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CENTRAL OPERA SERVICE BULLETINVOLUME 27, Number 2

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CENTRAL OPERA SERVICE

Volume 27, Number 2 Summer 1986

I N D E X

NEW OPERAS AND PREMIERESEDITIONS and ADAPTATIONSNEWS FROM OPERA COMPANIESPUBLISHERS & MANAGERSGOVERNMENT and NATIONAL ARTS ORGANIZATIONSEDUCATION AND ACADEMIAHEALTH CARE FOR ARTISTSFORECASTTHEATERS AND ARTS CENTERSATTENTION, COMPOSERS/LIBRETTISTSCOS INSIDE INFORMATION <5c COS SALUTESLIBRARIES and ARCHIVESATTENTION, CONDUCTORSEXHIBITIONSAPPOINTMENTS AND RESIGNATIONSNEW ENGLISH TRANSLATIONSNEW ENGLISH CAPTIONS FOR PROJECTIONWINNERSLATE ANNOUNCEMENTSLATEST CAREER GUIDE SUPPLEMENTPERFORMANCE LISTING, 1985-86 cont.FIRST PERFORMANCE LISTING, 1986-87 SEASON

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CENTRAL OPERA SERVICE COMMITTEEFounder

MRS. AUGUST BELMONT(1879-1979)

Honorary National ChairmanROBERT L.B. TOBIN

National ChairmanMRS. MARGO H. BINDHARDT

National Vice ChairmanMRS. MARY H. DARRELL

The next issue will include

THE 1985-86 COS OPERA SURVEY

Latest Addenda - Directory of Available Sets and Costumes

Book Reviews

in addition to all the latest operatic news

Central Opera Service Bulletin > Vol.27, No.2 • Summer 1986

Editor: MARIA F. RICHAssistant Editor: CHERYL KEMPLEREditorial Assistants: LISA VOLPE-REISSIG

FRITZI BICKHARDTNORMA LITTON

The COS Bulletin is published quarterly for its members by Central Opera Service. Formembership 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 as well as performanceinformation to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center,New York, NY 10023.

Copies this issue: $4.00 ISSN 0008-9508

NEW OPERAS AND PREMERES

THE GUILT OF LILLIAN SLOAN is the new opera written by William NEW AMERICANNeil, composer in residence with the Lyric Opera of Chicago. There had OPERASbeen some problem with his original choice of book, and the completedopera is now based on a famous British murder trial of the 1920's, wherethe woman and her lover were executed although the prosecution lackedany tangible evidence. The new opera, in two acts and eleven scenes, hasa libretto by Frank Galati; it was premiered on June 20 in a jointproduction by Northwestern University's Theatre and Interpretation Center,the Lyric Opera of Chicago and the Lyric's American Artists Center.

The Metropolitan Opera commission given John Corigliano for a new operasome time ago is said to be bearing fruit after all. The composer iscurrently at work, having chosen the third play of Beaumarchais's Figarotrilogy. That story has been used by Darius Milhaud and Peter Schickele,but neither opera is likely to become a repertory staple as did the Rossiniand Mozart favorites. Mr. Corigliano's new work - his first attempt atwriting an opera - is expected to be completed in 1989. William M.Hoffman is the librettist.

The Kennedy Center has commissioned John Adams to compose NIXON INCHINA. Planned as a shared production of the Kennedy Center, theHouston Grand Opera and the Brooklyn Academy of Music, it is to openin Texas in late 1987 with Peter Sellars as stage director and RansomWilson as conductor. Meanwhile, a work-in-progress reading at theGuggenheim Museum, originally scheduled for April, has been postponeduntil the fall.

Yet another Chekhov-based THREE SISTERS has been created as an opera,this latest by composer Andrew Rudin in collaboration with librettistWilliam Ashbrook. Scenes and arias were performed on February 11 forthe first time by Wendy Hill with musicians from PRISM at New York'sSymphony Space. Thomas Pasatieri's opera on the same theme had itssuccessful premiere in Columbus, Ohio, on March 13.

WANING POWER is the title of a new opera by Gary William Friedmanfor which Gerald Walker wrote the libretto. Excerpts were performedat the Vineyard Theater on January 11 in a concert devoted entirely toMr. Friedman's music. The opera-in-progress featured soprano JoannaSimon in the leading role, portraying a "waning" opera star; it also includeda quartet, "doubling" as chorus.

PLUMP JACK is the title of a new opera by Gordon Getty, excerpts ofwhich are to be sampled at the Aspen Music Festival this summer. KnightFalstaff is the Jack in question.

THE BUS TO STOCKPORT AND OTHER STORIES was workshoppedFebruary 20 to 22 by Opera Uptown in New York. It represents thecollaboration between composers Eric Valinsky and John Cage and librettistPeter Schubert.

Based on a folkloric setting of the feast of St. James in Loiza Aldea,Puerto Rico, EL MENSAJERO DE PLATA is currently being workshoppedand prepared for a premiere next season. The work, with music by Rober-to Sierra and text by Myrna Casas, will receive its try-outs and the first

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NEW OPERAS AND PREMIERES

ELECTRONICOPERA

NEA GRANTSFORNEW WORKS

performance, projected for next winter, by Opera de Camara, PR, withLuis Pereira as Artistic Director. The National Endowment for the Artsas well as some other foundations have given funds to insure a successfulproduction.

Arthur Roberts, who has translated a number of Offenbach operettas intoEnglish, has completed two one-act operas of his own. A LUNAR REQUIEMis based on Robert Heinlein's short story "Requiem"; MUCKLE-MOUTHEDMEG is based on a Scottish folktale about the 17th century border wars.Each plays about one hour.

An American myth of the 19th century forms the background to THEBELL WITCH OF TENNESSEE. Joan Crowell wrote both music and librettoof this new version, the second opera based on that subject. Conceivedin one act and four scenes, it had its premiere November 5, 1985, at theStony Brook School in Long Island, NY. A cast of six soloists, allprofessional artists, a chorus and a chamber orchestra, performed underthe auspices of the Suffolk Music Guild.

Testing the compatibility of an opera company and the composer to becommissioned to write a new work may be a novel approach towards thecreation of a new opera. Orlando Opera received a grant from OperaAmerica to pay for a visit by composer Elizabeth Swados to familiarizeherself with the company, and to work out a possible schedule for a firstreading of scenes, a complete workshop performance and a final full pro-duction of a work to be specially created by her for the Orlando Opera.

Tod Machover, who has been in charge of musical research at the ParisIRCAM Laboratory for six years, has created his first piece at MIT'snew Media Laboratory. FAMINE is written for four voices and computergenerated tape and was premiered by the Electric Phoenix Ensemble withfour voices. The premiere took place at St. Peter's Church in New York,and it was repeated at Mobius in Boston.

The latest round of NEA grants under the New American Works programincludes awards for new music theater pieces not as yet mentioned here.The Bilingual Foundation of the Arts received a grant to develop LORCA,CHILD OF THE MOON with music by Ian Krouse and a libretto by MargaritaGalban, based on Lorca plays and poems. — A workshop presentation bythe Los Angeles Music Center Theatre will help to develop SANSEI, anew music theater piece concerned with the identity struggle of thirdgeneration Japanese-Americans. Two composers, Dan Kuramoto and JohnMori, are collaborating with two librettists, Janice Mirikitani and LaneNishikawa, to complete the work. — The Free Street Theater of Chicagowill develop CABRINI-GREEN PROJECT, a musical documentary aboutthe city's housing project that carries this name. Douglas Lofstrom andPatrick Henry are the creative artists. — The New York Art TheatreInstitute is the supporting body for the development of THE GREEN STEP,a multi-arts performance work created by composer Henry Threadgill,librettist Donald Sanders, visual artist and designer Vanessa James, andKenneth Koch, whose poetry is the inspiration and basis for the piece.— The San Francisco Mime Troupe has presented a full-length, two-actnew work entitled STEELTOWN, and is developing a new work forperformances in San Francisco and on tour, the latter based on the Spanish

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N E W O P E R A S A N D P R E M I E R E S

Civil War. — Performing Artservices in New York is to produce the firstperformance of Jon Hassell's THE SHADOW PLAY, inspired by the originalIndonesian shadow plays, with Peter Sellers directing the premiere. — TheSeattle Repertory Theatre has extended a commission to composer StanleySilverman and librettist Michael Weller to create a new music theaterpiece which has the famed itinerant drygoods salesman, Levi Strauss, ascentral character. Scenes tried out in workshop by the Seattle companywill precede the premiere production.

NEA Producers Grants for FY'85 went for the development or completionof twelve new works: XS by composer Rhys Chatham and librettist/visualartist Joseph Nechvatal; FRIAR WILLIAM by Gregory Gargarian; THEIMMIGRANT ROAD, an electronic opera for stage and television by PeterGordon; SPEER - another collaborative venture by a composer and avisual artist - Joseph Hannan and Robert Longo, respectively; THE DEATHOF DON JUAN with music by Elodie Lauten and words by Gregor Capodieci;THE BEGGAR'S CHRISTMAS commissioned from composer Richard Proulxand based on an original book by John Aurelio; PREACHER MAN!PREACHER MAN! With music by Roger Dickerson and libretto by JohnO'Neal; BIG JIM AND THE SMALL TIME INVESTORS with music by EricSalzman and libretto Ned Jackson; DISKO RANCH - a joint commissionto composer Joe Budenholzer, librettist Megan Terry and designer SoraKim; THE CENSORSHIP PROJECT - a musical theater/opera piece withmusic by Shyh Ji Chew and words by Carolyne Forche; DESTINY bycomposer Stephen Flaherty and librettists George Wolfe and Lynn Ahrens;and for the completion of the previously reported NEZHA by EdwardBarnes.

Composer Charles Strouse, who occasionally crosses over from musicals(Annie, Applause, Bye Bye Birdie, etc.) to opera {The Nightingale), iscollaborating with award-winning author Joseph Stein (book for Fiddleron the Roof, Zorba, etc.), and librettist Stephen Schwartz (Pippin, Godspell,etc.) to create a new musical, RAGS. It is scheduled to open on Broadwayin August, with try-outs in Boston in June and July. It will featureTheresa Stratas in the leading role, marking her Broadway debut. Set inthe 1910's on New York's Lower Eastside - designs by Beni Montresor,it tells the story of immigrants, sweat shops, dreams and American liberty.

The team of Bob Telson (music) and Lee Breuer (text), that created theaward-winning The Gospel at Colonus, has completed THE WARRIOR ANT,a music theater piece that blends epic poetry with Afro/Caribbean inspiredmusic. A concert performance as "work-in-progress" was essayed by theComposers' Showcase in June at Tully Hall. Featured in the performancewere, among others, the talents of a Nigerian Juju musician, a Japanesepuppeteer, and a Puerto Rican ensemble that played African type Bombamusic. An $11,000 grant from the National Institute for Music Theaterhas aided in the preparation and performance.

THE TALE OF MADAME ZORA is based on the moving life story of theblack author Zora Neale Hurston. The Ensemble Studio Theater in NewYork gave the premiere production in February. Book and lyrics are byAisha Rahman, the music by Olu Dara; it was directed by Glenda Dickerson.Within the various biographical scenes, it also touches on the author'scollaboration with Langston Hughes on a never produced opera, Mule Bone.

NEW MUSICTHEATER

WORKS

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Another musical based on the life of black artists, this one the vaudevillianentertainer Bert Williams and his sidekick George Walker, was premieredby New York's American Place Theater and the Henry Street Settlement'sNew Federal Theater in early March. WILLIAMS &. WALKER by VincentD. Smith featured some of the music performed by the original team,interpolated with some new musical numbers. The psychological problemscreated by Williams' light skin, how he faced up to it, and his ultimatedecision to perform in blackface, all this is explored in the new musical.

The York Theater Company premiered a new musical, MOBY DICK, byDoug Katsaros (music) and Mark St. Germain (libretto), based on HermanMelville's novel of the same title. The first performance took place onFebruary 16 at New York's Murphy Center on East 90 Street. ThomasGardner directed, and James Morgan and Sheila Kehoe designed sets andcostumes.

The Lehman Engel Music Theatre Workshop in Los Angeles developed anew musical revue with an Alaskan setting, based on Yukon poems byRobert Service. THE LADY THAT'S KNOWN AS LOU, with book andlyrics by Gordon Duffey and music by Alan Chapman, was given itspremiere by the Perseverance Theatre Company in Douglas, Alaska, onNovember 12, where it played for four weeks. The musical calls for acast of "six women, eight men, and three boys as sled dogs" with bandaccompaniment. The company's artistic director, Molly Smith,commissioned the composer and librettist to add a reduced version, whichher company will take on tour and also perform for summer tourists.

Although withdrawn from the International Theater Festival in Baltimore(see "News from Festivals"), the National Theater of Great Britain'sproduction of Peter Hall's ANIMAL FARM opened in that city as originallyscheduled on June 17. It is a dramatization of George Orwell's novel ofthe same title with music by Robert Peaslee. The libretto is by AdrianMitchell.

The same composer, Richard Peaslee, working this time with Charles MeeJr., created a new piece, which was premiered by the Music TheatreGroup/Lenox Arts Center in New York April 8. Under its new title,VIENNA: LUSTHAUS, it was so successful that, after its initial perfor-mances, it moved to the Public Theatre for an extended run. It wasconceived and directed by Martha Clarke, with designs by Robert Israel,inspired by Vienna's Secession artists such as Egon Schiele and GustavKlimt and their decadent era.

This summer, the New York Shakespeare Festival, Joseph Papp, producer,will stage Shakespeare's TWELFTH NIGHT in musical disguise at itsDelacorte Theater in Central Park. Songs and incidental music are byRupert Holmes whose Mystery of Edwin Drood was premiered in lastsummer's festival in the park and subsequently moved to a Broadwaytheater. Wilford Leach, director of last year's success, also directs thissummer's show.

Meredith Monk, who received the National Institute for Music Theateraward this year for Games, had two of her new music theatre worksperformed at La Mama E.T.C. in April. ACTS FROM UNDER AND ABOVE

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NEW O P E R A S AND P R E M I E R E S

could be heard April 3-20, and her TURTLE DREAMS: CABARET followedApril 22-27.

In June, the American Repertory Theatre in Cambridge presented theopening production of OLYMPIAN GAMES, a music theatre piece afterOvid with music by B. Damashek (Quilters) and lyrics by Kenneth Cavander.

An Italian/American musical was premiered in New York at the LittleTheatre of the West Side YMCA on April 17. WINE IN MY BLOOD waswritten by M.A.Comparato (book and lyrics), and Bennie Martini, whosemusic is best known from some popular songs. The production playeduntil May 3.

GOBLIN MARKET by Polly Pen and Peggy Harmon is a musical based ona poem by Christina Rossetti. It was premiered last fall by New York'sVineyard Theater, and returned to Off Broadway in that same productionto the Circle in the Square Downtown last April.

A three-week run beginning May 30 at the Soho Rep Theatre presentedthe premiere of Henry Fielding's ballad opera, THE GRUB STREET OPERA.Written in 1731, but withdrawn by Fielding before it ever reached astage, it made its entrance now with music by Anthony Bowles.

In February, the Fullerton Civic Light Opera in California premiered anew musical version of ROBIN HOOD. Composed by Richard Kinsey witha libretto by Kenneth Johnson, the two-act show featured 27 originalsongs. The eleven performances were accompanied by a 27-memberorchestra.

Thirty-three Cole Porter songs form the basis of A COCKTAIL ATPORTER'S, a musical revue with a book and some new lyrics by BillBracken. It will have its first performances in August by the North StarOpera, formerly Opera St. Paul, opening on August 14 at Theater 19 inMinneapolis.

See "Late Announcements" for O'Neill Theater Center on page 58.

A total of eleven new music theater works were selected for readingsand workshop presentations during the week of April 11-19 by theMinnesota Opera's OPERA TOMORROW showcase (see Vol. 26, No. 3).Chosen by a special committee under the guidance of Opera America's"Opera for the 80's and Beyond" project and its artistic coordinator BenKrywosz, the new works span the widest possible concept of musicaltheater form, from opera to music-video and video operas, to in-performance or solo concert performance pieces and multi-media visual("multivision") opera. Most of them are conceived as new forms andseveral are truly experimental. The performances ranged from samples,excerpts and work-in-progress presentations to complete productions.— FOUR ON THE FLOOR is a classical (whimsical) music video byfilmmaker Sandy Smolan and composer Libby Larsen using live music.— GREAT DEPARTURES is described as a music-theater movement piecewith "structured improvisation with local performers", or what is knownas an in-performance piece. It was conceived and directed by LoviceWeller, with a score composed and recorded by David John-Olsen. — SEVENSEVENS is a music theater piece by writer Judy McGuire and composerJan Vandervelde, of which the first of its seven parts, Cycle One: The

OPERATOMORROW

PROGRAM

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CHELSEATHEATER

AMERICANMUSICTHEATERFESTIVAL

Politicians was given a concert reading. — Composer Paul Dresner andwriter/performer Rinde Eckert have collaborated on SLOW FIRE, commis-sioned by New Music America Festival in Los Angeles, November 85. Thestaged music theater piece combines text with "electronically alteredmusic, visual effects and intense performance dynamic". It was alsopresented at one of the "Horizon '86" concerts in May at Lincoln Center,and is included in the forthcoming American Music Theater Festival's fallseason. — The same composer, Paul Dresher, was also represented onthe Minnesota Opera's program by an instrumental piece, Dark BlueCircumstance, written for electric guitar and live tape processing. — Anew opera by Kim Sherman, music, and Laura Farabough, libretto, presentsthe lives of Mata Hari and Greta Garbo; it is entitled FEMME FAT ALE(in singular). — Two additional video operas were THE DAYTIME MOONby the aforementioned team of Sandy Smolan and Libby Larsen alsoinvolving photography and dance, and SISTER SUZIE CINEMA, a "doo-wop" opera by theater artist Lee Breuer and composer Bob Telson ofGospel at Colonus fame. — THE TROJAN WOMEN was first workshoppedby the Minnesota Opera Institute last season and now brought to a fullproduction. It is a one-act opera by composer Paul Goldstaub with thelibrettist listed as George Sand. — Described as a multi-media visualopera, SOCIAL AMNESIA was created collaboratively by The ImpossibleTheater and John Schneider of Milwaukee's Theatre X. The experimentaltheater group employs the latest visual technology (Multivisioncomputerized slide system) with electronic sound and live and tapedperformances. — And finally, there is a new musical version of WOYZECKby Glenn Branca, representing the composer's first operatic effort,although the Minnesota performance featured only orchestral sections ofthe yet incomplete work.

After three years of functioning as a rental theater only, the ChelseaTheater Center in New York's Broadway/Theater district, has resumed itsown activities, again devoted to the discovery and development of newworks. The first announcement describes the way the program has beenstructured. Two musicals and two plays will be taken through a "FirstReading" one evening, and through a "Revised Reading" some five weekslater, allowing for rewrites, corrections and adjustments. The first twomusicals that were offered such developmental opportunities are SPRINGAWAKENING after Wedekind, with a book by David Petrarca, lyrics byJoel Beard and music by Richard Isen (April 21 and June 9), and THEHAUNTED PALACE, "a musical mind-trip" about Edgar Allen Poe withbook and lyrics by John Jakes and music by Mel Marvin (May 19, June 30).

The third annual American Music Theater Festival again promises a numberof new and most interesting premieres. THE TRANSPOSED HEADS, afterThomas Mann, who in turn based his book on an Indian legend, will open

• 86 the Philadelphia Festival on September 11 (previews start September 5).Elliot Goldenthal is the composer, and Julie Taymor and Sidney Goldfarbcollaborated on the text. Next, the Festival has scheduled the firstperformances of Duke Ellington's QUEENIE PIE, a musical he startedwriting in 1971 but left incomplete at the time of his death. Ellingtoncollaborated with George Weiss on the book and lyrics. His son, MercerEllington, will serve as Production Coordinator for the premiere, withpreviews September 7 to 17 and an opening at the Zellerbach Theatre atthe Annenberg Center on the eighteenth. Dresher's SLOW FIRE (see also

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"Readings") will be staged at Annenberg Center's Prince Theater, openingSeptember 25, and Philip Glass's THE JUNIPER TREE will be given sixperformances at the Walnut Street Theater, September 9 through 12.Five different Cabaret evenings and two "First Stage" readings round outthe Festival's third adventurous and ambitious program.

The Canadian Music Centre designated the year 1986 as the INTER- 1986-YEARNATIONAL YEAR OF CANADIAN MUSIC and 27 organizations have joined OFto assist in the project. With Canadian composers in the spotlight, the CANADIANyear also celebrates the 35th anniversary of the Canadian League of MUSICComposers and the 50th anniversary of the Canadian BroadcastingCorporation. IYCM is under the honorary chairmanship of MaureenForrester.

Participating in this celebration, the Kitchener-Waterloo Symphony, in NEWassociation with the Canadian Broadcasting Corporation, will give the CANADIANfirst performance of Istvan Anhalt's WINTHROP. Opening date is OPERASSeptember 6 with a national broadcast scheduled for September 14. Thecentral character is John Winthrop who established what he hoped wouldbe a Puritan Utopia in Boston in 1630. This New England pioneer alsorepresents an English/Canadian legacy for the composer. Three differentsingers - a tenor, a baritone and a bass - will portray Winthrop atprogressive ages. The Waterloo Symphony will offer the work in a concertperformance under the direction of Raffi Armenian.

Musicanada, the publication of the Canadian Music Council, lists thefollowing new operas as having been premiered recently: Claude Frenette'sLES ETRIVIERES, based on a poem by Nicole Desrosier, for soprano andbaritone, premiered in Montreal 3/26/85 under the musical direction ofLorraine Vaillantcourt; Gregory Levin's THE GHOST DANCE, libretto byMavor Moore, in two acts, premiered by Comus Music Theatre, Toronto5/10/85; Violet Archer's THE MEAL, premiered by Violet Archer FestivalConcert, Edmonton 10/18/85; and R. Murray Schafer's THE PRINCESSAND THE STARS, premiered at Banff Centre 8/8/85; and the samecomposer's children's opera THE STAR PRINCESS AND THE WATERLILY,Toronto Children's Chorus and Maureen Forrester, 12/23/84.

The Music Theatre Studio Ensemble in Banff developed and premiered BANFFTHE GOVERNMENT INSPECTOR last fall. Based on the Gogol story, The CENTREInspector General, it has a libretto by Campbell Smith and music by MTSEStephen McNeff. After try-outs and previews in Banff, it was taken ona tour of the Province of Alberta during the winter. Mr. McNeff iscurrently writing music to THE SECRET GARDEN, an opera slated for apremiere at Toronto's COMUS Theatre. Joan McLeod is responsible forthe libretto. — The four-day Mini Fest in March '86 brought to the stagefive newly developed opera/music theatre pieces. GARDEN VARIATIONS,with music by David Parsons and a libretto by Timothy Anderson, isdescribed as a reinterpretation of the 'Rashomon' story; it was performedMarch 26 and 28 together with FIELD OF VISION, text by the Britishpoet Charles Causley, music by the Banff Ensemble, and a Bluebeard-inspired mono-drama, DREAMER, with music by Julian Grant, libretto byLee Devin. This program alternated with a double-bill of RITE OFPASSAGE, music Steve Kohn, libretto Kerry White, with a soldier's ironiccomments on war, and KING'S CHILDREN, a collaborative effort by above

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mentioned composer Jul ian Grant and poet Char les Causley, all of whomc r e a t e d these works especial ly for the Banff Fes t iva l ' s Music Thea t r eStudio Ensemble. — Last December, the Studio Ensemble presen ted aCanadian Music T h e a t r e Day where it in t roduced t h r ee new works in ex-ce rp t s : HENRY ALLINE, t ex t and music by Michael Miller, INOOK ANDTHE SUN, music by Wolfgang Bot tenberg and tex t by Henry Beissel, andTHE CRAZY HORSE SUITE with music by Stephen Chatman and tex t byMorgan Nyberg. — In a different vein, the Fes t iva l performed La Voixhumaine, both the play by Coc teau and Poulenc 's opera based on theplay, on a double-bill with the same a r t i s t in the role of The Woman.

Plans for the coming year a t Banff include the premiere of ST. CARMENOF THE MAIN in March '87 . Michael Tremblay is writ ing the music andLee Devin the l i b r e t t o .

IN Sheldon Harnick 's l a t e s t musical e scapade , wr i t t en in col laborat ion withACADEMIA J o e Raposo, borrowed the s tory from a Frank Capra film c lass ic . Under

the shor tened t i t l e , A WONDERFUL LIFE, it was essayed by the MusicalThea te r Program of the School of Music of the University of Michiganin Ann Arbor in April. His Dragons was t r ied out by another universi tyworkshop, tha t of Nor thwestern University in Evanston, two years ago.(See also "At ten t ion Composers" column.)

On April 11 , Brooklyn College gave t he first performances of two chamberoperas , both winning en t r i es in t he Col lege 's annual compet i t ion . One isWilliam Bergsma's THE MURDER OF COMRADE SHARIK, originallycommissioned by the Sea t t l e Opera in 1980 (see Vol. 22, No. 1), but notpreviously performed. Mira Ginsberg wrote the l ib re t to based on Heart ofa Dog, a novel by Mikhail Bulgakov. The opera fea tu red a cas t of t en ,conducted by William Boswell, d i rec tor of the Brooklyn College OperaT h e a t e r . The composer, who is d i rec tor of the School of Music a t theUniversity of Washington in Sea t t l e , was also Visiting Professor a t BrooklynCol lege . As a cur ta in ra i ser , the College performed the o ther award-winner, an e ight-minute opera , YELLOW WALLPAPER, a f te r a short s to ryby Cha r lo t t e Perkins Gilman. It was wr i t t en by Miriam Gerberg (music),and Judi th McGuire ( l ibret to) , and employed t h r ee s ingers .

Southwest Texas S t a t e University in San Marcos gave t he first performanceof a one-ac t opera , SISTERS OF FAITH by Mary Carol Warwick, on April27. The same opera depar tment premiered her Lealista last season. Theperformances had financial support from the Meet the Composer program.

The Visual and Performing Arts Depar tments of Huntingdon College inMontgomery, AL, premiered BALLS!, a musical in two ac t s by JeanneShaffer and Rober t Barmet t l e r , in November ' 8 5 . The same team haswr i t t en a one -ac t opera , THE END OF THE LINE, which will be premieredin the fall on a double-bill with The Old Maid and the Thief. Both p ro -duct ions had the financial ass i s tance of the Montgomery Arts Council .

Roger Nelson, who won a 1984 O'Neill Thea te r Award for his musicaldrama Lisa and David (see Vol. 25, No. 3), had his l a t e s t work, TRIOCON BRIO performed at Northwestern University on November 12, 1985.The work, originally conceived as a full-length, three-act opera, has anoptional one-act version, which was chosen for premiere by the university

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in Evanston. It appeared on a triple-bill with Face on the Barroom Floorand Humel's Proposal.

Louisiana State University's Contemporary Music Festival included thepremieres of two one-act operas staged by the school's opera theater.They were THE CISTERN by Vernon Taranto Jr. after a story by RayBradbury, scored for soprano, mezzo-soprano and two dancers, and STUDYIN GREY with music by David Penri-Evans, libretto by Michael Coy, andscored for a cast of three male singers. The latter opera tells the storyof General Lee's surrender at Appomattox Court House. The two newworks were presented February 20 on one program in Baton Rouge.

Martin Mangold is the composer of a one-act comic opera called BLEAH!,which was premiered on May 14 by the Opera Theatre and Symphony ofthe University of Maryland at College Park. The story was adapted fromthe 15th century French farce Maitre Pierre Pathelin. This is thecomposer's second opera, his first was Huckleberry Finn.

Boston University was the site of the world premiere of MarjorieMerryman's ANTIGONE on May 2. The one-act opera was staged on aprogram together with Walton's The Bear.

The University of Toledo Opera Theater announced a new work forpremiere in November. It is Burnam's NIGHT CAP, a one-act opera tobe produced by Thomas East.

