocatedfor two years in advance, and this is the first time that funds alreadyallocated are being reduced. The House Energy and Commerce Com-mittee had voted earlier to appropriate funds over the next three yearsin a declining curve "to wean Public Broadcasting slowly but surely fromFederal support and make it more self-sufficient". — A suggestion ofdiscontinuing the Institute of Museums Services has been reversed,although the amount of federal assistance has not been determined.

STAU The 1982 fiscal budget of the State of New York will provide for $32.5ARTS million to go to the NEW YORK STATE COUNCIL ON THE ARTS.COUNCILS This is a $1.7 million increase over the '81 appropriations, but does not

represent the highest amount the arts council ever received. In a see-sawing state economy, money available for the arts reflects the curve.The Council's best year was 1976, when it received $34 million. Thatdwindled to $27 million only two years later.

While the trend of 1982 state appropriations for the arts seems to favorincreases, there have been some state administrations that have cutback. State arts agencies which will enjoy an increase in their '82budgets include the MISSISSIPPI ARTS COMMISSION (30% in-crease), the MICHIGAN COUNCIL FOR THE ARTS (20% increase toover $5 million), GEORGIA COUNCIL FOR THE ARTS AND THEHUMANITIES (15% to over $1.5 million), ARIZONA ARTS COMMIS-SION (60% to $440,000), and the KANSAS ARTS COMMISSION(10% to $374,000). The worst budget cut will be suffered by the WASH-INGTON STATE ARTS COMMISSION, a loss of some $1.35 millionin '82. The NEW HAMPSHIRE ARTS COUNCIL will suffer a slightdecrease, and the CONNECTICUT ARTS COMMISSION had its fundsreduced by 39 percent.

CANADIAN Two new and different Canadian programs for the arts have been an-PROORAMS nounced. A three-year project has been established under the MINISTRY

OF COMMUNICATION to disburse $39.6 million to assist the arts andculture in Canada. It will be administered in four categories: $24 millionwill be available for capital assistance to cultural institutions, $4 millionfor deficit reduction of cultural organizations, $4 million for managementdevelopment, and $6 million for special activities of national or inter-national character.

The CANADA COUNCIL is establishing The Performing Arts VentureCapital Fund to help performing artists "benefit from the fullest possiblecommercial exploitation of their works and to increase the after-life ofsuccessful Canadian cultural properties". •

CONVENTION CHANGEDates for the 1981 National Opera Asso-ciation Conference have been changed toOctober 14-17. The place remains Detroit,with Wayne State University and the Mi-chigan Opera Theatre co-hosting the meet-ings.

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ACADEMIA

The MANNES COLLEGE OF MUSIC in New York has established anexchange program with the Fontainebleau School of Music near Paris.During an eight-week summer course, students and faculty memberswill join together in the respective schools. The French institution, whichwas founded by Walter Damrosch and later headed by Nadia Boulanger,will open an office at Mannes in New York. — This summer will be thethird year for the Mozart Opera Project at Mannes School, again underthe direction of Dan Marek. Four operas will be double cast, each giventwo concert performances, sung in English. It will be the first time theperformances will have the benefit of orchestral accompaniment.GEORGIA STATE UNIVERSITY in Atlanta has scheduled its firstsummer opera workshop for July 27 through August 16. The faculty willinclude conductor Robert Feist and stage directors Peter Harrower andStuart Culpepper.Following its initial success as a pilot project, the MUSIC THEATRESTUDIO ENSEMBLE of the Banff School of Fine Arts (see Vol. 22,No. 3) will start as a regular full program next fall. The courses offeradvanced training in music theatre to 75 singers, dancers, and actors,four stage designers, three composers, and three writers, and givestudents the opportunity for interaction and collaboration between thevarious participating artists. Refinement of skills in creating and per-forming, research, and practical experience in music theatre are themajor aims of the program, which is directed by Michael Bawtree. Thefall term is scheduled for September 14 to December 18, the winter termfrom January 4 to April 12.This fall, two new art schools will be opening in Canada. They are theTORONTO HIGH SCHOOL FOR THE PERFORMING ARTS, modeledafter the High School for the Performing Arts in New York, and theALBERTA COLLEGE MUSIC CENTRE in Edmonton. In addition,the Board of Education in Toronto will institute special courses in thevisual and performing arts for fourth, fifth, and sixth grade students.To honor Aaron Copland on the occasion of his 80th birthday, QueensCollege in New York has bestowed an honorary doctorate upon the com-poser and has renamed its music department the AARON COPLANDSCHOOL OF MUSIC.Due to financial cutbacks, the Opera Theatre at VALDOSTA STATECOLLEGE in Georgia and the White Heron Opera Workshop at theUNIVERSITY OF WISCONSIN in Fox Valley are being forced tosuspend operations.Prompted by the recently proposed federal budget cuts, NEW YORKUNIVERSITY has scheduled a two-week Summer Institute in the Eco-nomics and Financing of the Arts. Open to graduate students and work-ing professionals, the Institute will run from July 6-17, and will bedirected by Dick Netzer, dean of the NYU Graduate School of PublicAdministration.HARVARD UNIVERSITY, which discontinued its formal arts admin-istration program, has scheduled non-credit courses in theatre admin-istration, technical production, and stage management. They are offeredby Harvard's accredited Theatre Department, which is under the direc-tion of Robert Brustein."Outreach in the Arts" is the title of a three-day seminar offered bythe Extension Arts Development of the UNIVERSITY OF WISCONSINin Madison. Lecturers will include Charles Mark of Arts ReportingService, Anderson Clark of Affiliate Artists, and Junius Eddy, formerlyof the U.S. Office of Education and of the Rockefeller Foundation.A new, two-year arts administration program with a dual degree ofMBA and MA is being offered by SOUTHERN METHODIST UNIVER-SITY in Dallas.The 24th annual PERFORMING ARTS MANAGEMENT INSTITUTEwill be held at New York's Sheraton City Squire Hotel November 6-8.Alvin Reiss is its founder/director. •

ARTSADMINISTRATION

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THEATRE RENOVATIONS

An $8 million grant from the Fan Fox and Leslie Samuels Foundationwill facilitate the projected renovations at Lincoln Center's STATETHEATRE (see Vol. 22, No. 4), and also make possible alterations atthe Beaumont Theatre. The latter's original design was by architectEero Saarinen and designer Jo Mielziner; the renovations will be theresponsibility of I. M. Pei, with Cyril Harris in charge of acoustics.Changes in the Beaumont will include turning the thrust stage into aproscenium stage, lessening the steep incline of the seating, and movingthe box office to the Plaza level. The Lincoln Center Theatre Company,which opened at the Beaumont in fall '80, will suspend operations for1981-82. Renovations at the State Theatre are to be done during summer'82, with as little loss as possible of the regular performance scheduleof the New York City Ballet and Opera companies. It is likely the latesummer operetta season will not take place that year.The City of Portland, Oregon, is embarking on a major project whichwill give the Oregon Symphony a new home and refurbish the CivicAuditorium for the use of the Portland Opera. A former movie housewill be redesigned into a 2,750 seat concert hall/theatre and the CivicAuditorium, which presently serves as home for the symphony and opera,will be refurbished to better accommodate opera/music theatre anddance. Two smaller theatres, seating 1,400 and 200-500 people, respec-tively, are to be added to the Civic Auditorium. The cost for both reno-vations is estimated at $25 million, of which $19 million will be raisedthrough city bonds and the remainder from private sources.

The HUNTER COLLEGE CONCERT HALL in New York, last used in1976, will be refurbished during the renovations and additions currentlyunderway at Hunter College. Ulrich Franzen & Associates are the archi-tects; Peter George of Pomerance & Breines is the acoustician. HunterPlayhouse, often used for operatic productions, will also undergo mod-ernization and changes will include its seating, lighting, and stagerigging, as well as the addition of a new ceiling. •

Composers, Librettists(continued from page 10)

The Department of Music at Brooklyn Col-lege of the City University of New Yorkannounced a contest for a short chamberopera in English. The work must be limitedto one to eight solo parts suitable for college-level voices, and an accompaniment withpiano or no more than ten instruments.Maximum playing time of the one-act operais 45 minutes, and the work must not havebeen previously performed nor published.The score should be submitted with men-tion of the original story and proof of thecomposer's right to use it. The winning workwill be performed by the Brooklyn CollegeOpera Theater in February 1982, and thecomposer will receive a cash prize of $250.

He will be required to supply the perfor-mance material for the premiere; the per-formance rights will remain with him.

New York University is preparing a gradu-ate program for composers, librettists, andlyricists in the "art and craft of creatingAmerican musicals". This is the first timesuch a program will be offered at a uni-versity, although Banff's Music TheatreStudio Ensemble will carry some similarcourses (see Academia). NYU's programwas made possible by grants from theRichard Rodgers Foundation and the FordFoundation.

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COS INSIDE INFORMATION

We are delighted to announce that, in response to many special requests,the next Directory issue will be a REPORT ON REGIONAL COM-PANIES, as discussed at the COS Conference in St. Louis. It will includethe MANAGEMENT STRUCTURE charts distributed and discussed atthe meeting, and reflect the extensive debates on the role of membersof boards of directors.

It will also feature JONATHAN MILLER's lively and erudite addresson his philosophy and concept of modern operatic staging.

Many opera directors and trustees who could not attend the meeting haverequested reports of the Conference proceedings, and we hope this Di-rectory will be of value and assistance to all those actively involved withopera companies.

COS SALUTES

. . . FRANK TAPLIN, President of the Metropolitan Opera, upon receiv-ing an Honorary Doctor of Music degree from the Cleveland Institute ofMusic. He not only delivered the commencement address, but, as anaccomplished pianist, joined two graduating students in a performanceof the first movement of the Brahms Trio, Op. 87.. . . ALEXANDER SAUNDERSON, President of the Metropolitan OperaNational Council from 1971 to 1980, as recipient of the 1981 Verdi Medalof Achievement, bestowed upon him on the stage of the MetropolitanOpera at the time of the final auditions in April.

. . . ROBERT HERMAN, General Manager of the Greater Miami OperaAssociation and Assistant Manager of the Metropolitan Opera until1973, on the occasion of receiving the Austrian Cross of Honor forScience and Art, First Class, for his devoted work and accomplishmentson behalf of opera and its tradition.

. . . MARTINA ARROYO, internationally acclaimed soprano, who washonored by her alma mater Hunter College, which awarded her an Hon-orary Doctor of Music.

. . . NANCY HANKS, former Chairman of the National Endowment forthe Arts, who received an Honorary Doctor of Music from Mannes Col-lege. Former recipients include Rise Stevens, Alice Tully, Martin Segal,Dorothy Maynor, Carl Bamberger, and Julius Rudel.

. . . soprano GILD A CRUZ-ROMO, recipient of the Cultural Award Medalfrom the Mexican-North American Cultural Institute in Guadalajara.. . . Dr. JAN POPPER, who recently attended the dedication of UCLA'sOpera Workshop auditorium which will now be known as the Jan PopperTheatre. For his current operatic pioneering work in the Orient he wasawarded the Order of Merit from the Taiwan Ministry's Department ofEducation, and an Honorary Professorship from Tokyo UniversitySchool of Fine Arts.

. . . designer BENI MONTRESOR, honored by the French Ministry ofCulture, which selected him for the French Government Award for bestopera production in France in 1980 for his designs of the set, costumes,and lighting of Salome in Toulouse.

. . . BENJAMIN S. DUNHAM, Executive Director of Chamber MusicAmerica, who was named Arts Administrator of the Year by Arts Man-agement.

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APPOINTMENTS AND RESIGNATIONS

NATIONAL ARTS ORGANIZATIONSPresident Reagan named DANIEL TERRAAmbassador at Large for Cultural Affairs.He will be working out of the State Depart-ment. (See Government Programs for someof the members of the newly appointed TaskForce studying the NEA and NEH pro-grams.)GEOFFREY PLATT, JR., formerly withthe National Association of CommunityArts Agencies, has moved to its sister or-ganization, the National Assembly of StateArts Agencies. He is replacing former Ex-ecutive Director Roy Helms.

The National Committee for Arts for theHandicapped has chosen BETTY VALENTIas its Executive Director. She succeeds Dr.S. Higgins.DONALD ERB was elected the next Presi-dent of the American Music Center, succeed-ing Charles Dodge. According to AMCby-laws, Mr. Erb will serve as President-Elect for one year before assuming thepresidency of AMC. He had been Chairmanof the Composers Program panel at NEAand currently holds a specially endowedchair as Professor of Music at SouthernMethodist University in Dallas. — Otherchanges at AMC include the appointmentsof JANE GOTTLIEB and RUSSELL MER-RITT as Librarians. Both have been work-ing in the AMC library for some time underKaren Famera, who has accepted the postof music cataloguer at the New York PublicLibrary at Lincoln Center.

At its last meeting, the National MusicCouncil confirmed the election of VICTORFUENTEALBA as its new President, a postheld by Gunther Schuller for the last twoyears. Mr. Fuentealba is President of theAmerican Federation of Musicians.

STATt AUTS COUNCILS

Following the resignation of Mary De Hahnas Executive Director of the Missouri StateArts Council, RICK SIMONCELLI wasappointed to that post. For the last threeyears he had been Assistant Director, andDOROTHY ILGEN, former InformationOfficer, was named to succeed him.ELLEN S. PIERCE, former Assistant Di-rector of the NEA Dance Program, is thenew Executive Director of the ColoradoCouncil on the Arts and Humanities.GWENLYN CREECH is the new MusicOfficer of the Ontario Arts Council, a postformerly occupied by Zelda Heller.The Fine Arts Council of Florida has ap-pointed RANDALL KELLY Acting Direc-tor, succeeding former Executive DirectorRebecca Kushner.

ADRIENNE HIRSCH, formerly ActingDirector of the Arizona Commission on theArts, has been installed as its ExecutiveDirector.

OPERA COMPANIES

The Metropolitan Opera Association electedthree new members to its Board of Manag-ing Directors. They are MICHAEL V.FORRESTAL, EUGENE M. LANG, bothof New York City, and The HonorableLAWRENCE T. PERERA of Boston. Inaddition, MRS. WILLIAM T. HUNTER ofBethesda, Maryland, KERRYN KING ofHarrison, New York, and FREDERICK R.KOCH of New York City have joined theBoard of Advisory Directors. MRS. MI-CHAEL FALK, F. MALCOLM GRAFF,DR. EMANUEL ROSENBLAT, and AR-THUR T. STIEREN are new Members ofthe Association. The following officers werereelected: WILLIAM ROCKEFELLER —Chairman, FRANK E. TAPLIN — Presi-dent, JAMES S. MARCUS — Chairmanof the Executive Committee, J. WIL-LIAM FISHER, MRS. ALEXANDER M.LAUGHLIN, LAURENCE D. LOVETT,and MRS. STEPHEN O'NEIL — VicePresidents, JAMES S. SMITH — Treas-urer, and ALTON E. PETERS — Secre-tary. One new Vice President was addedto the list of officers. He is BRUCE CRAW-FORD.

LAURENCE D. LOVETT was elected Chair-man of the Metropolitan Opera NationalCouncil Regional Auditions. His predecessorwas Christopher Clark.

ROBERT W. WILSON was elected Chair-man of the Board of the New York CityOpera, succeeding John S. Samuels III, whoresigned. Mr. Samuels retains the Chair-manship of the City Center of Music andDrama and of the Lincoln Center TheatreCompany.

RICHARD KAPP, formerly with the FordFoundation, is the first General Director ofthe Civic Opera of the Palm Beaches. Untilthis year Paul Csonka was in charge ofartistic and administrative matters. He con-tinues as the company's Artistic Director.Mr. Kapp has also been active as opera andorchestra conductor here and abroad.

The Orlando Opera has engaged its firstfull-time General Manager. He is DWIGHTBOWES, formerly head of the New YorkCity Opera educational tour and, most re-contly, affiliated with the Michigan OperaTheatre.

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The Atlanta Civic Opera has engaged BILLPAPPAS, former Production Manager atthe Tulsa Opera, as its General Director.Artistic Director Thomas Pasatieri has ter-minated his affiliation with the JuilliardSchool in order to be able to devote moretime to the company. — Mr. Pappas's suc-cessor as Production Manager of the TulsaOpera is JAMES WRIGHT, who has beenAssistant to the General Director at theLyric Opera of Kansas City.With the organizational change of the Day-ton Opera (see News from Companies),CHERYL MULVANEY was engaged asGeneral Manager, David Di Chiera as Ar-tistic Consultant.The newly formed Opera Colorado in Den-ver, with NATHANIEL MERRILL asFounding President and Artistic Director,announced the following members of its ini-tial Board of Directors: ROBERT G. AN-DERSON, BLAIR CHOTZINOFF, DAR-RYL GAMMILL, HARDIN HOLMES,SUZANNE HUNTING, SONJA MAST,PAUL MILLER, FELICIA MUFTIC, ROB-ERT PRIESTER, HOWARD SMIGEL, andSTUART STEFFEN. The company's firstAdministrative Director is PETER ENG-LAND (see New Companies).DAVID SCHRYER has assumed the dutiesof General Manager of the Opera Companyof Jacksonville in Florida. — The Washing-ton Opera has engaged ZACK BROWN asits Resident Designer. — SABA McWIL-LIAMS, formerly with the press office ofthe Santa Fe Opera, has accepted the posi-tion of Press Representative with the SanFrancisco Opera. — BILLIE BRIDGMANhas joined the Comus Music Theatre inToronto as Program Director.The Reverend AL CARMINES, composerand producer at the Judson Poet and DanceTheatre at Judson Memorial Church in NewYork, has resigned due to ill health. Hewrote and produced musical theatre piecesat the Church.

MISCELLANEOUS ARTS ORGANIZATIONSMARY ANN TIGHE has resigned herposition as Deputy Chairman of Programswith the National Endowment for the Artsto assume a Vice Presidency with ABCCable Television.WILLIAM SCHUMAN has been electedChairman of the MacDowell Colony in NewHampshire. His immediate predecessor isThomas Messer, Director of the Guggen-heim Museum in New York.

MUSIC FESTIVALSThe first Chicago International Music Fes-tival, scheduled for summer 1982, has en-gaged THOMAS WILLIS as General Man-ager. The former music critic had recentlybeen Concert Manager of NorthwesternUniversity's School of Music.Due to the illness of his wife, Sir RudolfBing has resigned as Executive Director ofthe New World Contemporary Festival of

the Arts, and ROBERT HERMAN, GeneralManager of the Greater Miami Opera, hasassumed the title. He is one of the foundersof the Festival.

SYMPHONY ORCHESTRAS

Violinist PINCHAS ZUCKERMAN is com-pleting his first year as Conductor andMusic Director of the St. Paul ChamberOrchestra. He succeeded Dennis RussellDavies, who took over as Generalmusik-direktor at Stuttgart. Mo. Davies has alsobeen named Music Advisor and Conductorof the American Composers Orchestra inNew York.In addition to his positions as Music Direc-tor of the Baltimore Symphony and ArtisticAdvisor of the Houston Symphony, SERGIUCOMISSIONA was engaged as PermanentGuest Conductor of the Radio PhilharmonicOrchestra of the Netherlands. His new con-tract begins in fall '82. — JOSEPH SIL-VERSTEIN, Assistant Conductor and Con-certmaster of the Boston Symphony, will bePrincipal Guest Conductor of the BaltimoreSymphony Orchestra.ERICH KUNZEL was named Music Direc-tor and Permanent Conductor of the SanFrancisco Symphony Pops Concerts, suc-ceeding the late Arthur Fiedler who estab-lished the series in 1950. Kunzel also con-tinues as Conductor of the Cincinnati PopsConcerts which he has led since 1965. —Next season, JAMES YESTADT, formerconductor of the Mobile Opera, will beMusic Advisor to the Baton Rouge Sym-phony.

Various changes will occur at Canadianorchestras next season. GREGORY MIL-LAR is terminating his contract as MusicDirector of the Regina Symphony this sum-mer, as RUBEN GUREWICH is with theSaskatoon Symphony Orchestra. Followingthe resignation of Piero Gamba as MusicDirector of the Winnipeg Symphony,FRANZ-PAUL DECKER was named Artis-tic Advisor until a permanent replacementcan be found. The 1981-82 season will be thelast that the National Symphony Orchestrain Ottawa will be under the musical direc-tion of MARIO BERNARDI.

Continuing with Canadian orchestras, newappointments in managerial positions in-clude ZARIN MEHTA (Zubin Mehta'sbrother) to General Manager of the Mon-treal Symphony, upon the retirement ofRoger Larose; HAMISH ROBERTSON,former financial Music Officer of the Can-ada Council, to General Manager of theHamilton Philharmonic, succeeding MARKWARREN, who now manages the AtlanticSymphony in Halifax, N.S.; JACK MILLS,former Operations Manager of the TorontoSymphony, to Executive Director of theWinnipeg Symphony; and LOUISE LA-PLANTE, formerly of the Canadian MusicCentre in Montreal, to General Manager ofL'Orchestre des Jeunes du Quebec.

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The following changes are occurring in ad-ministrative positions in American orches-tras: RALPH 0. GUTHRIE from theDetroit Symphony to the Seattle Symphonyas President and General Manager, succeed-ing Lanham Deal who retires; WAYNEDAVIDSON, formerly of the SouthernOpera Theatre, to the Milwaukee Sym-phony as Music Administrator; ROBERTSANDLA to the Honolulu Symphony asActing Executive Director following theresignation of Robert C. Bickley; ROBERTJ. STILES to the Denver Symphony asGeneral Manager; MARK WALKER to theKansas City Philharmonic as OrchestraManager; WILLIAM F. KESSLER to theOmaha Symphony as General Manager; andALAN WYNN COOPER, former AssociateDirector of the North Carolina Arts Coun-cil, to the Winston-Salem Symphony Or-chestra as Manager.

ACADtMIA

Following the resignation of Leonard Pearl-man and Max Bragado-Darman, co-directorsof the orchestras of the Cleveland Instituteof Music, CARL TOPILOW was namedConductor of the CIM orchestras. A formerExxon/NEA/Affiliate Artists conductor withthe Denver Symphony (1976-79), he wasMusic Director of the Colorado Philhar-monic last season. LEONARD PEARL-MAN is returning to the University ofArizona in Tucson as Conductor of theOpera Theatre and Chairman of the Or-chestra Department.

Kent State University has announced theappointment of RHONDA CUNDY as Di-rector of its Opera Workshop, succeedingJames Stuart. Ms. Cundy was formerlyassociated with the University of Wiscon-sin in Fox Valley. — JOEL ROSENBERGis the new Conductor of Opera, Symphony,and Chamber Orchestras at the Universityof Massachusetts at Amherst.

PIERRE GENEST was named Director ofthe Quebec Conservatory of Music and

Dramatic Arts, replacing JOSEPHTEDUFRESNE, who took over the director-ship of the Music Conservatory in Hull. —RAFFI ARMENIAN, Music Director ofthe Kitchener-Waterloo Symphony, has alsoaccepted the position of Conductor of theMontreal Conservatory of Music Orchestra.Tenor JAN PEERCE and coach/accompan-ist ALBERTA MASIELLO, both previouslywith the Metropolitan Opera, have joinedthe faculty of the Mannes College of Music,the former as Special Vocal Advisor, thelatter as coach and head of the OperaTheatre. Ms. Masiello has given masterclasses at Mannes for the past year. —PHYLLIS BRYN-JULSON will hold specialclasses in 20th century solo vocal music atthe University of Maryland in College Park.

EUROPEAN OPERA COMPANIES

The Teatro dell' Opera in Rome has ap-pointed MANZA TOMASI as Artistic Di-rector. His contract extends from 1981 to1984.

GABOR OETVOES, Generalmusikdirektorin Augsburg, will join the Royal Opera inCopenhagen beginning this fall. His titlewill be Artistic Director and Royal Con-ductor. — The Theatre de la Monnaie inBrussels has contracted JOHN PRITCH-ARD as its next Music Director. He willstart with the Belgian company in August•81. — KNUT HENRIKSEN was namedDirector of Den Norske Opera in Oslo. Hisfirst season there will be 1981-82. — Con-ductor NISKA BAREZA, who is currentlymaking his San Francisco Opera debut withRigoletto, will begin his tenure as MusicDirector of the Graz Oper and Graz Phil-harmonisches Orchester this fall. — MAN-FRED MUETZEL will be the new General-intendant in Aachen, and HELGE THOMAthe new Intendant in Augsburg, Germany.— In February '81, ROLF REUTER, form-erly of Weimar, became General Music Di-rector of the Komische Oper in East Berlin(see also Vol. 22, No. 4). •

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WINNERS

SINOtHS

The well-publicized International Pavarotticontest, administered by the Opera Com-pany of Philadelphia, held its finals inPhiladelphia in May and announced thefollowing 19 winners: ARMEEN DISH-TCHEKENIAN (Philadelphia), BARRYELLISON (Princeton, NJ), PAUL AD-KINS (Hoboken, NJ), JOHN CIMINO(Troy, NY), MARY JANE JOHNSON(New York, NY), SUSAN DUNN (Ur-bana, IL), SHARON GRAHAM (Chicago),JOHN DEL CARLO (Millbrae, CA),NOEL VELASCO (The Philippines),EMILSON BARBOSA (Brazil), LEILAMARTINS (Brazil), YOUNG-MI KIM(South Korea), SONG KWANG SUN(South Korea), FRANCO SIOLI (Italy),ARMANDO CAPORIO (Italy), IVANKONSULOV (Bulgaria), DENES GUL-YAS (Hungary), LASZLO POLGAR(Hungary), and KYOKO TSUKADA(Japan). They were chosen from some 500applicants who were auditioned all over theworld during the past year. Seventy-fiveparticipated during the last four days ofauditions in Philadelphia.

The Lauritz Melchior Heldentenor Founda-tion has been reinstated, unfortunately toolate for announcement in the last Bulletin.The competition for tenors or baritones withthe potential of a Heldentenor voice willhenceforth be administered by the JuilliardSchool, but not on an annual basis. Thisyear's contest took place in early June and29-year old TIMOTHY JENKINS of theMetropolitan Opera, and 30-year old GARY

LAKES will share the cash prize of $10,000.The first prize in the women's division ofthe 1981 National Federation of MusicClubs contest went to soprano BRENDARUCKER-SMITH. It carried a cash awardof $5,000.