Persephone is at the center of Joel Feigin's MYSTERIES OF ELEUSIS, anew opera premiered at Cornell University in Ithaca in April. The threeperformances were conducted by Fred Cohen and staged by DavidFeldschuh.

Paul Lenzi and Geraldine Ann Snyder have founded The Blue Apple Playersin Louisville, KY, where they are producing their own operas written forschool audiences. They attack the major problems of today's youth headon, without skirting delicate issues. Their first opera, NO MORE SECRETS:The Musical, deals with child molestation and sexual exploitation. Thesecond one, which opened in February, entitled PASSING IN THE NIGHT,approaches the sensitive subject of suicide among the young. Both worksare intended for children from elementary school level through high school.The former work has been published by Samuel French, Inc.

It was STAGE ONE: The Louisville Children's Theatre, that commissionedand premiered EVERYONE IS GOOD FOR SOMETHING. The book andlibretto are by Beatrice Schenk de Regniers, author of numerous children'sbooks, who adapted a Slavic folktale about a boy who thought he was agood-for-nothing until his adventures with a friendly cat taught himotherwise. Ms. de Regniers persuaded composer/conductor Victoria Bondto write the music, and the piece was most successfully premiered inLouisville - the 18th new children's play presented by the company. Itopened on March 8 at the Kentucky Center with performances throughoutthat month, followed by a state tour. A cast of eight called for a tenor,a narrator, three actor/dancers and three in the chorus. As a result ofits success, Miss Bond has been commissioned to write another children'sopera for STAGE ONE for a premiere in 1988.

YOUNGPEOPLE'S

OPERAS

CHILDREN'SOPERAS

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Peter Maxwell Davies's THE RAINBOW, commissioned and premiered bythe Orkney Island Schools in 1981, has had its first American performancewhen it was staged by the Prep Division of the Manhattan School ofMusic on April 20. On the other half of the double-bill was Menotti'sChip and His Dog.

A new Christmas opera, performed by children or children and adults, isMARY, COME RUNNING by Jean Merrill and Gwyneth Walker. It waspremiered by a community group in Randolph, VT, at Christmas time 1985;the last performance was in December in Connecticut, staged by thechildren of the New Canaan Country Day School.

THE HOUSE THAT JACK BUILT was created by Kurt Carpenter. Writtenfor soprano and orchestra, it was premiered by the Detroit SymphonyCivic Orchestra on April 27 with Glenda Kirkland as soloist.

Connecticut Opera commissioned composer Judith Zaimont and librettistDoris Kosloff to write a suitable work for Opera Express tours. It resultedin a new musical version of GOLDILOCKS AND THE THREE BEARS, whichtoured libraries and grade schools this spring, after opening at theChappaqua Library on January 5. It was previewed last October at theNOA Convention, and further productions in Oregon, Pennsylvania,Maryland and New York are also planned.

Lewis Carroll's The Hunting of the Snark has not served nearly as manycomposers as inspiration as has the same author's Alice in Wonderland.It is, however, the basis for Martin Wesley-Smith's BOOJUM, libretto byPeter Wesley-Smith, premiered on March 10 in the composer's nativeAustralia by the State Opera of South Australia.

After having gone through the workshop process by the Midwest OperaTheater last season, James McKeel's one-act children's opera,JARGONAUTS, AHOY! will have its premiere in March '87. MinnesotaOpera's educational touring company will take the opera on the road,performing it for area schools.

THE SONG OF THE GOLDEN FISH is the latest children's opera writtenand premiered in May by David Ahlstrom and his Voices/SF in California.

. He has also announced his first Opera Workshop for Children for sixweeks from Mid-June to late July in San Francisco. Youngsters betweensix and fifteen years old may register.

Of the six operas performed by the Southern California Conservatory ofMusic, its opera workshop and children's musical theater at Sun Valleythis season, two were new pieces. Both have libretti by Lurrine Burgess;the music to MOTHER GOOSE is by H. Johnson (premiere 3/24/86), thatto ROBIN HOOD by Sally Wolf (6/23/86).

The Canadian Children's Opera Chorus commissioned Harry Somers towrite a new work for them to be produced in 1987. Last December, theChorus premiered Schaeffer's THE STAR PRINCESS AND THE WATERL1LY(see Canadian Operas).

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Two new children's operas in German premiered this season were Savary'sVOM DICKEN SCHWEIN DAS DUENN WERDEN WOLLTE (The Story of theFat Swine that Wanted to Be Thin) in Hagen and in Hildesheim, andHiller's DIE BALLADE VON NORBERT NACKENDICK, Oder DAS NACKTENASHORN (The Ballad of Norbert Thickneck or The Naked Rhinoceros),premiered in Darmstadt on April 27 with children as performers.

Among American operas performed at European opera houses this seasonwas THE VOYAGE OF EDGAR ALLAN POE by Dominick Argento, whichreceived its first European production at Goteborg's Stora Teatern lastwinter. THE BALLAD OF BABY DOE was produced in Bielefeld in May,Tom Johnson's FOUR TONE OPERA in German at Bad Kissingen in July,and HELP, HELP, THE GLOBOLINKS will visit Innsbruck next season.

An unpublished Handel cantata dating from 1736 - the year it was firstperformed at Covent Garden together with Alexander's Feast - has beengiven its first performance in the U.S. on May 18 by Musica da Cameraat Fort Lee, NJ. Although written while the composer was living inEngland, CECILIA, VOLGI UN SGUARDO is composed to an Italian textfor soprano and tenor, accompanied by a string ensemble and a continue

Even predating the above is Agostino Steffani's LE RIVALI CONCORDI,first heard in 1693, and now scheduled for its American premiere byClarion Music Society at Tully Hall on May 7, 1987. Music directorNewell Jenkins, who will conduct, also wrote the new English text.

With Puccini's Turandot enjoying particular popularity within the last fewyears, it may come as a surprise that the other musical version of thatstory has never been staged in the U.S. Now, the Connecticut GrandOpera in collaboration with the Stamford State Opera has announced thefirst American staged production of Busoni's TURANDOT. Performancesare scheduled for November 15 and 22 in Stamford and Bridgeport withPatricia Craig as the Chinese Princess. The first concert performancein the United States was given by the Little Orchestra Society at CarnegieHall in 1967. A concert performance was also offered by the BerkeleyPromenade Orchestra with the San Francisco Concert Opera.

Another stage premiere of a work presented in the Unted States in concertonly will take place in California, where the Long Beach Opera will offertwo performances of Szymanowski's KROL ROGER (King Roger) onFebruary 10 and 14.

PepsiCo Summerfare in Purchase, New York, will present the CompaniesDivas of Mexico City in its first visit to the United States, July 25through 27. The group will perform its specialty in its American premiere,ATRACCIONES FENIX (The Phoenix Travelling Circus) "a feminine fantasyinspired by music of Mozart's operas". The ensemble is coming directlyfrom a guest engagement in Vienna, Austria.

The Australian musical theater piece, BONY ANDERSON by BarryConyngham, received its first American performance on March 11 withina musical evening "Terra Australis Incognita" at New York's SymphonySpace. Librettist Murray Copland based his text on a true dramatic story

AMERICANOPERASABROAD

AMERICANPREMIERES

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of an Australian convict. The title role of the 30-minute work, firstheard in Australia in 1979, is written for a baritone. It was sung byDavid O'Keeffe; Geoffrey Simon conducted.

The Amato Opera in New York is planning the first performance in theUnited States of SALVATOR ROSA by Brazilian composer Carlos AntonioGomes. In anticipation of the added cost, the Amato Opera Circle isholding a benefit gala luncheon, "Mario Lanza Remembered", with non-commercial, rare recordings, film strips, etc. The Gomes opera had itsworld premiere in Genoa, Italy, in 1874.

It was no misprint in the announcement of the performance of ESTER atNew York's Merkin Hall on March 23, which listed Offenbach as composerand the performance as a premiere. A closer investigation, however,revealed that it was Isaac Offenbach - Jacques's father - who is creditedwith this unknown work. It was at Hebrew Union College that composer/musicologist Douglas Townsend found some forty pages of manuscript,which included two arias and a closing chorus. They were dated January1833, and carried the title Ester/Kdnigin von Persien. Townsend editedand orchestrated the sketches and it was in this version that the workwas performed in New York for the first time - most likely the very firsttime that this music was ever publicly performed. Isaac Offenbach,composer, author, poet and rabbi, also wrote many "Synagogue Songs" forchorus, one of which was featured on the same program with ESTER,performed by the Zamir and Hebrew Chorales under the baton of MatthewLazar.

Darius Lapinskas' DUX MAGNUS, first heard in Toronto in 1984, had itsAmerican premiere on May 31, produced by the New Opera of Chicagowith the composer conducting and staging the work.

Huntingdon College's contribution to the Alabama Shakespeare Festivalwas the first U.S. performance of John Frederick Lampe's PYRAMUS ANDTHISBE. Based on a 1716 Comick Masque by Richard Leveridge, themock chamber opera in one act was first heard at Covent Garden in 1745;a printed copy of the libretto exists in the Oxford Library, a copy ofthe overture and airs dated 1745 is in the British Museum. The April'86 performance at the college in Montgomery was of a version editedfor Opera da Camera by Roger Fiske and Richard Platt of Galaxy Press.

PREMIERES T h e American premiere of Robert Wilson's complete THE CIVIL WARSPOSTPONED music theater piece planned for the Texas Sesquicentennial for this summer

has been cancelled. The Houston Grand Opera may still undertake perfor-mances of the one section containing the Philip Glass score, probably incollaboration with the Brooklyn Academy of Music. This is the secondaborted plan in the U.S. of staging the ten-hour work, which incorporatesmusic by different composers; the first was intended as part of the 1984Olympics in Los Angeles.

The first American performance of Berio's LA VERA STORIA, scheduledfor next Fall by the Lyric Opera of Chicago, had to be postponed, andis now rescheduled for October 1987.

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OTHER VOICES by Richard Hawkins was chosen as winner of the British NEWopera competition held by the Modern Music Theatre Troupe. The one- OPERASact opera was premiered by the Troupe during London's Camden Festival ABROADon March 18 at the Bloomsbury Theatre. Paul Barker's PHANTASTES,also in its world premiere, shared the double-bill. The same ensemblealso held a two-day music theatre workshop for youngsters between 11and 14 years where new works were created and performed.

The Danish Royal Theater in Copenhagen has three new operas by Danishcomposers on this season's program. On September 6, it gave the firstperformance of Ingve Jan Trede's MIRANDOLINA, based on Goldoni'scomedy - same as the Martinu opera - and, also in the fall, the companyproduced Bent Lorentzen's latest work, TOTO, THE CLOWN. Later inthe seaon came the first performance of Ib Norholm's SANDHEDENS HAEVNand, on May 5, the world premiere of the same composer's THE REVENGEOF TRUTH, staged in collaboration with the Jutland Opera. — Stockholm'sRoyal Opera has also provided for new operatic premieres of works writtenby its native composers. Here, too, we find three new operas during thecurrent season. They are AMEDEE by Lars-Erik Rosell on February 22,followed two days later by POMPERIPOSSA'S SISTER by Bjorn Hallman,and on June 4, CHRISTINA by Hans Gefors.

In December '86, audiences in Brussels will be offered the premiere ofTHE CASTLE by its native composer Andr6 Laporte. Jos6 van Dam willsing the leading role at the Theatre de la Monnaie. — In a joint project,the Opera Royal de Wallonie in Liege and the Theatre Municipal d'Avignon,staged the world premiere of Georges Liferman's SCARAMOUCHE, openingin Avignon on March 9.

The opera house in Freiburg offered a world premiere on January 30.Entitled HUNGER UND DURST, the new opera is by Violeta Dinescu andfeatured the American soprano Christina Ascher in a major role. — VolkerDavid Kirchner was commissioned by the Wuppertal Opera House to writea new work for premiere during the 1988-89 season, to be followed byperformances in Gelsenkirchen. The libretto is based on Lisa Kristwald'sbook CHRISTUS KAM NICHT BIS ZUM OELBERG. An alternate title isGOTT IN WUPPERTAL. The same composer's BELSHAZAR was premieredin Munich by the Bayerische Staatsoper on January 25 with subsequentperformances there and in Wiesbaden. — On April 19, the SiidostbayerischeStadtetheater in Passau gave the first performance of Obermayer's LOLA.

Last September, the Komische Oper in East Berlin gave the premiere ofJUDITH, the latest opera by Siegfried Matthus. Based on Hebbel, theconcept of the work was developed jointly by the composer and thedirector Harry Kupfer, who staged the premiere; Rolf Reuter conducted,Reinhart Zimmermann and Eleonore Kleiber designed sets and costumes.Also in the company's repertoire this season is Fiddler on the Roof, ina staging by Walter Felsenstein.

This summer's premiere during the Carinthian Festival in Ossiach-Villachin Austria will be KAIN, the latest opera created by the team Karl HeinzFUssel (music) and Herbert Lederer (libretto).

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Italian composer Lorenzo Ferrero, who also wrote the opera Marilyn, hasenjoyed premieres of three new operas this season. In September, histwo-act opera buffa MARE NOSTRO had its first performance inAlessandria with subsequent productions in Turin and Benevento. Thelibretto is by Marco Ravasini. This was followed by NIGHT, a compositioncommissioned by the Bayerische Staatsoper and premiered there inNovember. It features six singers and a cast of actors and dancers andhas been described by the composer as an "Opera-Show". Finally, onJanuary 25, the Rome Teatro dell'Opera premiered Ferrero's SALVATOREGIULIANO. Writer Giuseppe di Leva based his main character on thehero of Puzo's The Sicilian, and created a one-act, two-scene work setin post-World War II Sicily. In its first six performances in Rome, itshared the stage with Cavalleria rusticana.

On July 27, the San Carlos Opera in Lisbon, Portugal, will give the worldpremiere of a one-act opera by Maria de Lourdes Martins, entitled ASTRES MASCARAS. It will share the evening with Salieri's Prima lamusica, poi le parole.

Experimental or studio stages of some of the major European opera houseshave offered readings, excerpted scenes, and sometimes even completeproductions of new music theatre works. Last November, Hamburg's OperaStabile presented excerpts in workshop performances of two new operas:Arghyris Kounadis' DER SANDMANN, a 10-scene and epilogue work afterE.T.A. Hoffmann, and TILL, the Till Eulenspiegel story, written by ThomasHertel, a young composer originally from the DDR, now residing in theWest. — Another experimental studio stage, this one in Graz, Austria,mounted Anton Prestele's WIRTSHAUSOPER - HEIMATLOS within theframework of the city's Steierische Herbst Festival. — In October,Strassbourg offered a "Musica 85" Festival, which among others broughtRobert Ashley's Atalanta to Europe and the world premiere of LATRAVERSEE DE L'AFRIQUE by Armand Angster and Francois-BernardMache.

In February, the Wiener Kammeroper gave the first performance ofBOHEME '86, A Rock Opera After Puccini, with music by WolfgangGattinger and Willi Gesiedrich, and text by Victor Couzyn.

In a different kind of experiment, Blewbury Church in England has giventhe first performance of THE ADJUCATOR, music by Jonathan Lloyd andlibretto by Michael John White, on April 15, with cast and orchestramusicians drawn from the village and the surrounding area.

The premiere of Nigel Osborne's THE ELECTRIFICATION OF THE SOVIETUNION, after Boris Pasternak's novel The Last Summer, has been postponeduntil 1987, when the Glyndebourne Touring Opera will give it the firstproduction.

Corrections Garza's Nuestra Senora de Guadalupe was first performed by the Theaterof the Performing Arts in Tucson in 1981 with American tenor JohnDuykers creating the role of Juan Diego. The 1985 performance in SanAntonio was the first in Texas.

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Two works, Snoopy Visits Northland and Under One Roof, listed underKarin DiChiera in the COS DIRECTORY OF OPERAS/MUSICALS FORYOUNG AUDIENCES, should have been omitted. As Ms. DiChiera informsus, they are revues combining music and texts from different sources.

Medek's DIE VERLORENE EHRE DER KATHARINA BLUM is based onHeinrich Boll's novel, and not related to Joyce's Ulysses. Meanwhile,opening night in Gelsenkirchen was postponed from July '86 to the 1987-88 season, since the opera is not as yet ready.

The Municipal Theatre in Montpellier, France, performed Rzewski's LesPerses last season; it was not produced in the United States. []

EDITIONS AND ADAPTATIONS

On December 15, the London Symphony Orches-tra conducted by Raffaello Monterosso gave,what was billed as the first performance ofthe "Maria Malibran version" of I Puritani ata concert at Barbican Center. The conductorfound the score containing changes in Bellini'shand in the Catania archives. The changespertain to the soprano part's vocal range whichwas lowered, Riccardo's part which waschanged to a tenor role, and the addition oftwo arias and a trio. Although never beforeperformed, musicologists were aware of theexistence of this score, altered by Bellini toaccommodate soprano Maria Malibran who wasto sing the opera in Naples. However, themanuscript was delayed in transport and arrivedonly after the performance.

Baerenreiter Verlag has a new critical editionof Mozart's DIE ENTFUHRUNG AUS DEM SE-RAIL by Gerhard Croll, available in the U.S.,through Magna-Music Baton. This season'sperformances by the Opera Theatre of SaintLouis and at Williams College used that edition.

Following the world premiere of Le Nozze <3iFigaro, Mozart composed a brief soprano ariafor Marcellina, in lieu of the Susanna-Mar-cellina duet in the first act, as special favorfor Signora Mandini, the soprano who createdthe role of Figaro's mother. The manuscriptcopy of the opera at the DonaueschingenLibrary includes this aria, which is not usuallyperformed. It will be presented in a programof operatic excerpts on July 29 by New York'sMini-Opera at the Berkshire Garden Center inMassachusetts.

JEANIE DEANS, premiered in Edinburgh in 1894,was Hamish MacCunn's most successful work.After years of neglect, it has now been putinto a new performing edition and was producedin February by Opera West in Ayr, Scotland.

When the English National Opera performedGounod's FAUST this winter, it presented it inits early, original version.

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The Teatro La Fenice in Venice ran an interest-ing schedule December into January - one,however, only possible where the company isnot dependent on box office receipts. Italternated performances of Verdi's STIFFELIOwith the opera's later revised version AROLDO.There were a total of nine performances ofeach work with Aroldo always on the followingday after the opera's first version.

Frank Corsaro created a new English text andalso a performance concept for Stravinsky'sL'Histoire du soldat for part of a "Homage toStravinsky" evening at Tully Hall in March.Tony Randall read the role of the devil in thisperformance, which shared a triple-bill withthe composer's Renard and Les Noces. Theconcert was part of the Composers' Showcaseseries.

THE METROPOLITAN MIKADO is not namedafter the Lincoln Center company, but is apolitical persiflage on the British governmentwith numerous references to current politicalevents and an impersonation of PrinSe MinisterMargaret Thatcher. It is subtitled "A Recon-struction of Gilbert and Sullivan" with NedSherring responsible for the new text. It wasstaged in London at the Royal Festival Hall.

When the Opera Theatre of St. Louis gave thesecond production of William Meyer's A DEATHIN THE FAMILY in June, the work was heardin a somewhat altered and tightened form fromits original version, premiered in St. Paul in1984. The composer made several changes, in-cluding the elimination of the narrator's music,whose comments are now incorporated into theaction and sung by the respective characters.

Kurt Weill's LOST IN THE STARS (1949) wasadapted by Maurice Levine, who also functionedas conductor, at concert performances in Juneat New York's Kaufmann Auditorium at the92nd Street Y. In April and May, it enjoyeda run in its original form at the Long WharfTheater in New Haven. []

NEWS FROM OPERA COMPANIES

NEW The capital of Texas will feature a new opera company, adding anotherCOMPANIES professional opera organization to those already existing within its state.

The AUSTIN LYRIC OPERA and its Artistic and Music Director, WalterDucloux, who recently retired as head of opera and orchestra at theUniversity of Texas, plan their first full production - The Magic Flute- for next winter. The new and much acclaimed Performing Arts Centerat the University will serve as the company's theater. Meanwhile, onApril 13, the fledgling organization introduced itself to local audienceswith an Opera Gala featuring "rising stars of American opera".

In response to an awakened interest in operettas other than Gilbert andSullivan, William Edgerton founded the NEW ENGLAND OPERETTACOMPANY in Darien, Connecticut. For its inaugural work, the companyselected Kalmdn's Griifin Mariza, which was produced as Countess Maritzain English at Stamford's Palace Theatre on March 22.

The CONNECTICUT GRAND OPERA, which has staged four productions,each in two performances - one in Stamford, the other in Bridgeport- has merged with the STAMFORD STATE OPERA, a company thatperformed three operas, one performance of each. The two organizationswill henceforth operate under one board of directors and prepare onejoint season. The program for 1986-87 will continue the same as theprevious schedule of the Connecticut Grand Opera, and will include tworarely heard works, with Busoni's Turandot receiving its first U.S. stagedproduction.

DIRECTOR'S A n e w organization, STARET...THE DIRECTORS COMPANY, has beenWORKSHOP founded by a group of stage directors to function as a workshop for

young directors. Following a first performance last summer, the March25 and 26 presentations were held at New York's Space 603 on West 43Street under the title of "The Directors' Demo Presentation, An Eveningof Classical Comedy". Interested parties may get in touch with directorsMichael Parva or Victoria Lanman at (212) 246-5877.

NEW The new OK MOZART FESTIVAL was inaugurated last summer - withoutFESTIVALS much national fanfare - in Bartlesville, Oklahoma. A whole set of

circumstances led to the establishment of the Festival: the completion ofan unusually attractive performing arts pavilion, named prosaically theBartelsville Community Center, the enthusiasm for a local festival fromflutist-turned-conductor Ransom Wilson, who happened to be performingin Bartlesville on "just another stop" on his Midwestern tour, and thegenerous and eager advice and assistance by officials of the SalzburgFestival. After this, everything else seemed to fall into place, such asWilson's chamber orchestra, Solisti New York, becoming the residentensemble, or the Festival receiving the support from the State ArtsCouncil and from local business and private patrons. For its secondseason, the June '86 festival will last ten days and will also bring renownedperformers and dignitaries from Salzburg to honor Mozart in Oklahoma.

A new festival was established in California with a performance of LaTraviata at the Wadsworth Theatre in MARINA DEL RAY, while theBuck's County Playhouse in New Hope, Pennsylvania, hosted the openingproduction of The Turn of the Screw by the INNISFREE FESTIVAL OPERA.

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N E W S F R O M O P E R A C O M P A N I E S

The la t t e r presents singers from New York's Opera at the Academy underEric Fraad 's direct ion.

April '86 marked the first PALM BEACH FESTIVAL, which was celebratedwith guest appearances by the Vienna Chamber Opera in collaborationwith the Vienna Akademie der Musik und Dramatischen Kunst. A tota lof five performances of Mozart and Offenbach operas made up the importedprogram.

The INTERNATIONAL ARTS FESTIVAL planned by Martin Segal for NewYork City will have a budget of $10 to $12 million; the first Fest ival isexpected to open in 1988.

THE THEATER OF NATIONS celebrated its 20th anniversary in Baltimorein June . It marked the first time tha t the United Sta tes hosted thisinternat ional , biennial festival since it was established in 1956. Presentedunder the auspicies of the Internat ional Theater Inst i tute , the two-weekfestival brought performers and performing ensembles from eleven countriesfrom all corners of the globe. In addition to the official performances,there were also lec tures and seminars. Among the novelties originallyplanned for inclusion was a musical by Peter Hall, Animal Farm, basedon George Orwell 's novel, with music by Richard Peaslee and lyrics byAdrian Mitchell. As a result of protest from the Russian thea te rpar t ic ipants , it was removed from the festival, although the place anddates of the British production remained as originally scheduled. Thechar ter of TON s t a t e s tha t no performances should be offered within thefestival tha t may be offensive to any of the member countr ies .

While for the current season the WASHINGTON OPERA had reduced the COMPANIESnumber of productions and performances, t icket sales were so spectacular EXPANDthat the next season will bring a decided increase in activities. Therewill be eight different opera productions, including the world premiereof Menotti's new opera Goya; four will be shown at the Opera House andfour at the smaller Terrace Theater. The number of performances willtotal 76, compared to five productions in 48 performances this season.Several of next year's new productions will be shared with other Americancompanies, and one, Cimarosa's II Matrimonio segreto, is a total importfrom the Cologne Opera. For the last three years, the Washington Operahas coproduced, with L'Orchestre de Paris, one Mozart work each year.Another result of this year's heavy demand for tickets is the increase inthe company's fund-raising goal for its Stabilization Fund - from $2 millionto $4.5 million.

Although for technical purposes, the NEW YORK CITY OPERA season'sperformances prior to September 1 are listed under 1985-86, and under1986-87 after September 1, the company's schedule must be counted asone season, and it is the longest the City Opera has enjoyed in someyears. The length of its summer/fall season and the winter musicalprogram, all at its home theater at Lincoln Center, totals 25 weeks, with19 productions (including 3 light opera/musicals) in 176 performances. Inaddition, the company will give guest engagements at four major artscenters: two weeks at the Orange County Performing Arts Center inCalifornia in January, and one week each at Florida's Tampa Bay (April),

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NEWS FROM OPERA COMPANIES

Virginia's Wolf Trap Farm Park, and New York's Saratoga Springs (June)performing arts centers. — See also "Late Announcements" on page 58.

The now proverbial success of the LYRIC OPERA OF CHICAGO duringthe last few years has resulted in increased numbers of productions: thisyear the company went from seven to eight, and will offer nine nextwinter, when the season will be extended to the end of January for thefirst time.

ATLANTA OPERA has resumed productions. The company has scheduledtwo operas in six performances for July and August, plus a spring recitaland a tour by its educational department.

For its sixteenth year, the MICHIGAN OPERA THEATRE is planning alonger season than ever before. This year's three fall productions at theFisher Theatre and the one opera at the larger auditorium of the MasonicTemple in the spring will be augmented by two additional spring productionsat the Masonic Temple. The final offering of the season will be sevenperformances of Porgy and Bess, a joint production by ten American operacompanies. Detroit's performances next season will total fifty, ten morethan this year. The other two operas in May '87 will be Tosca and TheBarber of Seville. — Corresponding to this expansion, the company willalso offer its Apprentice Program both in the fall (as it had done) and inthe spring (a new addition). The spring season's contract for apprenticeswill be 6-8 weeks, the fall season will continue for 8-10 weeks as before.

L'OPERA DE MONTREAL has added one more production, a repeat fromthe previous season's II Barbiere de Siviglia. This gives the company atotal of five operas for the 1985-86 season, rather than four as in otheryears. For the Rossini opera, presented in three performances, L'Orchestredes Jeunes du Que'bec was engaged, marking the first time the operacompany has performed with this group. The announcement for 1986-87continues the five-production plan with each work in seven performancesand the over-all season spread out and extended from September 9 toJune 22.

For the current season, the PITTSBURGH OPERA has increased the numberof performances of each opera from two to three performances. Butwhile the schedule of three subscription series will be maintained for1986-87, the number of productions will be reduced from six to five.Then, with its move to the newly refurbished Benedum Center for thePerforming Arts in 1987-88, the company will add a fourth subscriptionseries for Sunday afternoons, which should prove especially attractive toresidents of the surrounding Tri-State area.

One of the oldest American summer theaters, the MUNICIPAL THEATREASS'N OF ST. LOUIS or MUNY, will be adding two more productions toits busy summer schedule. Performing at Forest Park as always in thesummer, the company will mount nine different shows.

COMPANIES This Spr ing , t h e DALLAS O P E R A has added a new O P E R A STUDIESADD PROGRAM for high school and college students intending to follow aEDUCATIONAL professional opera career in performance or management. School teachersPROGRAMS selected thirty participants, who were led through a structured program

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of lectures, participation, and attendance at performances. MarshaHenderson, mezzo-soprano with the Dallas Opera, was the resident artistfor the '86 Studies Program. Lecturers and other instructors were drawnfrom various departments of the opera company (artistic, administrativeand production) as well as from faculties of nearby universities. Thisfirst time program has been made possible by a grant from the Dallas-based McMurray Foundation.

With the financial sponsorship by several corporations in Omaha,OPERA/OMAHA has initiated an "Adopt-a-School Partnership" program,which offers public school students the benefit of an opera informationand performance program, specially designed by the company to initiate,involve, inspire, enrich and entertain the students.

The San Diego Opera is the latest company to create its own outreachgroup for tours to schools and to community centers. The 1986-87 seasonwill see the first performances of the newly created SAN DIEGO OPERAENSEMBLE, scheduled for a ten-week tour between February and April.The young performers will offer a variety of programs such as "OperaticHighlights", "Popular Songs", and an abridged version of Don Pasquale.

The OPERA COMPANY OF PHILADELPHIA will be sending its production TOURINGof La Boheme on tour to Italy and China. The star who will be thecentral focus of these performances is Luciano Pavarotti; the cities arehis home town of Modena and also Reggio Emilia, where he made hisdebut in the same opera just 25 years ago - on April 29, 1961. TheItalian part of the tour will close in Genoa, to open in Beijing, China,June 26 for a total of six performances. The other cast members will besome of the winners of the Pavarotti/Opera Company of PhiladelphiaInternational Voice Competition. Meanwhile, the City of Philadelphiashowed its gratitude to the tenor for being considered one of his favoritepied a terre, by declaring April 1986 "Pavarotti in Philadelphia Month."Next September will find him sharing the spotlight at a Gala Concertwith Joan Sutherland, conducted by Richard Bonynge. A four-concerttour will open in California and close at Madison Square Garden in NewYork.

L'ATELIER LYRIQUE, the young artists' training ensemble of the MontrealOpera Company, has undertaken its first foreign tour with concertperformances in several cities in France, Spain and Portugal. In additionto operatic arias and excerpts, the group also brought Canadian folkmusic to European audiences.

The CLEVELAND OPERA, which has moved into its permanent home, the TWO-THEATER3,000-seat State Theater this season, is another fortunate company with COMPANYa second smaller hall for suitable productions at its disposal. The companygave three performances of The Mother of Us All in the 1,000-seat OhioTheater, the smallest of three halls in the Playhouse Square Center, whichitself represents a major and unique theatre redevelopment project.

Next season, the TRI-CITIES OPERA in Binghamton, New York, will give COMPANIESeach of its three productions in three performances rather than in the REDUCEusual four, which had become customary for the up-state New York SEASONensemble. The program will offer two French operas and one by Handel.

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Although the GREATER MIAMI OPERA will be adding one production toits winter/spring schedule - the company is a partner in the shared andtravelling Porgy and Bess - it will discontinue its fall festival of musicals,which it tried with three productions for the last two seasons.

PROMOTION The CINCINNATI OPERA found a new way of making its apprec ia t ion ofANP support known to "all the world". Almost as good as shouting it out,FUNDRAISING the announcement reads on every letter, every brochure, every piece that

is being mailed: "The Cincinnati Opera Thanks The Central Trust Companyfor Sponsoring the Student Matinees". This message is emblazoned onevery envelope, alongside the automatic postage stamp cancellation, whereone often reads some publicity announcement.

In a recent issue, we discussed the promotional and fund-raising valuesof including a concert with a world renowned star in companies'subscription series. But stars are not always willing to come to middle-America to non-international companies. If, however, you catch flieswith honey, it seems that you catch tenors with thoroughbred horses!Upon his recent benefit concert appearance in Louisville, Luciano Pavarottiwas presented with a fine Kentucky breeding stallion for his Italian farm- courtesy of a very dedicated and very generous board member of theKENTUCKY OPERA.

More promotional food ideas - and an involuntary publicity item from theDAYTON OPERA. For a production of Turandot, the Dayton Associationof Chinese Americans went all out in decorating the hall, wearing Chinesedresses and/or costumes, arranging for a traditional Chinese New Year'slion's dance, and inviting TV Chef and host of a special television serieson cooking, Martin Yan, to prepare a dinner buffet with "Delicacies fromChina". The demonstration of a cooking lesson is also included. - However,the same company got into the news involuntarily for an event thathappened without fanfare or preparation and which came as a completesurprise to the audience members and performers alike. At this season'searlier production of Die Fledermaus in Dayton, there was a sudden flurryof excitement when a real live bat (fondly known by the natives as theMemorial Hall bat) flew first through the auditorium, crossed the stageand finally disappeared behind the set. Whereupon an unflappable Dr.Eisenstein reproached Adele for leaving the windows open. We, however,marvel at the bat as opera connoisseur!

In announcing the broadcast of a special fund-raising concert, theSettlement Music School in Philadelphia suggested a STAY AT HOME TEAPARTY, and, to show its serious intentions, it enclosed a tea bag "forTwo". Suggestions for contributions were $5 per cup of tea, $10 withsugar, $15 with lemon added, $20 with milk and sugar, and $25 for thewhole pot! Attending the live concert and being served tea - or wine- and refreshments commanded a minimum $50 contribution per person.

The Opera/Omaha Guild held a COTILLION GRADUATION PARTY for 230six, seventh and eighth graders! The students had completed six weeksof instruction in social graces, ballroom dancing and table manners, andreceived a graduating diploma at the Cotillion dinner dance.

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Tenor G. Silva-Marin founded the TORONTO OPERETTA THEATRE; the NEWcompany's first production last winter was Leh6r's rarely heard The Count CANADIANof Luxembourg. — Ottawa now has its own resident opera company, COMPANIESOTTAWA OPERA LYRA, which gave its inaugural performance of Cosifan tutte, set in New York in the 1930's, at Carleton University lastNovember.

A new festival will be opening in Germany this summer, the SCHLESWIG- FESTIVALSHOLSTEIN FESTSPIELE. Recitals, orchestra concerts and choral ABROADperformances will be offered during July and August, with someprofessional performers also doubling as instructors of master classes.Opera may be included in future years. Pianist Justus Franz is theFestival's founder/director.

The Australian part of what was going to be the Third World section ofthe Spoleto Festival planned for last summer was postponed to Fall '86.Mr. Menotti did proceed with the staging of a new production of TheConsul in Melbourne, and full festival events will be realized later thisyear.

The board and management's threat of the cancellation of a part of theAUSTRALIAN OPERA'S season (see Vol. 26, No. 3) brought the protestfrom company members and finally an independent inquiry, suggested bythe Australia Council. Its findings concluded that the company mustcontinue its full-time operation, and it set up a plan of action whichincludes outlines on the one hand for cutback of expenses and on theother hand for raising of additional funds. The report is being studiedby the company's administration and board as well as by the AustralianCouncil. There is general agreement to put the plan into action.

With a new opera company being established in Belfast, hope for peaceand tranquility in the area must be rising. OPERA NORTHERN IRELANDwill be headed by conductor Kenneth Montgomery as Artistic Director.He announced the first two productions, Ariadne auf Naxos and Falstaff,opening the inaugural season in September '86. A limited tour of heNozze di Figaro with a chamber orchestra in early '87 is also on the agenda.

In celebration of the Scottish Opera's 25th anniversary, the AMERICANFRIENDS OF THE SCOTTISH OPERA, INC. will organize a celebrationunder the honorary chairmanship of Helen Hayes. The silver anniversaryperformance in Scotland is scheduled for June 5, 1987, the opera MadamaButterfly, which opened the house 25 years earlier in Glasgow. Otherfestivities including an opera ball are scheduled with special guests suchas Dame Janet Baker and Dame Kiri Te Kanawa. A tartan ball withScottish nobility and honorary guests will be one of the many celebrationsorganized in the U.S. by the American Friends.

Calgary Opera, 351 Scenic Glen Place, N.W., Calgary, Alta.,T2R 1J2 (403) ADDRESS262-7286. CHANGESOpera Theatre of Northern Virginia, 2700 S. Lang Street, Arlington VA22206.Vancouver Opera, 1132 Hamilton Street, Vancouver, BC, V6B2S2 (604)682-2871.

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WHAT'S IN Changes of company names usually reflect a different or new outlook andA NAME? t n i s ' s t r u e a l s o i n t n e c a s e °f t n e Charlotte Opera which has adopted

the name OPERA CAROLINA, reflecting a wider area involvement, andcovering the activities of both the main company and its touring subsidiary,the former North Carolina Opera.

THE LYRIC OPERA OF DALLAS is the new name for the two-year oldPublic Opera of Dallas, the company performing in English during thesummer months. The 1986 schedule will bring The Magic Flute, MadamaButterfly and HMS Pinafore to the stage of the Plaza Theatre. Thecompany's new address is 12005 Forestgate Drive, Dallas, TX 75234.

The former Opera St. Paul has been reorganized and the new company,NORTH STAR OPERA, is operating again under Linda Eugster as GeneralManager. The company's first season consisted of four performances ofLe Nozze di Figaro and eight of a new revue with Cole Porter music,entitled A Cocktail at Porter's.

The New Opera Group on Cooper Street in New York has adopted itsstreet name and is now known as COOPER OPERA WORKS. []

PUBUSHERS AND MANAGERS

PublishersG. SCHIRMER INC., which had been purchasedby Macmillan Inc. in 1969, has now beenacquired by the British MUSIC SALES CORPO-RATION. With headquarters in London, themusic publisher has, until recently, specializedin educational material. With the purchase ofthe 125-year-old American music publisher, alsowent the American rights to such major Europe-an music catalogues as G. Ricordi, and Salabert.

Alice in Wonderland, Robert Chauls oftenperformed children's work, is now availablefrom G. SCHIRMER. — Other operatic composi-tions recently published by G. Ricordi and nowavailable in the U.S. from G. Schirmer - as areall items in the Ricordi catalogue - includeBussotti's La Musa, Ferrero's Wight and Salvato-re Giuliano, Liberovici's II Grande Chiasso,Testi's Riccardo III, and the orchestral suiteto Sinopoli's Lou Salom4.

As a result of the change in ownership of G.Schirmer, Leonard Bernstein has withdrawnmost of his compositions from GS and placedthem with BOOSEY & HAWKES. Trouble inTahiti, Candide, Mass, and A Quiet Place arenow all available from B&H. W-est Side Storyexcerpts remain with Schirmer; the completework is with Music Theater International.

As of July 1, all music in the BAERENREITER

CATALOGUE will be available in the UnitedStates from FOREIGN MUSIC DISTRIBUTORS,305 Bloomfield Avenue, Nutley, NJ 07110, (201)667-0956. The former U.S. agent for the Ger-man publisher was MagnaMusic Baton.

The DUKE ELLINGTON compositions, which areavailable through G. Schirmer (see Vol. 26, No.3), are those previously owned by MercerEllington Music. All other Duke Ellington worksowned by Belwin Mills Publishing Co. areavailable from Belwin Mills, while the titles inthe Robbins Music Catalogue are representedby CBS Songs. Performance rights must benegotiated with the respective publishers.

JOSEF WEINBERGER/GLOCKEN VERLAG hasturned over the U.S. representation for itsFranz Leh6r catalogue to European AmericanMusic Distributors in Valley Forge, PA. Previ-ously, it was with Alexander Broude Inc. inNew York.

See also "Late Announcements" on page 58.

ManagersICM Artists announced the formation of a newdepartment to take charge of the careers ofsingers exclusively. Tony Russo, a former vice-president at Columbia Artists Management witha strong following of important vocalists joinedICM to head the new department. []

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GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS

The final amount distributed in NEA grants within its OPERA-MUSICAL NEATHEATER PROGRAM for FY'85 totalled almost $6 million. Grants wereawarded to 172 different programs, varying from a minimum of $1,625 toa top of $850,000; seventy were under $10,000, fifteen over $100,000.Applications fell under six different categories: 1) Opera-Musical TheaterProfessional Companies Grants FY'85 (over $4 million to 83 companies),2) Regional Touring ($407,000 in 22 grants), 3) Special Projects ($155,000to nine different projects), 4) New American Works ($519,000 in 33 grants),5) Producers Grants ($100,000 in twelve grants), and finally 6) Servicesto the Arts ($544,000). Organizations may apply under more than onecategory for different projects. — Although the current year'sappropriations have not been set, they are estimated to come in belowthe '85 figure, probably close to $5.2 million for the Opera-MusicalTheater Program.

In announcing the 1985 grants, Frank Hodsoll, Chairman of the NationalEndowment for the Arts, made this encouraging statement: "The strengthand vitality of the field of music theater in America, from opera to themost experimental forms of musical theater, is amply demonstrated bythe diversity and distinctive high quality of the programs and projectsfunded by these grants." To this, Program Director Patrick Smith added:"It is encouraging to note the number of opera and musical theaterinstitutions that are working together to produce excellent, new andexperimental productions. Cooperative efforts of this type encouragecontinued creativity, by making possible productions that otherwise wouldprove too expensive."

Under its Inter-Arts Program, NEA made 107 awards to presentingorganizations for partial support of booking costs for quality touringensembles. The total amount of $1.8 million was distributed for FY '86programs. The largest single grant went to the Brooklyn Academy ofMusic ($130,000). New York's The Kitchen and Spoleto Festival U.S.A.were runners-up with about $75,000; Lincoln Center received $38,500 forits Out-of-Doors Festival.

See also EDUCATION for other important NEA news.

Opera-Musical Theater Program 1986 application deadlines:1) For Professional Companies; 2) Regional Touring Programs; and 3)Services to the Arts - May 23. For 4) New American Works Category;5) Producers Grants; 6) Special Projects - September 12.

The Parliamentary appropriations to the CANADA COUNCIL for 1986-87 CANADAhave been approved at Can.$74,011,000. In addition, a special one-time COUNCILgrant in the amount of $2.2 million has been announced by Marcel Masse,Minister of Communications, and a last-minute allocation of additional$10 million to the Canada Council was facilitated by Michael Wilson,Minister of Finance. While the latter amount will be integrated into theoverall budget of the Council and become part of the various programallocations, the money from the Department of Communications will gofor the support of special creative projects in the arts. Peter Robertsis the Council's Director; Hugh Davidson was Acting Head of the MusicSection at that time, with Carrol Anne Curry Music Officer. Contraryto the NEA programs, CC's Music Section includes such categories as

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"Grants to Opera Companies and for Opera Training", "Grants forWorkshops", and "Commissioning of Canadian Compositions".

BRITISH The last COS BULLETIN reported on a cut in subsidies to the BritishARTS COUNCIL Arts Council. Some of the proposed reductions have been restored for

1986-87 and the final government grant will amount to £135.6 millionrather than £122 million. The Council's request had been for a total of£161 million.

STATE ARTS The MINNESOTA STATE ARTS BOARD offers workshops for artists inter-PROGRAMS ested in residencies in schools, and for school teachers or administrators

interested in inviting artists as residents. The agency also assists withfees for sponsoring artists in residence through its Artist in Educationprogram. — In another move, the State Arts Board with contributionsfrom several corporations, has established "Sudden Opportunity Grants".The importance of this type of help to artists is truly immeasurable.Artists and people working with them will know how often sudden,unforseen and unique opportunities arise, but often must be passed up forlack of funds. In most cases, applications for grants must be made atleast one year in advance, which precludes any quick response.

New York's Cultural Assistance Center - now: ALLIANCE FOR THE ARTS.

American Federation of Musicians, Paramount Bldg., 1501 Broadway, Suite600, New York, NY 10036.

The NATIONAL MUSIC COUNCIL has taken on the cause of composersand publishers who are threatened to lose their rights to an annualcollective income of $80 million from the use of their compositions bytelevision stations. Until now, the law has provided that stations purchas-ing productions with musical contents pay a flat fee to the music licensingorganizations, i.e. ASCAP or BMI, and these organizations distribute themoney received among composers and publishers in a ratio commensuratewith the number of performances of their music on television. This lawhas been upheld in several court cases, where producers or televisionstations challenged it or had not complied. A new bill before Congressattempts to discontinue the practice of stations paying for the rights ofperformance of music included in packaged television productions and thusrestricting payments to the original producer. Since that producer willbe negotiating the composer's fee before the show is produced and willnot know the potential for the program's ultimate success and financialreturn, he will be under pressure of keeping costs at a minimum. Thecomposer, in turn, will have to settle for a lower fee and will have norecourse for additional income, should the program be successful.

NIMT's NEW The NATIONAL INSTITUTE FOR MUSIC THEATER'S New Initiates program,INITIATES now in its third year, is again supported by the General Electric

Foundation. This year's grant of $14,000 is divided among three projects.The Actors Theater of St. Paul received support towards residencies ofcomposer Randall Davidson and playwright Amlin Gray for collaborationon a new music theater piece for the Minnesota company, the NewDramatists in New York for extending its Composer-Librettist's Studiofrom two to three weeks (see Attention Composers), and the workshoppreparation of Breuer and Telson's latest piece, The Warrior Ant, presented

CHANGES OFNAMES &ADDRESSES

NMC/BROADCASTRIGHTS

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as part of New York's Composers' Showcase (see New Music TheaterPieces). — NIMT has also announced the second group of opera companiesreceiving this year's Singer Contract Support Grants. They are eightregional organizations that will share a total of about $26,500; earlierthis season, 25 companies had been selected as recipients. The new listis comprised of Central City Opera, Chautauqua Opera, Chicago OperaTheater, Lake George Opera Festival, Opera Colorado, Pennsylvania OperaTheater, Spoleto Festival USA, and Wolf Trap Opera Co. These grantsunderwrite part of the salaries of young American artists engaged bythese companies. (See also "Libraries/Archives).

The PROFESSIONAL WOMEN SINGERS ASSOCIATION with headquartersin Flushing, NY, assists its members in promoting and expanding theircareers, in functioning as a clearing house and a counselling body. Inpart this is accomplished through its contacts in both the secular andthe sacred field of music; lectures on career management, and recitalconcerts are some of the other activities. For further informationcontact PWSA, 140-39 34th Avenue, Flushing, NY 11354.

3/16-19/86 National Society of Fund Raising Executives, 1986International Conference: "Here Comes the Future", Chicago

3/19-22/86 U.S. Institute of Theater Technology (USITT): "High TechMeets Theater Tech", Oakland Hyatt Regency Hotel, CA

3/20-23/86 4th International Congress - Women in Music, Georgia StateUniversity, Atlanta

4/25,26/86 Center for American Culture Studies, Columbia Univ., NYC5/12,13/86 American Council for the Arts, Annual Meeting,Washington, DC

6/4-7/86 Ass'n of Professional Vocal Ensembles, Houston, TX6/6-8/86 National Institute for Music Theater (NIMT), Symposium at

Spoleto Festival, SC6/25-28/86 American Symphony Orchestra League (ASOL) National Con-

ference, Detroit7/6-12/86 International Society for Music Education Conference <5c

MENC, Innsbruck, Austria7/16-18/86 Sixth Interdisciplinary Conference on the Use and Care of

the Human Voice, "Freedom in Performance", Dept. ofProfessional Dvlpt, University of Minnesota, Minneapolis

7/17-21/86 Annual Conference, National Association of Teachers ofSinging (NATS), Chicago

7/22-25/86 World Conference on Arts, Politics & Business - Support forthe Arts: Philanthropy or Investment? University of BritishColumbia, Vancouver

7/31-8/3/86 4th Annual Symposium on Medical Problems of Musicians andDancers, co-sponsored by the Cleveland Clinic Foundationand the Aspen Music Festival, Aspen, CO

10/7-9/86 Opera Guilds International (OGI), Chicago (not 10/6-8/86)10/8-12/86 National Association of State Arts Agencies (NASAA), Annual

Meeting, St. Paul10/9-12/86 College Music Society, 29th Annual Conference, Hyatt

Regency Miami11/3-9/86 American Music Week, national event11/12-15/86 National Opera Ass'n Annual Convention, Hyatt Regency

Hotel, Los Angeles []

NEWORGANIZATION

CONFERENCES

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EDUCATION AND ACADEMIA

THE ARTS In launching its new program, ARTS IN EDUCATION, the NationalIN SCHOOL Endowment for the Arts is addressing the great need for regular instructionCURRICULUM *n * n e a r * s ' n public schools. It is hoped that this move, which is to

affect school curriculum from kindergarten through 12th grade, will indeedembrace children of all economic and social s t r a t a , offering them a basiceducation in the visual and performing a r t s . This program does not intendto address the needs of future ar t i s ts - although it will also enhancetheir chances of early ground breaking in their field - but it addressesrather the general cultural climate in which children are to grow up.The NEA Artists in Schools program which might be replaced - at thediscretion of the s t a t e ar ts agencies - by this new project, had positionedprofessional a r t i s t s into school residencies; the new project addresses thecomplete question of the ar ts in the school curriculum. Initially, theprogram will be financed out of a $5 million NEA educational budget,with funds channelled through s t a t e ar t s agencies, who in turn will workwith their local school boards. Beginning in 1987, up to $20,000 will beavailable to s t a t e commissions for adding or expanding basic ar ts curriculumin its schools. In making the announcement, NEA Chairman Frank Hodsollstressed the importance of the program's thrust to function as a catalystfor developing cultural awareness in the nation's youth, and for stimulatingfinancial support from s t a t e and school funds, and from private sources.

It may be a token of the changing times that Musical America published,as part of Charles Fowler 's la tes t ar t ic le on education, a list of "Stateswith Graduation Requirements in the Arts". While previous reports stressedthe fact that various s ta tes had discontinued ar ts education in elementaryand/or high schools due to cutbacks in budgets, it is reassuring to notethat 22 s ta tes ask for some music and art background in graduates .Actually, in five of the s t a t e s included in this figure, the requirementswill become effective in one or two years.

Another support group of the ar t s as part of the American educationalsystem is the recent ly formed FOUNDATION FOR THE ADVANCEMENTOF EDUCATION IN MUSIC (see Vol. 26, No. 3). A program outline is tobe announced after the next board meeting in the summer. — Also, theNATIONAL MUSIC COUNCIL is examining ways in which this nationalbody, representat ive of 55 music organizations with an aggregate member-ship of some 2 million, can best use its s t rength to help realize the goalof music education for all children in all schools across the country.

TALENT The National Foundation for Advancement in the Arts (NFAA) and theSEARCH Arts Recognit ion and Talent Search (ARTS), which does the preliminary

screening of appl icants , a re now consolidated in Miami. ARTS wasoriginally administered by the Educat ional Testing Service in Pr inceton,but , with NFAA firmly established in its fifth year , it has become moreprac t i ca l as well as more economical to combine the two functions.Miami-Dade Community College/Wolf son Campus will provide supportservices as needed. Meanwhile, in response to numerous inquiries, theperforming a r t s a rea has been extended and will, for the first time thisyear, include appl icants in the musical t h e a t e r field. Each year, NFAAhas given about 500 awards to high school s tudents who are exceptionallytalented in the arts.

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E D U C A T I O N AND A C A D E M I A

The IDYLLWILD SCHOOL OF MUSIC AND THE ARTS in California, whichhas maintained a summer school program for many years, will add anindependent residential high school for the performing and the visual artsin the fall. The school's summer program includes a combined Youth andAdult Musical Theatre Workshop. Further information may be obtainedfrom ISOMATA, P.O.Box 38, Idyllwild, CA 92349.

Under "Major Approaches to Music Education", the February '86 issue ofthe MUSIC EDUCATORS JOURNAL examines the five most popular musicteaching methods currently applied in U.S. schools: Kodaly, Orff, Dalcroze,Gordon, and Suzuki. Discussing them all side by side will clarify manyteachers' views, concepts and misconceptions of these established methods.Available to MENC members on subscription, single copies may be orderedfor $4 ($5 for Canada and Mexico) from the Music Educators NationalConference, 1902 Association Drive, Reston, VA 22091.

The Glenmont Elementary School in upstate New York is the latest such NEW OPERASinstitution to have embarked on a three-month program of developing and DEVELOPEDproducing its own new 30-minute opera. Students between 6 and 13 years IN SCHOOLSold have been working with staff members of the nearby Lake GeorgeOpera Festival and with composer Roger Ames as consultant, resultingin the production of their new work, If the Shoe Fits..., at the GlenmontElementary School on May 30, with a repeat performance during theImagination Celebration at the State Museum in Albany on June 1.

The Opera Theater of the University of Minnesota under Vern Sutton hasreceived an unexpected but most welcome gift. The opera departmentwas the beneficiary of an endowment of $329,000 left by Hamilton P.Traub, who was impressed by the workshop's concern for contemporaryAmerican works, and who stipulated that part of the income from thelegacy be used to further the cause of American opera. This addedincome will facilitate the hiring of more staff members and the productionof more operas; American contemporary works will be staged within thenewly founded TRAUB INSTITUTE FOR AMERICAN OPERA.

Other programs established lately for the development of new operas andmusicals are discussed under "Attention Composers" and "New Operas inAcademia".

The CLEVELAND INSTITUTE OF MUSIC held its second Art Song Festival MASTER-May 26-30. Ten singer/accompanist teams participated in the masterclasses CLASSESand in the Finals Concert. The Institute's courses were led by singersMaureen Forrester and Elisabeth Soderstrom and accompanists WarrenJones and Thomas Muraco, who also gave concerts during the four-dayfestival.

Continuing from the last issue of the COS Bulletin the listing of starsingers holding master classes at conservatories, we can report on thereturn of Birgit Nilsson to the MANHATTAN SCHOOL OF MUSIC for athree-day session with selected students. The dates were April 14-16with the closing session open to the public. Mme. Nilsson's first associationwith the Manhattan School was in 1982 when she received an honoraryDoctor of Music degree; in 1983 she returned to teach her first masterclasses anywhere.

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EDUCATION AND ACADEMIA

VICTORIA DE LOS ANGELES will hold an International Master Coursefor Singers a t the Athenaeum/International Cultural Center in Athens.The dates are September 8-24, 1986.

In conjunction with his appearances a t the Pittsburgh Opera in Rigoletto,SHERRILL MILNES held a master class for young ar t i s ts at DuquesneUniversity in that city in May. One of the four days was open to the public.

In the Spring, MARTIN RICH held master classes for singers and forcoaches at the Manhattan School of Music and at the AmericanConservatory in Chicago, before joining the faculty of the AmericanInsti tute of Musical Studies in Graz, his eighth summer with AIMS.

Fredric Popper and Richard Cri t tenden will offer a two-week SummerOpera Workshop at the AMERICAN UNIVERSITY in Washington, DC. Thefee for the period from July 7-20 is $300 for singers, $150 for coaches,s tage directors and auditors .

ARTS Columbia University's Program in Arts Administration together with itsADMINISTRATIONGraduate School of Business and the Columbia Law School sponsors a newCOURSES RESEARCH CENTER FOR ARTS AND CULTURE. Its Director is Joan

Jeffr i , who also teaches a r t s management. The Center will underwri tepert inent studies and among the first a re one on the ar ts labor market ,another on the functioning of copyright law for ar t i s t s , and yet anotheron a r t s and cul tural audience behavior pa t t e rns . The uniqueness of theCenter lies in its combination of a r t s management, cul ture and the law,and a future project is the creat ion of "The Art is t ' s Guide to Work-Related Human and Social Services". Fur ther information may be obtainedfrom Camilla Brooks (212) 280-4331.

The PERFORMING ARTS MANAGEMENT INSTITUTE, one of the earl iestsuch seminars in the United S ta t e s - usually in November in New York- held its fourth annual program in California. April 18-20 were theda tes ; the place was Sherman Oaks. The seminars a re sponsored by theaccounting firm of Lutz & Carr , and by Arts Management newsle t ter ,whose editor, Alvin Reiss, is the originator and one of the main lec ture rs .

MANAGING THE ARTS ENTERPRISE is the t i t le of the 1986 coursesoffered by New York University's annual Summer Management Ins t i tu te .The dates are July 21-25.