The much expanded Scholarship Awards ofthe Liederkranz Foundation disbursed atotal of $16,500 to singers, and $4,000 topianists. The following winners in the vocaldivision were presented in a concert at NewYork's Tully Hall in April: sopranosEVELYN CONGIGLERE (first prize$2,000), RUTH JACOBSON, LANI NORS-KOG. ELAINE OLBRYCHT, BRENDARUCKER-SMITH, and CANDACE SASS-MAN: mezzos LUCILLE BEER and JAN-ICE EDWARDS; and baritones DONALDCOLLUP and JAMES DIETSCH. Awardsin the amount of $1,500 each went to threeartists singled out as Wagnerian Singers:mezzos CANDACE DE LATTRE andLEAH LITTLEFIELD, and tenor NOELVELASCO.

In its 50th year of sponsoring competitions,the Dallas Morning News/G.B. DealeyAwards chose the following singers as win-

ners in its vocal division: 26-year old lyriccoloratura soprano CHERYL PARRISH(first prize of $1,500 and an appearance withthe Dallas Civic Opera), mezzo JUDITHMALAFRONTE, and soprano LAURABETH FRANKLIN.

The WGN/Illinois Opera Guild Auditions ofthe Air awarded its first prize to sopranoMARVIS MARTIN, and second prize totenor JOHN FOWLER. Honorable men-tions went to LANI NORSKOG and JANEBUNNELL. — The Washington Interna-tional Competition for Singers, sponsoredby the Friday Morning Music Club, awardedtwo first prizes, and $1,500 went to bothmezzo MARY ANN HART and baritoneBEN HOLT.

The 1981 National Vocal Competition forOperatic Artists, funded and administeredby the Baltimore Opera Guild, awarded itsfirst prize of $2,500 to Chilean-born sopranoLANI NORSKOG of Plattsburgh, NY andthe second prize with a cash value of $2,000to JOHN FOWLER tenor from Cincinnati(see also both above). New York bass-baritone JAN OPALACH took third prize($1,500), Brooklyn soprano CONCHITAANTUNANO fourth prize ($1,000), andthe special Puccini Foundation Award wentto soprano SHARON CHRISTMAN ($1,500).Judges for this major voice competition in-cluded Adelaide Bishop, Gilda Cruz-Romo,Bliss Hebert, Paul Hume, and EleanorSteber.

The Guild of the Opera Company of Bostondistributed its $600 cash prizes between bari-tone MARK ALIAPOULIOS, and sopranosROCHELLE ZUROFF and SUE ELLENKUZMA. As a result of winning first andsecond prize, the first two mentioned willalso perform with the Opera Company ofBoston next season. — Concert appearanceswere also won by mezzo MARY BRANDEJ-SKY and baritone W. STEPHEN SMITH,the 1981 victors of the Oklahoma SymphonyYoung Artist Awards in voice.

The City of Los Angeles Cultural AffairsDepartment sponsors the "Artists of theFuture" competition, awarding cash grantsin men's and women's divisions. First prizeof $1,000 each went to soprano REBECCAJO EICHENBERGER and tenor ALEXGUERRERO, Jr., $500 prizes to sopranoGENEVIEVE WHITE and tenor THOMASJOHN RANDLE, and $200 prizes to sopranoJENNIFER LOPEZ and baritone MO-HAMMED TAGHADOSSI. — Also in LosAngeles, the Victor Fuchs Opera Auditionssplit its first prize between soprano AN-GELA MARIA BLASI and tenor JONA-THAN D. WELCH. Second and third placewent to soprano MARGO PARES REYNAand mezzo CYNTHIA BLOUGH, respec-tively.

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The Cincinnati Opera Young AmericanArtists Program has selected the followingsix singers for its 1981 ensemble: sopranosDENISE COFFEY and CECILY NALL,mezzo KAREN RAMBO, tenor MICHAELTALLEY, baritone SCOTT NEUMANN,and bass JOSEPH M. PATE. The nine-week program is led by music directorByron Dean Ryan and stage director DavidMorelock.

Thirteen singers will constitute the 1981-82San Diego Opera Center training and per-forming group. They will be under thetutelage of stage director Jan Bouws fromHolland, and Spanish soprano Isabel Pena-gos as director of voice. The participatingartists are: sopranos AMY BURTON,PATRICIA DOWELL, BRENDA ANNEHARRIS, LAUREL JAMES, CAROLKASZAR, and ANDREA LOUISE MAYS;mezzos WENDY HILLHOUSE and IRENETOBEY; tenors THOMAS CELESTINOand RICHARD SCHULER; and baritonesDAVID HAMILTON, STEVEN PIERCE,and GARY PRETTYMAN.

AUDITIONS

This year, the OPERA AMERICA AUDI-TIONS will place a greater emphasis on itsregional auditions, to make maximum useof regional and local talent by opera com-panies. The tentative schedule for regionalauditions to be held in August is as follows:Charlotte 8/18, Dallas 8/20,21, Portland8/23, Chicago 8/25,26, Toronto 8/28,29, andNew York City 8/31, 9/1,2,3. Ten to fifteensingers will be chosen for participation inthe national auditions which will take placein December in San Francisco, at the timeof the organization's annual meeting. Sing-ers can not apply directly, but must be sug-gested by the artistic director or managerof an Opera America member company.Each company may nominate up to fivesingers, corresponding members may sug-gest two singers.

The National Onera Association's annualPROFESSIONAL VOICE AUDITIONSwill be held in October '81 in Detroit. It isopen only to NOA members. Applicationsmust be accompanied by a tape with three

arias, and be sent to Dr. Barbara Lock-wood, NOA Auditions Chairman, 1716Clough #123, Bowling Green, OH 43402.Notification regarding acceptance in theauditions will be mailed in early September.The CONCERT ARTISTS GUILD, whichsponsors a competition for young singersand instrumentalists (see Career Guide), isoffering, for the first time, a one-day sem-inar on Career Development of PerformingArtists to its participants.

CONDUCTORS

This is the second year of the San DiegoOpera Young American Opera ConductorsProgram, and four young maestri have beenselected for full participation, two othersas auditors. Some of the trainees have hadquite some professional experience workingwith opera companies: 33-year-old BLISSJOHNSTON CALDERBANK (Vancouver,San Francisco, and Australian opera com-panies), 28-year-old GARY SHELDON(Spoleto Festival, Opera Theatre of Syra-cuse, Artpark, and orchestras in New Or-leans and Syracuse), and 27-year-old JOELETHAN FRIED (New York City Opera,Long Beach Grand, and Hidden ValleyOpera, and music director of the Los An-geles City College Opera Workshop). Theothers are 25-year-old CAROL CRAW-FORD, and auditors MARK GIBSON andPAUL SCHWARZ, both 24. Tito Capobiancowill again be in charge of dramatic training,Maurizio Arena of music training, and, inaddition, Kurt Herbert Adler will offer somemaster classes.

First prize at the Besangon InternationalConductors' Competition was awarded 25-year-old British conductor JONATHANSEERS. He is currently on the staff of theopera house in Freiburg, Germany.

COMPOSERS

There was no Pulitzer Prize awarded inmusic in 1981.

ERIC SALZMAN and MICHAEL SAHLreceived the Prix Italia for their operaCivilization and its Discontents. The operawas recently recorded on the Nonesuch label.

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IN 1980-81 OPERA/MUSICAL THEATRE LOST

Composer, pianist LOUIS ALTER, American, 78 years old, in New York11/3/80. He wrote the scores for various musicals, including Ballyhoo,Earl Carroll's Vanities of 1925 and 1928, and Sweet and Low, and col-laborated on others with such people as Frank Loesser, Oscar Hammer-stein II, and Lew Brown. He received his training at the New EnglandConservatory of Music, and later was accompanist to classical singersand entertainers.Conductor GIUSEPPE ANTONICELLI, Italian, 83 years old, in Trieste3/10/80. He began his career as a repetiteur in Turin in 1923, conductedhis first opera in Novara, and soon led performances at many Italianopera houses. He was at La Scala from 1934 to 1937, at which time hewas appointed general administrator in Trieste. He held this post until1945, and again from 1950 to 1966. He joined the Metropolitan Operain 1947 (Un Ballo in maschera on opening night) where he conductedItalian opera until 1950 and also recorded La Boheme with Bidu Sayaoand Richard Tucker. He was married to American soprano FrancaSomigli, who died in 1974.Scenic and costume designer HORACE ARMISTEAD, British/American,82 years old, in South Miami, FL 3/21/80. In 1948 he won a Tonyaward for his set designs for the original Broadway production ofMenotti's The Medium. His other Broadway credits included Blitzstein'sRegina and Menotti's The Consul and The Telephone. He also designedfor ballet and the theatre, among the former The New York City Balletand among the latter the American Shakespeare Festival in Connecticut.His first designs for the Met were seen in 1951 (Cavalleria rusticanaand Pagliacci), followed by Gianni Schicchi in 1952. He was responsiblefor the designs for the American premiere production of The Rake'sProgress at the Metropolitan in 1953, and the same company's 1960production of Fidelio. He came to the U.S. from England in 1924, andtaught at Boston and Brandeis universities in the 60's and 70's.Scenic designer BORIS ARONSON, Russian/American, 81 years old, inNyack, NY 11/16/80. One of Broadway's foremost stage designers, hecreated the settings for more than 100 shows. He received six Tonyawards, five of them for musicals: Cabaret, Zorba, Company, Follies,and Pacific Overtures. His opera credits include Mourning BecomesElectra (1967) and Fidelio (1970) for the Metropolitan Opera. In 1947the Museum of Modern Art exhibited his work in "Painting withLights", and last year the Museum and Library of the Performing Artsat Lincoln Center devoted a show to his stage sets. He studied art in hisnative Kiev, and later in Moscow and Paris.

Composer SAMUEL BARBER, American, 70 years old, in New York1/23/81. This world-renowned musician was celebrated as one of Amer-ica's leading composers during his lifetime, and received, among manyhonors, two Pulitzer Prizes, one in 1958 and one in 1963. His orchestralcompositions became part of the standard repertoire, and were playedby all international orchestras; his extensive vocal literature was pre-sented by such singers as Eleanor Steber, Jennie Tourel, and LeontynePrice. His two full-length operas, Vanessa (1958 Pulitzer Prize) andAntony and Cleopatra were premiered at the Metropolitan Opera, thelatter as the 1966 opening production of the company's new house atLincoln Center. His short opera A Hand of Bridge has been a favoriteof opera workshops since its premiere in Spoleto, Italy, in 1959. Hebegan studying the piano at age six, and composed his first piece thefollowing year. He was accepted at the Curtis Institute of Music whenhe was 14, and won his first prize for a composition at 18. In additionto piano and composition, he also studied voice, and this, coupled withthe fact that Metropolitan Opera contralto Louise Homer was his aunt,may account for his very special understanding of writing for the voice.

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OBITUARIES 1980-81

In 1935-36 he received a Pulitzer Travelling Scholarship and, the sameyear, the American Prix de Rome. His honorary degrees include onefrom Harvard University; he was also a member of the AmericanAcademy of Arts and Letters.Conductor ALBERT BITTNER, German, 79 years old, in Hamburg8/7/80. From 1943 to 1945, and again from 1955 to 1965, he was con-ductor of the Hamburg State Opera where he led first performances ofEgk's Irische Legende, Liebermann's Schule der Frauen, and Dvorak'sDimitri. He was assistant to Otto Klemperer at the Kroll Oper in Berlinearly in his career, and later became music director in Oldenburg, Essen,and Braunschweig. After his retirement he taught at the HamburgConservatory.Baritone RICHARD BONELLI (ne Dunn), American, 91 years old, inLos Angeles 6/7/80. He was first heard at the Brooklyn Academy ofMusic in 1915. He made his operatic debut with the Chicago Civic Operain 1925, portraying the elder Germont, and his Metropolitan Operadebut in New York in 1932. He sang with the New York company for12 seasons, appearing over 100 times in 19 different roles. He specializedin Italian and French opera, but was also featured as Wolfram in Tann-hduser and Wrestling Bradford in Howard Hanson's Merry Mount.After leaving the Met he joined the New York City Opera, where he lastperformed in 1949. He appeared in one of the first sound films and washeard in radio broadcasts, notably the first live American opera broad-cast, Faust, from the Chicago Civic Opera in 1927. His European engage-ments included La Scala and the National Opera in Paris; he also madenumerous recordings. From 1941 to 1955 he taught at the Curtis Insti-tute of Music, and in 1947 was one of the founding members of theMusic Academy of the West in Santa Barbara.Music publishing administrator KARL BRADLEY, American, 76 yearsold, in New York 4/6/80. For the last 15 years he served as EducationDirector of G. Schirmer, Inc., where he was responsible for a series ofchoral collections. He joined the New York publisher in 1959, afterhaving been associated with Theodore Presser, Gamble Music Co., Lyonand Healy, and Edwin H. Morris Publishing.Bass-baritone EUGENE BRICE, American, 67 years old, in New York10/31/80. He was a member of the New York City Opera, where heappeared in Porgy and Bess and Regina. He later turned to teachingprivately and at the Herbert Berghoff Studio. In his youth he toured aspart of the Brice Family Trio, whose other members were his sister,contralto Carol Brice, and his brother, pianist Jonathan Brice.Mezzo-soprano MURIEL BRUNSKILL, British, 80 years old, in England2/80. From 1922 to 1929 she sang with the British National Opera, andin 1933 appeared as Amneris at Covent Garden. Her last performancethere was as Ortrud in 1950. Two years later she participated in aproduction of the American musical Roberta in London.Director and choreographer GOWER CHAMPION, American, 61 yearsold, in New York 8/25/80. He began his career as partner in a danceteam with his wife, Marge, performing at fashionable nightclubs andlater in movies and on television, where they eventually had their ownshow. He made his debut as a Broadway director/choreographer in 1960with Bye, Bye Birdie, followed by, among others, Carnival, Lend an Ear,I Do, I Do!, and Hello, Dolly!. He received a Tony award as best directorfor Bye, Bye Birdie, and the New York Critics' Circle Award as bestdirector and choreographer for Carnival. He was director and choreog-rapher of the current Broadway production of 42nd Street, had super-vised all rehearsals and preview performances, but was not to witness thesuccess of opening night. His death, which had occurred that afternoon,was announced from the stage after the last curtain call. A memorialdance award has been established in his name, to be presented eachyear to an outstanding Broadway musical.

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OBITUARIES 1980-81

Director RENE CLAIR (ne Chomette), French, 82 years old, in Neuilly,France 3 15 81. He was one of France's most prominent film directorsand writers. He made 28 pictures between 1923 and 1965, including someproduced in Hollywood and England during World War II. In 1973 RolfLiebermann engaged him to direct his first and only opera, Gluck'sOrphee et Eurydice, at the Opera National in Paris.Stage director, critic, and author HAROLD CLURMAN, American, 78years old, in New York 9 9 80. Dedicated to the art of the theatre, heleft an indelible impression on the American theatrical scene. In 1931he founded The Group Theatre, introducing American audiences to theStanislavsky Method, and his productions usually featured some re-nowned actors in interesting and successful plays. The Group disbandedin 1941, but many actors and directors who had been associated with itlater formed The Actors Studio. Among Mr. Clurman's many books areOn Directing, The Divine Pastime, and All People Are Famous. Hislifelong friendship with Aaron Copland dated back to their student yearsin Paris. Clurman was awarded many honors, among them the Legiond'Honneur, and in 1979 the Harold Clurman Theatre was opened on West42nd Street. He also taught at Hunter College and Brandeis University.Opera administrator ROBERT J. COLLINGE, American, 52 years old,in Baltimore 5/22/80. He was general manager of the Baltimore Operafor 15 years, a position he assumed after three years with the company'sproduction department. In 1973 he created the Eastern Opera Theateras an educational subsidiary of the Baltimore Opera. Co-founder ofOpera America, he was elected its first president, and twice re-electedto that office. A staunch supporter of opera as a national cultural force,he was a member of the Central Opera Service Professional Committee,on which he served with great dedication. He was also a trustee of theNational Opera Institute and an NEA Opera Program panel member. In1976 he was made a Cavaliere of the Order of Merit of the Republic ofItaly for his work in promoting opera in the United States.Baritone LORENZO CONATI, Italian, 90 years old, in Milan 8/7/80. Aleading baritone, he sang with major opera companies in Italy, France,Switzerland, and South America, and toured the United States with theSan Carlo Opera in the 1920's. He taught in Milan and Verona afterhis retirement from the stage.

Playwright, journalist, director, and actor MARC CONNELLY (neMarcus Cook), American, 90 years old, in New York 12/21/80. He beganhis career as a journalist in his native Pittsburgh, and first wrote forthe stage in 1914, providing the lyrics for The Lady of Luzon with musicby Zoel Parteneau. His second musical, also with Parteneau, was TheAmber Empress, which opened on Broadway in 1916. Next, the Algon-quin's "Round Table" group of authors, of which Connelly was a found-ing member, presented The U9ers on Broadway, and in 1923 he collab-orated with George S. Kaufman on the libretto for Helen of Troy, NewYork, with music by Bert Kalmar and Harry Ruby. Kaufman andConnelly also teamed to write straight plays, including Dulcy, To theLadies, and Beggars on Horseback, parts of which were incorporatedinto the musical review, Round the Town. Be Yourself featured musicby Lewis Gensler and Milton Schwarzwald; the book presented a revisedversion of the Kaufman/Connelly play, Miss Moonshine. Connelly's shortstory, The Guest, first published in The New Yorker, re-appeared as amusical sketch in a 1930 revue, The Second Little Show, and the follow-ing year he contributed to The Third Little Show. However, his trulygreat successes were dramatic plays and he received a Pulitzer Prizefor The Green Pastures.Pianist and auditions director SADA COWEN, American, 95 years old,in Ohio 4/6/81. Best known as founder and director of the Artists'Advisory Council in Chicago, she discovered promising young artists

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OBITUARIES 1980-81

and helped launch their careers. Among them were Giorgio Tozzi,Sherrill Milnes, and instrumentalists Joseph Fuchs, Gary Kerr, andLynn Harrell. She began her career as a concert pianist, and later helpedfound the Stadium Auditions of Lewisohn Stadium in New York, thefirst public performing arts audition in the United States. The prizesawarded by the Artists' Advisory Council Auditions became some of themost prestigious awards for young performers.Author, lecturer, and record producer JOHN CULSHAW, British, 55years old, in London 4/26/80. In 1956 he became manager of the classicaldivision of Decca Record Company. Two years later he produced the firststereo recording of Der Ring des Nibelungen with the Vienna Philhar-monic under Sir Georg Solti, a recording that revolutionized the industryand became a model for future opera discs. His book, Ring Resounding,published in 1967, describes the day-to-day progress of the project. Healso produced many recordings of Benjamin Britten's music and wasinstrumental in Britten's writing Owen Wingrave for television as wellas the televising of Peter Grimes with the composer conducting. In 1967he was appointed head of music programs for BBC. Among his otherwritings are a biography of Rachmaninov and articles for music mag-azines. He was often heard on Metropolitan Opera broadcast intermis-sions, was a visiting lecturer at the University of Southern California,the University of Texas, and in Australia, and was a consultant to theAustralian Broadcasting Commission and the Aldeburgh Festival. In1959 he was awarded the Nicolai Medal by the Vienna Philharmonic, andin 1967 the Schalk Medal.Composer PASQUALE DE ROGATIS, Italian/Argentinian, 98 yearsold, in Buenos Aires 4/15/80. He was born in Italy, but his family movedto Argentina when he was small and his musical studies took place atthe Buenos Aires Conservatory. His operas Anfion y Zeto (1915),Huemac (1916), and La Novia del hereje (1935) all had first per-formances in Argentina.Soprano JESSICA DRAGONETTE, American, in New York 3/18/80.Best known as a radio performer of operetta and semi-classical musicfor over 20 years, she began her professional career on stage in MaxReinhardt's production of The Miracle (1924). She then appeared inThe Student Prince and The Grand Street Follies. She was decorated byPope Pius XII, and, for entertaining the troops during the war, theArmy Air Force made her an honorary colonel. Her autobiography, FaithIs a Song, was published in 1967.Soprano and administrator CONSTANCE R. EBERHART, American,84 years old, in New York 3/23/81. Her enthusiasm for opera was, nodoubt, fostered by her mother, N. Richmond Eberhart, who wrote thelibretti for five of Charles Wakefield Cadman's operas, of which Shanewiswas performed at the Metropolitan Opera in 1918, and The Witch ofSalem at the Chicago Civic Opera in 1926. In her youth, Constance Eber-hart sang with various American opera companies, including the ChicagoCivic Opera. She was co-founder of the National Opera Association, andserved as its secretary-registrar from its inception in 1954. Hardworkingand dedicated to her organization, she was always ready to collaboratewith COS and other service organizations, eager to promote the causeof opera. In her memory, NOA has established the Eberhart MemorialFund to assist young singers.Stage director, manager, and teacher CARL EBERT, German/American,93 years old, in Santa Monica 5/14/80. This internationally renownedartist studied acting at the Max Reinhardt theatre school, and from1909 to 1914 performed at Reinhardt's Deutsche Theater in Berlin. In1925 he became a professor at the Hochschule fur Musik, and in 1927became general manager of the opera house in Darmstadt, where KarlBohm was music director. Two years later he staged his first opera,

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OBITUARIES 1980-81

Le Nozze di Figaro. In 1931 he was appointed Intendant of the StadtischeOper in Berlin, where he collaborated with Fritz Stiedry and CasparNeher on a famous production of Macbeth. Rudolf Bing was his assis-tant. He left Germany in 1933 and staged operas in Italy and SouthAmerica. Together with Fritz Busch and John and Audrey Christie, hefounded the Glyndebourne Festival in 1934, where he was joined byRudolf Bing the following year. Ebert's last production in Glyndebournewas in 1959. He also founded the Turkish National Theatre and directedopera at Edinburgh, Salzburg, and La Scala. In 1948 he joined thefaculty of the University of Southern California, where he created oneof the leading opera workshops in the U.S. He remained its director until1954, when he returned to West Berlin as Intendant of the new DeutscheOper which he headed for seven years. His Metropolitan Opera debutoccurred in February 1959, when he staged Macbeth, again designed byCaspar Neher. This was followed by Martha and Cosi fan tutte (1961),and Ariadne auf Naxos (1962). Although he retained his residency inCalifornia and gave master classes at the University there, he continuedto stage opera in international houses. His son, Peter Ebert, is also anopera stage director and was general manager of the opera in Wiesbadenand of the Scottish Opera.

Stage director FRANCO ENRIQUEZ, Italian, 52 years old, in Ancona8/30/80. He first worked in theatre as an assistant to Visconti andStrehler, then in opera as assistant to Carl Ebert and Herbert Graf. Hemade his operatic debut staging Khovanshchina for the Rome Opera in1951, followed by productions at major international opera houses includ-ing La Scala, the Bolshoi, in Munich, and in Buenos Aires. His Britishdebut was at Covent Garden in 1952, where he staged Norma with Callas,and in 1960 he directed his first opera at Glyndebourne, 7 Puritani withSutherland. He was the stepson of composer/conductor Vittorio Gui.

Bass DEZSO ERNSTER, Hungarian, 82 years old, in Zurich 2/15/81.This internationally known bass made his debut at the Municipal Theatrein Plauen in 1923, singing the Landgraf in Tannhauser. After a fewyears with various German opera companies, he became a member ofthe prestigious ensemble in Berlin, where he participated in the premiereof Hindemith's Neues vom Tage. His first appearance at the BayreutherFestspiele occurred in 1931, when he sang Titurel in Parsifal underToscanini. After Hitler came to power, he left Germany and sang inGraz, performing his first Baron Ochs. He was first heard in the UnitedStates in 1937, when he toured with the Salzburg Opera Guild underKrenek's and Erede's musical direction. In 1939 he returned to his nativeHungary to sing at the Budapest Opera, but was surprised by the out-break of World War II and was eventually sent to a German concentra-tion camp. He was freed with the help of an international organizationand reached Switzerland in 1945. After this six-year interruption hereturned to the stage in Basel as Don Alfonso in Cosl fan tutte. In 1946he began his 17-year residency with the Metropolitan Opera by singingKonig Marke in Tristan und Isolde. This was followed by a variety ofroles in the Wagner, Mozart, and Strauss repertoire. He also sang Roccoin the 1951 production of Fidelio under Bruno Walter, and his firstGrand Inquisitor in Don Carlo in 1953. The latter role also served ashis Met farewell performance ten years later. During his years in NewYork he made guest appearances at various major opera houses andfestivals. After 1963 he moved to Zurich, where he sang Boris, and hisfinal performance, Sarastro, took place in his native Budapest.

Tenor MARIO FILIPPESCHI, Italian, 72 years old, in Florence12/25/79. In 1936 he was a winner in the Vienna International SingingCompetition, and made his debut in Colorno in 1937. He sang leading

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dramatic roles in major opera houses in Italy, Germany, Switzerland,Spain, France, and South America, and made some important recordings,among them Guglielmo Tell with Gobbi and Christoff, and Norma withCallas.Artists manager LOUISE FLORIAN, American, 54 years old, in Wash-ington, PA 3/18/81. As partner in the management firm Ludwig Lustigand Florian, she managed the careers of such singers as Beverly Sills,Norman Treigle, and Nell Rankin. She began her own career workingfor Rudolf Bing, then general manager of the Metropolitan Opera, andlater joined the administration of the American Opera Society.Music and art critic, author and lecturer ALFRED FRANKENSTEIN,American, 74 years old, in San Francisco 6/22/81. He was consideredone of America's foremost music critics and, as such, was quite influ-ential in shaping musical tastes. After a short period as assistant musiccritic in his native Chicago, he was named music critic of The SanFrancisco Chronicle in 1934. He filled that post until 1965 but remainedwith the paper until 1979 as art and culture writer. He continued writingmusic critiques and articles for various other publications, and contrib-uted his last review to Musical America the week before his death. Soonafter joining The Chronicle he expanded his sphere to include reviewsand articles on the fine arts and became an equal authority in this field.He published various books on both subjects. He lectured and taught atthe University of California at Berkeley, and during the last years, atMills College and Stanford University.

Recording producer DONALD H. GABOR, American, 68 years old, inNew York 11/20/80. He started as a shipping clerk with RCA Victor in1938, became manager of its international recording division, andformed his own record company in 1940. Under the Continental Recordslabel he produced semi-classical music, and under Remington Recordsentered the classical field. He was a leader in making classical musicrecordings available to the public at low prices; in 1950 his long-playingrecords sold for 99 cents.