Confederation College at Thunder Bay, Ontario, offers a two-year , four-semester program in PERFORMING ARTS MANAGEMENT, with the secondand fourth semesters in "supervised placement", i.e. internships with aprofessional a r t s organization with a s t ruc tured learning program. Forfurther information contac t Admissions Office at the College, PerformingArts Management Program, Box 398, Thunder Bay, Ont. P7C 4W1.

The University of Massachusetts at Amherst offers two programs in ArtsAdministration through its summer a r t s extension service . Scheduled torun parallel from July 16 through 18; one is Introduction to ArtsManagement, the other an Arts Management Refresher Course. []

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HEALTH CARE FOR ARTETS

In February 1985, the KATHERYN AND GILBERT MILLER HEALTH CAREINSTITUTE FOR PERFORMING ARTISTS opened at St. Luke's/RooseveltHospital Center in New York City. It offers a wide range of servicesin more than forty areas, from routine walk-in medical care to sophisticateddiagnosis and treatment of career-threatening conditions. It has alsoinstituted a no-charge membership enrollment program for artists. Inaddition, the Institute received a $500,000 grant from The Fan Fox andLeslie Samuels Foundation recently for the construction and equipment ofa new and enlarged facility at South Park Tower, adjoining the currentmain hospital building on West 59 Street. This facility opened in May'86 with the newest and most sophisticated health care equipment chosenspecifically for diagnoses and treatment of ailments inherent to the careersof professional performing artists. Thus it includes a state-of-the-artvoice laboratory, a performance evaluation unit, a dancers' departmentwith sprung floor and ballet barres, a variety of musical instruments,two-way mirrors and video equipment. The new grant also enables theInstitute to offer care from specialists and therapists in each area. Theaim of the new Institute is as much to find and offer cures as it is tosuggest means for prevention of problems. Enrollment is free and entitlesmembers also to receive a free cancer screening at the Institute's DukeEllington Cancer Screening Center. For further information call (212)554-6314 or visit the Institute at 425 W 59 St., 6th floor; Margo Donaldsonis Managing Director.

The late Dr. Eugene Grabscheid, the Vienna-born, New York-residentortho-laryngologist whose help was especially sought by opera singers andactors, left an endowment to Mount Sinai Hospital for the creation of aChair in Ortho-Laryngology, and for the establishment of a RESEARCHCLINIC FOR VOICE DISORDERS, to be named after him.

Thanks to a $1 million grant from the Samuel and Rebecca Kardon MUSICFoundation, the Settlement Music School in Philadelphia will establish the SCHOOLKARDON INSTITUTE OF MUSIC FOR THE HANDICAPPED as a separate FORentity within the school. The school's existing 10-year-old program for HANDICAPPEDteaching handicapped children and adults will be incorporated into thenew project which will be of much wider consequence and on a nationalbasis. The school is serving the physically handicapped, sensory impairedand mentally disabled, working with Moss Hospital and other programs inthe Philadelphia area. The medically controlled program functions ontwo levels, therapeutic and culturally enriching. Dr. Sol Schoenbach,former Director of the Settlement School, will be the President of thenew Institute, and violinist Itzhak Perlman, who has been affiliated withthe school in an advisory capacity, will continue to do so with the titleof Honorary Chairman of the Institute. For more information contactSMS, PO Box 25120, Philadelphia, PA 19147, or call (215) 637-1202.

Recognizing the specific medical needs and problems of performing artists, PUBLICATIONSan editorial board of twelve medical specialists and an advisory board ofeight performers and educators will be responsible for publishing the newquarterly, MEDICAL PROBLEMS OF PERFORMING ARTISTS. Individualsubscription in the U.S. is $36; library or institutional subscription $46annually. The artistic advisors include Phyllis Curtin, Gary Graffman,Yo-Yo Ma, Walter Trampler, Dorothy DeLay, and Joseph Polisi. Forfurther details write MPPA, Box 1377, Philadelphia, PA 19105. — The

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H E A L T H C A R E F O R A R T I S T S

specific medical needs of the performing artists - musicians and dancers- will be the topic to be discussed and examined at the fourth annualsymposium on that subject scheduled for July 31 to August 3 in Aspen,CO (see "Conferences").

A new book on the same subject has been published by The Center forOccupational Hazards, with financial assistance from the New York StateCouncil on the Arts. STAGE FRIGHT: HEALTH AND SAFETY IN THETHEATER by Monona Rossol is a circumspect guide to possible hazardsof working in theaters and the precautions recommended to be taken. Itis available from COH, 5 Beekman Street, New York, NY 10038 for $9.95in paperback and $16.50 in hard cover. For either edition add $2 forpostage. — The Center also publishes a four-page ART HAZARDSNEWSLETTER in ten issues annually; a one-year subscription is $13.

The National Endowment for the Arts has published THE ARTS AND 504,an excellent practical guide book for presenting organizations as well asfor handicapped audiences. It is arranged in three sections: 1) the 504Regulations, 2) Access to Arts programs, and 3) Audience Developmentand Staff Training, and contains many explanatory illustrations. Itscontents are also available as a cassette recording from the Music Sectionof the National Library Service for the Blind and Physically Handicapped,The Library of Congress, Washington, DC 20542. The 98-page book maybe ordered from the Superintendent of Documents, U.S. Government Print-ing Office, Washington, DC 20402 for $3.75.

The same National Library Service announced the receipt of two braillecopies of a two-volume book in French: Repertoire de la notation musicalebraille. It was a gift of the Russian Association for the Blind.

The Department of Professional Development at the University of Minnesotain Minneapolis will host the sixth annual Interdisciplinary Conference onthe Use and Care of the Human Voice. The dates are July 16 to 18; thetitle of this year's meeting is FREEDOM IN PERFORMANCE.

On May 19, the American Guild of Musical Artists held a health fair,BETTER HEALTH FOR BETTER PERFORMANCE, at the St. Paul theApostle Church in New York. Besides the customary sales booths, thefair offered tests for blood pressure, glaucoma, etc. Workshops anddiscussions centered around such subjects as nutrition and diet, stressmanagement, movement re-education, and other health subjects of specificconcern to performers.

HANDICAPPED Three hearing impaired performers founded MUSIGN, creating a newPERFORMERS concept in performance by combining song, dance, sign language choreo-

graphed, video images, and the visual arts in the form of stage setsand/or costumes. The ensemble performs for handicapped as well as fornon-handicapped audiences, and, with its imaginative and versatile program,it seems a particular favorite entertainment for young people. RitaCorey, Bob Hiltermann and Ed Chevy founded MUSIGN in Berkeley,California, in 1981, and the ensemble has toured throughout the UnitedStates and Canada, and also visited Japan. The company may be reachedthrough Naomi Rhodes, 240 W 98 St., #13A, New York, NY 10025. []

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FORECAST

This year's BATH FESTIVAL (5/23-6/8) will be under the patronage ofthe French Ambassador to Britain. The program features French musicand will include several French performing ensembles. Major compositionsby Boulez and Messiaen will represent some of the contemporary scene,while imported productions of Monteverdi's Orfeo and Leclair's Scylla etGlaucus (Op^ra de Lyon) fill in for the classical period. Amelia Freedmanis the Festival's new Artistic Director.

The 1986 EDINBURGH FESTIVAL will present the Finnish National Opera,which will bring Rigoletto and Merikanto's Juha to Scotland in August.— In late October, the WEXFORD FESTIVAL will offer a varied programconsisting of Rossini's Tancredi, Humperdinck's Die Kbnigskinder, andThomas' Mignon.

Looking further ahead, the 1987 GLYNDEBOURNE FESTIVAL will mounta French double-bill of L'Heure espagnole and L'Enfant et les sortilegesin designs by Maurice Sendak. Frank Corsaro will direct and Simon Rattlewill conduct. For the 1986 schedule see Vol. 26, No. 3.

In addition to the previously announced Tannhiiuser in July, the FESTIVALD'ORANGE will also mount a production of Macbeth on August 2, andpresent star singers in recitals.

The ORCHESTRE DE PARIS under the baton of Daniel Barenboim hasstaged a Mozart Festival in May and June in Paris. All three Mozartoperas, presented over the last five years in Paris and Washington, DC,now played in short succession at the Theatre des Champs-Elys^es. TheFestival opened with he Nozze di Figaro on May 20 (repeated on 22 and24), continued with Cosi fan tutte on June 10, 12 and 14, and closedwith Don Giovanni on June 24, 26 and 28.

July 19 through August 17 are the dates for the MACERATA FESTIVAL,which has scheduled Turandot, II Trovatore and Cavalleria rusticana/Pagliacci, with easts including Dimitrova, Ricciarelli, Obratsova, andCossotto.

The FESTA MUSICALE STIANA, produced in collaboration with the StudioLirico under the artistic direction of Talmage Fauntleroy, will offer adouble-bill of Donizetti's II Campanello di notte and II Geloso schernito.Non-staged performances will be devoted to the Verdi Requiem, Puccini'sMessa di Gloria, with the American Festival Chorus and accompanied bythe Ljubljana Symphony Orchestra, and a workshop production of a newopera on the Bluebeard theme - Barba Blu by Hendrik Hofmeyr. TheFestival dates are July 4 to 19.

The 1986 MAHLER FESTWOCHEN will be held July 19 to 27 in Dobbiaco(formerly Toblach) where the composer had his summer house. Detailsmay be obtained from the Gustav Mahler Committee, Via Roma 21, 39034Dobbiaco, Alto Adige, Italy.

Austria's HOHENEMS SCHUBERTIADE near Bregenz gave concert perfor-mances of Fidelio with an international cast at the Town Hall inFeldkirchen in June, and will offer recitals at the Hohenems Castlethroughout the summer.

SUMMER '86EUROPE cont.

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F O R E C A S T

1987-88 T h e AMERICAN MUSIC THEATER FESTIVAL in Philadelphia is planninganother five-production season next September-October which will includemusic theater works in world premieres (see 1986-87 Performance Listing).For fall 1987, the company is organizing an International Music TheaterFestival, which will offer a mixture of new and classical American andforeign works performed by well-known American and foreign artists.

The summer '87 program of the CINCINNATI OPERA will bring back theproduction of Leoncavallo's Zaza in June, and Madama Butterfly and IIBarbiere di Siviglia in July. A new production of Twandot will be un-veiled in November 1987.

The opening of the first NEW YORK INTERNATIONAL FESTIVAL OF THEPERFORMING ARTS has been set for June 13, 1988, as announced byits Chairman, Martin E. Segal (see Vol. 26, No. 3). Its theme will bethe performing arts in the 20th century and it will incorporate existingworks as well as new commissions in music, opera, theater, dance andfilm. The events will be held in a great variety of spaces, from LincolnCenter, to small theaters and concert halls, auditoria at the Asia Societyand Japan House, in parks and other public places. Major internationalperformers will share the spotlight with up-and-coming young talent andnewcomers of the avant-garde. Future festivals will also include the visualarts, involving museums and galleries, however, it is not yet certainwhether it will be an annual or bi-annual affair. The first festival isbudgeted for about $10 to $12 million and ticket returns are estimatedto account for 50 percent of expenses, which would be a good averagecompared to many non-profit organizations in the performing arts.

Steven Wadsworth will be the director for Handel's Alcina when it isproduced by the OPERA THEATER OF SAINT LOUIS in summer '87. Hewill also be responsible for a new English translation made especially forthese performances.

November '87 will bring a new production of II Trovatore to the Metro-politan Opera.

II Trovatore is also one of two operas announced so far by the LYRICOPERA OF CHICAGO as part of its 1987-88 season. The cast will includeTomowa-Sintow, Verrett, Pavarotti, and Cappuccilli, with MaestroBartoletti conducting, Sonja Frisell directing, using Benois' designs. Theother opera will be La Forza del destino featuring Susan Dunn, Giacomini,Nucci, Kavrakos, under James Conlon's baton, in the San Francisco Opera-Samaritani production, directed by Decker.

In November '87, San Francisco will be mounting a new production of LesContes d'Hoffmann with Placido Domingo as the poet.

The Los Angeles MUSIC CENTER OPERA with Peter Hemmings asexecutive director plans La Boheme for September '87 with projectedcaptions featuring Zschau, Domingo, and Hampson, conducted by LaurenceFoster, followed by Prokofiev's The Fiery Angel in English also withZschau and Roloff, under conductor Foster, and director Serban, in thedesigns by Bjornsson from the English National and the Geneva opera

(continued on page 45)

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THEATERS AND ARTS CENTERS

The opening date of the ORANGE COUNTY PERFORMING ARTS CENTER IN THE U.S.has been set for October 1, 1986; the first opera/music theater productionto be shown by its resident company, OPERA PACIFIC, in the main 3,000-seat auditorium will be Porgy and Bess on February 11, 1987. Thecompany will present three works (see Performance Listing) in a total of28 performances, with the final one, La Boheme, closing on April 4.These, however, will not be the first opera productions to be seen atthe Center. As previously announced, the New York City Opera will playa two-week's guest engagement there, opening on January 13, immediatelypreceding Opera Pacific. — In addition to the large multi-purposeauditorium, the Center also houses a 1,000-seat theater and a rehearsalhall which can double as open performing space or as a black box theater.

The Pittsburgh Opera announced its plans for moving to a new arts centerin 1987. It is the new BENEDUM CENTER FOR THE PERFORMINGARTS, named after its benefactor, the Benedum Foundation whichparticipated with $5 million in the $36 million renovation and rehabilitationof the former Stanley Theatre, a vaudeville house turned movie theatre.Another $17 million comes from an Urban Development Action grant. Thenew Center will have almost exactly the same seating capacity as HeinzHall - 2800 versus 2845 - the current home of the opera company. Whilethe symphony will remain at Heinz Hall, the Pittsburgh Opera will bejoined by the Pittsburgh Ballet, the Dance Council, and the Civic LightOpera, all of whom will make their permanent home at the Center. Thestage is equipped with modern technical facilities and is about three timesas large as that of Heinz Hall. An adjacent office building will offerthe performing companies additional office and rehearsal space. Theopening is projected for fall '87, when the Pittsburgh Opera plans a galabenefit concert by Pavarotti on October 6, followed in November by anew production of Turandot with Ghena Dimitrova in the leading role.

A second move within one year brought the LIGHT OPERA OFMANHATTAN to the long-established Cherry Lane Theatre on CommerceStreet in New York. LOOM hopes that this will become its permanentstage and home.

Another of New York's smaller experimental theater companies, THETHEATER FOR THE NEW CITY, had to look for new quarters (see Vol.26, Nos.l <5c 3). The move will place the company only one block awayfrom its present site on Second Avenue and 10th Street. It will, however,require a major renovation to turn the former City Sanitation buildinginto a performing space. This will be accomplished with financialassistance from several government and private agencies. The companystages about forty plays and musicals annually.

Chicago's OPERA FACTORY is giving its May performances, aFrench/Italian operatic double-bill with orchestra, at its new permanenthome, the Angel-Guardian Theater on West Devon Street.

A recent issue of Theatre Design and Technology, published by the U.S.Institute for Theatre Technology, features floor plans and photographs ofSan Diego's own GLOBE THEATRE. Built in a three-quarter round, anaudience of over 600 surrounds the greater part of the stage. The theateropened in 1982 and has served the San Diego Opera in the spring as

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THEATERS AND ARTS CENTERS

setting for its chamber opera productions. The first Globe Theatre inSan Diego was destroyed by fire in 1978. Another theater that fell preyto a fire and was rebuilt at the original site, the Filene Center at WolfTrap Farm Park, is the other performing arts facility examined in thesame winter 1986 issue of TD & T.

IN CANADA On October 14, the THUNDER BAY COMMUNITY AUDITORIUM openedwith a Gala performance of the Thunder Bay Symphony and a 200 voicechorus made up of various choral groups from the area. The new hall inthe Ontario city seats up to 1,550; about 200 less for opera, musicals,and ballet when seats must be removed to accommodate an orchestra pit.Designed by Trevor Garwood-Jones, who is also responsible for Ontario'sHamilton Place, the Auditorium presented, in its first season, productionsof Brigadoon and opera performances by Minnesota's touring group, theMidwest Opera Theater.

IN EUROPE The City of Birmingham, England, may soon be getting its long-plannedconcert hall. With designs approved for a 2,200-seat auditorium as partof the £106 million convention center, New York's theater consultants,ARTEC, have been retained to develop the final designs. It is to be thehome of the Birmingham Symphony, whose current music director is SimonRattle. The orchestra has been performing for the last sixty years inthe Birmingham Town Hall.

Announcement of the refurbishing of the SADLER'S WELLS THEATER(Vol. 26, No. 3) was premature. Although there is a need and there areplans for renovating the house, this will have to await more fortuitousfinancial circumstances. With the demise of the Greater London Council,which had given substantial support to the theater, it now must find atotal of £250,000 to cover the cost of maintenance alone of the theaterthroughout the next season. Its resident companies are the New Sadler'sWells Opera which performs two short seasons annually in its own theater,plus three ballet/dance companies.

Following extensive renovations and modernizations, DEN JYSKE OPERA,the Danish national opera in Aarhus, reopened last November withFrancesco Cristofoli in the multi-duty position of general director,administrator and music director. — Denmark's major opera house, DENKONGELIGE TEATER or Royal Theater, in Copenhagen had also undergonea period of renovation. It closed in 1983 and reopened on November 15with Die Zauberflbte, to great acclaim for the theater's improvements.

Another reopening occurred in HANNOVER, where the opera house hadbeen rebuilt after the war, opening in 1950, but at that time revealedmany flaws due to the inadequacy of building materials available at thattime, and the brief period allotted for reconstruction. The house hasnow improved and enlarged the orchestra pit and auditorium, refined thehall's acoustical properties, redecorated and expanded public areas, andmodernized its lighting and technical stage facilities. Opening night wasgiven over to Schoenberg's Moses und Aron.

AMSTERDAM is looking toward the completion of a new opera house infall 1986. Hartmut Haenchen of the Komische Oper in East Berlin willbe the Music Director. []

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ATTENTION COMPOSERS/LIBRETTISTS

Columbia College Chicago is establishing a four-month MUSICAL THEATER COMPOSER/WORKSHOP. For this pilot project, the College will engage professional LYRICISTperformers, directors , writers and composers who will be working with astudent group, with the aim of developing two musical thea ter works.Each show will have its own salaried team of writer-composer-lyricistdrawn from the Chicago area professional thea ter community. The programwas created out of a need to "seek ways of developing musical theaterworks that restore the musical to the contemporary audience, allow risktaking, and encourage creativi ty while avoiding the economic restraintsof the current Broadway system". (See also "New Operas in Academia".e.g. Harnick/Raposo's A Wonderful Life.) It is somewhat comparable tothe Music Theatre Studio Ensemble program of the Banff Centre inAlberta, except for Columbia College engaging professional performersfor the try-outs of new works.

Another new program to be inaugurated this summer at West Virginia COMPOSER/University in Morgantown is one created by a composer in recognition of CONDUCTORthe need for closer collaboration between composers and conductors.Harold Farberman and Charles Wuorinen, both of whom are composers andconductors, will head the two-week program, which will enroll six youngAmerican composers and six young American conductors. The composerswill receive master classes in conducting and will lead their own andsome classical music under the supervision of Mr. Farberman, while theconductors will study a composition by one of the composers-in-residenceand will be asked to compose some short piece of music under the tutelageof Mr. Wuorinen. It promises to be an interesting experiment and shouldleave all twelve participants with much respect for the expertise of the"other" profession.

Composers interested in exploring collaboration techniques with l ibret t is ts COMPOSER/will want to join the third annual COMPOSER/LIBRETTIST STUDIO, LIBRETTISToffered by the New Dramatists in New York. The three-week sessions ta r t s on September 8. It is supported in part by the NEA, the Rodgersand Hammerstein Foundation, an "Initiatives Grant" from the NationalInst i tute for Musical Theatre , and by an Opera America award under itsOpera in the 80's and Beyond program. The director of the last-mentionedprogram, Ben Krywosz, will lead the Dramatists workshop, which will havean enrollment of five composers and five l ibret t is ts .

A fascinating and innovative idea benefitting young Italian composers was COMPOSER/realized by Sig. Italo Gomez, Artistic Director of the Teatro La Fenice COMPOSERin Venice, who spoke of it a t t he COS In te rna t iona l Symposium (seeTranscr ip t Vol. 27, No. 1). Five es tabl i shed and famous composers s e l e c t e dt w e n t y works by young and l i t t l e -known co l leagues . P a r t s of each ofthese new works were p resen ted by t h e Venice opera ensemble before aninvi ted aud ience with t he older composers p resen t , who then had t o explainand defend the i r cho ices . It proved t o be a most successful exper iment ,breaking down the bar r i e r s be tween t h e two groups of composers - aninvaluable experience for those of the young generation - and created anew stimulus for all while also establishing a familiarity between thesecreative artists.

The Canadian Music Centre has designated the year 1986 as the CANADIAN/INTERNATIONAL YEAR OF CANADIAN MUSIC, and 27 organizations have MUSIC YEAR

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joined to assist in the project. With Canadian composers in the spotlight,the year also celebrates the 35th anniversary of the Canadian League ofComposers and the 50th anniversary of the Canadian BroadcastingCorporation. IYCM is under the honorary chairmanship of MaureenForrester.

OPERA In celebration of its 250th anniversary, the Teatro San Carlo in Naples,COMPETITIONS Italy, in collaboration with the music publisher Casa Ricordi, has organized

an INTERNATIONAL COMPETITION FOR THE COMPOSITION OF A NEWOPERA. The winning work will be published by Ricordi, and produced inits world premiere by the Teatro San Carlo in spring 1988. There areno restr ic t ions as to the nationality or age of the living composer.(Posthumous works may not be submitted). Composers under long-termcontrac t with another publisher must submit a waiver by that publisheragreeing to the publication by Ricordi of the part icular work should itbe the winning entry. The l ibre t to and autographed full score should besent anonymously no la te r than January 30, 1987 to: Segreter ia Art is t ica,Teat ro San Carlo, Naples, Italy. A sealed envelope should be enclosedlisting the t i t le of the work, and the name and personal data and acurriculum vitae of the composer. - Duration of this new, unpublished andunperformed opera should be between 90 and 180 minutes, the orchestrat ionshould be scored for a usual complement of musicians of an opera orchestra ,technical staging demands must not exceed the facilities currently availableat San Carlo . The l ibret to should be typed in the original language - thepublisher reserves the right for translat ion into Italian. Scores thatrequire e lect ronic tapes must be accompanied by the appropriate t ape .The winner will be notified by telegram no la ter than May 31, 1987, andnon-winning entr ies will be re turned by November 30, 1987. The composerof the winning opera must furnish a piano/vocal score within th ree monthsafter having been notified. The original announcement does not mentiona cash prize.

First offered in 1978 and previously reported here in detai l , the RICHARDRODGERS MUSIC THEATRE COMPETITION has set November 3, 1986, asthe deadline for applications to be considered for the 1987 RichardRodgers Production Award. Application forms and further informationmay be obtained from the American Academy and Inst i tute of Arts andLet te r s , 633 West 155 St ree t , New York, NY 10032, which administersthe competit ion.

The eleventh annual NEW MUSIC FOR YOUNG ENSEMBLES competitionwill accept applications until November 1, with original composition entriessuitable for performance by junior ensembles. Details may be obtainedfrom Raul Pleskow, chairman Music Department, C.W. Post College/LIU,Greenvale, NY 11548. Enclose a self-addressed stamped envelope.

The NATIONAL OPERA ASSOCIATION'S Second New Opera Competitionis accept ing scores for consideration until May 15. There are norestr ict ions as to the composer's age or nationali ty. The work submittedmust be unpublished; it may have been performed but not by a majorcompany. It must be in English, playing time not to exceed 60 minutesand the number of players must not exceed twenty. Works in progressare not accepted . Complete piano/vocal scores should be submitted witha $15 fee for each opera, and may be accompanied by an audio or video

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tape of excerpts. Composers will be notified as to the winning compositionby September 15.

MUSICIANS' ACCORD - A NEW MUSIC PROJECT announced its third ORCHESTRALannual competition for an unperformed and unpublished composition of no COMPETITIONSmore than 12 minutes duration, and scored for no more than fiveperformers. Applicants must be U.S. citizens; they may be of any age.Scores are to be submitted anonymously, with name, address and telephonenumber in sealed envelope affixed to the outside of the score. A $20fee must accompany each composition which must be postmarked no laterthan May 15, 1986, and addressed to Musicians' Accord Competition,Richard Kassel, #E, 245 East 24 Street, New York, NY 10010.

The application deadline for the third GRAWEMEYER AWARD for MusicComposition is January 30, 1987. For conditions and requirements seeVol. 25, No. 3. There are two honorable mentions, and the first placewinner receives five annual installments of $30,000 each. Begun in 1985,the previous awardees were Witold Lutoslawski ('85), and Gyorgy LigetiC86). For more information contact Grawemeyer Music Award Committee,School of Music, University of Louisville, Louisville, KY 40292.

ASCAP and Boosey and Hawkes established a young composer's award inhonor of Aaron Copland's 85th birthday. It will be administered by theASCAP FOUNDATION and will award a particularly gifted music student,enrolled in an American high school for the arts. The first year's winnerwill be chosen from students at New York's Fiorello La Guardia HighSchool of Music and the Arts, the school which commissioned Copland in1938 to write "Outdoor Overture". — The ASCAP Foundation alsoreceived an endowment grant from the MAX AND VICTORIA DREYFUSFOUNDATION for the establishment of a new grant scholarship for adeserving and greatly talented college music student. — BENJAMINYARMOLINSKY, a music student at New York's City College, was chosento receive the $1,500 Gershwin Scholarship, sponsored jointly by ASCAP,the Louis Dreyfuss Foundation, Chappell Music, and City College of NewYork. — Winner of this year's Rudolf Nissim Award, also administeredby the ASCAP Foundation, is the composer STEPHEN MICHAEL GRYCof Connecticut, who received a cash prize of $5,000.

Another Italian composers' competition open to all nationalities is theFIRST INTERNATIONAL COMPETITION FOR COMPOSITIONS 'FRANCOEVANGELISTI'. This contest is for compositions scored for solo instrumentsor for a combination forming a chamber ensemble. The contest is organizedby the cultural offices of the City of Rome and the community of Nemiand by music schools in these two cities (Scuola Popolare di Musica diTestaccioi, via Galvani 20, 00153-Roma, Italy). Address inquiries toAssessorato alia Cultura, Comune di Nemi, 1 Concorso di Composizioneanno 1986, 00040 Nemi (Roma), Italy, or to the Cultural Attache^ TheItalian Embassy, 1601 Fuller Street, NW, Washington, DC 20009.

The American conductor, Robert Maxym, now resident of Essen in Germany, COMPOSERS'has founded the INTERNATIONAL ERMANNO WOLF-FERRARI SOCIETY. SOCIETIESFor information write to Postfach 2023, D-4006 Erkrath, West Germany.— The recently created GLAZUNOV SOCIETY, Donald J. Venturini,President, has its seat at 17320 Park Avenue, Sonoma, CA 95476. []

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COS INSIDE INFORMATION

COS T h e a n n u a l COS UPPER MIDWEST REGIONAL C O N F E R E N C E was heldCONFERENCES F r i d a y , May 30, in Minneapo l i s . As a l w a y s , it c o i n c i d e d w i t h t h e vis i t

of the Metropolitan Opera, this year, however, the company's last ontour in Minnesota - it celebrated and featured members of the company.In addition, delegates were treated to samples of the Minnesota Opera's"Opera Tomorrow" festival; another session was led by Vern Sutton,director of the opera department at the University of Minnesota. Mrs.Kay Lafans, COS Regional Director, was in charge of the program.

Remember the dates and place of the next COS NATIONAL CONFERENCE:San Francisco, June 11-14, 1987

REGIONAL The Mid-Atlantic Region has a new COS Regional Director, succeedingDIRECTOR Ellis Wisner. She is Mrs. B. B. (Barbara) WOODWARD of Washington,

DC, board member of the Washington Opera; she is as enthusiastic aboutopera as she is knowledgeable. Our warm thanks to Ellis Wisner; a heartywelcome to Barbara Woodward.

COS This year COS has had two arts administration interns. CAROLYN MASONINTERNSHIPS °f San Francisco, a senior at Smith College, spent six weeks in December

through January, getting to know the many, varied activities of a nationalservice organization, and this summer, ELIZABETH WOLSTEIN ofWashington, DC, a junior at Yale University, is apprenticing with COS fora ten-week period. In addition to being taken through the differentphases that COS is involved with, she is also working on the annualsurvey. Both young women have shown a great affinity for the fieldand, judging from their comments, have gained immeasurable practicalexperience. It has been a pleasure to have initiated them into opera/service administration.

ANNUAL The next issue of the COS Bulletin will contain the results of theSURVEY 1985-86 Annual COS Opera Survey. Did you return your questionnaire?

EDITOR'S As the editor of the COS BULLETIN, I paid tribute, in the last issue, toTRIBUTE the Central Opera Service staff and volunteers. In this issue I would like

to thank my colleagues, the editors and their associates of the numerousperiodicals devoted to music, art and many related subjects, who sendtheir publications in exchange for ours, and who are a constant sourceof both inspiration and information for me. They are usually the unsungheroes - the greatest and most effective advocates for the arts: RobertJaeobson - Opera News, Harold Rosenthal - Opera, Ruby Mercer - OperaCanada, Imre Fabian - Opernwelt, Jbrg Graepel - Orpheus, KensingtonDavison - About the House, Shirley Fleming - Musical America, I. & S.Sloan - Opera Quarterly, William Wells - Opera Digest, M.&N. Weltman- The Opera Guide, R.P. Allen - Symphony News, William Livingston- Stereo Review, George Sturm - MadAmina, Music Educators Journal,Emily Hammood - Opera for Youth News, Charles Mark - Arts ReportingService, Arnold Reiss - Arts Management, Daniel Millsaps III - WashingtonInternational Arts Letter, Dodi Kazanjian - Arts Review, Pamela Walker- Arts International, Jim O'Quinn - American Theatre, Arnold Aronson- Theatre Design and Technology, editors of the Newsletters of NIMT,Opera America, OGI, NOA, AMC, CMC, NEA, ACA, NASAA, ACUCAA,PAA, AGMA, ASCAP, BMI, CMS, PRO/Canada, and the authors of operacompany programs and newsletters, newsletters of arts councils, press

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COS INSIDE I N F O R M A T I O N

representatives, and finally also newspaper reporters and critics. (Apologiesare extended to anyone inadvertently not included in this list.)

Please be sure to send us your change of address as soon as you move. ATTENTION:The COS BULLETIN will not be forwarded, even though your post office MEMBERS,may still honor a forwarding for regular first class mail - unless you have SUBSCRIBERS,agreed to pay for postage due on periodicals. Your change of address LIBRARIESwill become effective for all COS mailings two weeks after receipt ofyour notification.

Claims from libraries for missing issues - sent directly to COS or throughsubscription agencies - must be made within six months of publicationmailing date. Claims received after such a date will be handled as regularback orders and the price of the individual copy plus postage and handlingwill be charged.

This year's special issue of the COS BULLETIN is the TRANSCRIPT OF NEW COSTHE INTERNATIONAL SYMPOSIUM, the November '85 COS National PUBLICATIONSConference. Current members in good standing will have received the165-page publication. Single copies are available for $12 plus $2 forpostage and handling.

The latest AMENDMENT to the Fifth Edition of the CAREER GUIDE FORTHE YOUNG AMERICAN SINGER has grown into an 11-page booklet,containing all the latest changes and additions. It is available for $2.50prepaid, and we urge all singers who have the 1985 publication to getthe Amendment to have their information current. New orders for theCareer Guide are filled at the original price of $9.50 (prepaid) and includethe latest Amendment.

COS SALUTES...

...ROBERT L. B. TOBIN, COS Honorary Chairman, the 1986 recipient ofthe Metropolitan Opera National Council Verdi Medal of Achievement, inrecognition of his dedicated and inspirational leadership in all phases ofopera in America and particularly his services to the Metropolitan Opera,the National Council, and the Central Opera Service.

...CARL MARIA VON WEBER whose birthday in November 1786 is theoccasion of various 200-year celebrations this year.

...GIAN CARLO MENOTTI on the celebration of his 75th birthday; KARELHUSA on his 65th birthday; and GUNTHER SCHULLER on his 60th birthday.

...music publishers G. SCHIRMER Inc., on its 125th anniversary (alas, justrecently purchased by a British publishing house), and JOSEF WEINBERGERLtd. London, on completing its 100th anniversary year.

... MUSIC EDUCATORS NATIONAL CONFERENCE (MENC) on completingits first half-century of existence; and the BREVARD MUSIC CENTER inNorth Carolina, also celebrating its golden anniversary this summer.

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COS SALUTES

...the BROOKLYN ACADEMY OF MUSIC as the nation's oldest performingarts center, celebrating its 125th anniversary.

...AMERICAN GUILD OF MUSICAL ARTISTS (AGMA) on the celebrationof its 50th anniversary.

...the winners of the 18th annual Deems Taylor Awards, presented thisyear in a very special ceremony commemorating the late composer/musiccritic's centennial of his birth. In the classical music field, the 1985awardees included DAVID EWEN, EDWARD JABLONSKI, HAROLD C.SCHONBERG, also BARBARA JEPSON, KATHY KEMP, TIM PAGE andWILLIAM PENN.

... 1986 Pulitzer Prize winners, in Music - composer (also musicologistand author) GEORGE PERLE; in Criticism - New York Times, chief musiccritic DONAL HENAHAN.

...the DALLAS OPERA on its 30th anniversary; (TCG) THEATERCOMMUNICATIONS GROUP, and the LAKE GEORGE OPERA FESTIVAL,each, on their twenty-fifth anniversaries.

...OPERA/COLUMBUS, a company singled out by the Greater ColumbusArts Council to receive its 1986 Award for Excellence.

...MICHIGAN OPERA THEATRE chosen as recipient of this year's MichiganGovernor's Arts Award, and the Michigan-resident composer WILLIAMBOLCOM, honoree of the Michigan Arts Award, given by the ArtsFoundation of Michigan.

...THEA MUSGRAVE upon yet another recognition awarded her, this oneby American Women in Radio and Television and in person by BarbaraWalters, for the live radio broadcast of her most recent opera, Harriet,the Woman Called Moses.

...the recipients of the 1986 NIMT Awards: RICHARD GADDES, FoundingGeneral Director of the Opera Theater of St. Louis, composer DOMINICKARGENTO for his opera, Casanova's Homecoming, and MEREDITH MONKand PING CHONG for their multi-media piece, The Games. Thepresentations took place at "A Gala Tribute to George London" at NewYork's Tully Hall on March 20.

... RICHARD CUMMINGS, composer of The Picnic (November '85 premiereby K. Reimann Studio of NYU), who received the first Rubin AmericanOpera Competition Award.

... the two honorees selected by Arts Management for its 1985 awards:DONALD SCHOENBAUM, Managing Director of Minnesota's GuthrieTheater, who was named Arts Administrator of the Year, and MIRIAMB. ROSE, Executive Director of the New York Chapter of Young Audiences,who received the AM Career Service Award.

...composer MORTON GOULD and Jazz musician DIZZY GILLESPIE as the1986 recipients of the National Music Council's American Eagle Awards,presented at the annual NMC luncheon in New York on June 3.

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C O S S A L U T E S

...Montreal composer ANDRE PREVOST, who received the 1985 ConcertMusic Award from the Performing Rights Organization of Canada (PROCanada), and opera director JEAN GASCON, recipient of the Prix Denise-Pelletier from the Quebec Government.

...Canadian baritone ALLAN MONK, who was awarded Canada's highesthonor, the Order of Canada; and administrator and librettist MAVORMOORE and philanthropist FLOYD S. CHALMERS on whom was bestowedthe Dipl6mes d'Honneur of the Canadian Conference of the Arts. Mr.Moore was also named President of the Jeunesses Musicales de Canada.

...MARYVONNE KENDERGI, musicologist and former President of theCanadian Music Council, who received two titles of Chevalier last year- in June the Chevalier de l'Ordre National de Quebec, and four monthslater the Chevalier de l'Ordre des Arts et des Lettres de la RepubliqueFrancaise.

...MICHAEL NEWTON, recipient of the first National Arts LeadershipAward from the American Council for the Arts, for his contribution tothe furtherance of the arts in America in general, and his accomplishmentsas President of the Performing Arts Council of the Los Angeles MusicCenter in particular.

... mezzo-soprano FREDERICA VON STADE, who was given the GoldMedal of Honor for Music by the National Arts Club in New York, whereher talent was first recognized in 1967 when she received a smallscholarship award. She is the thirtieth recipient of the annual GoldMedal Award.

... sopranos ROSE BAMPTON and the late ROSA PONSELLE, mezzo-soprano MIGNON DUNN, tenor JESS THOMAS, and baritone ROBERTMERRILL have recently been inducted into the Hall of Fame for GreatAmerican Singers at the Academy of Vocal Arts in Philadelphia. Theirnames have been added to the first 21 singers selected for representationin the AVA Hall of Fame (see Vol. 26, No. 1).

...Russian-born (and 98-year-old) composer IRVING BERLIN, who is oneof twelve distinguished naturalized Americans to be awarded the newMedal of Liberty on July 4, by President Reagan.

...MARJORIE SAMOFF, founder and producing director of the AmericanMusic Theater Festival, and BARBARA SILVERSTEIN, founder, artisticdirector and conductor of The Pennsylvania Opera Theater in Philadelphia,who were honored by Women's Way at its annual dinner in May for their"leadership example and their contributions to the arts". []

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LIBRARIES AND ARCHIVES

INFORMATION The American Symphony Orchestra League recently established theAND ORCHESTRA LIBRARY INFORMATION SERVICE; subscription is availablePRESERVATION *° ASOL members at an additional cost of $550 over the respective

membership fee. This entitles the subscriber to the complete cataloguecard set. The newly computerized data base offers information onorchestral repertory and can be retrieved by type or length of work,instrumentation and number of required musicians. The printout on cards,which will be sent in response to requests, can include the aboveinformation plus instrumentation, publisher and availability of performancematerial and information on performance rights, number and titles ofmovements, educational concert data, and information on the composer.For further details contact Tamima Friedman, OLIS Project Assistant atASOL, 633 E St., NW, Washington, DC 20004; (202) 628-0099.

The SOCIETY FOR THE PRESERVATION OF VARIETY ARTS maintainsa museum/library/entertainment complex at 940 South Figueroa Street,Los Angeles, CA 90015. This truly unique Variety Arts Center houses aMusic Library containing the world's largest collection of silent filmmusic, a library with early films (silents, shorts, etc.), kinescopes of earlyTV programs; also a research and reading library of joke books and ofsome 100,000 cross-referenced jokes used by some of the most famouscomedians. Furthermore, there are two period theaters in the Centerwhere variety shows, but also food service and ballroom events take place.

The regrettable state of performance material and/or manuscripts formany early or rarely staged American musicals prompted the NationalInstitute for Musical Theater to initiate a new program: the AMERICANMUSICAL THEATER PRESERVATION PROJECT. The first phase consistsof the compilation of a Catalogue of the American Musical, listing thesources and availability of authentic musical material. No other musicform is prey to so numerous and diverging arrangements, and theestablishing of original versions - regarding orchestration as well asmusical numbers which were added, deleted or rearranged at a later date- will be a challenge to the editor/archivist, Robert E. Kimball, who wasalso the organizer of Yale's Music Theater Collection. American Expresshas given an initial grant of $50,000 to get the project under way.

MET In April , t h e SORIA STUDIO was d e d i c a t e d a t t h e New York Publ ic LibraryBROADCAST at Lincoln C e n t e r . Named a f t e r t h e l a t e Dario Soria , who had beenARCHIVES d i r ec to r of the Met ropo l i t an Opera Guild for nine years and was the

producer of the Metropolitan Opera historical broadcast recordings, thenew Studio will form the archives of the Metropolitan Opera broadcasts.

BRITISH London has a new NATIONAL DISCOGRAPHY INFORMATION SERVICE.RECORDINGS I* ' s administered jointly by the Mechanical Copyright Protection ServiceARCHIVES and the British Library's National Sound Archives. Information is available

from the former, while the records proper are stored at the la t te r .

COMPOSERS1 The University of Cincinnati College-Conservatory has established theARCHIVES ALEXANDER ZEMLINSKY ARCHIVES, consisting of all his published scores

and available recordings, in addition to documents, le t ters , photographsand other memorabilia. They will be housed in the University's newlycreated Zemlinsky Study Room, and will be open to scholars and performers.

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LIBRARIES AND ARCHIVES

Yale University's Music Library will be the repository for a collection ofmemorabilia, including manuscripts and printed scores, correspondence,essays, set designs, etc., pertaining to the Austrian composer, FRANZSCHREKER (1878-1934).

The musical manuscripts of British composer ELISABETH LUTYENS (1906-1983) have been purchased from her heirs by the British Library to formthe Lutyens Collection. Her operatic compositions include Infidelio (1954),Time Off? Not a Ghost of a Chance (1968), Isis and Osiris (1976), and ayet unperformed work, The Numbered.

Upon the death of LOUIS GRUENBERG's widow, the manuscripts of thefull scores of Emperor Jones and Jack and the Beanstalk went to theMusic Division of the New York Public Library at Lincoln Center. Thissummer, the Library will be mounting an exhibit of Gruenberg's music,of photos and designs pertaining to his stage works, and other memorabilia.

ATTENTION CONDUCTORS

Conductors' Training InstitutesWest Virginia University in Morgantown hasscheduled the 1986 CONDUCTOR'S GUILD Sum-mer Institute for July 6 to August 1, 1986.Further information is available from JenniferSchuler, Creative Arts Center, WVU, Morgan-town, WV. (See "Attention Composers" for ajoint conductor/composer summer seminar, alsoheld at West Virginia University.)

Among the oldest and most prestigious programsfor young conductors is that at Tanglewood/Berkshire Music Festival. The dates for thisyear's Summer Institute are 6/30 - 8/26.

After resigning from the Tanglewood MusicCenter, Gunther Schuller joined the CONDUC-TORS' TRAINING PROGRAM at THE FESTIVALAT SANDPOINT, located in the mountainousPanhandle of Northern Idaho. With the SpokaneSymphony in residence, four conductors betweenthe ages of 18 and 30 receive extensive trainingover a two-week period. Now in its third year,the dates for the 1986 Conductors' Seminar areJuly 20 to August 3. Applications must beaccompanied by a curriculum vitae, three let-ters of recommendation and an optional videotape showing the applicant in rehearsal orperformance. Further information may be ob-tained from the Executive Director, The Festi-val at Sandpoint, P.O.Box 695, Sandpoint, Idaho83864; for telephone inquiries call (208) 265-4554. In addition to the four conductors,actively enrolled in the program, up to twenty

auditors may observe the master classes, discus-sions and critique sessions as well as the twentyworkshop periods of rehearsals and perfor-mances under Mr. Schuller's guidance. Thesubsequent Festival, August 1 through 16, offersconcerts and a chamber music training programfor instrumentalists with members of leadingAmerican orchestras in residence as instructors.

Conductors' CompetitionThe 1986 NICOLAI MALKO COMPETITION forYoung Conductors - 6/15-20/86 in Copenhagen,Denmark is open to conductors born betweenJune 21, 1954 and June 15, 1966.

WinnersRussian-born YAKOV KRE1ZBERG won firstprize at the Stokowski Conducting Competitionsponsored by the American Symphony Orchestra.Mr. Kreizberg is the brother of Semyon Bych-kov, music director of the Buffalo Philharmonic,whose name became famous when Karajansuggested the then 28-year-old conductor ashis possible successor with the Berlin Philhar-monic. Since both brothers have chosen thesame career, the use of a different name forthe younger sibling seems only natural. Otherwinners at the February contest in New Yorkwere KENNETH KIESLER, NEAL GITTLEMANand GARY SHELDON.

The 1985 Vittorio Gui International ConductorsCompetition in Italy was won by DERRICKINOUYE, Music Director of the Regina (Saska-tchewan) Symphony. []

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EXHIBITIONS

Evan Baker, who was responsible for the major Verdi exhibit in Colorno,Italy, last fall (see Vol. 26, No. 3), was recently the curator for anexhibition at the Teatro alia Scala, IMMAGINI DELLA CREAZIONE DIUN'OPERA: Die Frau ohne Schatten (Images of the World Premiere of anOpera). Prompted by La Scala's first production of the work, the exhibitwas devoted to pictures, memorabilia, and related material, recording theworld premiere at the Vienna State Opera in 1919. Mr. Baker was assistedby the Strauss Institute in Munich, the composer's daughter-in-law Alicein Garmisch, Dietrich Roller of Vienna, Willi Schuh of Zurich, GottfriedWagner at Cerro Maggiore, the Picture Archives and Theater Collectionof the Austrian National Library in Vienna, the von Hofmannsthal estatein Freies Deutsches Hochstift near Frankfurt, and by several other sources,in collecting the unique material for this show, installed from March 6 to28 in the theater's lobby - not at the Scala Museum.

The Vincent Astor Gallery of the New York Public Library at LincolnCenter evokes nostalgic as well as joyous thoughts and memories with itscurrent show, THE HAMMERSTEINS OF NEW YORK: 100 YEARS OFMUSIC AND THEATER. We follow three generations of this illustriousfamily, beginning with the great-grandfather, Oscar (I), who built the firsttheaters at Times Square, and who engaged in a lively competitive feudwith the Metropolitan Opera as founder and head of the Hammerstein/Manhattan Opera Company. His sons, who produced Broadway operettas,were succeeded by Oscar II, creator of many world-famous lyrics forsongs of what we consider today as the classical American musicals. Thegreat-grandson of Oscar I, William, was a consultant for this show ofmemorabilia, pictures, music, etc., which can be seen at Lincoln Centeruntil September 20.

THE THREEPENNY OPERA AS SEEN BY ARBIT BLATAS will be onexhibition at the Theatre Collection of the Museum of the City of NewYork between April 22 and October 15, 1986. Inspired by the 1954production of the Weill opera, which played for six years at New York'sTheatre de Lys and starred Lotte Lenya, the Blatas collection consistsof paintings of a total of twelve scenes and eleven characters; also of17 lithographs, 11 drawings, and ten bronze sculptures. The sculptures,representing different characters of the opera, were originallycommissioned from the artist by Tiffany & Co., and sold in sterling silverfor $10,000. This will be the first time that all of Mr. Blatas' creationson The Threepenny Opera can be seen in one show.

In March, New York's Cooper-Hewitt Museum, known as a special placefor stage and costume designs, opened an exhibit, LA NIJINSKA: ADANCER'S LEGACY; it will be in place at the former Carnegie mansionon Fifth Avenue through mid-July. Bronislava Nijinska, sister of thefamous Vaclav Nijinsky, was a dancer with the Ballets Russes and laterhead of her own company, and she was a particularly successfulchoreographer in her own right. The exhibit offers an excellent recordof her important contribution to dance, music and the fine arts; itincludes sketches by her as well as some actual costumes and designsmade especially for her by such artists as Georges Braque, Juan Gris,Alexandra Exter, Marie Laurencin, Natalia Gontcharova, Pablo Picasso,Max Ernst and Joan Mir6. The show, which also includes some private

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EXHIBITIONS

photos, follows her career, suggestive of a living biography of her, herfriends and colleagues, with views of the international companies andfamous artists with whom she worked - in Russia, France, England, andItaly - also featuring composers such as Stravinsky and Poulenc, whosemajor works she choreographed. A film of her ballet to Stravinsky's LesNoces can be viewed on a videoscreen, as danced by a California ensemble.

ROBERT ISRAEL'S STAGE AND COSTUME DESIGNS are on view at NewYork's Max Protech Gallery on West 57 Street until the end of August.They include sketches for his latest commission by the Seattle Opera,sets and costumes for the four operas of Der Ring des Nibelungen. Aformal opening of the show benefitted the opera company.

San Francisco Opera's War Memorial House staged a summer exhibitionby drawing on its own large archives: THE RING RESPLENDENT-PHOTOGRAPHS BY IRA NOWINSKI. The suite of 26 black and whitephotos represents a pictorial history of the San Francisco Opera's 1985new productions of the Ring Cycle. Included are complete stage shotsas well as pictures of artists in rehearsal, between acts and in performance.The show was on view at the Opera House Museum May 24 through July 20.

In celebration of the Centenary of the birth of soprano EVA GAUTHIER,the Music Division of the National Library of Canada and the NationalArts Centre in Ottawa co-sponsored an exhibition on her life and work.Earlier in the year, soprano Joan Patenaude-Yarnell gave a memorialconcert in Montreal, recreating a Gauthier program with the soprano'sfavorite French art songs.

The latest show on display by the New York Public Library at LincolnCenter is DESIGNS IN JAZZ BY DAVID STONE MARTIN. A joyous andfun exhibit, it demonstrates the fine graphic art, imagination andinventiveness of the artist and illustrator, particularly in his designs forrecord covers, programs and posters.

New York's Lehman College in the Bronx offered an interesting exhibitentitled ROBERT WILSON - TRANSMUTATION OF ARCHTYPES: MEDEAAND PARSIFAL. Shown at the College's Art Gallery, it was on view inApril and May. []

Forecast (cont. from page 32)houses. La Cenerentola, with captions, starring von Stade and Gonzalezas the young lovers, conducted by Marriner, directed by Corsaro, designedby Collavecchia, will be followed in December by the last two productionsof that season, both with English captions: Macbeth with Zampieri andDiaz, conducted by Domingo, in a production shared with the CanadianOpera Company, and Tristan und Isolde with Altmeyer and R. Lloyd, withmusical matters under the control of Zubin Mehta, stage direction underJonathan Miller, and designs by David Hockney. — The same companyplans a new Wozzeck under Simon Rattle for fall 1988. []

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APPOINTMENTS 4 RESIGNATIONS

Government Agencies, U.S.& CanadaPresident Reagan has nominated LYNNE CHE-NEY for the Chairmanship of the National En-dowment for the Humanities. Originally fromWyoming, she is currently editor of the Wash-ingtonian, and holds a PhD in British litera-ture. A Senate confirmation is expected.

BEVERLY BENDA was named Director of theOpera-Musical Theater Program of the NationalEndowment for the Arts. She has taken overfrom Acting Director Janet Brenner.

FLORENCE LOWE, who has been in charge ofPublic Relations for the National Endowmentfor the Arts since 1970, is retiring from thisposition. She will, however, continue to beactive, this time with the PR and consultingfirm, Kamber Group, where she will establisha new arts and culture section.

JAMES BACKAS exchanged the post of Execu-tive Director of the D.C. Arts Commission forthat of the Maryland State Arts Council. Hehad served on the Council in the early '70s,later joined the National Endowment for theArts, the Southern Arts Federation and othersbefore his last position with the DC Commission.

GLORIA COHEN, who became NASAA's firstAssistant Director five years ago, is leavingthis post, and MARGOT H. KNIGHT, formerlywith the Washington State Commission for theHumanities, will be her successor.

Chief Deputy Director of the California ArtsCouncil for the past three years, ROBERT H.REID, was named the Council's Executive Direc-tor. Previously, he owned and managed a sportspromotion business.

The Vermont Council on the Arts has namedPETER SMITH its new President, and JOHNLeBARON, formerly of the Massachusetts De-partment of Education, its new Executive Direc-tor.

The Canada Council signed LOUISE LAPLANTEas the new Head of the Music Division of theCouncil. Her professional affiliations were withthe Canadian Music Centre, the CanadianCultural Ministry, the Canadian Conference ofthe Arts, and, most recently, with the YouthOrchestra of Quebec, where she was GeneralDirector. She fills the position formerly heldby Franz Kraemer, who retired but still servesas advisor to the Council's director, PeterRoberts.

SONJA M. KOERNER was elected Chairman ofthe Ontario Arts Council.

The Mid-Atlantic States Arts Consortium hasnamed MICHAEL BRAUN to the post of Execu-tive Director. He has been affiliated with stateand regional arts agencies for the last sevenyears.

National Arts OrganizationsIn January, the College Music Society hasplaced into office the following new boardmembers: DAVID WILLOUGHBY as President-elect, MAUREEN CARR as Secretary, JACQUE-LYN BOSWELL Board Member/Music Education,and LOIS SVARD Board Member/Performance.

The International Music Council elected Brazil-ian composer MARLOS NOBRE President, suc-ceeding the Austrian Gottfried Scholz.

A new President was elected to a two-yearterm by the Association of College, Universityand Community Arts Administrators (ACUCAA).He is SIDNEY J. McQUEEN, Executive Directorof Broward Arts Council's Performing ArtsCenter Authority in Florida.

With Hal David not running for reelection, theBoard of Directors of ASCAP chose MORTONGOULD to succeed him as President of theorganization.

The International Association for Opera andMusic Theatre elected JACQUES LANGEVIN,General Director of L'Op6ra de Montreal, VicePresident to represent Canadian companies onthe international body. David DiChiera wasnamed representative of the United States whenthe organization was founded one year ago.

With the resignation of JAMES BROWNING asExecutive Secretary of the National Associationof Teachers of Singing, the post was assignedto BOB DOWNING, who will serve in this capaci-ty from the offices in Jacksonville, FL.

BARBARA LORBER, former Public AffairsDirector of the Metropolitan Opera and current-ly Director of Contributions Strategies andCommunications Group at Hill and Knowlton(see Vol. 26, No. 3), has been elected to theBoard of the Arts and Business Council. Shewill also serve as a member of the Council'sExecutive Committee. Some of the Council'smost beneficial and wide-spread activities areadministered by the Business Volunters for theArts, which has a current enrollment of some1,000 volunteers in fifteen cities.

The Association of College, University andCommunity Arts Administrators (ACUCAA) hasengaged MARTHA DODSON as Director of

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Information Services, a post held by SusanDettbarn Bonaiuto, who resigned because of herrelocation from Wisconsin to New Hampshire.

Opera Companies - OfficersElections and reelections of members of theboard of directors of the Metropolitan Operaput the following officers at the head of theAssociation's board: JAMES S. MARCUS- Chairman of the Executive Committee forthe last ten years, to Chairman of the Board,succeeding WILLIAM ROCKEFELLER who wasnamed Honorary Chairman; LAURENCE D. LO-VETT to the new position of Vice-Chairman ofthe Board, MRS. GILBERT W. HUMPHREY- President, MICHAEL V. FORRESTAL - Chair-man of the Executive Committee, J. WILLIAMFISHER and ALTON E. PETERS - Vice Presi-dents, RICHARD R. SHINN - Treasurer, andWILBUR DANIELS - Secretary. Seven newmembers were elected as Managing and Advi-sory Directors, and nine new names were addedto the members of the Association, among thelatter that of COS National Chairman, MRS.KLAUS (MARGO) BINDHARDT.

In addition, the Metropolitan Opera Guild haselected new officers: ALTON E. PETERS wasnamed President, succeeding Katharine O'Neil,who has joined the executive department ofLincoln Center as Director of Special Planning,and THOMAS J. HUBBARD was elected Chair-man of the MOG board, a post relinquished byLaurence D. Lovett. Mr. Peters, a VicePresident of the Metropolitan Opera, has servedon the MOG board since 1965. Mrs. PETERF. PACKARD became First Vice President, andRUDOLPH S. RAUCH III, Chairman of the MOGExecutive Committee.

The Lyric Opera of Chicago has elected itsofficers for the 1986-87 season as follows:HAROLD WASHINGTON - Honorary Chairmanof the Board, J.W. VAN GORKOM - Chairman,WILLIAM B. GRAHAM - President and ChiefExecutive Officer, FRANK CONSIDINE - Chair-man, Executive Committee, JAMES W. BRICE,LESTER CROWN, and JOHN D. GRAY - Execu-tive Vice Presidents, ANTHONY ANTONIOU,ARCHIE R. BOE, WILLIAM S. NORTH, JOHNSEABURY, MRS. E.B. SMITH, and DANIELTERRA - Vice Presidents, LEE FREEMAN, Sr.- Secretary/General Counsel, PAUL C. WILSON- Treasurer, and ARDIS KRAINIK - GeneralManager.