Librettist and stage director MARIO GHISALBERTI, Italian, 78 yearsold, in Venice 8/24/80. As a librettist, he collaborated with Wolf-Ferrarion La Vedova scaltra, II Campiello, and La Dama boba, with Napoli onII Malata immaginario, with Montemezzi on La Notte di Zoraima, andwith Persico on La Locandiera. He worked as a stage director in majorItalian opera houses and, in 1931, at the Salzburg Festival.Impresario PAOLO GRASSI, Italian, 62 years old, in London 3/14/81.He was director of the Teatro alia Scala in Milan from 1972 to 1977 andgeneral manager of the Radio Italiano broadcast network from 1977 to1980. He resigned from La Scala after the Italian government cancelledthe company's American tour due to financial difficulties. As head ofRAI, he was instrumental in bringing about the first live telecasts fromthe stage of La Scala. In 1947 he founded the Piccolo Teatro alia Scalaand its opera school in Milan.

Playwright PAUL GREEN, American, 87 years old, in Chapel Hill, NC5/4/81. Among his numerous plays is Johnny Johnson, for which KurtWeill composed his first American score. It was premiered by The GroupTheatre in New York in 1936. In addition to his Broadway plays, he alsocreated theatre pieces for outdoor performances, incorporating tradi-tional folksongs, dancing, and poetry rooted in his native North Carolina;there they became annual summer events. He was awarded the PulitzerPrize in 1927 for In Abraham's Bosom. Two years ago he was namedNorth Carolina's Dramatist Laureate by a resolution of the GeneralAssembly. He was professor of drama at North Carolina University,served on the executive commission of the U.S. National Committee for

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UNESCO, and was president of the National Theatre Conference andthe American Folk Festival.Cultural leader G. LAUDER GREENWAY, American, 77 years old, inGreenwich, CT 6/22/81. From 1956 to 1970 he served as chairman ofthe board of directors of the Metropolitan Opera Association, and forthe following five years as honorary chairman of the Association. Hejoined the board of directors in 1942, and was made an honorary memberin 1977. He was a director of the Philharmonic Symphony Society ofNew York from 1948 to 1970, and a member of the first board of direc-tors of Lincoln Center, serving from 1964 until 1973. His other artisticaffiliations included the Metropolitan Museum of Art (1932-41), theInstitute of Fine Arts of New York University (1946-60), the Associatesin Fine Arts and the University Council of Yale University, and theMusic Division of the New York Public Library. He also sat on theCitizen's Advisory Committee of the Cultural Affairs Department of theCity of New York. He studied at Trinity College of Cambridge Univer-sity in England, and received a Ph.D. from Yale University, where hewas an instructor in English for two years. New York Universityawarded him an honorary doctorate in fine arts in 1958, citing him "azealous champion of the classic humanities in this cornucopian age ofingenious mechanics".Composer, conductor, and educator HOWARD HANSON, American, 84years old, in Rochester, NY 2/26/81. He was one of America's most cele-brated "conservative" composers. His many compositions included oneopera, Merry Mount, first staged by the Metropolitan Opera on February10, 1934, and featuring Swarthout, Tibbett, and Johnson, and conductedby Tullio Serafin. It was revived in 1964 in San Antonio and in 1974 inChautauqua. He also left his mark as an educator, heading the EastmanSchool of Music in Rochester as director for forty years (1924-64). Hebecame head of the Department of Theory and Composition at the Col-lege of the Pacific in California when he was only 19; four years later hewas appointed dean of its conservatory of music. He was guest conductorwith many American symphony ensembles, including the Los Angelesand New York Philharmonic orchestras. Among the offices he held withnational organizations was that of chairman of the Commission onGraduate Study of NASM, president of MTNA, and president of theNational Music Council. He was a member of the National Institute ofArts and Letters, of the advisory committee on music for the StateDepartment, and a fellow of the Royal Academy of Music in Sweden. Hewas awarded the Pulitzer Prize in 1944, and the Ditson Award in 1945.Northwestern University, his alma mater, and Columbia University bothbestowed honorary doctorates on him. After his retirement, the Univer-sity of Rochester named him Emeritus Distinguished University Pro-fessor for life, and in 1976 dedicated the Howard Hanson Recital Hall.Lyricist E. Y. (Yip) HARBURG, American, 84 years old, in Los Angeles3/5/81. He collaborated with such composers as George Gershwin,Jerome Kern, and Harold Arlen, creating innumerable popular songs andsemi-classical ballads, such as "April in Paris", "Brother, Can you Sparea Dime", and "Paper Moon". He wrote the libretto and lyrics for suchBroadway shows as Bloomer Girl (1944), and Finian's Rainbow (1947).His film credits include The Wizard of Oz, Cabin in the Sky, and Can'tHelp Singing. He was to have received the Johnny Mercer Award of theSongwriters Hall of Fame on March 9.Conductor LESLIE HARNLEY, American, 62 years old, in New York11/11/80. A graduate of the Juilliard School of Music, he conducted theWagner Opera Company on tour, was a vocal coach at Sarah LawrenceCollege, music director for various Broadway shows, and, for ten years,music director of the Katherine Dunham Dance Company.Tenor THOMAS HERNDON, American, 43 years old, in Hamburg

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1/6/81. He was born in North Carolina, attended Princeton University,and studied voice with Dusolina Giannini. After attending the operastudio of the Zurich Opera, he made his debut in 1964 in Heidelberg,where he remained for three years. After engagements in Mannheim andStuttgart, he joined the Hamburg State Opera in 1973, singing majorroles in the "jugendliche Heldentenor Fach". He made guest appearancesin Holland, Israel, Italy, and Zurich. During 1980 he sang Florestan inOldenburg, Das Lied von der Erde in Paris, and Mefistopheles in DoktorFaust in London. He suffered a stroke on stage during a Hamburg per-formance of Palestrina and died six days later.Soprano KAETE HEIDERSBACH, German/Swedish, 81 years old, inStockholm 3/3/79 (not previously reported). She made her debut inDetmold in 1922 and joined the Berlin State Opera in 1927, continuingas a member of the company until 1944. Her guest appearances took herto Bayreuth, Paris, Amsterdam, London, and Barcelona. In 1938 shecreated the role of Solveig in Egk's Peer Gynt in Berlin. After retiringfrom the stage, she sang in concerts and taught in Stockholm. She wasmarried to the Swedish singer Nils Kalle.Composer EUSEBIA (Simpson) HUNKINS, American, 78 years old, inOhio 9/9/80. Among her various compositions are six operas, somewritten for children. Others are based on folk themes, both in their subjectmatter and their music. They include Smoky Mountain, The ReluctantHero, Mice in Council, The Spirit Owl, and The Young Lincoln. Excerptsfrom Wonderous Love, a religious drama, were performed at a memorialconcert given in her honor.Soprano MARIA HUSSA, Austrian/American, 83 years old, in Chicago4/19/80. In 1917 she made her debut at the Vienna Volksoper, andappeared at the Vienna Staatsoper the following year. She sang inBerlin from 1923 to 1926, and was a member of the Hamburg StateOpera 1926-32, where she assumed major roles. During that time she alsosang the soprano leads in the premieres of Korngold's Das Wunder derHeliane and Respighi's La Campana sommersa. She emigrated to theUnited States in 1934, sang the role of the Marschallin at the Metropoli-tan Opera in 1940, and the same role as well as Sieglinde in Chicagoduring the same season. Later she taught at the Sherwood Music School.Coach/accompanist ROBERT JONES, British, 44 years old, in NewYork 6/13/80. Born and educated in England, his first professionalengagement was as coach and accompanist at the Glyndebourne Festival.He came to the United States as chorus director for the San Franciscoand Santa Fe Opera companies. He was music supervisor for the operadepartment of the Manhattan School of Music and head of the musicstaff for the Opera Theatre of Saint Louis, which is establishing a musiclibrary in his honor.Educator Dr. ABBOTT KAPLAN, American, 68 years old, in Brent-wood, CA 7/13/80. In 1966 he became the first president of the newState University of New York at Purchase, created especially forstudents of the arts. Due to mandatory retirement, he left that post in1977. He joined the UCLA College of Fine Arts in 1946 as professor oftheatre arts, where he advanced to associate dean. He founded the UCLATheatre Group which, eight years later, became the Center TheatreGroup of the Mark Taper Forum. From 1963 to 1966 he was the firstchairman of the California Arts Commission. He was also president ofthe U.S. Adult Education Association and a panel member of theRockefeller Study of the Performing Arts.Baritone ARTHUR KENT (Arturo Capuro), American, 74 years old,in Columbia, SC 12/3/80. In 1939 he was co-winner of the MetropolitanOpera Auditions of the Air, sharing the prize with Eleanor Steber. Hemade his Met debut in 1940 in Samson et Dalila and sang with the com-pany until 1946, interrupted by Army service 1942-45. His first stage

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appearance was on Broadway prior to his Met engagement. He laterreturned to full-time military service. Upon retirement from the Army,he became manager of Sardi's East, then joined the Executive ManningCorp., from which he retired as vice president. He was a brother ofAlfred Drake.Artist and costume/scenic designer TOM KEOGH, American, 58 yearsold, in New York 2/15/80. He studied at the California School of FineArts and the Chouinard School of Painting, then joined theatre andballet designer Barbara Karinska. He designed costumes for MarleneDietrich and Mae West, and among his scenic designs were those forthe Berlin production of Jesus Christ Superstar. He also worked as anillustrator.Coloratura soprano ADELE KERN, German, 78 years old, in Munich5/80. She began her career as a dancer in the Munich opera ballet andmade her singing debut there in 1924, portraying Olympia in Les Contesd'Hoffmann. With the exception of a season in Frankfurt and two inBerlin, she remained a leading member of the Bayerische Staatsoperensemble until her retirement in 1946. She made frequent guest appear-ances in Vienna, Salzburg, London, Amsterdam, and Buenos Aires, sing-ing the major roles of the coloratura repertoire. For the last 30 yearsshe lived in retirement in Munich.Corporate arts officer ROBERT E. KINGSLEY, American, 62 years old,in New Canaan, CT 2/23/80. He joined Standard Oil of New Jersey, nowExxon, in 1948, and became its manager of urban affairs and senioradvisor for cultural and communications programs. As such, he organ-ized corporate support for numerous arts institutions, including severalopera companies for which he underwrote many new programs. He wasa founding member and chairman of the Arts and Business Council andof the advisory council of BCA, and was also a board member of theAmerican Symphony Orchestra League. His imagination, dedication, andknowledge made him an invaluable friend of the performing arts.Composer and accompanist ARTHUR KLEINER, Austrian/American,77 years old, in Hopkins, MN 3/31/80. He began his career as a con-ductor at Max Reinhardt's Theater in der Josefstadt in his native Vienna.He was a classically trained pianist and organist, and his first job uponreaching America was as rehearsal accompanist for Balanchine. In 1939he became music director for the Museum of Modern Art in New York,where he wrote and played his music to accompany silent films. He alsowrote the award-winning score for the play Anna Lucasta, as well as thescore for / Am a Camera, which he also conducted. In addition, he com-posed music for two Agee films.Painter OSKAR KOKOSCHKA, Austrian/British, 93 years old, in Mon-treux, Switzerland 2/22/80. He was a major artist of the Expressionistmovement, and his works appear in museums throughout the world.Although intensely interested in theatre and music, he did not design anoperatic stage set until 1955, when he was 65 years old. That one andonly set was for a production of The Magic Flute at the SalzburgFestival.Conductor KIRIL KONDRASHIN, Russian, 67 years old, in Amsterdam3/7/81. The internationally renowned maestro began his career in 1931at the Moscow Children's Theatre, and in 1934 became assistant conduc-tor at the Nemirovich-Danchenko Music Theatre. From 1936 to 1943 hewas conductor at the Maliy Theatre in Leningrad, then joined the Bolshoiin Moscow, where he conducted and staged productions for 13 years. Hisappearances outside Russia included a guest engagement with the LyricOpera of Chicago. In 1960 he was appointed music director of the MoscowPhilharmonic, where he remained until his defection to the Netherlandsin 1978. Since then, he made his home in Amsterdam. As music director

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of the Concertgebouw Orchestra, he conducted a Mahler symphony theevening before his death.Soprano HILDE KONETZNI, Austrian, 75 years old, in Vienna 4/20/80.She made her debut as Sieglinde in Die Walkilre in 1929, with her sisterAnny portraying Briinnhilde. She sang with the Deutsche Theater inPrague from 1932 to 1935. Her Vienna State Opera debut followed in1936, as Elisabeth in Tannhauser, and she remained a leading dramaticsoprano of the company for almost 40 years. She made guest appearancesat international theatres including La Scala, Teatro Colon, and CoventGarden, but never sang with the Metropolitan Opera. She toured the U.S.in 1937 and 1939. She was especially lauded for her interpretations ofMozart and Strauss roles. After her retirement from the stage she taughtat the Opera Studio of the Vienna State Opera and at the Music Academy.Soprano MILIZIA KORJUS, Polish/American, 72 years old, in LosAngeles 8/26/80. Born in Warsaw, she completed her studies in Moscowand, in 1934, was engaged by the Berlin State Opera where she sang lead-ing roles under Furtwangler. She participated in the Reinhardt produc-tion of Les Contes d'Hoffmann with Richard Tauber. Her first Americanventure starred her in the 1938 MGM film The Great Waltz. Six yearslater she was heard for the first time in New York in a Carnegie Hallconcert, followed by one in the Hollywood Bowl. She is said to have madesome 300 recordings.Bass-baritone and teacher OTAKAR KRAUS, Czech/British, 70 yearsold, in London 7/28/80. He made his debut in Brno in 1935 as Amonasro,and the following year received a contract from the Bratislava Opera,where he sang for three years. He left Czechoslovakia for England afterthe German occupation, and in 1942 made his British debut at the SavoyTheatre. This was followed by a three-year engagement with the CarlRosa Company, one year with the English Opera Group, and one year withthe Netherlands Opera. In 1951 he joined Covent Garden, where he sangnearly 40 different roles before he retired in 1973. He participated inworld premieres of Walton's Troilus and Cressida (Diomede), Tippett'sMidsummer Marriage (King Fisher), and Stravinsky's The Rake's Pro-gress (Nick Shadow) in Venice in 1951. In 1960 and 1962 he sang at theBayreuth Festival. After his retirement he taught privately in London.Soprano MARIA KURENKO, Russian/American, 89 years old, in NewYork 5/17/80. Two years after her 1916 debut in Kharkov she became amember of the Bolshoi in Moscow. She left Russia for the United Statesin 1920, and sang opera in Chicago and Los Angeles. She frequentlyappeared in concerts and recitals and made many recordings.Accompanist, pianist, and composer WILLIAM LAWRENCE, American,85 years old, in New York 3/17/81. For many years he was accompanistto singers including Marian Anderson, Roland Hayes, and DorothyMaynor. He taught piano and voice in New York, and for 25 years wasa judge for the Marian Anderson Scholarship Award.Tenor AGOSTINO LAZZARI, Italian, 61 years old, in Genoa 1/28/80.After his debut as Almaviva with the Copagnia di Milano in 1945, hesang with most opera houses in Italy, and later in Germany, Switzerland,and at Covent Garden. He took part in many Italian first performances,such as Die Liebe der Danae, Amahl and the Night Visitors, and Mil-haud's Christophe Colombe, and created roles in the world premieres ofVeretti's Burlesca (Rome 1955), and Zafred's Amleto (Rome 1961). Hereceived several honors from the Italian government.Conductor RICHARD LERT, Austrian/American, 94 years old, in Pasa-dena 4/25/80. He started his career in smaller German opera houses, andin 1931 was named first conductor of the Berlin State Opera. In 1936 heemigrated to the United States with his wife, the author Vicki Baum, and

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for 36 years was music director of the Pasadena Symphony. From1963-78 he was artistic director of the Shenandoah Valley Festival inOrkney Springs, VA, which dedicated its 1980 summer season to him. In1956 he headed the first conductors' workshop of the American Sym-phony Orchestra League in California, and led that workshop annuallyuntil 1978.Stage designer and artist SIMON LISSIM, Russian/American, 80 yearsold, in Naples, Florida 5/10/81. His association with the theatre beganwhen he became assistant stage designer in his native Kiev at the age of17. He moved to Paris, where he designed sets for the Opera-Comique andvarious theatres, and also for other European opera houses. He came tothe United States in 1941 and was soon named head of the art educationprogram of the New York Public Library. From 1944 to 1971 he was aprofessor at City College of New York. His work is exhibited in manymajor museums in the U.S. and abroad, and his last one-man show,"Dreams in the Theatre", opened at the New York Library and Museumof the Performing Arts in 1975 and is still touring the country.Composer and teacher CAROLINE LLOYD, American, 56 years old, inMajorca 6/80. Among her compositions is one opera, Dona Barbara,composed for the 400th anniversary celebration of Venezuela. It waspremiered in Caracas in 1967. The North American premiere of the two-act work is scheduled for the current season by the Florida Opera Reper-tory Company in Coral Gables. She was also active as a teacher andchoral director.Educator and composer NORMAN LLOYD, American, 70 years old, inGreenwich, CT 7/31/80. In the 1940's he introduced a new method ofteaching music theory at the Juilliard School which was presented as"Literature and Materials of Music". He was director of the prestigiousmusic school from 1946 to 1949, and remained on the faculty for anadditional 14 years. For two years he was dean of the Oberlin CollegeConservatory of Music. In 1965 he joined the Rockefeller Foundation,where he served as a director for 12 years and where he designed its artsprograms. He published several books including The Fireside Book ofAmerican Songs and The Fireside Book of Folk Songs, The Golden Ency-clopedia of Music, and The Complete Sight Singer. He was a member ofthe board of directors of the National Music Council.

Baritone and author PAUL LORENZ, Austrian, 87 years old, in Vienna2/10/80. Between 1932 and 1938 he sang opera in Vienna, Salzburg, andGermany. Later he became a music critic, and his reviews appeared invarious periodicals including Opernwelt. His book about major pianistswas published in 1980.Administrator ROBERT LOTITO, American, in Colorado 3/29/81. Hewas artistic and executive director of the Central City Opera from1971-78, and under his leadership the company developed its ApprenticeArtists Program and its Central City Singers program. He was alsoinstrumental in bringing a festival production to Denver. He began hisassociation with the company as a volunteer in the 1950's, and later wasits public relations director. In 1976 he received the Governor's Awardfor Excellence in the Arts.Tenor GIUSEPPE LUGO, Italian, 81 years old, in Milan 9/18/80. Hebegan his career in 1931 at the Opera-Comique in Paris as Cavaradossi,and sang Italian and French repertoire there for three years. He returnedto Italy, where he assumed leading roles at various Italian opera housesand also at Covent Garden. He retired in 1942.Conductor ANNUNZIO PAOLO MANTOVANI, Italian/British, 74 yearsold, in Tunbridge Wells, England 3/29/80. In 1932 he formed his ownorchestra, and became famous for his arrangements of light popularmusic. He was acclaimed on his United States tours, and his recordings,

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which included excerpts from favorite musicals, were best sellers in the50's and 60's and won many awards. His father, Benedetto Paolo, hadbeen concertmaster for Toscanini in Italy, and had taught at conser-vatories in Venice and Milan.Singer and restaurateur ADOLPH MARIANI, Italian/American, 77years old, in New York 4/5/80. Born in Italy, he came to the UnitedStates in 1922 to pursue a career as an opera singer. However, after sixyears he opened the Asti restaurant in New York's Greenwich Village,which became famous for its singing waiters. Soon he attracted operastars to his clientele, and they often joined in the singing.Tenor WALTER MIDGLEY, British, 66 years old, in Banstead, Surrey9/18/80. His career, begun with the Carl Rosa Opera in 1938, was inter-rupted by World War II. Returning to London, he sang with Sadler'sWells (now the English National Opera) and, from 1947 to 1952, sangmajor roles at Covent Garden. He also appeared at the Glyndebourne andEdinburgh festivals.Soprano MARY McCORMIE, American, 95 years old, in Amarillo, TX2/10/81. Her first stage appearance was in 1921 in Chicago, where shesang Michaela with her teacher, Mary Garden, as Carmen. She continuedwith the company for three years, then went to Europe where she sangmajor roles at the Opera-Comique and later at the Grand Op6ra in Paris.During the same period she returned to the U.S. to tour with the SanCarlo Opera, and resettled in her homeland at the beginning of WorldWar II. She appeared on radio and in some films, and in 1945 foundedthe very active opera workshop at North Texas State University in Den-ton. She was its director until the late 50's.Bass-baritone HANS HERMANN NISSEN, German, 87 years old, inMunich 3/28/80. He began as a concert singer in 1920 and made hisoperatic debut at the Berlin Volksoper in 1924. The following year hebecame a member of the Bayerische Staatsoper in Munich, where heenjoyed one of the longest associations in the history of the company.His farewell performance was as Don Fernando in Fidelio in 1967. Hisrepertoire ranged from Mozart to Wagnerian Heldenbariton parts, andhe made guest appearances in major opera houses throughout the world.His U.S. engagements were with the Chicago Opera 1930-32, and withthe Metropolitan Opera during the 1938-39 season, when he sang sixdifferent Wagnerian roles. His famous interpretation of Hans Sachs washeard at the Bayreuth and Salzburg festivals, where he sang underToscanini. He also recorded the role in 1937, with Karl Bohm conducting.Tenor KARL OSTERTAG, German, 76 years old, in Munich 12/79. Amember of the Munich Opera from 1936 to 1969, he sang roles of theleading dramatic repertoire. In 1944 he sang Pollux in the public dressrehearsal of Die Liebe der Danae in Salzburg (the projected premieredid not take place until 1952). He later sang the role in London andMunich.Soprano IVA PACETTI, Italian, 80 years old, in Rome 1/19/81. A lead-ing soprano with La Scala (1922-1942) and the Rome Opera (1925-1947),her repertory encompassed a wide range of roles and styles. She was aguest artist in most major opera houses in Europe and South America,and sang at the Chicago Opera in 1931-32. In 1941 she participated inthe first production of Alfano's Don Juan de Manara in Florence, and thefollowing year in the Italian premiere of Cherubini's Les Deux journiesin Milan.Coloratura soprano LINA PAGLIUGHI, American/Italian, 73 years old,in Savignano Sul Rubicone 10/1/80. Brooklyn born, she studied as a childprodigy with Tetrazzini, and gave her first concert in San Franciscowhen she was ten. Five years later, she moved with her family to Italy,where she established permanent residency. She made her professional

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debut as Gilda in 1927 at the Teatro Nazionale Milano, and three yearslater sang the same role at La Scala. Her farewell performance therewas as Lucia with Benjamino Gigli in 1947, although she sang anoccasional performance at La Scala and in Rome during the 50's. Shecontinued singing on Italian radio until 1956. Guest appearances tookher to many Italian theatres and to Covent Garden (1938). Her manyrecordings included some roles in which she never appeared on stage.Impresario JUAN-ANTONIO PAMIAS, Spanish, 77 years old, in Bar-celona 5/9/80. He was co-director of the Teatro Liceo in Barcelona from1947 to 1959, when he was named its sole director, a position he still heldat the time of his death. During his regime, the theatre's internationalrepertoire was greatly expanded, and he was instrumental in bringingthe Bayreuth ensemble to Barcelona in 1955. He also helped establishthe careers of Spanish singers including Montserrat Caballed Jose Ca-rreras, and Giacomo Aragall.Teacher PAULINE HARTT PARANOV, American, in Hartford, CT2/22/81. Daughter of Julius Hartt, founder of the Hartt School of Musicat the University of Hartford, and wife of Moshe Paranov, co-founder ofthe school, she began teaching in 1917 when the school was called JuliusHartt, Moshe Paranov and Associated Teachers. During 1936-49 sheserved as Hartt Dean of Students, and 1962-74 was Associate Dean ofStudents of the University of Hartford. At different times she chairedthe departments of Music History and Piano Pedagogy at Hartt, andfrom 1942 to 1969 she was costumer for the Hartt Opera Theater underthe late Elemer Nagy.Writer and newsman JOHN R. PASCAL, American, 48 years old, in NewYork 1/7/81. He was co-author of the musical George M, which openedon Broadway in 1968, and which was based on Pascal's biography ofactor/singer/composer George M. Cohan. He was a columnist for News-day, and earlier had been a writer for various New York newspapers anda writer and editor at The New York Times.Philanthropist and oil industrialist C. MICHAEL PAUL, Russian/American, 78 years old, in West Palm Beach, FL 12/7/80. After makinghis fortune in oil and high finance, he gave generously to the arts andother causes. In 1965 he donated $1 million to the Juilliard School to-wards the construction of a recital hall which now carries his name. Hisinterest in music was founded on a musical education in St. Petersburg(Russia), where he gave his first concerts when he was 11 years old. Healso concertized after his arrival in San Francisco in 1917.Stage director and librettist CORRADO PAVOLINI, Italian, 82 yearsold, in Cortona 4/10/80. His specialty was staging 18th century opera,which he did at leading Italian opera houses and for Italian television.He wrote the libretti for Casella's II Deserto tentato (Florence 1937),and Mortari's La Figlia del diavolo (Milan 1954).Arranger and composer GENEVIEVE PITOT, French/American, 71years old, in New Orleans 10/4/80. Working primarily with modernAmerican dance choreographers, she also arranged and composed dancesequences for such Broadway musicals as Kiss Me Kate, Call Me Madam,Can-Can, Destry Rides Again, and Li'l Abner.Tenor MIRTO PICCHI, Italian, 65 years old, in Florence 9/25/80. Aleading dramatic tenor, he made his debut as Radames in 1946 in the LaScala season at the Palazzo dello Sport, and eventually appeared in manymajor opera houses in Europe and South America. In the 1960's he alsosang in Chicago. His repertoire not only included the leading tenor rolesin classical Italian operas (e.g. Norma and Medea with Callas), but alsoin contemporary works, for which he became quite well-known. Theseincluded Peter Grimes, Billy Budd, The Rake's Progress, and Wozzeck,and world premieres of Pizzetti's Cagliostro (1953) and Figlia di Jorio(1954), Castro's Proserpina e lo straniero (1952), Lizzi's Pantea (1956)

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and Amori di Galatea (1964), Giuranna's Mayerling (1962), Testi'sCelestina (1963), and Bussotti's Lorenzaccio (1972). His last perform-ance was at La Scala in 1974.Dramatic and coloratura soprano ROSA PONSELLE (nee Ponzillo),American, 84 year old, in Baltimore 5/25/81. One of the greatest Ameri-can-born-and-educated operatic stars, she made her Metropolitan Operadebut when she was only 21 years old in no less a role than Leonore inLa Forza del destino. Although she appeared at some major Europeanopera houses, her career developed and continued primarily in theUnited States. She was a leading soprano with the Met for 19 years, sing-ing 22 different roles of the dramatic as well as the coloratura sopranorepertoire. Her last appearance with the company was in 1937 when sheassumed the role of Carmen. She got her early start on the vaudevillestage where, when she was 16, she performed with her sister Carmela, amezzo-soprano who later also performed at the Met. Rosa Ponselle con-tinued singing after her resignation from the Metropolitan Opera, andher last recordings were made in the 1950's. In the early 50's she becameartistic director of the Baltimore Opera, a post she held until 1978. Shehad planned a celebrity auction for the benefit of the Peabody Instituteof Music at her mansion outside Baltimore for May 31.Director, administrator, and translator HUMPHREY PROCTER-GREGG, British, 84 years old, in Grange-over-Sands, England 4/13/80.He started as a stage manager and designer for the British NationalOpera and the Carl Rosa Opera companies (1922-33). In the 1940's hestaged many BBC Studio opera productions, and 1963-64 was director ofthe London Opera Centre. He was awarded the CBE in 1972. He is bestknown to American audiences through his English translations of 23operas.Dramatic soprano and teacher GERTRUDE RIBLA, American, 61 yearsold, in Bloomington, IN 3/20/80. She was a scholarship student ofFrances Alda. In 1948 she won the Metropolitan Opera Auditions of theAir, and the following year made her Met debut as Aida, also singingLeonore in II Trovatore with the company. She appeared earlier with theNew York City Opera (Turandot, etc.), the New York La Scala Opera,San Carlo Opera, and Fortune Gallo Opera. She sang in concerts withmany major American orchestras, including a Verdi concert with theNBC Orchestra under Toscanini and a concert suite of Wozzeck with thePhiladelphia Orchestra under Ormandy. In recent years she was a memberof the voice faculty at Indiana University, where she taught until the timeof her death.Conductor and organist KARL RICHTER, German, 54 years old, inMunich 2/15/81. The internationally renowned conductor was an author-ity on Bach and baroque music. In the early 1950's he founded theMunich Bach Choir and Orchestra, which toured extensively in the U.S.,and he made many appearances as guest conductor. He was to conductthe Canadian Opera Company Ensemble in its premiere concert inToronto on February 26, with Dido and Aeneas and The Fairy Queen onthe program. He made some 150 recordings for Deutsche Grammaphone.Teacher and musicologist FRITZ RIKKO, American, 76 years old, inNew York 6/13/80. He taught at the Mannes College of Music, Green-wich House Music School, SUNY at Purchase, and, for 25 years, at theJuilliard School. From 1956 to 1974 he was conductor of the CollegiumMusicum and also prepared television music programs for NBC andCBS. He edited several baroque choral and chamber works, includingAlessandro Scarlatti's opera La Statira.Administrator, author, raconteur, radio and television personality, andopera's goodwill ambassador FRANCIS ROBINSON, American, 70years old, in New York 5/14/80. Respected and beloved by literallymillions of Americans — those who saw and heard him on radio and

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television, those who met him or heard his speeches in New York and onthe Met's annual tour, and particularly those of us who worked with him— he was the epitome of knowledge, charm, and compassion. He wasoften referred to as "Mr. Metropolitan Opera", and won that right andtitle by effectively representing the company through 30 years ofoperatic events and public functions. In December 1979, he was honoredby the Met at its annual Benefactor Patron Dinner as "administrator,friend and confidant to artists and staff, lay psychiatrist, ambassador,radio and television personality, historian, and defender of the faith —a man for all seasons with the Met". And he was honored at the Metro-politan Opera Guild's luncheon in January '80, although in absentia. Hejoined the company in 1948 as tour director, a position he held through-out his years with the Met. From 1950 to 1962 the job of head of box-office and subscription was added, and from 1954 to 1977 that of pressdirector. He held the title of assistant manager from 1952 to 1976. TheSaturday matinee broadcasts featured his "biographies in music" regu-larly, and the "Live from the Met" telecast intermissions had the addedattraction of the visual impact of both his person and the wonderfulpictures he chose to illustrate his talks. He was a fountain of informationand could be relied upon for the answer when all other referencesources were exhausted. He was a Verdi scholar, and his particular lovefor Enrico Caruso resulted, in 1957, in his book, Caruso, His Life inPictures. His last book, Celebration, was published in 1979 and is thehistory of the Metropolitan Opera. He also wrote liner notes for over100 RCA recordings. He began his career as a reporter for the NashvilleBanner in 1933. Five years later he joined the Playwrights Company inNew York as company manager and press representative. From 1940until he began his service in the United States Navy he worked ex-clusively for Katherine Cornell. He remained a great devotee of theAmerican stage, and in 1974 appeared as an actor, assuming the role ofThe Impresario in Mozart's opera at the Caramoor Festival. He alsospoke the role of God in Noye's Fludde as performed in New York by theCanterbury Choral Society. Although the 1980 Met Spring Tour was tohave been his last, he was to stay on with the company as a consultant,particularly for the 1983-84 centennial season. He will be sorely missedthen — and always. He left his extensive collection of books, records,music scores, programs, autographs, photographs, drawings, and specialmementos to his alma mater, Vanderbilt University. Among his manyhonors were the Order of Merit, with the rank of Cavaliere, awarded bythe Italian government in 1970, and the Handel Medallion awarded bythe City of New York in 1972.Soprano and teacher OLGA RYSS, Russian/American, 87 years old, inNew York 5/6/80. After studies in St. Petersburg, she made her debutat 23 as Aida and sang leading roles with opera companies in Russiaand the Baltic States. In 1935 she went to Johannesburg, South Africa,where she taught singing and managed a touring opera company. Shesettled in the United States in 1956, and for 23 summers taught at theAspen Music School. Jennie Tourel, Paul Sperry, Lawrence Shadur, andMartha Schlamme were among her students.Arts patron FAN FOX (Mrs. Leslie R.) SAMUELS, American, 84 yearsold, in New York 4/16/81. Her great interest in and devotion to theperforming arts and to artists resulted in the formation of the Fan Foxand Leslie R. Samuels Foundation in 1959, which became the means oftheir generous donations. Millions of dollars benefitted Lincoln Centerand its constituents.Author and playwright WILLIAM SAROYAN, American, 72 years old,in Fresno, CA 5/18/81. He became famous in the 30's, both for his shortstories and his plays. Among the former was The Daring Young Man onthe Flying Trapeze, among the latter his first Broadway hit The Time of

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Your Life. His second play, My Heart's in the Highlands, was adaptedinto an opera by Jack Beeson, and was seen over National EducationalTelevision in 1970. The same composer also wrote the one-act opera HelloOut There, based on the Saroyan play (Columbia University, 1954). Hislater works include the plays Love's Old Sweet Song and The BeautifulPeople, and the filmscript for The Human Comedy.Stage director FRIEDRICH SCHRAMM, German, 80 years old, in Basle,Switzerland 3/81. He staged his first opera in Darmstadt in 1921 andbecame chief stage director in Dusseldorf in 1926. After the Nazis cameto power he emigrated to Switzerland, where he became stage directorat the opera in Basle. From 1951 to 1962 he was general director inWiesbaden, returning to Basle after completing his contract. Guestengagements also took him to Prague and Covent Garden. He was theson of tenor Hermann Schramm.Tenor PAUL SCHWARZ, Austrian/American, 93 years old, in Hamburg12/24/80. He studied in his native Vienna and sang at the Volksoperfrom 1910 to 1912, at which time he was engaged by the Hamburg StateOpera. There he appeared in over 4,000 performances, singing 160 differ-ent roles, and made guest appearances in other European opera houses.In 1933 he had to leave Germany and settled in the United States. Hereturned to Hamburg in the 1950's and was awarded the Brahms Medalby the Hamburg Senate on the occasion of his 75th birthday. His formerHamburg colleague, soprano Lotte Lehmann, came from Santa Barbara toHamburg for his 80th birthday celebration.

Bass and administrator HERBERT SCOTT-GIBSON, American, 52years years old, in New York 5/1/80. During his singing career he per-formed with the New York City Opera and the Opera Company of Bos-ton. His administrative positions included that of director of developmentfor the Brooklyn Academy of Music, and head of the department of com-munity education at the Metropolitan Museum of Art, which he joinedin 1977.Librettist, writer, and translator ROBERT A. SIMON, American, 84years old, in New York 4/27/81. He was music critic of The New Yorkerfrom its first issue in 1925 until 1948. He wrote libretti for variousAmerican operas, such as Robert Russell Bennett's Maria Malibran(1935), Albert Stoessel's Garrick (1937), and Vittorio Giannini'sRehearsal Call (1962). His opera translations have been published byE. B. Marks/Belwin Mills Publishing.Conductor GEORG SINGER, Czech/Israeli, 73 years old, in Tel-Aviv10/80. He started his career at the Deutsche Theater in Prague in 1929and was engaged by the Hamburg State Opera, where he remained untilHitler came to power in 1933. After six years in Prague, he fled to Pales-tine in 1939, where he became one of the conductors of the NationalOrchestra and the Israel National Opera.Conductor JACQUES SINGER, Polish/American, 63 years old (not 70as elsewhere reported), in New York 8/11/80. He studied violin at theCurtis Institute and the then Juilliard Graduate School, and became amember of the Philadelphia Orchestra while still in his teens. Theorchestra's conductor, Leopold Stokowski, recommended him for thepost of conductor of the Dallas Symphony, which he assumed in 1937,becoming one of the youngest conductors to head an orchestra. Heremained in Dallas until 1942, when he entered the Army. In 1948 hewas named music director of the Vancouver (B.C.) Symphony, a posthe held for two years. From 1955 to 1962 he led the Corpus ChristiSymphony in Texas, where he also performed opera in concert, andfrom 1962 to 1970 the Portland (Ore.) Symphony. His guest engage-ments took him to many major American cities, to Europe, Israel, South

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America, and New Zealand. In 1977 he joined the music faculty of North-ern Illinois University in DeKalb.Musicologist, author, and educator OLIVER STRUNK, American, 78years old, in Grottaferrata, Italy 2/24/80. Before joining the musicfaculty at Princeton University in 1937, he was chief of the musicdivision of the Library of Congress. He was a founder and formerpresident of the American Musicological Society. Author of severalbooks on music, he also wrote Essays on Music in the Western World,which was nominated in 1975 for a National Book Award. Upon hisretirement from Princeton he was named Professor Emeritus of Music.Conductor and pianist WALTER SUSSKIND, Czech /British, 66 yearsold, in Berkeley, CA 3/25/80. At 20 he became an assistant to GeorgeSzell at the Deutsche Theater in Prague, where he led his first operaperformance in 1938. During World War II he conducted opera with theCarl Rosa, Sadler's Wells, and Glyndebourne Festival companies, follow-ing this with engagements in Scotland and Australia. From 1958 to 1965he was music director of the Aspen Music Festival in Colorado, where healso conducted opera. He was music director of the Toronto Symphony,and from 1968 to 1975 held the same position with the St. Louis Sym-phony, also directing the Mississippi River Festival while in St. Louis.He led major orchestras both here and abroad and in 1978 was appointedmusic advisor and principal conductor of the Cincinnati SymphonyOrchestra. In 1971 he conducted The Makropoulos Affair at the New YorkCity Opera. He left a legacy of more than 200 recordings, as well as theyouth orchestras he founded in England and Canada,Baritone and director ALEXIS TCHERKASSKY, Russian/American, 76years old, in Washington, DC 12/14/80. After leaving Russia in 1917, hetoured with his mother, a former star of the Maryinsky Opera in Moscow.In 1932 he came to the United States, where he performed in Le Coq d'or,Khovanshchina, and Boris Godunov with a company of Russian emigresin New York. In the 1940's he became regisseur for various ballet com-panies.Conductor JOHN TOBIN, British, 89 years old, in Weston-Super-Mare,England 10/6/80. In 1917 he became chorus master of the Carl RosaOpera in London and, in 1922, director of the Liverpool RepertoryOpera. Two years later he joined the British National Opera as con-ductor. Among the works he conducted was his own operatic version ofElgar's Caractacus, created in collaboration with the composer.Tenor GUENTHER TREPTOW, German, 73 years old, in Berlin 3/28/81.He was a leading tenor in Berlin, first with the Deutsche Oper, where hemade his debut in 1936 as A Singer in Der Rosenkavalier, and remainedwith the company until 1950. He then appeared with the Berlin StateOpera from 1950 to 1961. Guest engagements took him to other majorGerman houses, including the Bayreuth Festival, and to Austria, Italy,France, England, and Switzerland. He appeared at the MetropolitanOpera during the 1950-51 season, singing Siegmund (Met debut),Tristan, and Florestan. He also participated in several important re-cordings.Bass-baritone WILLY TUBIANA, French, 89 years old, in France9/1/80. He made his debut in Werther at the Salle Favart in Paris in1920; and subsequently sang at the Opera National, and at the Opera-Comique for some 30 years. He also participated in the world premieresof Jacques Ibert's Angelique, Maurice Thiriet's Le Bourgeois de Falaise,and Marcel Delannoy's Le Poirier de misere.Critic and author KENNETH TYNAN, British, 53 years old, in SantaMonica, CA 7/26/80. One of Britain's foremost drama critics, he beganhis career writing for the London Evening Standard when he was 24,and three years later he became drama critic for The Observer, where hewas published for four years. In 1958 he came to New York to write for

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The New Yorker, but returned to England after two years. From 1963to 1973 he was literary manager of the English National Theatre. Forreasons of health he moved to California in 1976, continuing to writearticles for The New Yorker — articles which were published in his lastbook Show People. Together with Jules Feiffer and John Lennon hecreated the musical Oh, Calcutta! which premiered in 1969.Conductor, pianist, and director ISAAC VAN GROVE, American, 88years old, in Los Angeles 9/27/79. His first professional work was aspianist and accompanist for famous instrumentalists and singers, includ-ing Mary Garden. He later turned to conducting and staging opera, andeventually composed works of his own. He became artistic director of theopera workshop and summer music festival at Inspiration Point FineArts Colony in Eureka Springs, Ark., where many of his operas werefirst performed: Ruth, The Other Wise Man, The Shining Chalice, andThe Prodigal.Administrator WINIFRED WAGNER, British/German, 82 years old,in Ueberlingen, Germany 3/5/80. She married Siegfried, RichardWagner's son, in 1915, and took over the management of the BayreuthFestival after her husband's death in 1930. She continued as head of theFestival until 1944. Although born in Britain, she grew up in Germany,having been adopted by a Berlin musician when she was two years old.She was an enthusiastic supporter of Hitler, and, after the War, theFestival was only permitted to reopen on the condition that she would notbe associated with it. Her son, Wieland, took over the management; uponhis death in 1966 his brother, Wolfgang, succeeded him, and still directsthe Festival. Her continued support of Hitler, reaffirmed in a documen-tary film in 1975, caused her break with her son, who banned her fromattending performances after 1975.Publisher and philanthropist DEWITT WALLACE, American, 91 yearsold, in Mount Kisco, NY 3/30/81. In 1922 he and his wife, Lila BellAcheson Wallace, founded The Reader's Digest. Its national and interna-tional success made them millionaires, and they, in turn, created theReader's Digest Foundation to donate money to worthy causes. Mrs.Wallace's interest in music prompted large gifts to musical institutions,including the Metropolitan Opera and the Juilliard School.Press agent ANNE OBERT WEINBERG, German/American, 47 yearsold, in New York 6/20/80. Born in Germany, she came to the U.S. as achild and studied at the University of Michigan. For the last 20 years shewas a publicity agent for musical and theatrical artists and attractions.She worked for Sol Hurok, Peter Gravina, Henry Luhrman, MichaelAlpert, and, finally, for Solters and Roskin. She also acted as personalpress representative for artists, and arranged tours to Europeanfestivals.Bass ERNST WIEMANN, German, 60 years old, in Hamburg 5/17/80.He made his debut in Kiel when he was 18, and engagements at theVolksoper, Berlin, in Gelsenkirchen, and Niirnberg followed, althoughinterrupted by World War II. In 1955 he gave his first performance atthe Hamburg State Opera, where he remained as one of its most cele-brated members. There he sang over 1,300 performances, the last a Salomeon May 3. Although he had a wide repertory, his specialty became theWagner Fach, and in 1961 he made his Metropolitan Opera debut as KingHeinrich in Lohengrin. He continued with the company until 1969, sing-ing an additional eight Wagnerian roles as well as Rocco in Fidelio. HisAmerican appearances included the companies in Boston, Dallas, andNew Orleans, and he filled guest engagements in Austria, England, Italy,France, Belgium, Spain, Portugal, and various cities in Germany. In1965 he was awarded the title Kammersdnger in Hamburg; he alsoreceived a Mozart Medal from the City of Brussels.Composer ALEC WILDER (ne Alexander Lafayette Chew Wilder),

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American, 73 years old, in Gainesville, FL 12/24/80. He is as well knownfor his popular songs, many of which became hit tunes, as for his classi-cal compositions. Among the latter are orchestral and chamber musicpieces, choral works, and ten operas: The Lowland Sea (1952), SundayExcursions (1953), Cumberland Fair (1953), Miss Chicken Little (CBS-TV 1953), Kittiwake Island (1954), The Long Way (1955), The Impos-sible Forest (1958), The Truth About Windmills (1973), The Opening,and The Tattooed Countess, for which he received a National Endowmentfor the Arts grant in 1974. His early operas have enjoyed much successat academic workshops.Administrator and trumpeter HELMUT WOBISCH, Austrian, 68 yearsold, in Vienna 2/20/80. A member of the Vienna Philharmonic andVienna State Opera orchestra from 1936 until his retirement in 1978,he was elected manager of the orchestra in 1952. He was also the founderand director of the international Carinthian Summer Festival in Villach,Austria.Mezzo-soprano EUGENIA ZARESKA, Ukranian/British, 68 years old,in Paris 10/79. After studying in Poland and Vienna, she made her debutin Vienna in 1939. Her first performance at La Scala followed in 1941(Dorabella), and she lived and performed in Italy until 1947. Havingmarried a British officer, she moved to England where she continued hercareer at Covent Garden, the Carl Rosa Opera, and the Edinburgh Festi-val. In 1949 she sang Countess Geschwitz in Venice in the first Italianproduction of Lulu. Guest engagements in opera and concerts took her toHolland, Belgium, and France. After her retirement, she lived in Pariswhere she taught voice.Author and music critic FRANCO ABBIATI, Italian, 83 years old, in BRitnrBergamo 1/22/81. He was music critic for Milan's Corriere della Sera NOTEDbetween 1934 and 1973, was founder and editor of the periodical LaScala, and, in 1959, published a four-volume biography of Verdi.Writer, producer, and public relations consultant PHILIP W. BARBER,American, 78 years old, in Pittsfield, MA 5/8/81. Author of various playsand filmscripts, he taught at Yale Drama School. In the 1950's he foundedthe Music Inn and Music Barn in the Berkshires, and in 1970 the Man-hattan Theatre Club. He was president of the public-relations concernBarber and Baar.Pianist and lecturer BRUCE BARBOUR, American, 57 years old, inNew York 8/4/80. Studied with Casadesus and Boulanger; was perform-ing arts co-ordinator at Munson-Williams-Proctor Institute in Utica.Mezzo-soprano IRMGARD BARTH, German, 67 years old, in Munich7/13/80. Member of the Bayerische Staatsoper, Munich, 1945-1971. Herguest appearances included Lisbon and London (Covent Garden).Stage director and designer GIANRICO BECHER, Italian, 59 years old,in Venice 5/8/80. Staged and designed for La Fenice, Venice, TeatrodelPOpera, Rome, and other Italian opera houses.

Mezzo-soprano FREDA BETTI, French, in France 11/79. She made herdebut in 1947 in Monte Carlo and sang major roles in the Frenchprovinces.Philanthropist MARY LASKER BLOCK, American, 76 years old, inSanta Barbara 2/18/81. A cultural leader in Chicago for many years,she was also on the board of directors of the Lyric Opera of Chicago.She was the daughter of the late Albert D. Lasker and step-daughter ofMary Lasker of New York.Musicologist LAURA C. BOULTON, American, 81 years old, in Beth-esda, MD 10/16/80. Made her first expedition to collect ethnic music onfilm and tape in 1929, followed by numerous ones to remote regions. Hercollection of 15 million pieces is now housed at the Library of Congress,

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Columbia University, Arizona State University, and the AmericanMuseum of Natural History.Contralto GUSTL BRAUN, German, 49 years old, in Munich 1/10/81.She made her debut in Gelsenkirchen in 1961, sang many roles in Germanopera houses, and created the part of the Duchess of Marlborough in theAuber/Honolka Ein Glass Wasser. She had recently joined the ensembleof the Theater am Gartnerplatz in Munich.Stage director ALESSANDRO BRISSONI, Italian, 66 years old, inMilan 3/12/81. He staged opera in his native Florence as well as in otherItalian cities, and in France and Germany.Musicologist and teacher NORMAN CAZDEN, American, 65 years old,in Bangor, ME 8/18/80. Studied composition with Walter Piston atHarvard University, performed as pianist with dance companies, taughtmusicology at Peabody Conservatory and the universities of Michiganand Illinois.Baritone MICHELE CAZZATO, Italian, 61 years old, in Genoa 11/16/79.He sang with opera companies in Italy, France, Austria, and SouthAmerica, and later founded the Teatro dell'Opera Giacosa in Genoa. Hewas also director of the Music Academy in Teheran.Author and critic SHELDON WARREN CHENEY, American, 94 yearsold, in Berkeley, CA 10/10/80. Wrote 13 books on the history of theatreand the American movement in theatre. In 1916 was founder and editorof Theatre Arts.Soprano MARGUERITE COBBEY, American, in Pacific Grove, CA9/25/80. She was a protege of Nellie Melba, and her roles includedRosina in The Barber of Seville, which she sang in New York and on aU.S. tour with Boris Chaliapin.Administrator JAMES COPELAND, American, in St. Louis 4/80. Hewas business manager of the Opera Theatre of Saint Louis.Teacher and actor JO (Joseph "Skipper") DAVIDSON, American, 77years old, in New York 4/3/81. After teaching speech and theatre atBrooklyn College for 44 years, he embarked on a professional career inthe theatre. At the time of his death he was in rehearsal for Swados'sThe Haggadah. Among his students were such prominent performersas Alfred Drake, Sam Levinson, and Paul Mazurski.Soprano HELOISA DE ALBUQUERQUE, Brazilian, 74 years old, inRio de Janeiro 11/22/80. Sang opera in Rio between 1934 and 1946. In1941 she participated in the world premiere of De Carvalho's Tiradentes.Soprano DORA DE GIOVANNI, Italian, 89 years old, in Cesena, Italy12/17/79. Her debut was in 1916, and she sang lyric and dramatic rolesin various Italian opera houses.Soprano GERMANA DI GIULIO, Italian, 70 years old, in Milan 2/27/81.She sang leading spinto roles in most major Italian opera houses between1938 and 1956, and made guest appearances throughout Europe.Conductor and teacher KENNETH ELLOWAY, British/Canadian, 64years old, in Halifax, N.S. 9/22/80. He taught at Dalhousie and MountSt. Vincent universities and at the Maritime Conservatory of Music. Hewas guest conductor with the Halifax Symphony.Tenor ALDO FERRACUTI, Italian, 74 years old, in Rome 2/24/81. Hemade his debut in Rome in 1935, sang supporting roles for ten years,then assumed leading roles there and in other major European operahouses. He also made guest appearances in Australia and South Africa.Tenor HANS FLORIAN, German, 85 years old, in Munich 10/17/80.After a 1926 debut, he sang in German provinces until 1935, when hejoined the Deutsche Oper in Berlin for nine years. In the 1950's heworked as stage manager at the Berlin State Opera.

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Stage director BENNO FRANK, German/American, 75 years old,3/25/80. Stage director in Germany before coming to the U.S. in the1930's. He was artistic director of the Karamu Theatre in Cleveland,where he staged opera in the 50's and 60's, including many contemporaryworks.Singer and comedienne LUELLA GEAR, American, 80 years old, inNew York 4/3/80. In the 30's she performed in such Broadway hits asGay Divorce, Life Begins at 8:40, On Your Toes, The Streets of Paris,and, in 1953, Sabrina Fair. Her credits include some 20 musical produc-tions and several films.Music critic, author, and radio personality ANTOINE GOLEA, Ro-manian/French, 74 years old, in Paris 9/12/80. Music critic with variousFrench publications, he was heard regularly over French radio as anexpert on recordings. He wrote several books on music and an auto-biography, and translated books on musical subjects. He originallystudied to become a concert violinist.Teacher HAROLD HAMER, British/Canadian, 80 years old, in Halifax,N.S. 9/11/80. He came to Canada in 1927, taught at Mount Allison andDalhousie University, participated in CBC radio music programs, andwas a long-time member of the Canadian Music Council.Conductor and pianist JOSE ITURBI, Spanish, 84 years old, in LosAngeles 6/28/80. Gave concerts in the late 20's and 30's, and later becamecelebrated for his participation in films, primarily MGM spectacularsfeaturing internationally famous singers (Jeannette MacDonald, MarioLanza, Frank Sinatra, etc.).Soprano ILSA KOEGEL, German, 77 years old, in Hamburg 9/18/80.She sang with the Hamburg State Opera from 1932 to 1954, assumingseveral leading roles. She also portrayed the Secretary in the first Ger-man production of Menotti's The Consul.Conductor RICHARD KORN, American, 72 years old, in New York4/27/81. He studied with Koussevitzky and Barzin, became assistantconductor of the National Orchestra Ass'n, and, in 1959, founded theOrchestra of America, primarily for minority-group musicians. Hedirected it until it disbanded in 1964. He made guest appearances hereand abroad, and was president of the Henry Street School of Music.Administrator JAMES LAWRIE, British, in London 12/79. He waschairman of the English Opera Group from 1948 to 1960. Benjamin Brit-ten's version of The Beggar's Opera is dedicated to him.Former Governor General of Canada, the Right Honourable JULESLEGER, Canadian, 67 years old, in Ottawa 11/22/80. Always interestedin music, he created the Jules Leger Prize for New Chamber Music,awarded bi-anually in recognition of outstanding examples of musicalcreativity in Canada. R. Murray Schaf er was the 1978 recipient.Baritone HORST LUNOW, German, 50 years old, in Berlin 7/31/80.After a debut in 1957 with the Berlin Opera Studio, he sang with variousGerman opera companies. In 1961 he became a member of the BerlinState Opera, where he sang until shortly before his death.Soprano MARGHERITA CASALS MANTOVANI, Spanish, 57 years old,in Milan 12/17/80. Her first stage appearance was in 1947 in Seville asSiebel. She later sang at major Italian opera houses, and her repertoireexpanded into the Italian dramatic soprano roles.Tenor LAMBROS MAVRAKIS, Greek, 70 years old, in Athens 1/17/80.Made his debut in 1933 as the Duke in Rigoletto, and sang in Italy,France, and Egypt.Stage director ULRICH MELCHINGER, German, in Freiburg 1980. Hehad been Oberspielleiter at the Stadtische Buhnen in Freiburg and alsostaged opera in other German theatres.