MARILYN HORNE is one of three new memberselected to the Board of Directors of the SanFrancisco Opera Association. She has recentlypurchased a home in California and will spendconsiderably more time on the Pacific Coast

than she has until now. She has a long-standingaffiliation with the company, having made herdebut in a leading role there in 1960. She is,at this date, scheduled to sing with the SanFrancisco Opera through 1990. Other membersnewly selected to join the board of directorsinclude CHARLOTTE MAILLIARD, DeputyChief of Protocol for the City of San Francisco,EVERT B. PERSON, WILLIAM D. ROLLNICK,and THOMAS TILTON. Reid Dennis continuesas Chairman, and Tully Friedman as Presidentof the San Francisco Opera's board of directors.

Recent elections brought a new President tothe Pittsburgh Opera's Board of Directors.CHARLES W. PARRY, Chairman of Alcoa, willassume this office in July '86 for a two-yearterm. He succeeds Dr. JOSEPH A. MARASCO,Jr., who will become Executive Vice President.

Opera Companies - Head AdministratorsWith the new administrative/artistic team firm-ly in place, the Opera Theater of Saint Louiswill retain RICHARD GADDES as Consultantfor the next three years. His counsel will beavailable to General Director Charles MacKay,Artistic Director Colin Graham, and MusicDirector John Nelson.

An administrative reorganization at the Minne-sota Opera seems to have been in progress forthe last few months. The final alignment ofpersons, positions and responsibilities is asfollows: KEVIN SMITH has been promoted toGeneral Director with responsibilities 'or artis-tic as well as fiscal and administrative matters.Edward Corn, who lately became ExecutiveProducer, and who currently is there in anadvisory position, will leave the company inSeptember '86. Meanwhile, Metropolitan Operacoach, assistant conductor and prompter, JOANDORNEMAN, has been named Music Director ofthe Minnesota Opera. She will remain withthe Metropolitan Opera, while assisting andadvising the company in St. Paul about program-ming, casting and other musical matters, collab-orating with Mr. Smith, who in turn reports tothe company president, Paul L. Parker. Thecompany's co-founder and former artisticdirector, WESLEY BALK, continues to lead theSummer Institute and to stage an occasionalopera.

ALFRED KENNEDY, President of the Board ofDirectors of the Atlanta Opera, will replaceGeneral Manager JONATHAN KROMER begin-ning with the summer '86 season.

BARBARA SILVERSTEIN, founder of the Penn-sylvania Opera Theater, has been promoted toGeneral Manager and Artistic Director of the

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company. Two new positions with the companyare Director of Development and Marketing- recently filled by DAVID E. PHILLIPS, andBusiness Manager - with TAMARA STOCKTONGUNDERSEN in the post. Diane Spivey Rogersresigned as Managing Director.

The Seattle Opera's board of directors hasrenewed SPEIGHT JENKIN's contract as thecompany's General Director for another three-year term.

BARBARA BERRY, a former member of theBoard of Directors of the Virginia Opera, wasnamed General Manager of the company, aposition formerly occupied by DAVID KLEISER.

EVAN R. LUSKIN has moved from Vice Presidentfor Finance and Planning at the Michigan OperaTheater to become Managing Director of theLyric Opera of Kansas City. Before joiningthe Detroit company, Mr. Luskin managed theChattanooga Opera Association.

The Palm Beach Opera announced the appoint-ment of JOSEPH H. CONLIN to General Manag-er, where he succeeds Herbert Benn. Mr.Conlin's previous activities included that ofartists' representative; he has also served withseveral international arts organizations.

The Mobile Opera Company has signed PELHAMG. PEARCE, Jr. as its new General Manager,and HAL FRANCE as the company's MusicDirector. — The Calgary Opera Company, underthe management of Brian Hanson, has engagedconductor DAVID SPEERS as Assistant GeneralManager, TERESA HERGERT as MarketingDirector. — The Opera Theatre of Alberta inEdmonton engaged NEJOLLA KORRIS as itsfirst Administrative Manager.

For late announcement from New York CityOpera, see page 58.

Opera Companies - Department HeadsChanges within some departments at the Metro-politan Opera put the Marketing and PublicRelations division together with the Develop-ment Department under the management ofMARILYN SHAPIRO. Assisting her in thedevelopment area is a new Director, VINCENTSPINELLI. The most recent changes broughtthe resignations of MICHAEL BRONSON, direc-tor of the Met's media department and producerof the radio and television broadcasts, and ofMARCIA LAZER, director of marketing andpublic releations.

The Colorado Opera Festival announced threenew appointments, drawn from the members ofthe company's board of directors. All three

will serve on the staff while also holdingmembership on the board. EDWARD C. RO-CHETTE will function as Consultant for Man-agement and Development; SUSAN CASTNERwill work as a consultant in Marketing, andKarol Martin will be on the Executive Commit-tee as Vice President of Marketing.

The June Opera Festival of Princeton namedSTEVEN BREWSTER JORDAN Manager. Hisprevious positions were with a Theater Founda-tion in Hawaii and with the San FranciscoOpera. In New Jersey, he is replacing formerManager James Dickson.

Former Metropolitan Opera mezzo-soprano RO-SALIND ELIAS will be the new Artistic Directorof the Lake George Opera Apprentice Program.She will also be in charge of stage directionof some of the operas in the company's mainfestival season. Brian Lingham is the festival'sGeneral Director.

A restructuring of the administration of theTulsa Opera resulted in the sharing of decision-making by General Director EDWARD PUR-RINGTON and Managing Director CHERYLZRNIC. While the former will continue withhis artistic responsibilities, the latter will haveadded and wider duties regarding the monetaryside of the administration.

The Kitchen, New York's center for new,experimental and avant-garde pieces, has ap-pointed BARBARA L. TSUMAGARI as Execu-tive Director.

The Houston Grand Opera appointed ELAINEADAMS Education Coordinator. In this positionshe will also be involved with the activities ofthe Houston Opera Studio, the Texas OperaTheater touring program, and the docents'elementary and high school educational pro-gram.

STEPHEN SULICH, coach, associate conductor,and chorus master with opera companies inRochester, Chautauqua, Carmel Valley, andmost recently with the Houston Grand Opera,was named Music Director of the Texas OperaTheater of the Houston Grand Opera. Hispredecessor was Daniel Lipton.

ANN BALTZ was named Music Director of theMidwest Opera Theater, the touring and educa-tional ensemble of the Minnesota Opera; hercontract is for the 1986-87 season.

The Lyric Opera of Kansas City and the KansasCity Symphony have engaged TEREANNGREENWOOD as their first Tour Director. She

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has been Director of Project Development forYoung Audiences, and served on the ExecutiveBoard of Missouri Citizens for the Arts.

The San Diego Opera filled its opening for aDirector of Development to succeed Ann Spira(more recently Mrs. Ian Campbell) by namingMrs. SHARON LeeMASTER to that post. Shehas served on various local and state artscommittees and most recently was ExecutiveDirector of the La Jolla Chamber Music Society.— NORMAN A. GILL has joined the KentuckyOpera as Director of Audience Development,where PHYLLIS TORSTRICK has been promotedto Director of Sales. — The Portland Operahas signed MARY JO DALY as its new Directorof Marketing and Development; she is takingover from Margrit Jay.

The Michigan Opera Theater has several newnames and faces as heads of departments, suchas PATRICE BUTKIEWICZ - Director of Devel-opment, JANET DREW ARNOLD - Director ofthe Annual Fund Drive, JANET McCARTY- Production Administrator, CHRISTINE SLO-WINSKI - Director Audience Development, andCHRISTA GLASSMAN as Information SystemsCoordinator. — DANA RAY WEST becameDirector of Marketing and Public Relations forthe Indianapolis Opera. Her former places ofemployment include the press office of TheWhite House, and Time magazine. — Mrs.BARBARA FEAD, former Box Office Managerat the Greater Miami Opera, has been advancedto the company's Director of Marketing.

The Lyric Opera Cleveland has engaged thedesign and production team of RUSTY SMITHand MICHAEL BAUMGARTEN for its two sum-mer Al Fresco productions.

FestivalsThe Wolf Trap Foundation has elected Dr. JOHNL. MeLUCAS Chairman of the Board, to succeedWilliam Bolger, who will remain on the Founda-tion's Board of Directors. Newly elected tothe Board were also the following members:ALAN KAY, JACQUES MOORE and ROBERTJ. RITENOUR. Reappointed to the position ofVice Chairman were BEVERLY SILLS, The Hon.G. WILLIAM MILLER, and EARL C. WILLIAMS.President CAROL V. HARFORD, who has beenwith Wolf Trap Farm Park since its inceptionfifteen years ago and has occupied the positionof President for the last six years, announcedher retirement effective in fall '86 after theconclusion of the current season. She came toWolf Trap from the Cultural Affairs Office atThe White House, and we at Central OperaService remember her gratefully for her assis-tance in arranging for a White House reception

for our members during a COS WashingtonConference.

British composer OLIVER KNUSSEN (Where theWild Things Are, etc.) will be composer-in-residence at the Tanglewood Music Center/Berkshire Music Festival this summer. He willbe teaching and also supervising performancesof his works within the Festival's ContemporaryMusic Week in August.

Music Director CHRISTIAN BADEA has an-nounced his resignation from the two SpoletoFestivals, in Charleston and in Italy, effectivethe end of this summer.

NICHOLAS GOLDSCHMIDT, founder in 1968 andsince then artistic director of the Guelph SpringFestival in Ontario, announced his retirementfrom that position, effective June 1987. Hehad been head of orchestra or opera depart-ments at the San Francisco Conservatory,Stanford and Columbia Universities, the RoyalConservatory of Music in Toronto, and later atthe University of British Columbia in Vancouver.He was Managing Director of the VancouverInternational Festival and served as Chief ofthe Performing Arts Division of the CentennialCommission of Canada. In 1977, he wasawarded the Order of Canada. A successorhas not yet been announced.

Symphony OrchestrasIsraeli-born GABRIEL CHMURA, winner of theKarajan Conductor's Competition and MusicDirector of the Bochum (West Germany) Sym-phony, has been named Music Director andPrincipal Conductor of Canada's National ArtsCentre Orchestra in Ottawa, effective summer'87. Until then he has been given the title ofMusic Director Designate and as such willparticipate immediately in future planning.JOANNE MORROW was promoted to NAC'sMusic Producer.

The Handel and Haydn Society of Boston hassigned CHRISTOPHER HOGWOOD as its newMusic Director and Conductor.

ZDENEK MACAL was named Principal GuestConductor for '86-87 with the San AntonioSymphony, the same year that his position withthe Milwaukee Symphony will be upgraded fromAssociate Conductor to full-time Music Direc-tor. — The Houston Symphony Orchestra's PopsSeries has chosen NEWTON WAYLAND as itsPrincipal Conductor for two years, beginningin summer '86.

After fifteen years as Music Director andConductor of the Philharmonic Symphony of

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Westchester, MARTIN RICH is retiring at theend of this season. In recognition of hisdedication as musical leader in the area, theMayor of Mount Vernon presented him with aHonorary Proclamation, declaring a Martin RichDay in Mount Vernon. Both orchestra andsymphony board paid homage to him upon hisretirement. He continues teaching privatelyand holding master classes at differentconservatories and music schools in New York,Philadelphia, Chicago, and Austria.

The Chicago Symphony has engaged KENNETHJEAN, formerly with the Cleveland and theDetroit orchestras and most recently with theHong Kong Philharmonic, as Associate Conduc-tor, beginning in fall '86. MICHAEL MORGANwill be the orchestra's new Exxon/Arts Endow-ment Assistant Conductor.

ISAIAH JACKSON will assume the post of MusicDirector of the Dayton Philharmonic Orchestraat the beginning of the 1987-88 season.

For the last two years, Russell Patterson,Artistic Director of the Lyric Opera of KansasCity, also functioned as principal conductor ofthe Kansas City Symphony. He has now turnedover these duties to the Symphony's new MusicDirector, WILLIAM McGLAUGHLIN.

DARRELL EDWARDS, formerly of Columbus,OH, became Manager of the Dallas Symphony,and GREG ANTHES is the new ExecutiveDirector of the Springfield (OH) Orchestra.

The Toronto Symphony Orchestra will undergosome changes, beginning with the announcedresignations of Music Director ANDREW DAVIESeffective in summer 1987, and that of ManagingDirector WALTER HOMBURGER as of fall '88.The latter position will go to Mr. Homburger'scurrent assistant, J. WRAY ARMSTRONG.— Another resignation becomes effective thissummer when Music Director BORIS BROTTwill leave the Orchestra of Nova Scotia.

Recent appointments to Canadian orchestralmanagerial positions include MAX TAPPER toExecutive Director of the Winnipeg Symphony,ESTHER HANSON with the same title to theRegina Symphony, and PIERRE CAZALIS asDirector General to the Orchestre Symphoniquede Quebec. — GORDON NEUFELD has resignedas General Manager of the Edmonton Symphony.— Following a breakdown of negotiationsbetween orchestra musicians and managementthis past winter, which temporarily jeopardizedthe season, the VANCOVER SYMPHONY en-gaged a new Manager, ED OSCAPELLA, formerhead of the London, Ontario, Grand Theatre.

Arts Centers, Theaters, ChorusLincoln Center has announced its choice for asuccessor of Martin E. Segal, who is relinquish-ing the post of Chairman this summer (see Vol.26, No. 3). GEORGE WEISSMAN was electedto a two-year term. He has been affiliatedwith the Center as early as 1960, when it wasstill in the planning stages, and, for the lasttwo years, he has been a Vice Chairman. Healso serves on the Center's Committee for theFuture. In 1984, he retired as Chairman andChief Executive Officer of Philip Morris, whichhas become a major conglomerate under hisleadership. Mr. Segal will remain on the LincolnCenter Board as Chairman Emeritus. His firstInternational Festival will be held in summer'88.

The Brooklyn Academy of Music has engagedMICHAEL HOWELL, formerly of the CanadianOpera Company, the San Antonio Festival andothers, to the newly created post of Directorof Publicity and Public Relations.

New York's Merkin Concert Hall, one of thecity's favorite recital halls, has appointedANDREW BERGER, former music director ofthe classical music station WNYC-FM, directorof the auditorium. His predecessor, LYDIAKONTOS, became Executive Director of theHebrew Arts School at Abraham GoodmanHouse, which administers the concert hall.

The Guthrie Theater in Minneapolis has namedGARLAND WRIGHT Artistic Director with new-ly expanded authorities covering the theater'sentire operation. He is replacing LIVIU CIULEI( see Vol. 26, No. 3) and, in this new position,will also assume some of the responsibilitiescarried by Donald Schoenbaum, the currentManaging Director who will retire in 1987.From 1980 to 1983, Mr. Wright was affiliatedwith the Guthrie as Associate Director andmost recently held the post of Artistic Associ-ate at the Arena Stage in Washington.

The Folger Shakespeare Theater in Washingtonnamed MICHAEL KAHN, Chairman of JuilliardSchool's theater department, to succeed Ar-tistic Producer John Neville-Andrews, who hasresigned. Previously, Mr. Kahn had beenArtistic Director of the American ShakespeareTheatre at Stratford, CT.

JOHN CURRIE has been named Music Directorand Conductor of the Los Angeles Master Cho-rale and Sinfonia; the ensemble's founder, RO-GER WAGNER, is now music director laureate.

Foundation, PublisherRICHARD RODZINSKI, formerly opera adminis-trator with the Metropolitan Opera (four years)

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and San Francisco Opera (six years), has beennamed Executive Director of the Van CliburnFoundation. He is the son of the late conductorArtur Rodzinski, and has most recently beenan evaluator for the Opera-Musical TheaterProgram of the National Endowment for theArts. He will assume his new post immediately;the next international piano competition isscheduled for May 1989.

G. Schirmer/Associated Music Pubishers an-nounced the appointment of PAUL ECHOLS toVice-President and Director of Publications.His previous affiliations were with SouthernMusic Publishers, Bel win Mills, the Charles IvesSociety and others. He is also in charge ofthe Early Music Ensemble of the MannesCollege.

AcademiaThe Curtis Institute has turned to one of itsmost prestigious alumni in choosing its newdirector - the pianist GARY GRAFFMAN. Heis the first new appointee since the 1985 uproarover the dismissal or resignation of Mr. deLancie. Mr. Graffman, following an injury tohis right hand in 1980, was forced to greatlycurtail his concertizing, and concentratedprimarily on teaching. His title at Curtis willbe Artistic Director, relieving the post of someof the administrative and fund-raising choresformerly associated with the directorship.

Composer ERIC SALZMAN serves as VisitingProfessor of Composition at Yale University forthe spring '86 semester. He is also the ArtisticDirector of the American Music Theater Festi-val in Philadelphia.

Composer JOHN CORIGLIANO has been namedDistinguished Professor of Music at LehmanCollege of the City University of New York.

DAVID AMRAM is this year's Composer-in-Residence for New York University's SummerMusical Theatre Workshop, where his TwelfthNight was staged in June.

Juilliard's American Opera Center has engagedEDWARD ALLEY as Administrator, replacingErica Gastelli. He comes to Juilliard from theNew York Philharmonic and, before that, washead of the Martha Baird Rockefeller Fund.

Boston University School of Music has signedtenor RICHARD CASSILLY as member of itsvoice faculty. — The University of the Pacificin Stockton has a new Director of Opera, thesoprano EDNA GARABEDIAN. — After a one-year term with the University of Oklahoma,

VINCENT LIOTTA has rejoined the Opera The-ater of the University of Washington in Seattleas Director of Production; Robert Feist is MusicDirector.

San Diego Opera's General Director IAN CAMP-BELL has been appointed Guest Professor ofMusic by the San Diego State University, wherehe will be teaching courses in history and styleof opera.

Canadian soprano LOIS McDONALL joined thevoice faculty and opera department of theUniversity of Toronto.

McMasters University in Hamilton, Ontario,signed HAROLD C. SCHONBERG, retired musiccritc of The New York Times, as DistinguishedCritic-in-Residence for a three-month term.

The following sopranos have joined the voicefaculty of Montclair State College in NewJersey: SANDRA DARLING, TERESA KUBIAKand LOUISE WOHLAFKA.

The Washington (DC) Conservatory of Musichas signed Maestro FABIO MECHETTI, original-ly of Brazil, as Orchestra Conductor-in-Resi-dence, and mezzo soprano RENATA BABAK tohead its new opera workshop.

Conductor MAURICE PERESS and stage direc-tor RHODA LEVINE have joined the faculty ofthe Aaron Copland School of Queens College,New York.

Opera/Symphony AbroadAmerican conductor DENNIS RUSSELL DA VIES,who was just appointed Generalmusikdirektorof the City of Bonn, may be the Maestro withthe most positions on two continents: MusicDirector of the Stuttgart Opera, PrincipalConductor and Classical Music Director at theSaratoga (NY) Music Festival, Guest Conductorwith the Philadelphia Orchestra, Advisor to theAmerican Composers Orchestra (NYC) and Mu-sic Director of the Cabrillo (CA) Music Festival.He will assume this new position in fall '87,after his contract with Stuttgart is terminated.At this time, he plans to retain his Americanaffiliations. In Bonn, his five-year contractputs him at the head of the orchestra of theBeethoven Halle, of the Bonn New Music Daysand the Beethoven Festival as well as all othermusic programming for the city. Beginning withthe 1988-89 season, he will also be MusicDirector of the Bonn Opera House. WOLFGANGG6NNENWEIN is Stuttgart's Generalintendant,who will have to name a successor to Mo.Da vies.

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Another American conductor, JOHN MAUCERI,who is Music Director of the American Sympho-ny Orchestra in New York, has also acceptedthe post of Music Director of the ScottishOpera as of next summer. He will succeed SirAlexander Gibson who is retiring after 25 yearsas founder/director of the company. JOHNCOX became the new Artistic Director,RICHARD MANTLE Managing Director.

With GARY BERTINI taking over the musicaldirection of the Frankfurt Opera in 1987,succeeding Michael Gielen, PETER DANNEN-BERG, formerly of the Hamburg Opera, willjoin Mo. Bertini in Frankfurt as Chefdramaturg.

The Hamburgisehe Staatsoper has announced thesuccessor to Rolf Liebermann, who had rejoinedthe company in an emergency, agreeing toremain until 1987. Conductor GERD AL-BRECHT will become Generalmusikdirektor, be-ginning in 1988, and PETER RUZICKA, current-ly in charge of the Berlin Radio Symphony Or-chestra, will take over at the same time asadministrator and Intendant. Mo. Albrecht willalso become Music Director of the HamburgPhilharmonisches Orchester.

The search for a successor to Massimo Bogian-ckino as Artistic and General Director of theGrand Opera in Paris has been terminated withthe appointment of JEAN-LOUIS MARTINOTY.Sig. Bogianckino, who was elected Mayor ofthe City of Florence, had to leave his post inParis in mid-season. M. Martinoty has beeninfluential in theater productions in France.LOTHAR ZAGROSEK will join him as MusicDirector of the National Opera in Paris nextfall.

Also in fall '86, GUSTAV KUHN will becomeMusic Director of the Teatro dell' Opera inRome. — MICHELANGELO VELTRI hasaccepted the post of Music and ArtisticDirector of the The'Stre d'Avignon.

With Helmut Drese taking over the Vienna StateOpera next fall, his position at the ZurichOpernhaus had become vacant. It was CHRIS-TOPH GROSZER, formerly of Wiesbaden (seeVol. 26, No. 3), who was chosen as GeneralDirector to succeed him. Other forthcoming

changes in directorial posts at Swiss operahouses move HORST STATKUS from Basel toLucerne in summer '87 - for one year he willhold a dual position until his Basel contracthas run out - while PHILIPPE DE BROS willgo from Lucerne to the opera house in Bern.With him will come RODERICK BRYDON, hiscolleague in Lucerne, keeping this team ofIntendant and Music Director intact also forthe country's capital, Bern, where Peter Maagwill continue to conduct some productions.

Another change becoming effective after thecurrent season is KURT HORRES' tenure asGeneral Director of the Deutsche Oper amRhein, where he will begin next season, servingboth Dusseldorf and Duisburg. With him willbe two new administrative assistants, Dr. VITAHUBER, and FRED R. HARTMANN. — At thebeginning of this season, JOSE COLLADO as-sumed the post of Generaldirektor of theBadisches Staatstheater in Karlsruhe.

Last fall, PINCHAS STEINBERG began histenure as Generalmusikdirektor in Bremen.— PETER GULKE, formerly of Dresden andWeimar, will succeed Hanns-Martin Schneidt asGeneralmusikdirektor for the City of Wuppertal.

GERARD MORTIER's contract as Artistic Di-rector of the Royal Opera of Brussels has beenextended through the 1992-93 season.

The Dublin Grand Opera has signed DAVID G.COLLOPY as General Opera Administrator. Heheld the position of Administrator with theWexford Festival.

The Bournemouth Symphony Orchestra in En-gland has named ANDREW LITTON, AssociateConductor of the National Symphony in Wash-ington and former NEA/Exxon Conductor, as itsPrincipal Guest Conductor, beginning in 1986.

The Victoria State Opera in Melbourne has en-gaged SUZANNAH CONWAY as Artiste Adminis-trator.

Chicago Symphony's Associate Conductor,HENRY MAZER, became the Music Director ofTaiwan's Kaohsiung Symphony Orchestra. []

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LATEST ADDITIONS TO COS ENGLISH TRANSLATIONS DIRECTORY

BEETHOVEN: Fidelio Stefan Kozinski (OperaDelaware, Wilmington, DE)CIMAROSA: Le Astuzie femminili Paul Stephan (Cooper Opera Works, New York)

n Maestro di cappella Andrew Foldi (Cleveland Institute of Music, OH)HANDEL: Agrippina Beaumont Glass (Boston Lyric Opera, MA)

Anne Ridler (Kent Opera, England)Alcina Thomas Holliday (10 Wedgewood Dr., Westbury, NY 11590)

Stephen Wadsworth (Opera Theatre of Saint Louis, MO)Xerxes Stephen Wadsworth (Skylight Comic Opera, Milwaukee, WI)

Albert Fuller (Juilliard School, New York)HAYDN: n Mondo della luna Paul Stephan (Cooper Opera Works, New YorkHUMPERDINCK: Hansel and Gretel Carol Palca (Midwest Opera Theater, St. Paul, MN)JANACEK: Osud (Fate) Rodney Bloomer (English National Opera, London)LEHAR: Die lustige Witwe A. Holsing (Family Opera, North Bergen, NJ)MOZART: Don Giovanni Amanda & Anthony Holden (English National Opera, London)

La Finta semplice Clifford Reims (Roosevelt University, Chicago, IL)Der Schauspieldirektor Michael Evenden (Allegheny Festival, Meadville, PA)

Lukas Foss (Brooklyn Philharmonic, New York)Lisi Oliver (Atlanta Opera Studio, school tour, GA)Hugh Wheeler (Eastman School/Music, Rochester, NY)

OFFENBACH: La Chatte metamorphosee en femme Donald Pippin (Pocket Opera, SanFrancisco, CA)

La Grande Duchesse de Gerolstein Cleveland Morris & Judy Brown (DelawareTheatre Co., Wilmington, DE)

Le Mariage aux lanternes Veronica Reed (Florida State Univ., Tallahassee)Orphe'e aux enfers Snoo Wilson (Houston Grand Opera/English National Opera,

London)James Billings (Univ. of Colorado, Boulder)

PERGOLESI: La Serva padrona Rex Hearne (Berkshire Opera Co., Lenox, MA)PROKOFIEV: The Love for Three Oranges Tom Stoppard (Cincinnati University, College-

Conservatory, OH)PUCCINI: La Boheme (adaptation for Papp's Public Theatre, NYC) David Spencer (Shukat

Co., 340 W 55 St., New York NY 10019)ROSSINI: La Cambiale di matrimonio (The IOU Wedding) (adaptation, not only transl.)

Richard Pearlman (EastmanSchool/ Music, Rochester, NY)

La Cenerentola Peter Westergaard (June Opera Festival, Princeton, NJ)n Viaggio a Reims Andrew Porter (Opera Theater of Saint Louis)

SALIERI: Arlecchino Clifford Reims (Roosevelt University, Chicago, IL)SALLINEN: The King Goes Forth to France Stephen Oliver (Santa Fe Opera, NM)SCHOENBERG: Pierrot lunaire Andrew Porter (Da Capo Chamber Players, New York)SCHUBERT: Fierrabras John Warrack (Oxford University Opera Club, Oxford, England)STEFFANI: Le Rivali coneordi Newell Jenkins (Clarion Music Society, New York)STRAVINSKY: L'Histoire du soldat Frank Corsaro (Composers' Showcase, New York)

Pulcinella (full length vers.) Jonathon Field, San FranciscoWEBER: Oberon new English text (not just transl.) Anthony Burgess (Scottish Opera,

Glasgow)WEILL: Der Protagonist Lionel Salter, Universal Edition/G. Schirmer

Der Zar lasst sich photographieren Lionel Salter (Universal Ed./G. Schirmer)ZEMLINSKY: Eine florentinische Tragodie Edward Downes (Royal Opera/Covent Garden,

London)The Birthday of the Infanta Edward Downes (Royal Opera/Covent Garden,

London)

Correction: delete Don Pasquale Arthur Lief

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NEW ENGLISH CAPTIONS FOR PROJECTION ON SLIDES OR VIDEO/COMPUTER DISKS

The titles listed below should be added to the COS listing of available "English Captions inProjection". All video/computer material for electronic projection, available from Four CornersProductions in New York, includes 1) an IBM compatible computer disk, 2) title script, and 3)cued score.