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OBITUARIES 1980-81

Industrialist GIOVANNI BATTISTA MENEGHINI, Italian, 85 yearsold, in Verona 1/20/81. He became famous in operatic circles when hemarried Maria Callas in 1949 and assisted in furthering her career. Theywere separated ten years later and divorced in 1971.Mezzo-soprano GITTA MIKES, Hungarian, 44 years old, in Berlin10/13/80. She studied in Vienna, first performed in Freiburg, and joinedthe Deutsche Oper Berlin in 1962; she was a company member thereuntil the time of her death.Baritone ZDENEK OTAVA, Czech, 78 years old, in Prague 12/4/80. Aleading baritone with the National Theatre in Prague until December'72, he sang most of the baritone roles of the international repertoire andappeared in many 20th century Czech operas. He frequently sang inconcerts and gave recitals. The Czech government honored him by naminghim "National Artist".Baritone LEONE PACI, Italian, 93 years old, in Milan 2/9/81. Hestarted performing in 1910, and sang with leading Italian opera com-panies and in South Africa.Bass MAX PROEBSTL, German, 66 years old, in Munich 11/19/79.After appearances in smaller German houses, he was engaged by Solti atthe Bayerische Staatsoper, Munich, in 1949. His repertoire includedMozart, Wagner, and several Italian bass roles.Tenor LUCIEN RUTMAN (Ilya Tamarin), Russian, 79 years old, inNew York 12/10/80.Musicologist, translator, and critic AKE SALLSTROEM, Swedish, 71years old, in Helsingborg 1980. He was music critic for the SydsvenskaDagbladet and for Opera, translated operas into Swedish, and was theauthor of Opera at the Stockholm Opera (1977).Composer and arranger EDDIE SAUTER, American, 66 years old, inNyack, NY 4/21/81. Composer of popular works for jazz orchestra andarranger for many of the big bands, he formed his own orchestra withBill Finegan in 1952. Since the 60's his arrangements were primarily forBroadway musicals.Composer, conductor, and teacher RUDOLF SCHRAMM, German/Ameri-can, 78 years old, in Westwood, NJ 4/6/81. Throughout the 1930's and40's he was music director of more than 15,000 radio programs, composedsome 100 film scores, and later became a professor at New York Univer-sity. He was co-founder of the National Symphony in Washington and theformer music director of the U.S. Office of Education.Bass GEORG STERN, German, 59 years old, in Frankfurt 7/17/80.Between 1949 and 1956 he was a member of the opera ensemble inWiesbaden. He subsequently joined the Frankfurt Opera, where he re-mained until his death.Administrator FRANZ STRAUSS, German, 83 years old, in Garmisch-Partenkirchen 2/15/80. He was Richard Strauss's only son and workedas assistant and private secretary to his father. After the composer'sdeath, he administered his works and collections from the family villain the Bavarian Alps.Corporate executive JULES C. STEIN, American, 85 years old, in LosAngeles 4/29/81. He founded the Music Corporation of America in the1930's, first representing star performers of the entertainment industry.Later the company, renamed MCA, Inc., turned to music publishing,television production and film distribution.Bass GIULIO TOMEI, Italian, 86 years old, in Rome 2/28/80. He sangin most Italian opera houses and was a member of the Teatro dell'Opera,Rome, from 1936 to 1958. Guest engagements took him to Germany,Switzerland, England, Spain, and South America.

(continued on page 65)

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PERFORMANCE LISTING 1980-81 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.

ARIZONAUniversity of Arizona Opera Theater, L. Day, Dir., Tucson11/21, 22, 23/80 The Ballad of Baby Doe4/10, 11, 12/81 Albert Herring111, 3, 5/81 Don Giovanni Eng. Martin

CALIFORNIACalifornia State University, Opera Wksp., T. Acord, Dir., Hayward1/22, 23, 24/81 Jumping Frog of Calaveras County & Scenes w.p.3/20, 21, 22, 27, 28, 29/81-4 Funny Thing Happened on the Way to the Forum4/24, 25 5/1, 2/81 The Beggar's Opera Britten vers.California State University, Opera Wksp., R. L. Stradley, Dir., Sacramento12/80 Opera Scenes, w.p.5/1, 2/81 A Faun in the Forest & Suor Angelica Eng. Withers, w.p.Cinnabar Opera Theater, M. Klebe, Art Dir., Petaluma12/12-21/80 The Long Christmas Dinner 6 pis., w.p.2/26-3/14/81 The Tales of Hoffmann 7 pfs., w.p.4/7, 17, 18, 26 7/22/81 The Bear & A Game of Chance w.p.Collegium Musicum, A. Curtis, Dir., University of California, Berkeley2/21/81 Landi's Sanf Alessio Am. prem.Hollywood Opera Ensemble, A. Monte, Gen. Dir., Hollywood6/13, 14/81 Don Pasquale w.p., Miles Playhouse, Santa Monica8/9/81 Operatic Concert w.p., West Hollywood ParkOpera Day, Los Angeles Triforium & L.A. Cultural Affairs Department/

Opera Guide5/9/81 Opera excerpts produced by ten Los Angeles opera companies from noon

til 8 p.m.Pippin Pocket Opera, D. Pippin, Art. Dir., San Francisco3/1 4/12/81 La Belle Helene Eng. Pippin; Gilfether, Litwak, Velta; Halper, Peebles,

Morris, Tigner; c: Pippin; semi-staged3/8/81 Alcina Franklin, Friedman, Gilfether, van Dewark; Weis; c: Pippin3/22/81 Anna Bolena Eng. Pippin; Friedman, Litwak, Erickson; Cohn, Morris,

Tate, Thornton; c: Pippin3/29/81 Dido and Aeneas Friedman, Hunt, Lancaster; Morris, Weis; c: Pippin4/5 5/3/81 Le None di Figaro Eng. Pippin; Howe, Hunt, Erickson, Newberry;

Coburn, Thornton, Venza, Matthes; c: Pippin4/26/81 Giulio Cesare Eng. Pippin; deVol, Friedman, Howe, Hunt, van Dewark;

Tigner; c: PippinSan Francisco Conservatory Opera Studio, S. Webb, Dir., San Francisco3/27, 28, 29/81 Dialogues of the Carmelites Eng. Machlis/WexlerSan Marino Concert Series, San Marino12/7/80 Caldwell's The Night of the Star 2 pfs. w. chamber ensembleWest Hills College Opera Wksp., B. Isham, Dir., Coalinga3/5, 6, 7/81 The Magic Flute Eng. Martin5/7, 8, 9/81 Finian's Rainbow

DISTRICT OF COLUMBIAOpera SW, Westminster United Presbyterian Church, Washington5/8, 15, 16/81 VOrmindoTheater Chamber Players, L. Fleisher & D. Koster, Art Dirs., Terrace

Theater/Kennedy Center, Washington5/31 6/1/81 Holliger's Not I Bryn-Julson; Am. prem. & Janacek's Diary of One

Who VanishedFLORIDA

Jacksonville University Opera Workshop, W. Vessel, Dir., Jacksonville3/20/81 Lackey's Le Senatori prem. w.p., & Opera Scenes6/19/81 Le Senatori & Trial by Jury & Comedy on the Bridge

— 43 —

1980-81 Season

Opera-on-Wheels, Opera-a-la-Carte, Inc., A. Smith, Gen. Mgr., Jacksonville1980-81 tour: The Telephone 5 pfs. w.p.; Rita Eng. Mead, 3 pfs. w.p.; The Im-

presario Eng. Cardelli, 2 pfs. w.p.University of Miami Opera Theatre, F. Summers, Dir., Coral Gables4/17, 18/81 Riders to the Sea & Gianni Schicchi

GEORGIAValdosta State College Opera Theatre, C. Mikkelsen, Dir., Valdosta11/21, 22/80 The Old Maid and the Thief & Gianni Schicchi Eng. Grossman; w.p.5/22, 23/81 Die Fledermaus Eng. Dietz/Kanin

HAWAIIUniversity of Hawaii Opera Wksp., J. Mount, Dir., Honolulu11/80-4/81 Mount's Mini-Opera, based on music by Mozart & Rossini, w.p.4/21/81 Cost fan tutte Eng. Mount/Goldovsky, w.p.7/22, 23, 24, 25, 26, 29, 30, 318/1, 2/81 Man of La Mancha w.o.

IDAHOBoise State University Opera Theater, V. Chacon, Dir., Boise2/27, 28/81 The Pirates of Penzance w.p.7/9-18/81 Finian's Rainbow w.o.

INDIANABall State University Opera Wksp., J. Campbell, Dir., Muncie2/19-21/81 Giordano's Fedora Eng. Meadows5/6, 7, 8, 9/81 Wonderful Town7/2, 3, 4, 5/81 The Fanstasticks7/30,31 8/1, 2/81 CarnivalDePauw University Opera/Musical Theatre, T. Fitzpatrick, Dir., Greencastle2/12, 13, 14, 15/81 The Ballad of Baby DoeGoshen College Music Department, D. Preheim, Dir., Goshen2/5, 6, 7, 8/81 The Bartered Bride Eng. Farquhar

ILLINOISDePaul University Chamber Opera, F. Little, Dir., Chicago5/31 6/1, 2/81 The Portuguese Inn Eng. Gutman, w.p.

IOWASt. Ambrose College Chorus, J. Greene, Dir., Davenport10/11, 12/80 Die Fledermaus Eng. Dietz/Kanin, w.p.4/23, 24, 25, 26/81 Carnival w.o.

KANSASUniversity of Kansas Opera Theatre, G. Lawner, Dir., Lawrence11/7, 8, 9, 13, 14, 15/80 Grease4/3,4,10, 11/81 Carmen4/27, 28 5/1, 2/81 The Marriage of Figaro Eng. Lawner/Paige, w.p.

LOUISIANALouisiana State University Opera Theater, R. Aslanian, Dir., Baton Rouge

(See also Vol. 22, No. 3)2/23/81 Constantinides's Fugue for Two Voices prem. rev. vers.3/26, 27/81 Dialogues of the CarmelitesMadewood Arts Festival, K. Marshall, Gen. Dir., Madewood Plantation

House, Napoleonville4/11/81 Walton's Facade & Milhaud's Rape of Europa & Abandonment of Ariadne

& Deliverance of Theseus Eng. Marshall/Brown; w.p.; c: G. Brown; d: Brown;ds: Cooper/Lee/Rosefeldt

MARYLANDTowson State University Opera Wksp., P. Frankel & S. Thompson, Co-Dirs.,

Baltimore12/5, 6/80 Amahl and the Night Visitors5/15, 16/81 The Magic Flute Eng. MartinUniversity of Maryland Opera Theatre, M. Mangold, Dir., College Park2/26-3/1/81 The Marriage of Figaro

MASSACHUSETTSEmerson College, Opera Wksp., A. Tommasini, Dir., Boston2/26, 27, 28/81 The Mother of Us All

— 44 —

1980-81 Season

Opera Theater of the Boston & New England Conservatories, J. Moriarty,Dir., Boston

1/23, 24, 25/81 Hoiby's A Month in the Country4/8, 9, 10, 11, 12/81 The Ballad of Baby Doe

MINNESOTABemidji State University Opera Wksp., L. Spicher, Dir., Bemidji2/19-22/81 The Marriage of Figaro cone, pf.; Eng. MartinUniversity of Minnesota Opera Workshop, V. Sutton, Dir., Minneapolis (see

also Vol. 22, No. 4)12/80 Krenek's Der Diktator & Das geheime Konigreich & Schwergewicht Eng.

NEW JERSEYMontclair State College Opera Wksp., J. Sacher, Dir., Upper Montclair5/9, 10, 11, 12/81 Die Fledermaus w.p.4/20, 21 5/6, 14/81 The Telephone w.p.Mother Goose Opera Co., of the Jersey Lyric Opera, S. Lewis, Gen. Mgr.1980-81 tour: Hansel and Gretel 10 pfs., w.p.

NEW MEXICOSouthwest Chamber Opera, First Unitarian Church, Albuquerque5/17/81 J. Forman's Ikarus prem. & Gardner's Ladies Voices

NEW YORKThe Singer's Theater, D. Drazhal, Exec. Dir., Shrub Oak11/12/80 The Princess Who Talked Backwards rev. vers. w.p. (prem. rev. vers.

Lincoln Center Library 4/80, w.p.)4/19, 20/81 Verdi Requiem7/5, 11/81 Barab/Pergolesi's The Perfect Wife & Trouble in Tahiti w.p.8/9, 15/81 The Telephone & Fortune's Favorites w.p.8/23, 29/81 The Mikado w.p.1980-81 tour to schools: The Princess Who Talked Backwards 3 pfs. w.p.; Spooks

and Other Such Things cone. pf. w.p.; "America and Broadway" cone. pf. w.p.Syracuse University Opera Wksp., D. Miller, Dir., Syracuse (see also Vol. 22,

No. 3)10/31/80 Opera Scenes, w.p.3/14/81 Williamson's Happy Prince6/30/81 Pimpinone Eng. Bergman

NEW YORK CITYAbraham Goodman Hall, W. 67 St.6/3/81 Barab's The Ruined Maid prem., w.p.Carnegie Recital Hall, W. 57th S t3/2/81 Rudin's Seven Scenes from Three Sisters prem. readingChapel of the Good Shepherd, Roosevelt Island5/15/81 Colgrass's The Tower prem.; mus. dir.: N. Berth; choreogr.: D. B. BrillCollegium Musicum of NYU Center for Early Music, Christ Church United

Methodist4/24/81 Ferrabosco's The Masque of Beauty (1608) w. Cambridge Court DancersEncompass, The Music Theater, First Stage First, N. Rhodes, Art. Dir., R.

Cunningham, Prod. Good Shepherd Faith Church5/12-6/14/81 alternating programs: Rickard's Headshots; Greco's Aria de capo &

Kinberg's Torquemada; W. Thompson's Girl on the Via Flaminia; Lubin's Sea-cycle & Trefousse's Snobs Cabaret; Weiss's Cocktails at Five & Sweet's HoldingPatterns; Tate's Timesteps

Golden Fleece Ltd., L. Rogers, Dir., Theatre 225/2, 3/81 Barab's Not a Spanish Kiss & Armour's We're Back prem. & SongsJewish Opera at the Y, Kaufmann Auditorium5/2, 3m/81 Weiner's The Golem first time w.o.; J. Raskin, Bach; Abelson, Fitch,

Green; c: BredemannManhattan Opera, Church of the Virgin Mary, Brooklyn4/5/81 Lliso's Judith prem. & L'Enfant prodigueMetropolitan Opera Guild Educational Dept. & Public School 183, In-School

project1980-81 In the Balance We're Just Small People (school children developed & per-

formed

— 45 —

1980-81 Season

New York University Composers Forum Concert, University Theatre11/24/80 Constantinides Fugue for Two Voices first vers.New York University Opera Studio, T. Martin, Dir.3/27/81 Barthelson's Lysistrata prem.5/28, 29/81 Prima la musica, poi le parole Eng. Martin, w.p. & Little Stories in

Tomorrow's PaperQueens College Opera Studio, Aaron Copland School of Music, H. Weisgall,

Mus. Dir., Flushing12/10, 11, 12, 13, 14/80 The Wizard of Oz5/7, 8, 9, 10/81 The Apothecary orig. 3-act vers., Eng. Goldstein; c: Weisgall; ds:

P. WexlerThird Street Music Settlement, Opera Wksp., M. S. Wolfe, Dir., New York2/21, 22, 28 3/1/81 The Fire Maid (children's musical theatre piece)31221 SI Scarim's The Tiger of Chungshan prem.Viennese Operetta Society, L. Albright, Exec. Dir., Tully Hall (see also Vol.

22, No. 4)6/8, 9, 10/81 The Land of Smiles semi-stagedWNET — Great Performances, "Dance in America"5/25/81 Ravel's The Spellbound Child special television production, New York

City Ballet, choregr: Balanchihe; Eng. WolffWestern Wind Vocal Ensemble, Colonnades Theater5/24/81 L'Amfiparnasso 16 pfs.

NORTH CAROLINAUniversity of North Carolina Opera, A. Knutsen, Dir., Greensboro4/24-26/81 Gianni Schicchi & PagliacciWestern Carolina Univ. Music Dept., C. T. Smith, Dir., Cullowhee1/24, 25, 26, 27/81 Side by Side by Sondheim w.p.6/21, 22/81 The Impresario & The Telephone

OHIOCleveland Symphony Orchestra, L. Maazel, Mus. Dir., Cleveland1/15/81 Ligeti's Lc Grand macabre excerpts in cone, 1st U.S. pf.Ohio State University Opera Theater, R. Stevens, Dir., Columbus5/26. 27. 28/81 The Ballad of Baby Doe7/28. 29. 30/81 Comedy on the Bridge w.p. 8/6, 7, 8/81 Company

OKLAHOMAOklahoma University Music Theater, J. Birkhead, Dir., Norman (see also

Vol. 22, No. 4)2/5-8/81 Don Giovanni Eng. Martin4/2-5/81 Jacques Brel is Alive and Well and Living in Paris7/16-19, 22-26/81 The Gondoliers

PENNSYLVANIAAcademy of Vocal Arts, D. Yannopoulos, Dir., Philadelphia (see also Vol. 22,

No. 3)5/11/81 Baksa's Aria da capo prem. (3/10/81 concert reading) w.p.Haverford School, Haverford12/15/80 Caldwell's A Gift of Song w.o.Indiana University of Pennsylvania Music Theatre, H. Wildeboor, Dir., Indiana11/13, 14, 15/80 Postcard from Morocco3/26, 27, 28/81 A Little Night Music5/1/81 La Voix humaine Eng. Liggett, w.p.5/7/81 The Marriage of Figaro Eng. Martin; w. Pittsburgh Chamber Opera Theater

SOUTH CAROLINAConverse College Opera Wksp., J. McCrae, Dir., Spartanburg (see also Vol.

22, No. 3)12/4/80 L'Egisto Eng. Leppard3/8/81 Opera Scenes, w.p.

SOUTH DAKOTAUniversity of South Dakota Opera Wksp., M. Byrkeland, Dir., Vermillion10/17, 18/80 Berlin to Broadway3/20, 21/81 The Marriage of Figaro Eng. Martin

— 46 —

1980-81 Season

TENNESSEEAustin Peay State Univ. Opera Theatre, P. Woliver, Dir., Clarksville11/25/80 5/13, 14/81 Little Red Riding Hood2/19, 20, 21, 22/81 Susannah w.p.Carson-Newman College, Lyric Theatre, T. Teague, Dir., Jefferson City (see

also Vol. 22, No. 3)4/12/81 The Nazarene w.p.5/28, 29/81 The Sound of Music6/26, 27 7/3, 4, 10, 11/81 The Fantasticks

TEXASMidland College Opera Theater, C. Lawson, Dir., Midland4/24, 25, 26/81 The Merry Widow Eng. HarnickMidwestern State University Opera Wksp., R. Hansen, Dir., Witchita Falls

(see also Vol. 22, No. 3)10/23, 24, 25, 31 11/1, 2/80 The Mikado2/27, 28 3/1, 6, 7, 8/81 A Funny Thing Happened on the Way to the Forum5/2/81 Dido and Aeneas & The Medium w.p.1980-81 tour: Hin und zuriick w.p.

UTAHBrigham Young Univ. Music Theater, C. Robinson, Art. Dir., Provo (see also

Vol. 22, No. 3)4/8, 9, 10, 11, 14, 15/81 School for Fathers Eng. Dent/Crozier, w.p.6/19, 20, 23, 24/81 Cost fan tutte Eng. Martin

VIRGINIAJames Madison University Opera Wksp., J. Little, Dir., Harrisonburg (see also

Vol. 22, No. 3)4/30 5/1/81 Wolfe's The Rewards of Ambition prem., & ScenesVirginia Commonwealth University, Opera Wksp., L. Batty, Dir., Richmond12/15/80 Opera Scenes, w.p.4/18, 19/81 L'Incoronazione di Poppea w.o.

WASHINGTONCornish Institute Opera Theater, R. Nelson, Dir., Seattle (see also Vol. 22,

No. 4)8/8, 9/80 Coates' The Way of How prem.12/10, 13, 14/80 Les Malheurs d'Orphee2/15/81 Henze's El Cimarron Eng.5/2, 3, 5, 13, 18, 19/81 L'Enfant prodigue & The Spanish Hour w.p.University of Washington Opera Theatre, R. Rosinbum, Dir., Seattle (see also

Vol. 22, No. 3)11/23, 26/80 Ariadne auf Naxos Eng. Blatt

WISCONSINSkylight Comic Opera, Chamber Music Concert Series, Milwaukee (see also

Vol. 22, No. 3)5/22/81 Debussy's Fall of the House of Usher Eng. OHmann & Poulenc's The Story

of Babar, the Elephant & Prokofiev's The Ugly Duckling cone. pf. w.p.University of Wisconsin, White Heron Opera Wksp., R. Cundy, Dir., Menasha11/22, 23/80 Cost fan tutte w. Fox Valley Symphony; Eng. Martin5/16, 17/81 Noye's Fludde United Church of Christ, AppletonUniversity of Wisconsin-Milwaukee Opera Theatre, C. Phillabaum, Dir., Mil-

waukee12/11, 12, 13, 14/80 Opera Scenes, w.p.3/25, 27, 28/81 Cendrillon Eng. Phillabaum, w.p.

CANADAComus Music Theatre Studio Ensemble, M. Bawtree, Pres. & Art. Dir.,

TorontoSpring '81 Bawtree's The Canterbury Tales prem.; Bett's Wine, Women, and WarMcGill University Opera Studio, E. Delia Pergola, Dir., Montreal (see also

Vol. 22, No. 3)10/26m/80 Les Contes dHoffmann cone, pf., w.p.

— 47 —

SUMMER 1981 PERFORMANCE LISTING

ARIZONAFlagstaff Festival of the Arts, J. Cunningham, Gen. Dir., Flagstaff (6/20-

7/26/81)ARKANSAS

Steamboat Repertory Theatre, Steamboat Springs7/17-8/9/81 Camelot

CALIFORNIACabrillo Music Festival, D. R. Davies, Mus. Dir., Aptos (8/17-30/81)Carmel Bach Festival, S. Salgo, Mus. Dir., Carmel (7/17-8/2/81)7/24, 31/81 Don Giovanni cone, pf.; Vaness, Myers; LawrenceHollywood Bowl, Los Angeles Philharmonic in Residence, C. M. Giulini, Mus.

Dir., Los Angeles7/21/81 "A Feast of Wagner" Gray, Troyanos; Vickers; c: Leinsdorf7/30/81 Verdi Requiem, Mitchell, Quivar; Gedda, Plishka; c: Giulini8/11/81 Carmina burana Mills; Hoback, Lawrence; c: Lopez-Cobos9/3/81 Sherrill Milnes in ConcertLamplighters, G. Russak, Mus. Dir., Presentation Theatre, San Francisco6/20-8/1/81 H.M.S. Pinafore 17 pfs.Merola Opera Program of the San Francisco Opera, K. H. Adler, Gen. Dir.7/26/81 The Merry Wives of Windsor at Stern Grove8/15, 16/81 Die Fledermaus at Paul Masson Winery, SaratogaMusic Academy of the West, S. Byars, Exec. Dir., T. Alcantara, Mus. Dir.,

Santa Barbara8/15, 17, 19/81 Romeo et JulietteMusic at the Vineyards, Saratoga (6/6-9/20/81)Music from Bear Valley, J. Gosling, Mus. Dir., Bear Valley (7/25-8/9/81)6/25/81 The Pirates of Penzance Opera a la Carte prod.6/26m/81 Cox and Box & Trial by Jury Opera a la Carte prod.8/8/8ICosi fan tutte S. Daniels, Harris, Victorino; Sullivan, Wahman, Thornton;

c: Gosling; d: BuckbeeOakland Opera Theatre, A. Taylor, Gen. Mgr., Oakland Municipal Aud.7/11, 18, 19m/81 LaBohemePocket Opera, D. Pippin, Mus. Dir., San Francisco7/19 8/2/81 La Vie parisienne Eng. Pippin7/26/81 Mussorgsky's The Marriage & Bastien and Bastienne8/9/81 Semele 8/30/81 Two Widows8/16 9/13/81 La belle Helene 9/6/81 The Marriage of Figaro8/23/81 Acis and Galatea 9/20/81 "The Pick of the Pockets"Redlands Bowl Summer Festival, H. Farbman, Dir., Redlands7/7-8/21/81 incl.: My Fair Lady; The King and ISan Diego Opera Verdi Festival, T. Capobianco, Gen. Dir., San Diego6/19, 21, 27/81 Nabucco Deutekom; Nurmela, Flagello, Sayers; c: Arena; d: Hager6/20, 26, 28/81 Un Giorno di regno Eng. Porter; Saunders, Marsee; Reed; c:

Simmons; d: Capobianco6/25/81 Verdi RequiemSan Francisco Opera Summer Festival, K. H. Adler, Gen. Dir., War Memorial

Opera House6/12, 15, 18, 21m, 23/81 Reimann's Lear Am. prem., Eng. Clayton; Dernesch,

Rawlins; Trussel, Stewart, Lewis, Knutson, Ludgin, Neill, Duykers; c: Albrecht;d: Ponnelle; ds: Ponnelle

6/16, 19, 24, 28m 7/2, 4/81 Don Giovanni Vaness, Montgomery, South; Winbergh,Siepi, Taddei, Langan; c: Fischer; d: Everding; ds: Businger

6/27, 30 7/3, 9, 13, 19m/81 Die Meistersinger von Niimberg Bode, Cariaga; Johns,Hornik, Ridderbusch, Rydl, Hoback; c: Adler; d: Brenner

7/1, 5m, 8, 11, 14, 17/81 Rigoletto Laki, Vergara; Dvorsky, Cappuccilli, Rydl; c:Bareza; d: Asagaroff; ds: Ponnelle

7/7, 10, 12m, 15, 18/81 L'lncoronazione di Poppea Troyanos, Mills, Walker, For-rester; Tappy, Brendel, Macurdy; c: Agler; d: Dittmann; ds: Rennert

— 48 —

Summer 1981

Stern Grove Festival, San Francisco (6/21-8/23/81)6/28/81 L'Historie du soldat Amor Musica Chamber Music Players; c: Mautner7/26/81 The Merry Wives of Windsor c: Lawner; Merola Opera Program8/2/81 H.M.S. Pinafore Lamplighters8/9/81 "Merola Artists in Concert" Vaness; McCauley, Langan; c:.AdlerStarlight, San Diego Civic Light Opera, J. H. Stein, Gen. Mgr. & Exec. Prod.7/9, 10, 11, 12, 16, 17, 18, 19/81 The Wizard of Oz7/30, 318/1, 2, 6, 7, 8, 9/81 The Vagabond King8/20, 21, 22, 23, 27, 28, 29, 30/81 Flower Drum Song9/3, 4, 5, 6, 10, 11, 12, 13/81 The Pirates of Penzance

COLORADOAspen Music Festival, J. Mester, Mus. Dir., R. Pearlman, Opera Wksp. Dir.7/23, 25/81 Romeo et Juliette c: Ramadanoff; d: PearlmanII241 SI Mozart and Salieri Humphrey, Voketaitis8/6, 16/81 "An Evening of Musical Theatre"8/10/81 Glass's Satyagraha scenes; c: Ferden8/13, 15, 17/81 Albert Herring c: Sidlin; d: Epstein8/19/81 "A Program of Concert Arias" vocal competition winnersCentral City Opera, R. Darling, Art. Dir., Central City7/11, 15m, 17, 19m, 21, 23 8/2m, 5, 12m, 15/81 The Ballad of Baby Doe Hunt7/18, 22m, 24, 26m, 28 8/2, 6, 9, 12/81 Madama Butterfly Sheil; Schwisow8/1, 5m, 7, 9m, 13, 15m/81 Aitken's Fables Scown; Laciura, StrummerCentral City Opera Composers-at-Central, R. Darling, Art. Dir.Summer '81: Strouse's The Nightingale; Susa's Lives and Loves of Lola Montez;

prem. readingsCentral City Opera Singers, R. Darling, Art. Dir.7-8/81 Sheffer's The Mistake prem.; The Face on the Barroom FloorColorado Opera Festival, D. Jenkins, Gen. Dir., Colorado Springs7/10, 12m, 14, 16, 18m/81 La Traviata Guariplia; Eisler, Noble; c: JenkinsUniversity of Colorado — Music Theater Festival, J. Reed, Dir., Boulder6/8-7/26/81 The Pirates of Penzance; The Yeomen of the Guard

CONNECTICUTGoodspeed Opera House, M. Price, Exec. Dir., East Haddam7-8/81 Funny FaceHartt School of Music, J. Zei, Opera Dir., West Hartford7/9-12, 23-26 8/5-9, 20-23/81 Cabaret7/16-19, 30, 31 8/1, 2, 12-16/81 GigiO'Neill Theatre Center Composer/Librettist Conference, M. Glassman, Coord.,

Bridgeport8/12-18/81 Cohen's Rappacini's Daughter prem. reading8/19-28/81 Paxton's Adventures of Friar Tuck prem. reading

DISTRICT OF COLUMBIAKennedy Center for the Performing Arts, Festival of Festivals, M. Istomin,

Art. Dir., WashingtonSI 29-7125191 incl: Aspen Music Festival, Carnegie Hall Festival, Mostly Mozart

FestivalSummer Opera Theatre, M. Sternberg, Gen. Dir., Hartke Theatre7/15-26/81 Gianni Schicchi Thomas & Suor Angelica Kim/Bickers; c: Hess; d:

LehmeyerILLINOIS

Grant Park Concerts, S. Ovitsky, Gen. Mgr., Chicago6/27-8/30/81 incl: L'Enfant et les sortileges cone. pf.Hinsdale Opera Theatre, N. Hotchkiss, Gen. Mgr., Hinsdale6/17, 19, 20/81 Susannah Herzberg; Gruett, Fay, Wexler; c: Calabria; d: Hicks; ds:

Anania; Lake George Opera prod.Lyric Opera of Chicago, A. Krainik, Gen. Dir., Chicago5/29-6/6/81 The Merry Widow Eng. Hassall; Lear/Farley, Vergara; Jobin, Rosen-

shein/Kunde, Langdon; c: Schaenen; d: Mansouri; ds: Laufer/Mess; CanadianOpera Company prod.

— 49 —

Summer 1981

Midland Repertory Players, K. Shanahan, Dir., Alton6/12, 13/81 Herodiade Brickey; Eilenberger, Stripling8/21, 22/81 The Marriage of FigaroRavinia Festival, J. Levine, Mus. Dir., Highland Park (6/26-8/30/81)6/26/81 Macbeth Scotto; Milnes; c: Levine; cone. pf.

INDIANAIndiana University School of Music, C. Webb, Dean, Bloom ing ton7/11, 18/81 Rihm's Jakob Lenz Am. prem.; c: Baldner; d: Allen; ds: Rothlisberger7/31 8/1, 7, 8/81 Oklahoma! c: Stoll; d: Eddleman; ds: Wolf

IOWADes Moines Metro Opera, R. Larsen, Art. Dir., Indianola6/19, 21m, 27 7/3, 11, 29m/81 Tosca Sundine; Grice, Lorey; c: Larsen/Robertson;

d: Larsen; ds: Tschetter6/20, 28m 7/4, 8, 10/81 The Ballad of Baby Doe Ringo, Taylor; Steele, Bogusz; :c

Larsen/DeRenzi; d: Larsen; ds: Tschetter6/26 7/2, 5m, 7, 12m/81 Lucia di Lammermoor Cummings; McFarland, Bogusz,

Myers; c: Larsen; d: Larsen; ds: Tschetter; videotapedMAINE

Maine Opera, G. Groeschl, Gen. Mgr., Biddeford7/31-8/15/81 La Traviata; Don Giovanni

MASSACHUSETTSBerkshire Center for the Performing Arts, R. Radcliffe, Art. Dir., Sheffield7/2, 3, 4/81 Fiddler on the Roof7/9, 10, 11/81 A Funny Thing Happened on the Way to the Forum7/12, 13/81 Guys and Dolls7/16, 17, 18/81 Annie Get Your Gun 8/2, 3/81 Cabaret7/23, 24, 25/81 Man of La Mancha 8/6, 7, 8/81 South Pacific7/30, 31 8/1/81 Brigadoon 8/13, 14, 15/81 MameBoston Lyric Opera Co., J. Balme, Gen. Dir., Esplanade8/2/81 Aida cone, pf.; Gabrieli, Walters; Haitas, Honeysucker, Elvins, French; c:

Balme; w. Brookline Symphony OrchestraCollege Light Opera, H. Haslun, Mus. Dir., Falmouth6/ 30-7/4/ 81 Plain and Fancy Ill-Win The Mikado7/14-18/81 The Gypsy Baron 7/21-25/81 Rose Marie7/ 28-8 /1 / 81 Ruddigore 8/4-8/81 Camelot8/11-15/81 Patience8/18-22/81 Grainer/Millar's Robert and Elizabeth Am. prem.8/25-29/81 She Loves MeLenox Arts Center/Music Theatre Group, Stockbridge (7/2-8/16/81)Southeastern Massachusetts Univ. "Cedardell '81" Opera Wksp., B. Goldov-

sky, Dir., N. Dartmouth (6/29-7/18/81)Tanglewood Festival, Boston Symphony in Residence, S. Ozawa, Mus. Dir.

(6/27-8/23/81)7/18/81 Boris Godunov stgd. scenes; Taillon; Riegel, Trussel, Senechal, Ghiaurov,

Berberian, Haugland; Tanglewood Festival Chorus; Boston Boy Choir; c: Oliver8/1/81 Act II Tristan und Isolde Norman, Killebrew; Vickers, Ellsworth, Kibler,

Haugland; c: OzawaMICHIGAN

Interlochen Arts Festival, E. Downing, Dir., Interlochen6/28-8/24/81 incl: Kiss Me Kate; H.M.S. PinaforeMeadowbrook Music Festival. Minnesota Orchestra in Residence, N. Marriner,

Art Dir., Rochester (6/25-9/6/81)8/20/81 The Barber of Seville Petros; Blake, TitusMatrix: Midland Celebration of the Arts and Sciences, Midland6/5-21/81 incl: "Italian Opera Night" Moffo; Merrill; A Funny Thing Happened on

the Way to the ForumMISSISSIPPI

Mississippi Opera Festival of the South, J. Goolsby, Art Dir., Jackson6/19, 27/81 La Boheme Marrazzo, Vannerette; Ballam, Turnage; c: Silverstein; d:

Goolsby; ds: Trumpler/Vanderbeke6/20, 26/81 La Cenerentola Senter, Hackenmiller; Blake, Turnage, Opalach; c:

Nance; d: Liotta; ds: Trumpler/Vanderbeke

— 50 —

Summer 1981

MISSOURIUniversity of Missouri Theatre Program, H. Morrison, Dir., Columbia7/81 The Robber Bridegroom 11 pfs.

NEW HAMPSHIREAmerican Stage Festival, L. Carpenter, Art. Dir., Milford6/16-27/81 Kennon's FeathertopMonadnock Music Festival, J. Bolle, Dir., Keene7/17-9/5/81 incl.: Haydn's Armida Beardslee

NEW JERSEYFair Lawn Summer Festival, I. Freeman, Dir., Fair Lawn (6/28-9/6/81)6/28/81 Die Fledermaus cone. pf.Washington Crossing State Park Summer Theatre, Titusville6/'25-211'81 A Funny Thing Happened on the Way to the Forum712-4, 9-11/81 Carousel 7/30-8/1, 6-8/81 You're a Good Man, Charlie Brown7/16-18, 23-25/81 Brigadoon 8/13-15, 20-22/81 Man of La Mancha

NEW MEXICOSanta Fe Opera, J. Crosby, Gen. Dir., Santa Fe7/3, 11, 15, 24 8/6, 11, 18, 26, 29/81 La Boheme Esham, Shearer; Cole, Ellis; c:

Crosby; d: Ulfung7/4, 8, 10, 17 8/4, 13, 22, 25, 27/81 // Barbiere di Siviglia* Kuhlmann; Rosenshein,

Hagegard, Rintzler; c: Leppard; d: Galterio; ds: Brown7/18, 22, 31 8/8, 12, 21/81 Strauss's Daphne* Alexander, James; Busse, Dooley,

Atherton; c: Crosby; d: Graham; ds: Conklin7/25, 29 8/7, 15, 19/81 The Rake's Progress* Hynes, Elias; Garrison, Morris,

Ulfung; c: Leppard; d: Hebert; ds: Klein8/1, 5, 14, 20, 28/81 Hindemith's News of the Day Eng. Moreland; Shearer, Kraft;

Atherton, Dooley; c: Ferden; d: Galterio; ds: M. W. Klein/Feldman8/17, 24/81 Apprentice Artist Showcase Concerts

NEW YORKArtpark/Natural Heritage Trust, D. Midland, Exec. Dir., Lewiston (6 30-

9/7/81)6/30-7/12/81 George M c: Head; d: Matthews7/14-26/81 Fiddler on the Roof c: Head; d: Widney7/29, 30 8/2/81 Glass's Satyagraha Am. prem.; c: Keene8/1, 5, 7, 9/81 Cavalleria rusticana & Pagliacci c: KeeneCaramoor Festival, M. Sweeley, Art. Dir., Katonah (6/27-8/23/81)7/4, 18/81 The Ballad of the Bremen BandChautauqua Opera, C. Auerbach, Dir., Chautauqua7/17, 20 8/7, 10/81 La Boheme 7/24, 27/81 Rigoletto7/10, 13 8/14, 17/81 The Student Prince 7/31 8/3/81 The Tales of HoffmannColgate University Summer Theater, Hamilton7/15-18, 22-25/81 Chicago 8/12-15, 19-22/81 Something's Afoot7/29-8/1, 5-8/81 The FantasticksGlimmerglass Opera Theatre, P. Kellogg, Exec. Mgr., Cooperstown6/30 7/2, 4m, 5m, 7/81 H.M.S. Pinafore Flasch, Gerber, H. Danner, Smith, Griffin,

McKee; c: Schneider; d: D. Danner; ds: Beck7/21, 23, 25, 26m, 28/81 Manon Lescaut Eng. Ducloux; Hadani; Crouse, Anderson;

c: Schneider; d: Deutsch; ds: Beck8/4, 6, 8, 9m, 11/81 Gallantry Flasch, Brustadt; Raines, Griffin & Trouble in Tahiti

Farris; Raines & The Impresario Eng. Pogue; Flasch, Brustadt; Raines, Griffin;c: Schneider: d: Bakman; ds: Averill

Lake George Opera Festival, P. Haupt-Nolen, Gen. Dir., Glens Falls7/16, 18, 20m, 22, 24 8/1/81 Carmen Sonnenberg; Evans, Brandstetter; c: Flint; d:

Sullivan; Eng. Harnick7/23, 25, 27m, 29, 31 8/8/81 Man of La Mancha Orloff; Nolen, Boyd; c: Haupt-

Nolen7/30 8/1, 3m, 5, 7/81 The Abduction from the Seraglio Ellsaesser; Kays, Crist; c:

Flint; d: Rhodes7/12, 19, 26 8/2, 9/81 "Opera on the Lake" cruises8/2/81 "Benefit Birthday Party" for company's twentieth anniversary; Soviero,

Phillips; Nolen8/5m, 7m/81 American Lyric Theatre: Scenes from ten American operas

— 51 —

Summer 1981

Pepsico Summerfare '81, SUNY-Purchase (7/11-8/9/81)7/11/81 Noye'sFluddePine Orchard Artists Festival, H. Sommers, Dir., PalenviOe (7/25-8/30/81)7/25 8/1, 8/81 The Consul Hunt, Maurice, Owens; McFarland, Williams; c: Frazor;

d: Pouhe; ds: Duke; Traverse Opera Ltd.7/26m 8/2m, 9m/81 Cos) fan tutte Heafner, Skiff, Vondra; Bell, Cason, McDonell;

c: Frazor; d: Pouhe; ds: Duke; Traverse Opera Ltd.SUNY-Oswego Lyric Theatre, J. Soluri, Dir., Oswego6/26-7/31/81 The New Revue (songs of Harold Arlen)7/24, 25, 27-30/81 Anything GoesSUNY-Plattsburgh Summer Music Theatre, A. Frank, Chmn., Pittsburgh7/1-4, 8-11/81 The Fantasticks 7/29-31 8/1, 5-8/81 Guys and Dolls

NEW YORK CITYBel Canto Opera, T. Sieh, Art Dir., Wagner Jr. H. S. Auditorium (see also

Vol. 22, No. 3)5/2, 3, 9, 10/81 Beeson's Dr. Heidegger's Fountain of Youth & Harnick's Frustra-

tion & Flanagan's Bartleby c: M. Waldman; d: K. King; ds: Wikoff/Capone/Kennedy (replaces Gypsy Baron)

6/5, 6m, 6, 7m/81 Herbert's Princess Pat Roffman adapt.; c/d: Roffman; ds: Smith/Tannehill

Chamber Opera Theatre of New York, T. Motyka, Gen. Dir., MarymountManhattan Theatre

8/20, 21, 25, 26, 28/81 Mozart and Salieri & Prima la musica, pox le paroleMamies College of Music Mozart Opera Project, D. Marek, Dir.6/15-7/11/81 Idomeneo; The Marriage of Figaro7/13-8/8/81 Don Giovanni; The Magic FluteMetropolitan Opera in the Park, A. A. Bliss, Gen. Mgr., New York City Parks6/16, 19, 24, 27/81 Tosca Scotto/Savova; Domingo/Bini, Milnes/Glossop; cone, pf.;

c: Levine/Campori6/17, 20 23, 26/81 Samson et Dalila Cortez/Berini; Cassilly/Chauvet, Quilico/

Clark, Berberian/Vernon; cone, pf., c: JarviNew York Grand Opera, Y. LaSelva, Gen. Dir., Central Park7/2/81 The Elixir of Love Eng. 7/19/81 La Boheme7/9/81 Rigoletto 7/23/81 Verdi Requiem

NORTH CAROLINABrevard Music Center, H. Janiec, Dir., Brevard (7/1-8/16/81)7/3/81 The Barber of Seville 7/31/81 Fiddler on the Roof7/10/81 The Pirates of Penzance 8/7/81 The Magic Flute7/17/81 Samson and Delila 8/15/81 The Student PrinceDuke University Opera Festival, J. Henry, Dir., Durham (6/12-8/2/81)7/24, 26m, 28, 30 8/1/81 Ward's Claudia Legare red. vers.

OHIOBlossom Festival School Opera, W. Graham, Dir., Kent State University, Kent7/24, 25, 26/81 Don Giovanni mus. dir.: J. JonesBlossom Music Festival, Cleveland Orchestra in Residence, K. Haas, Gen.

Mgr., Cuyahoga Falls (6/25-8/30/81)6/28/81 "A Viennese Evening" Hynes; Walker6/30/80 "Broadway Comes to Blossom" c: Page8/9/81 H.M.S. Pinafore Lovett; c: Page; cone. pf.Cincinnati May Festival, J. Conlon, Mus. Dir., Cincinnati5/22-30/81 incl.: Berlioz's Romio et Juliette; Simon Boccanegra;Cincinnati Opera, J. de Blasis, Gen. Dir., Cincinnati (see also Vol. 22, No. 3)6/18, 19#, 20/81 Aida Cruz-Romo, Dunn, Meyerson; Alexander, Smith, Diaz; c:

Guadagno; d: de Blasis; choreo: Louiso; # Eng.6/25, 27/81 Das Rheingold Bergquist, Cornell, Rambo; Thomas, Foldi, Roar, Brun-

ner; c: Keene; d: G. Wagner; ds: Mitchell7/2, 5/81 Don Pasquale Hermiston; Cousins, Tajo, Hartman; c: Ryan; d: Lucas7/9, 11/81 Tosca Neblett; Theyard, Edwards; c: Coppola; d: de Blasis7/16, ,17, 18/81 H.M.S. Pinafore* Cusack, Evans, McDaniels; Fowler, Eddleman,

Messing, Thomas; c: Ryan; d: Morelock; ds: Depenbrock7/28, 30, 31 8/1, 2m, 2/81 South Pacific* Meryl, Pang; Jacoby, Ludgin, Hilbrandt;

c: Coppola; ds: Shortt

— 52 —

Summer 1981

Cincinnati Opera Young American Artists Program (see also Vol. 22, No. 4)6-7/81 Beeson's Dr. Heidegger's Fountain of Youth; Mollicone's Star birdCleveland Opera Theatre "Al Fresco", T. Tavcar, Mgr., Kulas Auditorium7/9, 11, 16, 18,24/81 The Mikado c: Kessler; d: White7/17, 23, 25/81 Opera Scenes — GalaOhio Light Opera, J. Stuart, Art Dir., Wooster6/20 7/1, 3, 5m, 11, 18 8/4, 9, 13/81 J. Strauss's One Night in Venice6/30 7/4, 9, l lm, 15, 31 8/16m/81 The Grand Duke7/2, 4m, 8, 19, 24 8/1, 11, 16/81 Cox and Box & H.M.S. Pinafore7/7, 10, 12m, 16, 25 8/2, 8, 12/81 The Mikado7/14, 17, 18, 22, 26m 8/6, 15/81 The Pirates of Penzance7/21, 23, 25, 29 8/2m, 8, 14/81 The Yeomen of the Guard7/28, 30 8/1, 5, 7, 9m, 15/81 lolanthe

PENNSYLVANIAAcademy of Vocal Arts/Corfu International Festival, D. Yannopoulos, Art.

Dir., Corfu, Greece (6/18-7/8/81)6/19, 21/81 La Sonnambula Bradley 6/20, 22/81 The Rape of Lucretia LearLongwood Gardens Festival, Philadelphia6/1-9/30/81 incl.: Camelot; The GondoliersMuhlenberg College Summer Center for the Arts, J. Slavin, Dir., AUentown6/26, 27, 28m, 28 7/2, 3, 5m, 5, 10, 11, 12m, 12/81 The Student Prince7/17, 18, 19m, 19, 24, 25, 26m, 26, 31 8/1, 2m, 2/81 The Mikado8/7, 8, 9m, 9, 14, 15, 16m, 16, 21, 22, 23m, 23/81 CandideThe Opera Workshop, T. Flynn, Dir., Pittsburgh8/14, 15/81 Lo Speziale Eng. & La Canterina Eng.; c: Meena8/16/81 "Opera Aria Marathon"8/18/81 Opera Scenes8/19, 20/81 Gardner's Bel and the Dragon Am. prem.; c: Johnson8/21, 22/81 Vanessa c: Flint; d: HelfgotPenn State University Festival Theatre, R. Baisley, Opera Dir., University Park7/2-5, 7-12, 14-19/81 Once Upon a Mattress 7/30-8/2, 4-9, 11-16/81 GreasePittsburgh Civic Light Opera, T. Helm, Mus. Dir., Pittsburgh7/7, 8, 9, 10, llm, 11, 12/81 Mame Carter, Rush, Powers, Rollis; Rice7/14, 15, 16, 17, 18m, 18, 19/81 Cinderella Norton-Taylor, Sadusk; Rice7/21, 22, 23, 24, 25m, 25, 26/81 Annie Get Your Gun Korey; Scott, Rice; d:

Schulman7/28, 29, 30 8/lm, 1, 2/81 Seesaw Nemetz; Howard8/4, 5, 6, 7, 8m, 8, 9/81 The Vagabond King Rice; Rice8/11, 12, 13, 14, 15m, 15, 16/81 The Sound of Music McGovern; Schuck

SOUTH CAROLINASpoleto Festival U.S.A. — see Vol. 22, No. 4

TEXASHouston Grand Opera, D. Gockley, Art. Dir., Miller Park, Houston5/22-6/6/81 Treemonisha Balthrop, Ivory; Rayam, Hicks, Duckins; c: DeMain; d:

Corsaro; ds: ColavecchiaVERMONT

Vermont Mozart Festival, M. Kaplan, Art. Dir., Burlington7/19-8/8/81 incl. Bastien und Bastienne; Master Peter's Puppet Show New York

Chamber SoloistsVIRGINIA

Wolf Trap Farm Park for the Performing Arts, E. C. Hankenson, Exec. Dir.,Vienna (6/1-9/5/81)

7/28/81 Attila Galvany; DiGiuseppe, Ramey, Fredricks; New York City Operaprod.

7/29, 31/81 Carmen Davidson, Soviero; Calleo, Long; c: Wendelken-Wilson; NewYork City Opera prod.

7/30/81 Tosca Sundine; Trussel, Fredricks; c: Pallo; New York City Opera prod.8/lm, 1, 2/81 The Student Prince Munro; Price, Cossa; c: Salesky; New York City

Opera prod.8/13, 15/81 The Marriage of Figaro Eng.; c: Woitach; d: D. Gramm; Wolf Trap

Company8/23/81 Wolf Trap Company Showcase

— 53 —

Summer 1981

Wolf Trap Foundation Educational Project, Children's Opera Series7/28 8/15/81 L'Enfant et les sortileges Eng.; Wolf Trap Company8/1, 22/81 Brooks's Rapunzel prem.; Wolf Trap Company

WASHINGTONPacific Northwest Festival, G. Ross, Gen. Dir., H. Holt, Mus. Dir., Seattle7/18, 28#/81 Das Rheingold Cook, Decker; Hillebrandt, Plate, Belcourt, Magnin,

Gaal, Nentwig7/19, 29#/81 Die Walkure Vinzing/Yoes; Sooter, Nentwig7/21, 31#/81 Siegfried Vinzing/Yoes, Decker; Palay, Nentwig, Hillebrandt, Plate,

Magnin7/23 8/2#/81 Gotterdammerung Vinzing/Yoes, Cook; Palay, Hillebrandt, Wilder-

mann# Eng. Porter

WEST VIRGINIAOglebay Institute Opera Wksp., F. Popper, Dir., Wheeling (7/26-8/15/81)Theatre Arts of West Virginia, E. Cornett, Prod., Beckley6/20-8/30/81 Cornett's Hat fields and the McCoys; Cornett and Kilpatrick's Honey

in the Rock

CANADABanff Centre Festival & School of the Arts, M. Bawtree, Art. Dir., Banff, Alta.

(6/1-8/21/81)7/16-19/81 Albert Herring c: Brydon; d: Campbell; ds: Jackson8/6-8m/81 The Threepenny Opera c: Cable; d: Williams; ds: Jampolis/Johnson;

choreogr: MooreCanadian Opera Company Ensemble, L. Mansouri, Gen. Dir., Toronto6/18, 19, 20, 21/81 Warrack's One Step at a Time 8 pfs.Festival Ottawa Opera, A. Gingras, Adm., National Arts Centre, Ottawa7/4, 10, 16, 18/81 Idomeneo* Valente, Tinsley; Shirley, DuBois, Keane, Fitch,

Charbonneau; c: Bernardi; d: Kaslik; ds: Svoboda/Lorain7/11, 15, 23, 25, 28/81 Rigoletto Welting, MacPhail; Shicoff, Quilico; c: Peloso; d:

Herbiet; ds: Pizzi; Lyric Opera of Chicago prod.7/17, 22, 24/81 A Midsummer Night's Dream Burrowes, Loeb, Collier; Greenblatt,

Skinner, J. Stewart, Charbonneau, Corbeil; c: Bernardi; d: Macdonald; ds:Bardon/Stennett

7/29/81 Bastien et Bastienne & The Impresario Cuccaro, Landry; Corbeil, DuBois,Richard; c: Skrowaczewski

Harbourfront Equity Showcase, Toronto7/1-4/81 Quesnel's Colas et Colinette Wilberforce; Ingram, Anthony, Bates; c:

Alderton; d: Silva-MarinHarbourfront Summer Festival of the Canadian Opera Co., L. Mansouri, Gen.