BACH: St. Matthew Passion Four Corners Prod, replaces PepsiCo (slides) (video/computer '86) (Friedman)

BELLINI: La Sonnambula Four Corners Prod, (video/computer '86) (Friedman)BIZET: Carmen Four Corners Prod, (video/computer '86) (Friedman)BOITO: Mefistofele Four Corners Prod, (video/computer '86) (Friedman)CIMAROSA: n Matrimonio segreto Washington Opera, DC (slides 12/86)DAVIES.P.M.: Taverner Opera Company of Boston (slides '85)DELIBES: Lakmg Four Corners Prod, (video/computer '86) (Friedman)DONIZETTI: Don Pasquale Four Corners Prod, (slides) (video/computer '86) (Friedman)

L'Elisir d'amore Opera/Columbus, OH (slides 11/86)Lucia di Lammermoor Four Corners Prod, (video/computer '86) (Friedman)

San Francisco Opera (slides 7/86) (Moor)GOUNOD: Faust Four Corners Prod, (slides) (video/computer '86) (Friedman)

San Francisco Opera (slides 12/86) (Moor)JANACEK: Jenufa San Francisco Opera (slides 12/86) (Y.S.Graff)LEONCAVALLO: Pagliacci Four Corners Prod, (video/computer '86) (Friedman)

San Francisco Opera (slides 7/86) (Moor)MASCAGNI: Cavalleria rusticana Four Corners Prod, (video/computer '86) (Friedman)

San Francisco Opera (slides 7/86) (Moor)MASSENET: Cendrillon Four Corners Prod, (video/computer '86) (Friedman)

Manon Four Corners Prod, (video/computer '86) (Friedman)San Francisco Opera (slides 12/86) (Bergen)

MONTEVERDI: La Favola d'Orfeo Four Corners Prod, (video/computer '86) (Friedman)L'Incoronazione di Poppea Four Corners Prod.(video/computer '86) (Friedman)

MOZART: Le Nozze di Figaro San Francisco Opera (slides 12/86) (Cranna)POULENC: La Voix humaine San Francisco Opera (slides 7/86) (Bergen)PUCCINI: La Boheme Four Corners Prod, (video/computer '86) (Friedman)

San Francisco Opera (slides 12/86) (Cranna)Madama Butterfly Four Corners Prod, (video/computer '86) (Friedman)

Opera/Columbus, OH (slides 3/87)Manon Lescaut Four Corners Prod, (video/computer '86) (Friedman)La Rondine Four Corners Prod, (video/computer '86) (Friedman)Tosca Four Corners Prod, (video/computer '86) (Friedman)

Opera/Columbus, OH (slides 7/87)Le Villi Piccolo Teatro dell'Opera/Brooklyn Academy (slides 5/86)

RIMSKY-KORSAKOV:The Tsar's Bride Washington Opera, DC (slides 12/86)ROSSINI: n Barbiere di Siviglia Four Corners Prod, (video/computer '86) (Friedman)

n Turco in Italia Dallas Opera (slides 5/87)STRAUSS, R.: Elektra Four Corners Prod, (video/computer '86) (Friedman)TCHAIKOVSKY: Eugene Onegin San Francisco Opera (slides 12/86) (Bergen)VERDI: Un Ballo in masehera Four Corners Prod, (video/computer 9/85) (Friedman)

Don Carlos [French versj San Francisco Opera (slides 12/86) (Moor)La Fanciulla del West Dallas Opera (slides 1/87)La Forza del destino San Francisco Opera (slides 12/86) (Tallman)Macbeth Opera/Columbus, OH (slides 10/86)

San Francisco Opera (slides 12/86) (De Rugeriis)Otello Four Corners Prod, (video/computer '86) (Friedman)Rigoletto Four Corners Prod, (video/computer '86) (Friedman)La Traviata Four Corners Prod, (video/eompuer '86) (Friedman)n Trovatore San Francisco Opera (slides 7/86) (Bergen)

Washington Opera, DC (slides 12/86)WAGNER: Gotterdammerung Seattle Opera (slides 7/86) (Friedman)

Die Meistersinger von NUrnberg San Francisco Opera (slides 12/86) (Bergen)Das Rheingold Seattle Opera (slides 7/86) (Friedman)

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WINNNERS

On April 20, eleven winners of the MetropolitanOpera National Council Regional Auditions werepresented in a Finals Concert on the stage ofthe opera house. They had been chosen twoweeks before when 24 finalists from 17 regionscompeted on the Met stage. As has been thecustom throughout the last years, the winnerswere accompanied by the Metropolitan OperaOrchestra. A record audience attended theconcert which offered each winner at least twoand sometimes even more opportunities to beheard in a variety of role excerpts - arias,duets and ensembles. There were four sopra-nos: SUSAN BENDER (25 years old, from Wash-ington, DC./Mid-Atlantic Region), ANDREACAWELTI (25, New York/Eastern), BARBARAKILDUFF (26, San Francisco/Pacific), and MA-RILYN MIMS (31, Bloomington/Tri-State); twomezzos: KIM KODES (25, Boston/New England),and DEIDRA L. PALMOUR (30, San Antonio/Southwest), three tenors: MARK BAKER (33,Atlanta/Southeast), STANFORD OLSEN (26,Louisville/Tri-State), and MICHAEL SYLVES-TER (34, New York/Eastern), one baritone:GORDON HAWKINS (27, Washington/Mid-Atlan-tic) and one bass: MARK S. DOSS (28, Chicago/Central). — To have reached the Semi-Finalsin this prestigious contest, in which some 2,000singers were heard initially, is in itself a specialhonor and proof of excellence, bringing a cashprize of $1,000. Those chosen for the WinnersConcert receive awards of $5,000 cash. Weare also pleased to publish the names of theother young artists who made it to the lastround before the concert, listing the regionsthey represent: sopranos KAREN ANDERSON(Rocky-Mountain), SHERRI CURTIS (GreatLakes), LORRAINE HUNT (New England), JOAN-NA LEIGH JOHNSTON (Upper Midwest), ANITAM. PROTICH (Western), RACHEL ROSALES(Eastern), and YING YEH (Mid-South); mezzo:CAROL MADALIN (Eastern); tenors: STEVE M.DUPRE (Gulf Coast), and FREDERICK KALT(Northwest); baritones ROGER LEMKE (Austra-lia), and EUGENE PERRY (Southwest); bass-baritone ZHENG ZHOU (Mid-West), and bassJOSE GARCIA (Eastern).

The Lyric Opera Center for American Artistsin Chicago has chosen nine young singers forits 1986 Lyric Ensemble. Some 500 singerswere heard in auditions across the country, and32 were in the final competition. One-yearcontracts for residency with the Center at fullscholarship and a living stipend were awardedto sopranos LISA BONENFANT of New Yorkand JOAN GIBBONS of Chicago, mezzo BONITAHYMAN of New York, tenors RICHARD DREWSof Eau-Claire, WI, DONALD KASCH and JO-SEPH WOLVERTON, both of Chicago, baritonesJOHN HORTON MURRAY of Westmont, NJ, and

PATRICK WROBLEWSKI of Chicago, and bassSTEFAN SZKAFAROWSKY of New York.Messrs. Kasch and Szkafarowsky will be in theirsecond year with the Center. In addition, threeapprentices and six auditors were also acceptedinto the program.

The 1986 Adler Fellowship Awards were be-stowed on nine singers enrolled at the SanFrancisco Opera Center: sopranos LI-CHANCHEN, SUSAN PATTERSON and DEBORAHVOIGT, mezzos KATHERYN COWDRICK andCHRISTIANE YOUNG, tenor JOHN DAVID deHAAN, baritone MARK DELAVAN, and bass-ba-ritones MONTE PEDERSON and PHILIP SKIN-NER.

The newly created Pittsburgh Opera Center(see Vol. 26, No. 3) has enrolled seven youngsingers into its first five-week intensivetraining program. They are sopranos ETHELYNVICTORIA ENOS of New York and ALICIAGONZALEZ-GRUGETT, originally of Cuba,more recently of Pennsylvania, mezzosDEBORAH DUNN of Ohio and SUSAN NICELYof Pennsylvania, tenors DANIEL ANTHONYBREWER also of Pennsylvania and JOHN B.DANIECKI of New Jersey, and, finally, baritoneJAY TAYLOR of Massachusetts. The singersare between twenty-three and thirty years old,and all have had performing experience, somein internships or apprentice programs.

The first four apprentice singers engaged bythe Skylight Comic Opera of Milwaukee aremezzo-sopranos SARAH PSCHEIDT and DONNAMARIA TURCHI, tenor WHITE EAGLE, andbaritone JOHN KEITH.

Soprano KAREN HOLVIK, who won the 1985Joy in Singing competition, was presented inher debut recital at Tully Hall on March 21.- Another debut recital, this one as winner ofthe Center for Contemporary Opera Competi-tion, was given by mezzo-soprano ADRIA FIRE-STONE at Merkin Concert Hall in April.

The 1986 Richard Tucker Award went to mezzo-soprano DOLORA ZAJIC of Nevada. It carriesa $20,000 stipend and the artist's presentationat the Avery Fisher Hall concert of the TuckerFoundation next fall. In addition, the Founda-tion awarded $4,000 career grants to thefollowing young artists: CYNTHIA HAYMON,PATRICIA SCHUMAN, ALESSANDRA MARC,and MARGARET JANE WRAY.

The 1986 winners of the George London Grants,each receiving the amount of $10,000 awardedby the National Institute for Music Theater,were presented in a special George London

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Gala Tribute concert on March 20 at NewYork's Tully Hall. They were soprano AMYBURTON, mezzo SHEILA SMITH, baritones JEFFMCCARTHY and EUGENE PERRY (see also MetOpera finalists), and bass KEVIN MAYNOR. Inaddition, Mr. Perry was selected at the concertas the recipient of an extra $5,000 grant thatwas accompanied by the gift of a speciallycommissioned sculpture. The following fivesingers were chosen to receive $2,000 Encou-ragement Grants: KATE BUTLER, ANDREAMATTHEWS, JEFFREY REYNOLDS, DAWN UP-SHAW and LISA VROMAN. Miss Upshaw wasalso invited to participate in the New Yorkconcert. - NIMT's other awards this yearrecognized RICHARD GADDES, founder andformer general director of the Opera Theaterof St. Louis, for his services to opera, composerDOMINICK ARGENTO for his opera Casanova,and composer/director/performer MEREDITHMONK and her collaborator, theater artist PINGCHONG for their jointly created music theaterpiece, The Games.

The Phillip and Judy George Scholarship A-wards, distributed by the Greater Miami Opera,went to bass-baritone STEPHAN KIRCH-GRA-BER ($2,500), mezzo CYNTHIA ACKLEY($1,000), and MARY PAUL, TIMOTHY MILLER,and KEITH SPENCER ($500 each).

The American Friends of Austria in Chicagoand the American Institute of Musical Studiesin Graz have awarded their 1986 prize of $2,500to Illinois soprano DONNA JOYCE ROLLENE.The prize affords her a scholarship to AIMSthis summer. Due to the high caliber of thisyear's competitors, a second prize was givento CAROL BYERS of Indiana, who will bepresented in a Dame Myra Hess MemorialConcert in Chicago, under the auspicies ofconductor Margaret Hillis.

Recent winners of the Liederkranz Competitionincluded mezzo-soprano VICTORIA LIVENGOOD(first place), also sopranos JUDY BERRY andMARILYN ALTMAN.

The National Arts Club selected tenor JANDENIETZKI winner of its 1986 award in voice,and SALVATORE CHAMPAIGN as runner-up.This year's major award was given in flute.— Mezzo soprano RACHEL LOUIS won the$1,000 scholarship award of the Henry HoltCompetition in Palo Alto, and her Californiacolleague, LINDA COVINGTON, received theSan Jose Opera Guild scholarship.

The New York City Opera is able to make fourawards to recognize specially gifted and out-standing young singers within the company.

Endowed in turn by Ungaro Perfumes, M'korSasson Foundation, Stanley Towsend, and Rich-ard Gold, the 1985 recipients were (in the aboveorder) soprano MARIANNE CHRISTOS, and mez-zo-soprano CYNTHIA ROSE, soprano CAROLSPARROW, and tenor MARK THOMSEN, thelast three all one-year veterans of the company.

The Baltimore Opera International VocalCompetition is among the major Americancontests and the $19,000 distributed in 1986were awarded the following winners: MARILYNMIMS soprano from Louisville (first - $5,000),JOAN CAMPBELL mezzo from Philadelphia(second - $3,000), AMANDA HALGRIMSONNorth Dakota soprano (Steber Fndt. - $2,500),YANYU GUO mezzo from People's Republic ofChina (third - $2,000), CORINA CIRCA mezzofrom Romania (Puccini Award - $2,000),CHARLES P. LOEHLE bass from Louisville(fourth - $1,500), MARK DOSS bass fromChicago (fifth - $1,200), and also sopranosKARLI GILBERTSON and ELIZABETH PROCU-RONOFF.

The Shreveport Opera has announced the win-ners of its sixth annual Singer of the Yearcompetition. First prize went to tenor LEONFORBES WOODS, second prize to baritoneKENNETH SLAUGHTER, and third prize tocoloratura soprano SUSAN BARROW. The otherfinalists included soprano Kathy Weiss-Smith,tenor Mark Evans, and baritone Arden Hopkin.

The Friday Morning Music Club Foundation,which sponsors the Washington InternationalCompetition, has selected four winners of its1986 vocal contest. Soprano SALLY STEVENSof Wisconsin, and baritone NED BARTH ofPennsylvania placed first in the women's andmen's division respectively; they will be presen-ted in debut recitals, and received $3,000 each;baritone JOHN MURIELLO of Michigan tooksecond prize ($1,500), and soprano SANDRAMOON of Ohio third ($1,000). The next contestopen to singers will be in three years (1989).

Opera/Columbus announced the winners of its1986 competition as follows: 1st prize in thesenior division went to tenor STANFORD OLSEN($1,500 Eleanor Steber Music Foundation Awardand scholarship to AIMS, Graz); he was alsofinalist in the Met Opera Regional Auditionscontest; second place senior division was wonby baritone WILLIAM FLORESCU ($750). Firstplace in the junior division was awarded tomezzo-soprano CATHERINE KEEN ($250), andother junior awards were given to sopranoSARAH WILSON and bass-baritone MARK BA-KER. Also, mezzos JANET WILSON and HIL-LARY NICHOLSON, tenor RICHARD BLOCHER,

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and bass DALE TRAVIS won awards of merit.

The first prize of California's Loren ZaeharySociety Opera Award was given dramaticcoloratura soprano DeLAINE MORROW of NewYork, formerly of Denver. She received $3,000cash and travel expenses for an audition tourto major European opera centers. One othercontestant, tenor MICHAEL SYLVESTER, alsowon an audition trip to Europe. The otherfinalists, each receiving a $1,000 grant, were:NED BARTH, ANNE-MARIE BOSCH, JORGELOPEZ-YANEZ, ERIC McCLUSKEY, REBECCARUSSELL, REBECCA SHERBURN, JACOBWILL, and VALERIE YOVA.

The 33-year old baritone MARK RUCKER wonthis year's Bruce Yarnell Award; bass JOSEGARCIA, was chosen for the EncouragementAward.

Oklahoma Symphony prizes for 1986 went tomezzo MARIETTA SIMPSON, tenor MARK R.CALKINS, and baritone RICHARD P. FINK.

The first annual Voice Competition held by theQueens Opera Company (NY) in March resultedin five winners chosen from among some 200applicants. First prize of $1,000 plus recitaland an appearance in a major role with thecompany went to soprano KATHERINE LUNAof Long Island; $300 cash and a recital werewon by soprano MARYTE BIZINKAUSKAS whoplaced second; baritone DAVID TROMBLEYplaced third and won $200 and a recital, andboth will be invited to take part in thecompany's opera season. Fourth and fifth placewinners were mezzo-soprano VICTORIA LIVEN-GOOD, and bass ERIC JOHNSON. Thanks tothe high quality of the applicants and the greatnumber of applications received, next season'scompetition will be expanded to give away atotal of $2,500 in prize money, plus recitalsand participation in Queens Opera productions.It will be held in October-November.

The National Bach Aria Competition for Canadi-ans selected soprano ERICA NORTHCOTT ofVancouver for first place; bass PETER BARNESand soprano VIOLET GOOSEN took second andthird place respectively.

The Canadian Opera Company Ensemble chosefive of its young participants as 1986 CanadianMozart Singers (see Addenda). SopranosSHARON ANN MILLER and LYNE FORTIN,mezzos GABRI-ELLE PRATA and LINDABENNETT, and tenor DENNIS GIESBRECHTreceived grants between $500 and $2,000 each.

Opera News has selected fourteen young Ameri-can singers "on the rise". The experts suggestyou keep your eye on: sopranos NANCY GUS-TAFSON, CONSTANCE HAUMAN, CYNTHIAHAYMON, BARBARA KILDUFF, CHERYL PAR-RISH, and RUTH ANN SWENSON; mezzo DOLO-RA ZAJIC; tenors CARROLL FREEMAN andMARCUS HADDOCK; baritones DAVID MALIS,KURT OLLMANN, ERICH PARCE, and PAT-RICK WROBLEWSKI; and bass KENNETH COX.While our space is limited to a list of names,the July Opera News mentions roles, and in-cludes photos that bear witness to the attrac-tive looks and personalities of the artists.

Musical America, too, has published its annuallist of Young American Artists of the Year,the latest being for 1986. Chosen among thosemost likely to succeed are the following vocal-ists: sopranos MARIA GIORDANO and LOR-RAINE HUNT, mezzos ALTEOUISE De-VAUGHNand VICTORIA LIVENGOOD, countertenorsDEREK LEE RAGIN and STEVEN RICKARDS,tenor GREGORY KUNDE, and baritoneWILLIAM PARCHER.

The Josef Weinberger Centenary Award, a one-year scholarship to the Royal College of Musicin London, went to American tenor BLAIR WIL-SON, chosen for a tenor voice "suitable foroperetta and light opera". - Eastman School ofMusic's Jessie Kneisel Competition awardedbaritone KEITH KIBLER first prize of $1,000and soprano CAROL ALLRED the second prizeof $500; the 1985 winners were tenor TONYBOUTTE and baritone JOHN KRAMER.

Foreign competitions where Americans sharedthe spotlight included the 1985 Francisco VinasSinging Contest in Barcelona where tenor SA-MUEL COOK of the, U.S. received the firstprize. Other winners in the men's divisionincluded the German bass UDO ROESTEL,Italian baritone LUCIO GALLO, and Spanishtenor JOSE ANTONIO SEMPERE, and in thewomen's division Korean soprano SOO KYONGJO, Romanian soprano LEONTINA VADUVA, andJapanese soprano ASSAYO OTSUKA. — SopranoMARILYN MIMS (see also Met and Baltimore)placed first at the International Singing Com-petition in Pretoria, South Africa.

Belgium's International Competition for opera-tic Voices in Verviers gave its first prize toCanadian counter-tenor ALLAN FAST; the '86Calgary Opera Guild scholarship went to itsnative-born tenor ANDRE CLOUTIER. - Canadi-an soprano ODETTE BEAUPRE won the $3,000MacAllister Award from Indiana Opera Theater.

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LATE ANNOUNCEMENTS

NEW OPERAS T n e 1986 National Opera/Music Theater Conference of the Eugene O'Neill& PREMIERES Theater Center has selected three works for development and staged

work-in-progress performances in August. The following composers andlibrettists will be in attendance during the two-week try-out period: JoeMasteroff, librettist, and Edward Thomas, composer, of SIX WIVES (basedon Henry VIII), Thomas F. Megan, librettist/composer of A VISION, andRay Bradbury, author, Georgia B. Holof, lyricist, and David Mettee,composer, whose FAHRENHEIT 451 is being brought back by the O'NeillCenter for a second summer.

NEWS FROM Over the last years, the musicians union had acquired the reputation asOPERA the most demanding union among those dealing with performing artsCOMPANIES organizations. Others relied on them to stick by their demands and to

bear the brunt of strikes, if necessary. But this picture is changingrapidly. A new Realpolitik has brought two interesting and relatedannouncements in short succession. The NEW YORK CITY OPERA OR-CHESTRA led the way in 1986 in ratifying its contract with the operacompany for the next three years. This was accomplished at an earlierdate than ever before, and without the usual adverse publicity. Wageincreases of 5i percent for each of the first two years and 5 percentfor the third year were agreed upon. Two weeks later the METROPOLITANOPERA was able to sign an agreement with Deutsche GrammophoneRecords for a complete recording of Der Ring des Nibelungen, with Metstars, orchestra and chorus under Music Director James Levine. Con-cessions from the musicians, members of Local 802 of the AmericanFederation of Musicians who relinquished certain benefits customarilydemanded at recordings, made this project possible. It was a well-knownfact that the United States had priced itself out of the classical recordingmarket some years ago. This first move may well be a turning point.

APPOINTMENTS The New York City Opera has engaged SERGIU COMISSIONA as its MusicDirector and principal conductor. Maestro Comissiona will keep his presentpositions as Music Director of the Houston Symphony Orchestra andprincipal conductor of the Hilversum Radio Philharmonic in Holland, eachof which will take about 10-12 weeks of his time during the year. Hehas agreed to be available to the opera company for 27 weeks. He willbe replacing Christopher Keene, whose resignation had been announcedearlier, and who will continue to lead some performances at the CityOpera. Mo. Comissiona will be conducting most of the new productions,and several revivals. He will also be responsible for future program-making and casting in collaboration with the General Director, Miss Sills.However, since opera plans are necessarily made far in advance, hisimprint will not be felt until the 1988 season, which is in the planningstages now. — DANIEL LIPTON has joined the Opera Hamilton in Ontarioas the company's Artistic Director and Conductor.

PUBLISHERS BELWIN MILLS has just announced that its rental music catalogue holdings,including operatic orchestral and vocal scores and translations, as wellas rental items from the Casa Musicale Sonzogno and United ArtistsMusic, will now be distributed by THEODORE PRESSER COMPANY, BrynMawr, PA. Belwin's New York office will continue to handle the rightsfor recordings, films, TV, etc., and its parent company, Columbia Picturesin Miami, will publish and distribute related printed products.

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LATEST CAREER GUIDE SUPPLEMENT(lists new information since Addenda in Vol. 26, No. 4)

To be used with Career Guide (Fifth Edition) published in 1985. Only entries marked "insert"are new and complete listings. All others, marked with page numbers only, contain informationexclusively which differs from the original entry; details not amended here remain the same.

Complete Addenda to the 1985 Fifth Edition of the Career Guide for Young American Singersmay be ordered for $2.50 pre-paid. Copies of the Guide and the Addenda are $9.50, includingpostage.

GRANTS TO SINGERS

NEW YORKAffiliate Artists, Inc. (page 1)Deadline: 6/1/86Eligible are singers with at least 3, but generally not more than 10 years of professionalexperience.

REGIONAL, NATIONAL AND INTERNATIONAL COMPETITIONSIN THE UNITED STATES & CANADA

ALABAMASouthern Regional Opera Vocal Competition (page 5)c/o Sam Urmey, 204 Nash Circle, Birmingham, AL 35213Deadline: 5/9/86; Prizes: total cash prize of $2,000

CALIFORNIASan Francisco Opera Center Auditions (page 5) — Christine Bullin, ManagerRegional Auditions for 1987: San Francisco 11/29/86-12/1/86; Denver, Tucson, Chicago, New

York, Waco, TX, Los Angeles, and Seattle dates vary.Deadline: applications must be postmarked no later than 9/24/86; write for application formsApplication: must include self-addressed stamped envelope, $10 non-refundable application fee

(check payable to Merola Opera Program), signed and sealed reference forms completed by2 musical authorities (forms cannot be substituted by letters of recommendation), notarizedcopy of birth certificate, driver's license or passport, and 8x10 glossy photograph.

Auditioners may bring their own accompanists.Applicants are expected to be available for Regional Finals and Merola Opera Program.

Victor Fuchs Memorial Awards (page 6)Add: Open to residents of CaliforniaRepertory requirements: 4 arias in original language & keyPrizes: Cash awards from $500 to $2,500

MARYLANDBaltimore Opera International Vocal Competition (page 9)527 North Charles Street, Baltimore, MD 21201; (301) 727-0592Deadline: 5/12/86; Competition: 6/2-6/86; Finals: 6/6/86Prizes: 1st: Baltimore Opera Guild Award, $5,000; 2nd: Clementine & Duane Peterson Award,

$3,000; 3rd: Alfred Ver Valen Memorial Award, $2,000; 4th: Mary Finney Barada Award,$1,500; 5th: Morris Mechanic Memorial Award, $1,500; 6th Dragi Jovanovski Award, $1,000;Special Prizes: Puccini Foundation Award, $2,000; Eleanor Steber Music Foundation Award,$2,500; Stipends for semi-finalists, $150

MICHIGANMaccabees/PROS Vocal Scholarship Competition (insert page 11)P.O. Box 3194, Southfield, MI 48037; Robin SchakneRestricted to Michigan residents; Prizes: $3,000, $2,000 & $1,000 to be used for further education.

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Region (City)Australia (Sydney)Central (Chicago)Western (Los Angeles)Pacific (San Francisco)Great Lakes (Pittsburgh)Gulf Coast (New Orleans)

Date8/17/8611/12/8611/15/8611/22/861/10/872/1/87

NEW JERSEYNew Jersey State Opera Scholarship (page 11) — Deadline: 4/28/86; Competition: 6/86

NEW YORKEast & West Artists Vocal Competition (page 13) — Deadline 1/15/87; Competition: 2-3/87

Metropolitan Opera National Council Auditions (page 14)1986-87 Regional Auditions

Region (City) DateRocky Mountain (Denver) 2/1/87Northwest (Seattle) 2/7/87Eastern (New York) 2/20/87Southeast (Atlanta) 2/28/87Midwest (Kansas City, MO) 2/28/87Finals Concert (New York) 3/29/87

Musicians Emergency Fund (page 15)Annually; 1986 Deadline: 4/30; Auditions: 5/12-22; Age limit: 24-33Requirements: Must have sung one major role with regional opera company and/or professional

concert performance in the past 24 months; must be resident of New York State or studiedthere for one year immediately prior to '86 auditions.

Prizes: 1st: $10,000 Paul Cravath & Vera Cravath Gibbs Memorial Award; 2nd: $3,000; 3rd:$2,000; additional contractual awards.

The National Arts Club (insert page 15)Music Committee, 15 Gramercy Park South, New York, NY 10003The Margaret Baiz Award for Young Singers - Bi-annually; alternating for men and women,

some experience required; Competition - November.Music Scholarship Prizes - Annually, for vocalists and instrumentalists; Age limit: 18-25; Prizes:

$500, $300, $200; Competition: February

Sponsorship Awards Pro Musicis Foundation (insert page 16)140 West 79th Street, New York, NY 10024Deadline: 5/1/86Application: No age or nationality restrictions; must be fully prepared for an international solo

career. Complete application form in 3 copies, submit 2 copies of unedited live recordingof entire solo recital on high quality cassette; $50 fee.

Prizes: 5-6 full sponsored recitals in major U.S. cities (e.g. New York, Boston, Washington, DC,San Francisco, etc.), honorarium for each concert, promotional material for these concerts;

possibly also engagements with orchestras and/or European concert tour, promotional recordingson commercial label.

OHIOAmerican Opera Auditions (page 17) — 1986 Deadline: advanced to 2/28

Opera/Columbus Operatic Competition (insert page 17)50 West Broad Street, Columbus, OH 43215; (614) 461-8101; Rosa Stolz, Director of MarketingAnnual; 1986 Deadline: 2/21; Auditions: 3/25,26; Semi-Finals: 4/23; Finals: 5/2 in ColumbusAge limit: Senior 24-35; Junior: 20-23; Prizes: Cash awards totaling $5,000Requirements: Ohio residents who have completed or engaged in completing musical education

and who have not made their debut in a leading role with a major opera company.