Dir., Toronto7/23, 24, 25, 26/81 Madama Butterfly Eng.; Roslak, Berge/James; Jones/Shust,

Dihel, Silva-Marin; c: Bate; d: Aster7/30, 31 8/1, 2/81 La Traviata Eng.; Roslak/Tomlin; Jones/Shust, Dihel/Silva-

Marin; c: Bate; d: Aster8/6, 7, 8, 9/81 Die Fledermaus Eng.; Ginzer/Tomlin, Farrell; Baerg/Pedrotti, Jones,

Cameron, Silva-Marin; c: Bate; d: Aster8/13, 14, 15, 16/81 The Barber of Seville Eng.; Farrell/James, Berge/Gregory;

Jones/McLean, Baerg/Silva-Marin, Cameron, Paulionis; c: Bate; d: AsterShaw Festival, C. Newton, Art. Dir., Niagara-on-the-Lake, Ont.6/26-9/6/81 Rose Marie 80 pfs.Stratford Festival, J. Hirsch, Art. Dir., Stratford, Ont.6/15-10/31/81 incl. H.M.S. Pinafore 60 pfs.Vancouver Opera Ass'n, H. McClymont, Gen. Mgr., Vancouver, B.C. (see also

Vol. 22, No. 3)8/1, 4, 6, 8/81 Otello Carson, Taylor; Johns, Edwards, Heppner, Charbonneau; c:

Guadagno; d: Guttman (postponed from March due to city-wide strike)Victoria International Festival, G. Johannesen, Art. Dir., Victoria7/13-8/24/81 incl.: The Medium; Rita; Canada Opera Piccola prods.

— 54 —

FIRST PERFORMANCE LISTING 1981-82 SEASON

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.

CALIFORNIALos Angeles Philharmonic, C. M. Giulini, Mus. Dir., Los Angeles4/14, 17, 19, 21, 24, 27, 29 5/1/82 Falstaff Ricciarelli, Hendricks, Terrani, Boozer;

Gonzalez, Bruson, Nucci; c: Giulini; d: Eyre; ds: Griffin/BjornsonOpera Ensemble of San Francisco, R. Halper, Art. Dir., San Francisco1/22, 24/82 Pfitzner's Palestrina Eng. Halper; Am. prem.San Diego Opera, T. Capobianco, Gen. Dir., San Diego9/11, 13, 16, 19/81 Andrea Chenier Casolla; Milnes, Bini; c: Tauriello9/25, 27, 30 10/3/81 Susannah Craig; Norman, Ramey; c: Keene; d: Floyd10/9, 11, 14, 17/81 Faust Myers; Brecknock, Hale, Raftery; c: Rugeriis4/23, 25, 28 5/1/82 Zandonai's Giulietta e Romeo Am. prem.; Soviero; Brocheler,

Bini; c: Veltri; d: Capobianco5/6, 8,12, 16/82 The Barber of Seville Esham; Reed, Plishka, Raftery; c: Rugeriis5/21, 23, 26, 29/82 Turandot Deutekom; Bini, Plishka; c: Alcantara1981-82 school tour: Chauls's Alice in WonderlandSan Francisco Opera, K. Adler, Gen. Dir., War Memorial Opera House9/11, 16, 20m, 23, 26 10/1/81 Semiramide Caballe\ Home; Gonzalez, Morris; c:

Bonynge; d/ds: Pizzi9/12, 15, 18, 24, 27m, 30/81 Manon Grist; Burrows, Duesing, Malta, Castel, Gard-

ner; c: Rudel; d: Levine; ds: Mitchell/George9/19, 25, 29 10/8, llm/81 Lady Macbeth of Mtsensk Silja; Lewis, Neill, Ludgin;

c: Simmons; d: Freedman; ds: Skalicki/Colangelo (1964 prod, of Katarinalsmailova)

10/3, 6, 9, 13, 16, 21, 25m, 28, 31/81 The Merry Widow Sutherland, Forst; Hage-gard, Austin; c: Bonynge; d: Mansouri; ds: Laufer/Mess (Canadian Opera prod.)

10/10, 14, 18m, 22, 26, 30 11/3 12/4, 7, 10, 13m/81 Carmen Berganza/Schwarz,Mitchell; Bonisolli/Domingo, Estes/Carlson; c: Adler; d/ds: Ponnelle

10/15, 17, 19/81 Le Cid semi-stgd.; Neblett; Domingo, Siepi; c: Rudel; d: Frisell10/24, 27 11/lm, 6, 11/81 Wozzeck Martin; Lewis, Evans, Cox, Kennedy; c: W.

Rennert; d: Evans; ds: Bauer-Ecsy/Munn11/4, 7, 8m, 9, 13, 17, 22m/81 Lucia di Lammermoor Putnam/Ringo; Shicoff/

Gardner, Zancanaro, Furlanetto; c: Agler; d: Farruggio; ds: Toms11/12, 15m, 18, 21, 24, 27/81 Aida M. Price, Toczyska; Pavarotti, Estes, Mroz,

Langan; c: Navarro; d: Del Monaco; ds: Schmidt/Casey11/20, 25, 28 12/1, 6m, 12/81 Die Walkure Nilsson/Kovacs, Rysanek; King,

Schenk, Rydl; c: Suitner; d: Hager; ds: Skalicki11/26, 29m 12/2, 5, 8, 11/81 // Trovatore L. Price, Cossotto; Lamberti, Brendel,

Rydl; c: Steinberg; d: Mansouri; ds: Skalicki/WestCONNECTICUT

Connecticut Grand Opera Co., G. Campora, Art. Dir., Darien9/12/81 La Forza del destino Cruz-Romo; Campora, Cowen11/14/81 Rigoletto Russell; Price, Cowen3/28/82 "An Evening in Old Vienna" cone. pf.5/22/82 L'Elisir d'amore Flagello; Bilbao, McKee, LoreyConnecticut Opera, G. Osborne, Gen. Mgr., Bushnell Hall, Hartford10/28, 30/81 Aida Casolla, Dunn; Roney, Smith; c: Ryan; d: Morelock; ds: Stone;

choreo: Salatino; at Hartford Civic Center12/3, 5/81 Die Fledermaus Eng.; Telese; Roe; c: Gutter; d: Gately2/24, 27/82 Salome Bumbry, Elliott; Powers, Nagy4/1, 3/82 Nabucco Metz; Manuguerra, Furlanetto, Di Paolo; c: Guadagno; d: More-

lockStamford State Opera, G. Consiglio, Art. Dir., Stamford10/ 311'81 The Barber of Seville Eng.2/20/82 Madama Butterfly5/8/82 Rigoletto

— 55 —

1981-82 Season

DISTRICT OF COLUMBIACzech Sokol Opera, L. Brodenova, Art. Dir., Terrace Theatre10/16, 17/81 Cert a Kaca (The Devil and Kate) Am. prem.National Symphony Orchestra, M. Rostropovich, Mus. Dir., Washington1/12, 13, 15/82 La Vida breve cone. pfs.4/5, 7, 9/82 Tchaikovsky's Mania cone, pfs.; Vishnevskaya; Gedda; 4/16 Carnegie

Hall, NYThe Washington Opera, M. Feinstein, Gen. Dir., Kennedy Center11/7, 9, 11, 15, 20/81 La Boheme Greenawald, Hall; Hadley, Glassman, Stilwell,

Robbins; c: Mauceri; d: Menotti; ds: Brown11/13, 16, 22, 25, 28/81 Macbeth Stapp; Savastano, Pons, Federici; c: Kellogg;

d: Helpmann; ds: Brown11/18, 21, 23, 27, 29/81 The Magic Flute Eng. Porter; Hunt; Kays, Parker, Cole;

c: Rudolf; d: Corsaro; ds: Sendak (Houston Grand Opera prod.)11/30 12/2,5,7, 9, 11, 13, 15/81 The Rake's Progress c: Mauceri; d: Helpmann; ds:

Brown, at Terrace Theatre12/1, 4, 6, 8, 12, 14, 16, 18, 20, 22/81 L'Elisir d'amore Christos; Di Paolo, Glass-

man, Beni; c: Kellogg; d: Galterio; ds: Brown, at Terrace Theatre12/19, 21, 23, 27, 30/81 1/3, 5, 9, 11, 13, 15, 16/82 Trial by Jury & Monsieur

Choufleuri Peterson; Hadley, Billings, Loup; d: Rizzo; ds: Brown, at TerraceTheatre

12/26, 28/81 1/2, 4, 6, 8, 10, 12/82 // Barbiere di Siviglia (Zedda vers.) Hall;Raftery, McKee, Dansby; c: Mauceri; d: Galterio; ds: Brown, at Terrace Theatre

FLORIDACivic Opera of the Palm Beaches, R. Kapp, Gen. Dir., West Palm Beach12/11, 13, 15/81 Carmen1/22, 24, 26/82 Adriana Lecouvreur3/12, 14, 16/82 La Forza del destinoGreater Miami Opera, R. Herman, Gen. Dir., Dade County Aud. & Miami

Beach Theatre1/18-23/82 Simon Boccanegra Carden, Svetlev; Milnes, Burchinal, Mangin; c:

Buckley; d: Merrill; ds: Businger/Skelinski; 1/19, 24 Eng.2/15-20/82 La Traviata Putnam; Ochman, Edwards; c: Alcantara; d: Merrill; ds:

O'Hearn/Lehmeyer, 2/16, 21 Eng.3/15-20/82 Werther Daniel, Belling; Gedda, Perry, Justus, Booth; c: de Almedia;

d: Hebert; ds: Rubin/Conklin; 3/16, 21 Eng.4/12-17/82 Turandot* Knie, Lee; McCracken, Frank, Perry, Monk; c: Buckley; d:

Hebert; ds: Klein (joint prod. w. Dallas & Houston); 4/13, 18 Eng.Orlando Opera, D. Bowes, Gen. Mgr., Carr Municipal Auditorium10/30 l l / lm/81 Faust Wells; Goeke, Dansby1/29, 31/82 Die Fledermaus Eng.; G. Robinson; Jamerson, McKee, McDonald

GEORGIAAtlanta Civic Opera Ass'n, T. Pasatieri, Art. Dir., Symphony Hall10/23, 25m/81 Pasatieri's Black Widow Cariaga, Telese; Crafts; c: Salesky12/27m, 29/81 La Cenerentola Eng. Bini; Golden; Blake, Titus; c: Badea; d: D.

Alden3/26, 28m/82 La Boheme Spacagna; Myers; c: Noll; d: C. Alden

ILLINOISChicago Opera Theater, A. Stone, Art. Dir., Chicago2/6, 7m, 10, 12, 13/82 The Abduction from the Seraglio* Eng.3/27, 28m, 31 4/2, 3/82 Regina5/22, 23m, 26, 28, 29/82 The Daughter of the Regiment Eng.Light Opera Works, B. McDonough & E. Dubinsky, Mng. Co-Dirs., P. A.

Kraus, Art. Dir., Evanston9/10, 11, 12, 13m/81 H.M.S. Pinafore c: Jones; d: Kraus; choreogr.: Kekst12/31/81 1/1, 2, 3m/82 Orpheus in the Underworld c: Jones; d: Kraus; choreogr:

Kekst; Eng. KrausLyric Opera of Chicago, A. Krainik, Gen. Dir., Chicago9/25, 30 10/3, 6, 9, 15, 19, 23/81 Samson et Dalila Minton; Cossutta, Krause,

Kavrakos, Dworchak; c: Plasson; d: Joel; ds: Schmidt/Robbins9/29 10/2, 5, 8, 10, 13, 16, 20/81 L'Elisir d'amore Buchanan; Pavarotti, Romero,

Montarsolo; c: Bartoletti; ds: Santicchi— 56 —

1981-82 Season

Lyric Opera of Chicago, cont10/14, 17, 21, 24, 27, 30 11/2/81 Ariadne auf Naxos Rysanek, Welting, Schmidt/

Minton, Langton; Johns Fryatt, Hoback, Nolen, Malta, McKee, Dworchak, Ruta;c: Janowski; d: Neugebauer; ds: Messel

10/28, 31 11/3, 6, 9," 13, 16/81 Macbeth Barstow; Little, Cappuccilli, Plishka,Dworchak; c: Fisher; d: Merrill; ds: Benois

11/7, 11, 14, 17, 20, 23, 28 12/1/81 Fidelio Meier/Marton, Hynes; Vickers, Hoback,Roar, Plishka, Kavrakos; c: Kuhn; d: Hotter

11/21, 24, 30 12/4, 9, 12, 18/81 Don Quichotte Valentini-Terrani; Ghiaurov,Gramm; c: Fournet; d: Merrill; ds: Samaritani

11/27 12/2, 5, 8, 11, 14, 19/81 Romeo et Juliette Freni; Kraus, Raftery; c: Fournet;ds: Gerard

INDIANAIndiana University Opera Theatre, C. Webb, Dean, Bloomington9/26 10/3, 10, 17/81 Madame Butterfly10/24, 31 11/7, 14/81 The Merry Wives of Windsor11/21 12/5, 12/81 Janacek's The Excursions of Mr. Broucek Am. stg. prem.1/30 2/6, 13, 20/82 The Abduction from the Seraglio2/27 3/6, 12, 13/82 Faust 4/3, 17,24/82 WozzeckWhitewater Opera Co., Inc., C. Combopiano, Art Dir., Richmond10/15, 16, 17/81 La Traviata Eng.2/18, 19, 20/82 Suor Angelica & Gianni Schicchi Eng.4/22, 23, 24/82 The Grand Duchess of Gerolstein Eng.

KENTUCKYKentucky Opera, T. Smillie, Gen. Dir., McCauley Theater, Louisville10/28, 30, 31/81 La Traviata Cummings; Livings, Everette; c: Caraher; d: Lazarus12/9, 11, 12/81 Ariadne auf Naxos Davis, Mills, Schumann; Greer, Everette, Samuel-

sen; c: Bomhard; d: Lloyd2/10, 12 13/82 The Bartered Bride Capone; Myers, Stephens, Boyd; c: Harwood;

d: Bomhard3/24, 26, 27/82 Le Nozze di Figaro Hynes, Pruett, Mentzer; Embree, Opalach,

Gerbrandt; c: BomhardLOUISIANA

Louisiana Opera Theatre/Shreveport Symphony, N. Cassizzi, Gen. Mgr.3/26, 28/82 Carmen Eng. LoganNew Orleans Opera Ass'n, A. Cosenza, Gen. Dir., New Orleans10/15, 17/81 Un Ballo in maschera Savova; Bergonzi11/12, 14/81 Rigoletto12/10, 12/81 Lakme cone, pis.; Brecknock3/11, UI$2Elektra4/22, 23, 24/82 The Abduction from the Seraglio Eng. MartinShreveport Opera, R. Murray, Gen. Dir., Shreveport9/25/81 R. Peters & C. MacNeil in Concert10/16, 18/81 La Traviata Eng.; c: Effron; d: Addison2/12, 14/82 Hansel and Gretel Eng.; c: Woitach; d: Ewers6/8-22/82 tour to schools: Game of Chance

MARYLANDBaltimore Opera, J. Holbrook, Gen. Dir., Baltimore10/22, 24, 26/81 Carmen Lear, Shearer; Mauro, Monk; c: Coppola; d: Lehmeyer11/19, 21, 23/81 Jenufa Eng.; Haywood, Tinsley; Neill, Gibbs; c: Woitach; d:

Hebert2/18, 20, 22/82 Die Fledermaus Eng.; Meier, Munro, Bonazzi; R. Estes, Titus,

Busse; c: Guadagno; d: Hebert3/25, 27, 29/82 Manon Lescaut Neblett; Burchinal, Bini

MASSACHUSETTSBoston Concert Opera, D. Stockton, Mus. Dir., Jordan Hall9/18, 20/81 IPuritani cone, pf.; Hall; Blake, Raftery, Albert: c: Stockton10/16, 18/81 Mefistofele cone, pf.; Laws, Knighton: Cheek, DiPaolo; c: Stockton12/4, 6/81 La Battaglia di Legnano cone, pf.; Fernandez; Smith, West; c: Stockton1/29, 31/82 La Navarraise & Goyescas cone, pf.; Vergara; Calleo, Nimnicht; c:

Stockton

— 57 —

1981-82 Season

Boston Lyric Opera Co., J. Balme, Gen. Dir., Boston9/25, 27m/81 The Abduction from the Seraglio12/1,3/81 Werther12/12/81 Amahl and the Night Visitors1/15, 17m/ 82 Norma8/82 Otello cone. pf.Opera Company of Boston, S. Caldwell, Art. Dir., Boston1/22, 24, 28, 31/82 Zimmermann's Die Soldaten Am. prem.2/25, 28 3/4, 7/82 Aida Verrett; McCracken4/2,4,8, 11/82 La Boheme4/30, 5/2, 6, 9/82t.b.a.5/21, 23, 27, 30/82 Der Freischiitz

MICHIGANMichigan Opera Theatre, D. Di Chiera, Gen. Dir., Detroit10/2, 3# , 4, 6# , 9# , 10/81 Tosca # Eng.; N. Shade/Sundine; Ortiz/West, Smith/

Poulimenos; c: Waters; d: Ventura10/16, 17, 18, 21, 23, 24/81 Carmen Eng.; Vergara/Munzer, Kirkland; Busse; c:

Flint; d: Bakman; Lyric Opera of Kansas City prod.10/30, 31 11/1, 4, 6, 7/81 Tigranian's Anoush* Am. prem.; Eng. Pappasian;

Keroigan; Poulimenos; c: Armenian; d: Pappasian; ds: Colavecchia/McCowen;choreo: Chamourian

1/15, 16, 17, 20, 22, 23/82 The Mikado 9 pfs.1/29, 30, 31 2/3, 5, 6/82 Porgy and Bess 9 pfs.; Fernandez; Albert3/82 Opera-in-Residence tour: Madama Butterfly

MINNESOTAMinnesota Opera Co., H. W. Balk, Art Dir., Minneapolis/St Paul11/27-12/12/81 Hansel and Gretel 15 pfs. at Orpheum Theatre2/6, 12, 13/82 Gianni Schicchi & Paulus's A Village Singer at O'Shaughnessy Audi-

torium3/19, 20, 23, 26, 27/82 The Barber of Seville Eng.; Mills; at O'Shaughnessy Audi-

tourium4/30 5/1, 8/82 Barnes's Feathertop & Mollicone's A Vampire Tale prem. at

Guthrie TheatreMISSISSIPPI

Mississippi Opera, J. Goolsby, Gen. Dir., JacksonFall '81 Chauls' Alice in Wonderland & Paulus's A Village SingerSummer '82 Die Fledermaus; Don Giovanni

MISSOURILyric Opera of Kansas City, R. Patterson, Gen. Dir., Kansas City Lyric Theater9/19, 21, 25, 30/81 Regina Jones, Pascal, Schauler, Freeman, Daniels; Frierson,

Steele, Jones, Dansby, Roy9/23, 26, 28 10/2/81 L'ltaliana in Algeri Eng. Martin; Capone, Curry, Freeman,

Munzer; McKee, Frierson, Gillespie10/2, 5, 7, 9/81 Lucia di Lammermoor Eng. Grossman; Del George, Jones; Steele,

Schwisow, Jones, Dansby, RobinsonNEBRASKA

Opera/Omaha, Inc., P. Haupt-Nolen, Art. Adv., Omaha11/5, 7/81 Daughter of the Regiment Eng. Martin; Christin, Ommerle, Cameron,

Sullivan; c: Manahan;d: Danner; ds: Montresor2/9, 12, 14/82 Carmen Eng.; Clarey, Zannoth; West, Embree; c: DeMain; d:

Sullivan3/11, 13/82 The Magic Flute Eng. Porter; South, Graham, Davies, King-Lazzarotti;

c: Haupt-Nolen; d: GrahamNEW JERSEY

Princeton University Opera Theatre, P. Westergaard, Dir., Princeton4/2, 3, 6, 9, 10/82 Beethoven's Lenore Am. stage prem.; Eng. WestergaardRutgers Opera, V. Goodall, Dir., Rutgers & tour11/21-12/20/81 Blow's Venus and Adonis w. N.Y. Baroque Ensemble; A. Jacobi,

choreogr.; pfs. in museums Newark, Morristown, Montclair, Trenton, & RutgersUniversity

— 58 —

1981-82 Season

NEW MEXICOFour Corners Opera Ass'n, R. Gregori, Gen. Dir., Farmington11/5, 7/81 Don Pasquale Eng.; Pierson2/26, 27/82 Opera Gala6/3, 5/82 Rigoletto Eng.; Gibbs

NEW YORKOpera Theatre of Rochester, R. Rosenberg, Art. Dir., Rochester9/26/81 La Traviata1/23/82 Romeo and Juliet Eng. Martin5/6/82 Daughter of the Regiment Eng.Opera Theatre of Syracuse, R. Driver, Gen. Mgr., Syracuse10/2, 3/81 La Traviata11/13, 14/81 H.M.S. Pinafore2/5, 6, 7, 12, 13, 14/82 The Barber of Seville Carrier Theater3/5, 6/82 Romeo and JulietSyracuse Symphony, C. Keene, Mus. Dir., Syracuse12/18, 19/81 Salome stgd. c: Keene4/23, 24/82 Turandot cone. pf. c: KeeneTri-Cities Opera, C. Savoca & P. Hibbitt, Co-Dirs., Binghamton10/24, 25, 30, 31/81 Rigoletto Reed1/30, 31 2/5, 6/82 L'Elisir d'amore Eng.; Wohlafka4/24, 25, 30 5/1/82 Cavalleria rusticana & Pagliacci1981-82 tour: Sid, the Serpent Who Wanted to Sing; A Faun in the Forest; Little

Red Riding HoodNEW YORK CITY

Apollo Opera Inc., N. Moraitis, Pres., Lilly Blake School10/17, 18m/81 Meyerbeer's Dinorah (Le Pardon de Ploermel) dialogue Eng.; w.p.12/81 Rousseau's Le Divin du village w.p.Brooklyn Academy of Music, H. Lichtenstein, Exec. Dir.Fall '81 Glass's Satyagraha Artpark prod.Chamber Opera Theatre of New York, T. Motyka, Gen. Dir., Marymount

Manhattan10/22, 24, 27, 29, 31/81 Cosl fan tutte12/17, 18, 19, 20/81 The Face on the Barroom Floor & The Old Maid and the Thief2/18, 20, 24, 26, 28/82 Musgrave's The Voice of AriadneClarion Music Society, N. Jenkins, Mus. Dir., Tully Hall1/13/82 Steffani's L'amor vien dal destino Am. prem., cone. pf.Metropolitan Opera, A. A. Bliss, Gen. Mgr., Lincoln Center9/21, 25, 30 10/3m, 6/81 2/8, 13m/82 Norma9/22, 26m 10/3, 8/81 Das Rheingold9/23, 26 10/1, 5, 10, 13, 16, 22, 27 11/2/81 3/3, 6m, 9, 12, 18/82 La Traviata9/24, 29 10/2, 9, 15, 20/81 Siegfried9/28 10/7, 10m, 14, 17, 21, 24 12/1, 10, 17, 22, 26m, 31/81 Madama Butterfly10/12, 17m, 23, 26, 29/81 Die Frau ohne Schatten Nilsson/Mclntyre, Dunn; Bren-

neis, Nentwig; c: Leinsdorf10/19, 24m, 28, 31m 11/4, 7, 12, 16, 20, 25, 28 12/9, 12, 15, 19m/81 Rigoletto10/20 11/3, 7m, 11, 14, 19, 23, 28m 12/2, 5, 8, 12m/81 // Trittico10/31 11/6, 9, 14m, 17, 21, 26, 30 12/5m/81 Tosca11/5, 10, 13, 18, 21m, 24, 27/81 Die Zauberflote12/3, 7, 11, 16, 19, 23, 28/81 l/2m/82 Le Rossignol & Le Sacre du printemps &

Oedipus Rex* Bradley, Catania; Creech, Meredith, Cheek & ballet & Troyanos/Quivar; Cassilly/Lewis Mazura, Macurdy; c: Levine/Tate; d: Dexter; ds: Hockney

12/4/81 Concert12/14, 18, 24, 29/81 1/2, 6, 9, 13, 16m, 19, 22, 27 2/1, 5, 10, 13, 16, 19, 22, 25/

82 La Bohime* Stratas/Zylis-Gara, Scotto/Migenes/Craig; Carreras/Ciannella/Domingo, Stilwell/Edwards/Ellis, Monk/Sereni, Morris/Robbins, Tajo/Capecchi;c: Levine/Tate; d: Zeffirelli; ds: Zeffirelli/Hall

12/21, 25, 26, 30/81 1/1, 5, 7, 9m/82 Hansel and Gretel Eng.1/4, 8, 12, 16, 21, 25, 30m 2/4/82 Tannhauser1/11, 14, 20, 23m, 26, 30/82 Luisa Miller

— 59 —

1981-82 Season

Metropolitan Opera, cont.1/15, 18,23,28 2/2, 6m, 11,26 3/2,5, 13/82 // Trovatore1/29 2/3, 6, 9, 12, 17, 20, 23, 27m 3/1, 4/82 Cost fan tutte* Te Kanawa/Lorengar,

Battle, Ewing; Rendall, Morris/Carlson, Gramm; c: Levine/Tate; d: Graham; ds:Griffin/Clancy

2/15, 18, 24, 27 3/6, 10, 13m, 16, 19, 25/82 // Barbiere di Siviglia* Horne/Ewing;Elvira, Blake/Gonzalez, Dara/Capecchi, Berberian/Montarsolo; c: Davis; d: Cox;ds: Wagner/Zipprodt

2/20m/82 Verdi Requiem3/8m#, 11, 15, 20, 24, 27m, 30 4/3/82 Les Contes d'Hoffmann* Welting/Bradley,

Eda-Pierre, Troyanos/Cortez, Howells; Domingo, Devlin/Morris, Senechal, Ma-curdy; c: Chailly; d: Schenk; ds: Schneider-Siemssen/Frey

3/17, 20m, 23, 27 4/1, 7, 10, 15/82 / Vespri siciliani3/22, 26, 31 4/3m, 8, 12, 16/82 Die Entfiihrung aus dent Serail3/29 4/2, 6, 10m, 14, 17/82 Fidelio4/5,9, 13, 17m/82 Parsifal# Guild BenefitRoster: sops.: Amara, Andersson, Andrade, Battle, Bergquist, Blegen, Bradley,Brandson, Bumbry, Coss, Craig, Cruz-Romo, Davis, Devia, De Franco, Donat,Eda-Pierre, Gulin, Higareda, Knie, Kubiak, Lorange, Lorengar, Malfitano, Mali-ponte, Marton, Meier, Merritt, Migenes-Johnson, E. Moldoveanu, Moser, Neblett,Negri, Nilsson, Norden, Owen, Payer, Peters, L. Price, Ricciarelli, Rinaldi, Roberts,G. Robinson, Rysanek, Savova, Scotto, E. Shade, Shane, Stratas, Te Kanawa,Valente, Verrett, Volkman, Welting, Wohlafka, Wyner, Zoghby, Zylis-Gara; mezzos:Berini, Boozer, Bybee, Casei, Catania, Chookasian, Cornell, Cortez, Decker, Dunn,Elias, Ewing, Finnila, Godfrey, Hamari, Home, Howells, I. Jones, Kraft, Love,Quivar, Randova, Taillon, Troyanos; tens.: Alexander, Anthony, Atherton, Best,Bini, Blake, Brenneis, Burrows, Carreras, Cassilly, Castel, Ciannella, Cortez, Creech,Domingo, Dvorsky, Franke, Giacomini, Gilmore, Gonzalez, Hofmann, Jenkins,Johns, Jung, Kness, Kuebler, J-ewis, Lloveras, Malamood, Mauro, V. Moldoveanu,Morell, Nagy, Ochman, Pavarotti, Raffanti, Rendall, Riegel, Senechal, Sooter, Talley,Thomas, Ulfung, Velis, Zednik; bars.: Allen, Boucher, Bruscantini, Bruson, Carlson,Christopher, Clark, Darrenkamp, Devlin, Dickson, Edwards, Ellis, Elvira, Glossop,Goodloe, Hartmann, Holloway, MacNeil, Manuguerra, Meredith, Milnes, Monk,Mclntyre, Nentwig, Nucci, Quilico, Radovan, Roar, Schexnayder, Sereni, Shinall,Smith, Stewart, Stilwell, Thompson, Weikl; basses: Andersson, Bacquier, Berberian,Bertolino, Capecchi, Cheek, Courtney, Dara, Dene, Dobriansky, Estes, Fleck,Furlanetto, Giaiotti, Gramm, Haugland, Hines, Kavrakos, Macurdy, Mazura,Mittlemann, Montarsolo, Morris, Plishka, Raimondi, Robbins, Tajo, Talvela,Vernon; conds.: Campori, Chailly, Conlon, Davis, Foster, Fulton, Gavazzeni,Haitink, Leinsdorf, J-evine, Patan6, Rescigno, Rudel, Santi, Simmons, Tate, WoitachNew York City Opera, B. SiUs, Gen. Dir., State Theatre, Lincoln Center8/27, 28, 29m, 30m/81 The Student Prince9/3, 4, 5m, 6m, 8, 9, 10, 11, 12m, 13m/81 Song of Norway* Marsee, Peterson;

Eisler/Evans, Dickson, Smith; c: Redfleld; d: Freedman; ds: Jenkins9/17, 20, 23, 26m, 29 10/2/81 Nabucco* Bumbry/Galvany, Simon/Eckhart; Broech-

eler, Calleo/Lankston, Diaz; c: Pallo/Selva; ds: Benois (shared prod. w. GreaterMiami Opera)

9/18, 20m, 26m 10/10/81 Tosca9/19m, 22/81 Maria Stuarda9/19, 24, 27m 10/4, 10m/81 Die Fledermaus9/25 10/4m, 8, 14, 31m 11/7/81 La Boheme9/27 10/1, 3m, 9, llm/81 / Puritani9/30 10/3, 6, 17, 23, 29/81 Carmen10/7,11, 15/81 Don Giovanni10/16, 18, 24, 30 11/1, 4, 7m/81 La Traviata* Soviero; McCauley/Price, Stone/

Elvira; c: Bernardi; d: Galterio; ds: Brown10/17m, 25m, 27/81 The Cunning Little Vixen10inm,20,24mlSlAttila10/25, 28 11/ lm, 5, 10, 14m/ 81 Der Freischutz* Eng. Porter; E. Shade/Thomson,

Esham/ Myers; Trussel, McFarland/Willoughby, Cumberland/Hale; c: Keene;d: Copley; ds: Toms

— 60 —

1981-82 Season

New York City Opera, cont.10/31 11/3, 12/81 Rigoletto11/6, 8, 11, 15m/81 Lucia di Lammermoor11 /8m, 13, 15/81 La Clemenza di Tito11/18-12/13/81 at Los Angeles Music CenterRoster: sops: Aaronson, J. Anderson, Bumbry, Christos, Esham, Galvany, Gut-knecht, Hinds, Hynes, B. Jones, Mines, Munro, Myers, Nielsen, Niska, Orloff,Peterson, Poston, Putnam, Rolandi, E. Shade, Sheil, Sonnenschein, Soviero, Thom-son, Vaness, Wells, Woods, Yorke, Zschau: mezzos: Christin, Costa-Greenspon,Eckhart, Evans, R. Freni, Gilmore, Hegierski, Lerner, Marsee. Miller, Pelle, Shaulis,Simon, Toro; tens.: Aler, Calleo, Clark, Cole, DiGiuseppe, Eichorn, Eisler, Evans,Grice, Hadley, Harrold, Lankston, Large, McCauley, Merritt, H. Price, P. Price,Romaguera, Stewart, Trussel, Wagner: bars. & basses: Bassett, Beattie, Billings,Broecheler, Brown, Burchinal, Cossa, Cross, Cumberland, Diaz, Dickson, Dietsch,Elvira, Embree, Fredricks, Hale, Jamerson, Ledbetter, Long, Malas, Martinovich,McFarland, McKee, Opalach, Poor, Reeve, Seabury, Sergi, Smith, Stone, Sullivan,Titus, Willoughby, Yule; conds: Alcantara, Bernardi, Bychkov, Comissiona, Effron,Keene, La Selva, Lewis, Mauceri, Pallo, Redfield, Salesky, Somogi, Tilson Thomas.Opera Orchestra of New York, E. Queler, Mus. Dir., Carnegie Hall10/20/81 / Due Foscari cone, pf.; Ricciarelli; Bergonzi, Bruson3/3/82 Rienzi cone, pf.; Payer, Hamari; Johns; Avery Fisher Hall; 2/28/82 Ken-

nedy Center4/12/82 Boito's Nerone Am. prem., cone, pf.; Andrade; Cigoj, Di BellaWNET Great Performances, New York9/28/81 Willie Stark Houston Grand Opera prod.; Curtis, Conwell; Nolen; c:

DeMain10/19/81 La Clemenza di Tito Neblett, Malfitano, Troyanos; Tappy; c: Levine;

d/ds: Ponnelle11/23/81 Samson et Dalila San Francisco Opera production; Jerrett; Domingo; c:

Rudel12/28/81 Die Fledermaus Janowitz, Holm; Wachter, Windgassen; c: BohmWNET/Live from the Met, M. Bronson, Exec. Prod., New York9/30/81 La Traviata Cotrubas; Domingo, MacNeil; c: Levine (taped 3/28/81)11/14/81 // Trittico Scotto; Moldoveanu, MacNeil & Scotto; Barini & Scotto; Bac-

quier, Cianella; c: Levine12/16/81 Rigoletto Eda-Pierre; Pavarotti, Milnes; c: Levine (taped 12/15/81)1/20/82 La Boheme Scotto, Stratas; Carreras, Stilwell, Morris, Tajo, Monk; c:

Levine (taped 1/16/82)NORTH CAROLINA

Charlotte Opera Association, R. Marshall, Gen. Dir., Charlotte10/9, llm/81 La Boheme Telese, Fernandez; Fowler, Schexnayder; c: Rosekrans;

d: Getke2/19, 21m/82 Ward's Abelard and Heloise prem.; N. Shade; Norman, M. Smith,

Ludgin; c: Marshall; d: Levine4/23, 25m/82 Die Fledermaus Cummings; Flasch; Bender, D. R. Smith, Liebl; c:

Rosekrans; d: BentleyGreensboro Opera Company, P. P. Fuchs, Mus. Dir., Greensboro10/16/81 La Traviata w. Greensboro SymphonyNorth Carolina Opera, touring company of Charlotte Opera, R. Marshall,

Gen. Dir.1981-82 tour: The Toy Shop; At Last I Found You prem.; w.p.

OHIOThe Cincinnati Opera, J. De Blasis, Gen. Dir., Music Hall10/9, 12/81 La Boheme Eng.3/24, 26/82 Cavalleria rusticana & Pagliacci6/17, 19/82 Otello6/24, 26/82 // Trittico7/1, 3/82 Salome7/8, 10/82 Romio et Juliette7/15, 16, 17/82 The Merry Widow7127, 29, 30, 31 8/lm/82 Carousel

— 61 —

1981-82 Season

Cleveland Opera Co., D. Bamberger, Art Dir., Hanna Theatre, Cleveland11/6, 7, 8/81 Faust c: Bergeson3/12, 13,14/82 Carmen Eng. Harnick; c: Page4/16, 17, 18/82 The FantasticksOpera at Peterloon, J. Magro, Dir., R. Feist, Mus. Dir., Cincinnati9/10, 11, 12/81 Rossini's La Gazzetta Am. prem. & Petite messe solenelle & "Con

Amore" (ballet)OREGON

Portland Opera Ass'n, S. Minde, Gen. Dir., B. Chalmers, Mng. Dir., Portland10/10, 14, 17/81 Rigoletto Putnam; Paskalis, Garrison; c: Minde; d: Hager; ds:

Wong11/7, 11, 14/81 Eugene Onegin* Walker, Stubbs; Braun, Carlson, Decker, Brown;

c: Minde; d: Hager; ds: Wong2/27 3/3, 6/82 Die Entfuhrung aus dem Serail Cuccaro; Holland, McCauley, Malta;

c: Minde; d: Hager; ds: Wong4/24, 28 5/1/82 Manon Lescaut Thomson; Mauro, Burchinal, Guarnieri; c: Minde;

d: Hager; ds: WongPENNSYLVANIA

Academy of Vocal Arts, D. Yannopoulos, Dir., Philadelphia10/23, 24/81 The Rape of Lucretia c: Macatsoris; d: Yannopoulos12/6m, 7m, 8m, 8/81 Musgrave's A Christmas Carol c: Jaber; d: Yannopoulos/

Kugler2/8, 10, 15, 17/82 Belasco's play Madame Butterfly2/9, 12, 16, 19/82 Puccini's opera Madama Butterfly w.p.3/1, 2, 3, 5/82 Opera Scenes and Lieder w.p.3/23/82 French songs and arias w.p.5/21, 22/82 Un Giorno diregno c: Macatsoris; d: YannopoulosOpera Company of Philadelphia, M. Everitt, Mgr., Academy of Music10/13, 16/81 Rossini's Af ose Hamari, Rinaldi; Savastano, Hines; c: Siciliani11/17, 20/81 // Tabarro Kubiak& Gianni Schicchi Capecchi; c: Rudel1/26, 29/82 The Marriage of Figaro Eng.; Vaness, Soviero, Harris; Devlin, Ramey;

c: Rudel2/22, 26/82// Trovatore Hayashi, Paunova; Svetlev, Brendel; c: Adler; d: R. Adler4/27, 30/82 La Boheme (winners of competition); Pavarotti; c: Bartoletti; d: Merrill5/7, 9/82 L'Elisir damore (winners of competition); Pavarotti; c: Bartoletti; d:

MerrillPittsburgh Opera, V. Artz, Gen. Dir., Heinz Hall, Pittsburgh10/15, 17/81 Cavalleria rusticana & Pagliacci Pearl; Theyard, Smith & Seibel;

Theyard, Smith; c: Verdon; d: Lucas12/3, 5/81 Les Contes d'Hoffmann Fulton, Vergara, Valente, Lerner; DiGiuseppe,

Patrick; c: Somogi; d: De Blasis1/28, 30/82 La Rondine Craig, Hermiston; Garrison; c: Coppola; d: De Blasis2/25, 27/82 The Merry Widow Eng.; Page; Lewis, D. R. Smith c: Frank; d: De

Blasis3/25, 27/82 Lucia di Lammermoor Deutekom; Dominguez, Cossa; c: Coppola; d:

Morelock4/29 5/1/82 Otello E. Shade; Cassilly, Edwards; c: Guadagno; d: De Blasis; ds:

Depenbrock/Brown; joint prod. w. Cincinnati OperaTENNESSEE

Chattanooga Opera, R. Austin, Art. Dir., Chattanooga9/24, 26/81 Carmen Eng.; Treadway, Smith; Stivan, Cooper; c: Austin; d: Ostwald;

ds: Stone2/25, 27/82 The Elixir of Love Eng.; Matsumoto; Hammons; c: Austin4/29 5/1/82 Paulus's A Village Singer & Signor Bruschino c: AustinOpera Memphis, Inc., A. A. Randolph, Exec. Dir., Memphis10/3/81 Rigoletto G. Robinson, Domingues, Milnes; c: Campori; d: Gratale11/14/81 Susannah2/13/82 The Barber of Seville Eng. Martin; Boozer; H. Price, Burchinal3/20/82 Faust

— 62 —

1981-82 SeasonTEXAS

Dallas Civic Opera, P. Karayanis, Gen. Dir., Dallas11/5, 8, 11/81 Romeo et Juliette Pilou, Massey; Kraus, Titus, Ferrin, DePalma; c:

Rescigno; d: Hebert11/20, 22, 25/81 Madama Butterfly Mauti-Nunziata, Gerber; Raffanti, Holloway;

c: Rescigno; d: Ventura; ds: Klein/Mess12/3, 6, 9/81 Die Walkiire Knie, Gray, Killebrew; Wenkoff, Probst, Wildermann;

c: Klobucar; d: Oswald; ds: Oswald/Lapiz12/18, 20, 22/81 Ernani Dimitrova; Giacomini, Manuguerra, Plishka, Craft; c:

Rescigno; d: Maestrini; ds: BenoisFort Worth Opera Ass'n, R. Kruger, Gen. Mgr., Fort Worth11/20, 22/81 Lucia di Lammermoor Rolandi; Dominguez; c: Kruger; d: Eddleman1/15, 17/82 The Seagull Petros, Sundine, Christos; Dickson, Crafts, Paxton; c:

Kruger; d: Corsaro3/12, 14/82 Der fliegende Hollander Ehrlich; Sarabia, Lewis, Wilderman; c:

Kruger; d: Bakman4/23, 25/82 Carmen Vergara, Hynes; Trussel, Long; c: Kruger; d: HebertHouston Grand Opera, D. Gockley, Gen. Dir., Jones Hall10/16, 18m, 20, 23/81 La Donna del lago Gossett ed.; von Stade, Home; Blake,

Araiza, Zaccaria; c: Scimone; d: Corsaro ds: Lee/Greenwood11/6, 8m, 10, 13/81 La Boheme Freni, Migenes-Johnson; Lima, Ellis, Halfvarson;

c: Masini; d/ds: Ponnelle12/4, 6m, 8, 11/81 Katya Kabanova Eng. Tucker; Soderstrom, Curtis; Busse, Tozzi;

c: DeMain; d: Pountney; ds: Bjornson1/22, 24m, 26, 29/82 Pique Dame Eng.; Wells, Walker, Forrester; Vickers, Sten-

borg; c: Decker; d: Kaslick; ds: Svoboda3/18, 21m, 23, 26/82 Don Carlo Freni, Bumbry; Moldoveanu, Zancanaro, Ghiaurov;

c: Martinez; d: Merrill; ds: Bardon4/23, 25, 27, 30/82 L'Elisir d'amore Christos; Raffanti, BruscantiniSan Antonio Grand Opera, L. Smith, Mus. Dir., San Antonio1/15, 17, 19/82 La Traviata Myers; Eisler, Rhodes; c: Smith; d: Lloyd2/19, 21, 23 3/6/82 Don Giovanni Bussineau; Cross, Corbeil, Gallup; c: Smith; d:

Boerlage3/26, 28, 30/82 Die Fledermaus Thomson, Boky, DeCarlo; Roe, DeToro, Graham;

c: Farberman; d: IgeszTexas Opera Theater, J. Weaver, Mng. Dir., Houston8/81-5/82 Starbirdw.p.10/81-5/82 Don Pasquale Eng., w.p. 1/82-5/82 Rigoletto Eng., w.p.

UTAHUtah Opera Company, G. Peterson, Gen. Mgr., Salt Lake City10/24, 26, 28, 30/81 Lucia di Lammermoor1/23, 25, 27, 29/82 La Fanciulla del West5/8, 10, 12, 14/82 The Merry Wives of Windsor

VIRGINIASouthwest Virginia Opera Society, M. Granger, Dir., Roanoke9/24-26/81 llTrovatoreVirginia Opera Ass'n, P. Mark, Gen. Dir., Norfolk10/23, 25m, 28, 30 l l / lm/81 Faust Myers; c: Mark; d: Farrar12/4, 6m, 9, 11, 13m/81 La Cenerentola Jones; Reed; c: Mark; d: Farrar1/15, 17m, 20, 22, 24m/82 La Traviata Putnam; Gardner; c: Mark; d: Farrar3/19, 21m, 24, 26, 28m/82 Die ZauberfloteVirginia Opera Theatre of the Virginia Opera, P. Mark, Gen. Dir.1981-82 tour: La Traviata

WASHINGTONSeattle Opera, G. Ross, Gen. Dir., Seattle9/24, 26, 27, 30 10/2, 3/81 Die Fledermaus Eng.; Beckmann, Powell; Belcourt,

Klemperer, Reardon, Drake; Hackett; c: Holt; d: Clark10/29, 31 11/1, 4, 6, 7/81 Turandot Savova, Higareda; Harness, Wildermann; c:

Holt1/21, 23, 24, 27, 29, 30/82 Rigoletto Serra; di Giuseppe, Paskalis; c: Holt; d: Clark3/11, 13, 14, 17, 19, 20/82 The Abduction from the Seraglio Eng.; Cuccaro, Hol-

land; McCauley, Kelly, Malta; c: Minde; Portland Opera prod.5/6, 8, 12, 13, 15, 16/82 Madama Buterfly

— 63 —

1981-82 Season

WISCONSINFlorentine Opera of Milwaukee, J. Gage, Gen. Mgr., Milwaukee11/19, 21, 22m/81 Lucia di Lammermoor Anderson; Bartolini, Burchinal; c: J.

Rescigno; d: Bentley3/18, 20, 21m/82 Le Nozze di Figaro Forst; Clatworthy, Gramm; c: Schaenen; d:

Simcox5/13, 15, 16m/82 La Traviata Soviero; Trussel, Ellis; c: R. Buckley; d: HicksSkylight Comic Opera Ltd., C. Cabot, Mng. Dir., Milwaukee9/30-10/4/81 Offenbach's Bluebeard Eng. Pabst 5 pfs.10/28-11/15/81 Candide 12 pfs.12/2-31/81 Yeomen of the Guard 21 pfs.1/27-2/14/82 Tchaikovsky's lolanta 12 pfs.3/10-14/82 A Midsummer Night's Dream 5 pfs.4/14-5/2/82 The Coronation of Poppea 12 pfs.

CANADACanada Opera Piccola, J. J. Johannesen, Gen. Mgr., P. Alarie, Art Dir.,

Vancouver/Victoria, B.C.Fall '81 tour: La Canterina& Signor Deluso c: Shookhoff; d: AlarieCanadian Opera Co., L. Mansouri, Gen. Dir., O'Keefe Center9/11, 14, 17, 20, 23, 26/81 Un Ballo in maschera Arroyo, Silva; Svetlev, Quilico;

c: Kellogg; d: Mansouri9/18, 21, 24, 27, 30 10/3/81 Les Contes d'Hofjmann Lear, Cummings, Stubb;

Shicoff, Monk; c: Giovaninetti; d: Mansouri; ds: Schneider-Siemssen1/15, 18, 21, 23, 24, 27, 29#, 30/82 Die Fledermaus Gutknecht, Farrell; Titus; c:

Kunzel/Bate1/22, 25, 28, 31 2/3, 5 # , 6/82 Lucia di Lammermoor Rolandi; McCauley, Char-

bonneau; c: Peloso; d: Copley4/8, 10, 14, 16, 18/82 Jenufa Wells, Connell; Neill; c: Bernardi; d: Mansouri; ds:

Bjornson4/12, 15, 17, 21, 23, 24#, 25/82 La Traviata Niculescu; Brecknock, Opthof; d:

Guttman; ds: Pizzi# Special performance with artists from COC EnsembleCosmopolitan Opera Ass'n, Macmillan Theatre, Toronto9/18, 19/81 Tosca Castaneda; Strano, Kittask; c: Shookhoff; d: Lata; ds: Czelenyi

9/25, 26 in Orillia, Ont.10/23, 24/81 Don Pasquale Blaser; Strano, Kukumgya; c: Ivaroffski; d: Lada; ds:

Czelenyi; in Orillia, Ont.3/82 Gianni Schicchi & 11 TabarroEdmonton Opera, I. Guttman, Art. Dir., Northern Alberta Jubilee And.10/1, 3, 5/81 Turandot Savova, Pellegrini; Mauro; c: Guadagno; d: Guttman; ds:

Darling/ Mess11/26, 28, 30/81 Don Pasquale Welting; McKee, Brecknock; d: Cotton; ds:

O'Hearn/Mess3/25, 27, 29/82 Carmen Davidson; Bailey, Quilico; c: H6tu; d: Guttman; ds:

Naccarato/Mess5/13, 15, 17/82 Un Ballo in maschera Neblett; Mauro, Opthof; c: Guadagno; d:

GuttmanManitoba Opera Ass'n, I. Guttman, Art. Din, Centennial Concert Hall, Win-

nipeg11/12, 14, 17/81 Les Contes efHoffmann Farley, Boky, Patterson; McCauley, Dev-

lin, Egerton, Benson; c: Pallo; d: Guttman; ds: Klein/Mess2/11, 13, 16/82 Rigoletto G. Robinson, Stubbs; Lima, Opthof, Dodington; c: Mathe-

son; d: Guttman4/22, 24, 27/82 The Marriage of Figaro Eng.; Myers, Hermiston, Forst, Lloyd;

Bogart; d: CottonL'Opera de Montreal, I. Jeannotte, Art Dir., Place des Artes, Montreal10/6, 9, 12, 15, 18, 21, 24/81 Madama Butterfly Krilovici, De Long; Bondino,

Opthof; c: Veltri; d: Simcox; ds: Klein/Mess12/1, 3, 5, 7, 10, 12, 14/81 L'Elisir ctamore Burrowes, Parent; Garrison, Savoie,

Corbeil; c: Silipigni; d: Camerlo; ds: Amould/Lorain

— 64 —

1981-82 Season

L'Opera de Montreal, cont.2/9, 11, 13, 15, 18, 20, 22/82 Werther Lavigne, Dussault; Molese, Turgeon; c:

Hetu;d/ds: Prevost6/1, 4, 7, 10, 14, 17, 21/82 // Trovatore Strow, Paunova; Bello, Fredricks; c:

Decker; d: Oswald; ds: Oswald/LapizOpera Hamilton, S. Thomas, Art. & Gen. Dir., Hamilton, Ont.9/17, 19/81 Cavalleria rusticana & Pagliacci Thomson, Carson; Sereni, Johns,

Bergeron, MacLean; c: Mauceri; d: Thomas3/11, 13/82 The Barber of Seville Bertolino, Serbo, Opthof, Kukurugya; d: ThomasOpera in Concert, S. Hamilton, Prod., Toronto, Ont.10/24, 25m/81 La Navarraise & La Vida breve c: Hamilton; cone. pf.12/5, 6m/81 La Boheme cone. pf.2/6, 7m/82 Tiefland cone. pf.3/6, 7m/82 Linda di Chamounix cone. pf.Pacific Opera Association, T. Vemon, Art. Dir., Victoria, B.C.9/16, 18, 19, 21/81 The Abduction from the Seraglio2/17, 19, 20, 22, 24/82 La Traviata5/82 Children's OperaSouthern Alberta Opera Ass'n, B. Hanson, Gen. Mgr., Calgary10/22-27/81 Carmen Howard, Russell; Neill, Morris, Dodington; c: Vernon; d:

Cotton1/21-25/82 Le Nozze di Figaro, Eng.; Thomson, Forst, Munro; Corbeil, Opthof;

c: Goldschmidt; d: Guttman3/11-15/82 L'Elisir d'amore G. Robinson; Brecknock, Bisson, Cowan; c: Rosekrans;

d: StrasfogelVancouver Opera, H. McClymont, Gen. Mgr., Queen Elizabeth Theatre,

Vancouver10/24, 27, 29, 31/81 Turandot Galvany, Pellegrini; Lavirgen, Corbeil, Gray; c:

Guadagno; d: Guttman12/5, 8, 10, 12/81 Cenerentola Eng.; Forst; Clark, Charbonneau, Albert; c: Vernon;

d: Major1/23, 26, 28, 30/82 Lucia di Lammermoor Cuccaro; Lima, Cossa; c: Guadagno; d:

Cotton3/13, 16, 18, 20/82 Romeo et Juliette Francois; Scano, Charbonneau, Bergeron; c:

Guadagno; d: Ayrton4/22, 23, 24, 25, 27, 28, 29, 30 5/1/82 Man of La Mancha

Obituaries{continued from page 42)

Director and administrator R0M0L0 VALLI, 54 years old, in Rome2/1/80. He was artistic director of the Festival of Two Worlds inSpoleto, Italy, from 1972 to 1977.Designer HEINRICH WENDEL, German, 65 years old, in Dusseldorf3/27/80. From 1961 to 1964 he was chief designer in Wuppertal, thenjoined the Deutsche Oper am Rhein in Diisseldorf/Duisburg. His fatherhad been music director in Bremen.Contralto OLIVE WESTWOOD, British, 98 years old, in Waterford,Ireland 2/80. In the early 1900's she sang with the Moody-MannersCompany, and later with various British touring ensembles. In 1925she and her husband, tenor Albert Bowyer, formed their own touringgroup, which played Ireland for five years. She later turned to teachingvm novoice.Mezzo-soprano LINA ZINETTI, Italian, 78 years old, in Milan 5/3/80.She began singing in Italian opera houses in 1936, appearing at La Scaladuring 1946-47. In 1973 she took over her mother's opera studio in Milan.

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