TEXASOpera Guild of San Antonio (insert page 18)4015 Spotswood Trail, San Antonio, TX 78230; (512) 699-8791; Evelyn Troxler, Vice President

for Educational DevelopmentCompetition: April; Age limit: 20-35 as of 4/87; Prizes: $3,000; $1,000; $500Application: must include notarized birth certificate, driver's license or passport, non-refundable

fee of $15 (money order or certified check) and recommendation letter from voice teacher,coach, accompanist or reputable musician familiar with contestant's work.

Repertory requirements: 4 arias: one from Italian bel canto, one verismo, one from French orGerman repertory and one by an American composer (Barber, Moore, Floyd, Menotti, Bernstein)

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CANADAToronto Arts Awards Foundation (insert page 20)80 Richmond Street West, Suite 404, Toronto, Ont., Canada M5H 2A4; (416) 362-8223; Peter

Caldwell, Executive DirectorRecognizes Toronto artists performing over several years.Prizes: totaling $50,000Awards ceremony televised by CBC on 9/25/86

FOREIGN COMPETITIONS

FRANCEConcours International de Chant de Paris (page 23)Address same except: F 75116 ParisAge limit: Women - born after 1/1/54; Men - born after 1/1/52Deadline: 9/25/86; Competition advanced to: 11/10-17/86

FEDERAL REPUBLIC OF GERMANY (WEST)Broadcast Corporation of FRG International Music Competition (page 23)Age limit: Women 20-30; Men 20-32; Deadline: 7/1/86; Competition: 9/2-19/86; Fee 100 DMExtensive repertoire requirements.Prizes: Free lodging and breakfast for duration of competition plus 2 days; if admitted into

second round, lunch and dinners paid also. Cash prizes separate for men and women each12,000 DM; 9,000 DM; 7,000 DM.

ITALYPier Adolfo Tirindelli International Singing Competition for Lyric Artists (insert page 25)Associazione Lirica "Pier Adolfo Tirindelli", Piazza 4 Novembre, 31015 Conegliano TrevisoDeadline: 9/20/86; Age limit: Women 32; Men 35; Competition: 11/3-6/86Write for repertory requirements.

Carlo Coccia Ente Musicale Novarese (page 26)Deadline: 6/25/86; Age limit: 18-40; Fee: 50,000 lireRequirements: Musical studies completed; recommendation from private teacher(s); birth

certificate; 5 postcard-size photos.

NETHERLANDS's-Hertogenbosch International Singing Competition (page 27)Deadline: 7/1/86; Next voice competition: 8/30-9/10/86Age limit for 1986 Competition: born after 12/31/53Address same except: 5200 replace with NL-5200

SPAINInternational Voice Competition of Bilbao (insert page 28)Concurso Internacional de Canto, Dpto. de Cultura de la Deputacion Foral de Vizcaya, Gran

Via, 26, 4. dcha., 48009 BilbaoDeadline: 11/1/86; Competition: 11/29-12/6/86; Age limit: 18-33Requirements: Application must be accompanied by proof of date and place of birth and

nationality, 3 good recent photos, 2,000 ptas. registration.Repertory requirements: A) six compositions from oratoria/cantata or Lied/concert aria; B) six

operatic arias in original key, everything in original language, total in at least three differentlanguages. Accompanists are being provided. A daily expense of 3,000 ptas. is paid eachcontestant for the duration of contest. - Contest in three phases, earliest phase may be

skipped by those with proof of having won first or second place in a recent international contest.Prizes: 500,000 ptas., 125,000 ptas. each for men and women; concert and opera performances

in Bilbao. Special prize for Spaniards: 1 million ptas. to complete studies; 500,000 ptas. forbest interpretation of works in Basque.

Francisco Viiias International Singing Competition (page 28)Age limit: Women - under 32; Men - under 35; Deadline: 10/86; Competition: 11/86Address same except: Barcelona 08037 replace with Barcelona E-08037

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ADDITIONAL AUDITIONS OPPORTUNITIES

OPERA America (page 29) — Program varies, not offered annually.

OPERA/MUSICAL THEATER COMPANIES IN THE UNITED STATES AND CANADA

CALIFORNIALong Beach Civic Light Opera (page 32) — Musical Theatre Workshops (see "Advanced Training")

San Diego Opera (page 33) — Ian D. Campbell, General DirectorAdd: San Diego Opera Ensemble of young singers

2-4/87; 10-week tour of educational, outreach, community programs.

FLORIDAGreater Miami Opera (page 37) — Add: Phillip & Judy George Scholarship AwardsFor singers from the Miami area; Prizes: totaling $6,000

ILLINOISChicago Opera Theater (page 39) — Auditions: Held annually in Chicago

Lyric Opera of Chicago (page 39)Lyric Opera Center for American ArtistsAuditions for 1987 Ensemble: 10/86 in Chicago, New York, Dallas, Los Angeles, San Francisco,

and Bloomington, IN; Finals: 12/86 in ChicagoApplications: Available Summer '86; Contact: Wendee Wolf, Auditions CoordinatorPrizes: Full scholarship to training program plus stipends from $13,500 to $15,000

MICHIGANMichigan Opera Theatre (page 43)Young Artists Apprentice Program — add 6-8 week spring program corresponding to the expanded

1986/87 season of six main stage productions.Deadline: 5/2/86; Auditions: Detroit, New York, Los Angeles.

MISSOURIOpera Theatre of Saint Louis (page 44)Add: The Richard Gaddes Fund for Young Singers

Age limit: 22-32; Auditions: Fall '86 in New York City & St. Louis; write for application.

NEW MEXICOSanta Fe Opera (page 46)Santa Fe Opera Apprentice Program, David Terry, Administrative Director, replaces D. Rice48 E. 63rd Street, New York, NY 10021"Open to young singers who are making the transition from student life to a professional career."Age limit: No official age limit; Deadline 11/5/87 for 1987Auditions: 12/86 New York City & Boston; 1/87 Chicago, Los Angeles, Albuquerque.Requirements: Singers must not have performed more than 5 different roles with other professional

opera company under regular AGMA contract and must not have been engaged more thanonce under Apprentice Artist Status with AGMA contract with another professional company.

NEW YORKNew York Lyric Opera (page 51) — delete telephone no.; replace with (212) 874-1993

NORTH CAROLINACharlotte Opera (page 52) Name changed to Opera CarolinaOpera Carolina Guild's Scholarships - Dorothy Allen Memorial Scholarship for voice students

Age limit: 16-24; Auditions: April; Prizes: $500, $250, $150, $100Opera Carolina (touring company) - Auditions for 1986-87 season: Charlotte 4/11,12

(deadline 4/5); New York City 5/9,10 (deadline 5/1)

OHIOOpera/Columbus (page 54) — Annual Operatic Competition — see "Competitions".

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OKLAHOMATulsa Opera (page 55)Young Artists/Touring ensemble; Cheryl Zrnic, Associate DirectorAuditions: 2/2,3 3/13,17/86; Program: Engagement for six weeks 9-10/86 tourRequirements: 2 arias (incl. one in Eng.); also required to read short script. Send resume & photo.New joint program with Oklahoma City University for singers and coaches (see also "Other Fields").

Selected graduate level students accepted as apprentices with Tulsa Opera Studio; must beenrolled at university for graduate credit, some scholarships available: John Reed, Dean Schoolof Music and Performing Arts, OCU. Singers apply for audition: Cheryl Zrnic, Mng.Dir. TulsaOpera; send resume and photo; prepare minimum of 2 arias (1 English, 1 foreign language).

TEXASLyric Opera of Dallas (insert page 59) formerly Public Opera of Dallas12005 Forestgate Dr., Dallas, TX 75240; (214) 231-6566; Terry Hicklin, Gen.Dir.; John Burrows,

Art.Dir.; Honorarium paid*; season: Summer Festival; productions/performances: 3/21

INSTITUTES FOR ADVANCED TRAINING

UNITED STATES AND CANADA

CALIFORNIALong Beach Civic Light Opera (insert page 64)Musical Theatre WorkshopsProgram: 7-week intensive training program in the fall includes instruction in voice, drama,

coaching, dance, and movement; lectures by professionals in the entertainment world. AlsoSpring and Summer Musical Theatre Workshops for aspiring young performers.

MASSACHUSETTSTanglewood Music Center (insert page 64)Song and Vocal Chamber Music Seminars; 8-week summer program; Richard Ortner, Admin.Dir.Apply: Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115; (617) 266-5241Fellows Program: Advanced study for approx. 15 singers with sufficient training in music and

languages for professional career. Four-hour weekly master classes by Phyllis Curtin andintensive private coaching by professional staff. Fellows give public recitals and may performsmall parts with Boston Symphony Orchestra at Tanglewood. Students also audition for Mo.Ozawa. Tuition-free program and some fellowships for room, board, and travel available.

Phyllis Curtin Seminar Program: Training for 24 singers with potential for professional career,requiring further training. Four-hour weekly master class with Miss Curtin, also privatecoaching by professional staff. Students give in-house recitals and have opportunity for apublic recital; also sing in Tanglewood Chorus (payment $250). Tuition: $1,050 for eightweeks. Scholarships available, but dormitory and board fees ($1,450) are not covered.

MINNESOTAMinnesota Opera Institute (page 64)Deadline: 5/15/86; $100 early deposit required in all categories, not refundable after 5/15.

OREGONTheatre Workshop Training for Actors/Singers (insert page 65)511 Southeast 60th St., Portland, OR 97215; (503) 235-4551; Ghita Hager, Musical Theater

CoordinatorProgram: Theater Workshop Training for actors/singers. 8 Students at Beginner level and 8 at

advanced level; 14 weekly hours of instruction in acting, voice movement, and dance; admissionfor entire year only. Program in collaboration with The Musical Company.

EUROPE

FRANCECentre International de Formation Musicale (insert page 67)Conservatoire National de Region de la Ville de Nice, 24 Boulevard de Cimiez, F-06000 Nice;

Alain Marion, Artistic DirectorProgram: Two 1986 summer sessions: 7/7-22 and 7/24-8/8. Instruction in singing, interpretation,

accompanying; also in various instrument playing. Write for tuition and other information.

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ITALYStudio Lirico (page 68) formerly Firenze Lirica StudioScholarship AwardFull-tuition vocal scholarship of $1400 for a tenor, baritone or bass; 4 weeks program in Stia,

Italy studying stage movement, characterization, Italian diction, language and culture.Auditions: 11/86 at NOA convention in Los AngelesFor details contact Mary Elaine Wallace, Executive Secretary; NOA, Route 2, Box 93, Commerce,

TX 75428;

SWITZERLANDGeneva Master Classes (insert page 68)Geneva Conservatory of Music, Case Postale 440, CH-1211, Geneva 11Deadline: 5/31/86; Registration fee: 750 SF; for auditors 150 SFProgram: Summer Master Classes in Voice by G. Souzay (8/6-31/86) with closing public concert.

OPERA/MUSIC THEATER APPRENTICE PROGRAMS IN FIELDS OTHER THAN SINGING

MASSACHUSETTSTanglewood Music Center (insert page 70)Song and Vocal Chamber Music Seminars; 8-week summer program; Richard Ortner, Admin. Dir.Training for 5 coach/accompanists. For details write: Boston Symphony Orchestra, SymphonyHall, Boston, MA 02115; (617) 266-5241

MINNESOTAMinnesota Opera (page 70)Minnesota Opera Institute — Deadline: 5/15/86Coaches: include with application: $100 deposit (not refundable after 5/15), resume, cassette

tape containing 1 aria or song in which they accompany a singer (a solo piano piece is alsoacceptable), and a brief statement outlining their goals in attending the Institute.

Directors: include with application: $100 deposit (not refundable after 5/15), resume, and abrief statement outlining their goals in attending the Institute.

NEW YORKNew York City Opera (page 71)Correction: Julius Rudel Award: one position for a conductor/coaeh/accompanist/administrator

Tri-Cities Opera (page 71) — DELETE ENTRY

OKLAHOMATulsa Opera (insert page 71)1610 S. Boulder Ave., Tulsa, OK 74119; (918) 582-4035; Edward Purrington, General DirectorNew joint program with Oklahoma City University for singers and coaches.

Selected graduate level students accepted as apprentices with Tulsa Opera studio; must beenrolled at university for graduate credit, some scholarships available: John Reed, Dean,School of Music and Performing Arts, OCU.

Coach/accompanists audition by accompanying auditioning singers; sight-reading of operaticrepertoire tested.

CANADABanff Music Theatre Studio Ensemble (insert page 72)The Banff Centre, Box 1029, Station 23, Banff, Alberta, Canada T0L 0C0; (403) 762-6193Unstructured program for designers, stage managers, accompanists, coaches, stage directors, andmusic directors. Send letter outlining your interest. []

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PERFORMANCE LISTING 1985-86 (cow.)

AH performances are staged with orchestra unless marked "conc.pf." or "w.p." (with piano). An* following a title indicates a new production; a f indicates performances shown with projectedEnglish Captions. Performances and news items once listed will not be relisted at the timeof performance. A single date appearing for a listing of several performances indicates theopening night.

ALABAMABirmingham Civic Opera, D. Grimsley, Art.Dir., Birmingham (see also Vol.26, No.4)

3/8/86 La Boheme Herzberg, Beckman; Estep, Liebl, Lusmann; c: Polivniek; d: KellnerHuntingdon College, J. Shaffer, Dir. Opera Theater, Montgomery

11/21,22,23,24/85 Shaffer/Barmettler's Balls! prem.2/27,28 3/1,2/86 Lampe's Pyramus and Thisbe Am.prem.4/10,11,12,13/86 Gigi

ARIZONAArizona State University, K. Seipp, Dir. Opera Theater, Tempe

10/4-13/85 Pippin 7 pfs.11/15-24/85 The Mikado 6 pfs.2/21-3/1/86 Dido and Aeneas 6 pfs.4/25-5/4/86 Shinn's Wilbur! prem., 6 pfs.

CALIFORNIABeethoven Festival, H. Blomstedt, Mus.Dir., San Francisco (6/8-31/86)

6/13,14/86 Fidelio conc.pfs.; de Vol, Morgan; Goldberg, Reich, Plishka; c: Blomstedt;d: George; San Francisco Symphony

California State University Opera Theater, R.L. Stradley, Dir., Sacramento4/28,29/86 The Goose Girl* & The Impresario *tour, 3 pfs.

Carmel Bach Festival, S. Salgo, Mus.Dir., Carmel (7/14-8/3/86)7/19m,26m 8/2m/86 Le Nozze di Figaro Eng. Porter; Schuman, Swenson, Heyler; Will, Delavan;

c: Salgo; d: TakazauckasCenter Theatre Group of Los Angeles, Los Angeles Music Center

1985-86 Kuramoto/Mori/Mirikitani/Nishikawa's Sansei workshop prem.Concert Opera Assn., W. Lewis, Art.Dir., San Francisco

2/9/86 La Finta giardiniera Eng. Pearlman; Angermiiller/Berke ed.; 11/25/85 at University ofAkron, OH

5/10/86 La Vestale conc.pf.; Neblett; Dominguez, Pederson; c: CathcartEarly Music Ensemble, Los Angeles

6/14/86 An evening of Monteverdi incl. D. Combattimento di Tancredi e Clorinda stgd.pf.;c: Cansino

El Camino College Opera Workshop, B. Ferguson, Dir., Torrance5/2,3,9,10/86 Camelot5/30,31/86 H.M.S. Pinafore

Hollywood Bowl, Los Angeles Philharmonic, A. Previn, Mus.Dir., Los Angeles (7/2-9/13/86)7/25,26/86 "A Night in Vienna" Peters; DuBois7/27/86 Fidelio conc.pf.; Polaski, Hunt; Jenkins, Cox, Noble; c: Groves

Idyllwild School of Music and the Arts, Musical Theatre Workshop, Idyllwild6/29-7/20/86 The Pirates of Penzance d: J. Pressman

Los Angeles Music Theatre Company, North Hollywood5/2,3,7,9,10,14,16,17/86 La Traviata

Marin Civic Light Opera, M. Rios, Mus.Dir., San Rafael2/21-3/15/86 Kismet4/25-5/18/86 A Chorus Line

Marina Del Rey/Westchester Symphony, F. Fetta, Mus.Dir., Wadsworth Theatre, West Los Angeles6/21/86 La Traviata cone.pf.; Mustafa; c: Fetta

Merola Opera Program, San Francisco Opera, A. Cunningham, Exec.Dir., San Francisco7/20m/86 Cosli fan tutte c: Baustian; at Stern Grove8/9m,10m/86 La Boheme at Villa Montalvo, Saratoga8/24/86 Grand Finale Concert

Music Academy of the West, L. Smith, Mus.Dir., M. Singher, Art.Dir., Santa Barbara8/18,19,20,21/86 Manon c: Smith; d: Igesz

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1985-86 Season

Music from Bear Valley Festival, C. Nice, Mus.Dir., Bear Valley (7/26-8/10/86)8/7,9/86 Die Fledermaus J. Rhodus, R. Conlin, Crawford; D. Rhodus, Little, Tuff; c: T. Conlin8/2m/86 Babar, the Little Elephant

New Music America '85, Music Center Opera St. Mark Taper Forum (revised schedule)11/1-14/85 Bley's For Under the Volcano & Glass1 A Madrigal Opera & Dresher's Slow Fire

Oakland Opera, A. Taylor, Dir., Oakland6/21,27,29/86 The Bartered Bride Eng.; Roemer; Peeples, MacAllister; c: Kanouse

Pacific Chamber Opera, C. Lindsay, Gen.Dir., La Jolla4/12,13m,18,20m/86 Die Fledermaus6/20,22111,27,2901/86 The Merry Wives of Windsor

Performing Arts Alliance Festival, M. Frederick, Exec.Dir., Foothills College, Los Altos Hills(6/6-8/17/86)

6/6-7/86 La Cenerentola West Bay Opera prod.6/13-17,19-22,24-28/86 The Pirates of Penzance Saratoga Chamber Opera Theatre prod.6/20,21/86 "Shakespeare's Greatest Hits" Valley Institute of Theatre Arts/The Baroque Choral

Guild prod.8/7-10,14-17/86 Candide Foothills College Summer Stock prod.

Redlands Bowl Summer Music Festival, F. Fetta, Mus.Dir., Redlands (6/24-8/26/86)7/1/86 Musical Scenes, Knight; Sheppard; c: Fetta7/25-27/86 Camelot stgd.; d: Little8/15/86 La Traviata stgd.; Mustafa; c: Fetta; d: Bascetta

San Diego Civic Light Opera, L. Drew, Gen.Mgr., Starlight Bowl, Balboa Park6/19-29/86 The Music Man7/10-20/86 The Student Prince7/31-8/10/86 Mame8/21-31/86 Oklahoma9/11-21/86 Evita

San Diego State University Opera Theater, C. Genzlinger, Dir., San Diego4/24,29/86 The Face on the Barroom Floor & Rita <5c Suor Angelica Eng.

San Francisco Conservatory of Music Opera Theater, S. Webb, Dir., San Francisco (see alsoVol.26, No.4)

3/21,22,23m/86 Argento's Christopher SlySan Francisco School of Dramatic Arts New Music Theatre Festival, Fort Mason Center, SanFrancisco (6/22-7/12/86)

6/22m,23/86 Brigg/Linnard's Least of My Children stgd. work-in-progress reading6/22,24/86 Rabin/Brody's The Girl Who Stole His Heart stgd. work-in-progress reading6/30 7/13/86 Feinblum/Strohm's Neon Frontier stgd. work-in-progress reading7/1,9/86 Schoen/Shearer's Traveling in My Chair stgd. work-in-progress reading7/7,13m/86 Steele/Marcus' Lila-Bye stgd. work-in-progress reading7/8,12m/86 Scott/Glover's Size 12 stgd. work-in-progress reading

San Gabriel Civic Light Opera, San Gabriel5/2-4,9-11/86 Annie

San Jose Civic Light Opera, H. Mollicone, Mus.Dir., San Jose3/7-16/86 Barnum4-5/4/86 The King and I

Theater Artaud, San Francisco10-12/85 George Coates1 RareArea 3-month run; 1/86 3 pfs. at Herbst Theater

Townsend Opera Players, E. Townsend, Gen.Dir., Modesto10/12/85 Scenesll/6m/85 Cosi fan tutte Eng.; also tour to schools 11/1-81/30 2/1,2/86 Amahl and the Night Visitors 4 pfs.4/12,19/86 La Boheme Eng.; 6 pfs.7/20/86 Warner/Townsend/Fraser's Opera Line prem. at Manchini Bowl

University of Redlands, Music Department, J. Wilson, Dir., Redlands4/25,27/86 Bernstein's Mass c: J. Wilson

University of Southern California Opera, N. Limonick, Mus.Dir., Los Angeles (see also Vo.26., No.4)3/19/86 70th Birthday Concert of Ellis Kohs' music; incl. arias from Amerika M. Sells3/21,22,23m,23/86 The Magic Flute Eng. dialogue; c: Duerr; d: Boerlage; ds: Merkley/

HoltValley Opera, R. Chauls, Dir., Van Nuys

5/17,18/86 Chauls' Alice in Wonderland & The Magic Rhyme w.o.; c: Chauls; d: Tarleton

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1985-86 Season

Voices S/F, D. Ahlstrom, Art.Dir., San Francisco4/86 Aesop's Fables5/86 Ahlstrom's The Song of the Golden Fish prem.6/14-7/26/86 Opera Workshops for Children

West Coast Opera, J. Lombardo, Dir., Palm Springs3/15/86 Le Nozze di Figaro Eng.; Prunty, Brundage, Gordon; Remington, Mathews; e: Isaacs

Whittier-La Mirada Civic Light Opera, P. Gorman, Prod., La Mirada3/14-29/86 The Desert Song

COLORADOColorado Opera Festival, D. Jenkins, Gen.Dir., Colorado Springs (revised schedule)

7/11,13/86 Faust Eng.; South; Goodson; J. Evans, Nim; c: Jenkins; d: Bakman; ds: Beck7/18/86 Mozart Requiem8/1,3/86 The Ballad of Baby Doe Burton; Foss; e: Jenkins; d: Malcolm

University of Denver, Lamont Opera Theatre, R. Worstell, Dir., Denver2/28 3/1,2/86 Wolf-Ferrari's I Quattro rusteghi Eng. Dent5/29-31/86 Sweeney Todd

CONNECTICUTEugene O'Neill Theater Center Opera/Music Theater Conference, Works-in-progress, P. Haupt-Nolen, Art.Dir., Waterford

8/14,15,16/86 E. Thomas/Masteroff s Six Wives stgd. reading; d: Soeder8/21,22,23/86 Mettee/Holof/Bradbury's Fahrenheit 451 stgd. reading; d: Harrer8/21m,22m,23m/86 Megan's A Vision stgd. reading; d: Kalfin

Goodspeed Opera House, M. Price, Exec.Dir., East Haddam4/16-6/27/86 Irma La Douce c: Crigler; d: Soeder; ds/c: Joy/Miller/Verheyen7/2-9/26/86 Fanny c: Crigler; d: Gruenewald; ds/c: Joy/Sullivan

New England Lyric Operetta Co., Wm. Edgerton, Art.Dir., Stamford3/22/86 Kalman's Countess Maritza Eng.; Shuttleworth; Crossfield; c: Fardink; d: Traubner;

at Palace TheatreNorfolk Chamber Music Festival, J. Panetti, Dir., Norfolk (6/27-8/9/86)

7/13/86 Concert inch Honegger's Le Roi David narr: R.J. Lurtsema8/2/86 Concert inch L'Histoire du soldat narr: McDonough

Opera Express of the Connecticut Opera, Hartford/tour (see also Vol.26, No.4)1/5/86 Zaimont's Goldilocks and the Three Bears 40 pfs. on tour4/86 The Merry Widow tour (Connecticut Opera prod.)

Yale University Opera Theatre, J. Mauceri, Dir., New Haven3/5,7/86 La Boheme c: Bergeson; d: Capobianco

DISTRICT OF COLUMBIASummer Opera Theater, E. Walter, Dir., Hartke Theater, Washington

7/7,9,11,13,15/86 La Boheme c: Stockton; d: Lehmeyer7/31 8/1,3/86 Katya Kabanova M. Merritt; c: Stockton; d: Lehmeyer

FLORIDAPalm Beach Festival/Vienna Chamber Opera/Vienna Academy of Music and Dramatic Art, Co-Prods., Palm Beach

4/7,8,9/86 Die EntfUhrung aus dem Serail4/11,12/86 Orphee aux enfers

Treasure Coast Opera, C. Barrena, Gen.Dir., Fort Pierce (see also Vol.26, No.4)3/22/86 La Traviata Goetz; Haas, Hernandez; c: Bracali; d: Moresco; ds: Stivanello

GEORGIAAtlanta Opera, W.F. Scott, Art.Dir., Woodruff Arts Center, Atlanta

5/4/86 Tatiana Troyanos in Recital7/24,26,28/86 Lucia di Lammermoor Ringo; di Paolo, Evitts, Eckhoff; c: Scott; d: W. Lloyd8/14,16,18/86 The Abduction from the Seraglio Eng.; Donahue, C. Nail; Evans, Fleck, Culpepper;

c: Scott; d: LesengerAtlanta Opera Studio, W.F. Scott, Mus.Dir., tour to area schools, Atlanta

1985-86 The Impresario Eng. L. Oliver; c: W.F. Scott; d: L. OliverILLINOISIllinois Wesleyan University Opera Theatre, L.J. Snyder, Dir., Bloomington

3/7,9/86 Larsen's Clair de LuneLithuanian Opera Co., E. Rukstelyte-Sundstrom, V.P., Chodl Audit., Cicero (amended sched.)

1/19/86 Benefit Concert6/14,15/86 William Tell in Lithuanian Cepkus, Simonaitis, Stempuzis; Zelinski, Rowader;c: Kaminskas

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1985-86 Season

Lyric Opera of Chicago & Northwestern University & Lyric Opera Center for American Artists6/20/86 Neil's The Guilt of Lillian Sloan prem.; Gibbons; Kasch, Wroblewski; c: Schaenen;

d: Galati; ds: D. WilliamsMillikin University Opera Theatre, S. Fiol, Dir., Decatur

10/4-6/85 The Sound of Music11/15/85 The Impresario Eng. Fiol12/6/85 Scenes2/26-3/2/86 Grease 5 pfs.5/2,3/86 Cosi fan tutte Eng. Holliday

New Opera of Chicago, D. Lapinskas, Art.Dir., Chicago5/31/86 Lapinskas' Dux Magnus U.S. prem.

Northwestern University, Mason/Ragland Opera Theater, R. Alderson, Chmn., Evanston11/12/85 Face on the Barroom Floor & Humel's Proposal & Nelson's Trio Con Brio prem.2/20-23/86 Don Giovanni Eng. Martin5/2,3/86 The Turn of the Screw12/85 3-6/86 Opera Scenes, 3 pfs. on campus, 4 pfs. off campus

The Opera Factory, B.A. Lewis, Art.Dir., Angel Guardian Theatre, Chicago5/17,18/86 Offenbach's Cat Turned into a Woman Eng. Pippin & Rossini's La Cambiale di

matrimonio Eng. Reims; c: Blackwelder; d: Voegtle; ds: Mone/BairdPeoria Civic Opera, W. Vacano, Mus.Dir., Peoria (see also Vol.26, No.4)

4/12/86 The Bartered BrideRavinia Festival, J. Levine, Mus.Dir., Chicago Symphony, Highland Park (6/27-9/14/86)

6/27/86 Elektra conc.pf. Vinzing, Rysanek, Dunn; Estes; c: Levine7/6/86 La Damnation de Faust conc.pf. Troyanos; Rosenshein, Cheek

INDIANAIndiana University Opera Theater, C. Webb, Dean, Bloomington (see also Vol.26, No.4)

7/12,18,19,26/86 Camelot8/2,8,9/86 L'Elisir d'amore Eng. Martin

KANSASKansas State University Opera Theatre, J. Langenkamp, Mus.Dir., Manhattan

10/31/85 Scenes w.p.11/7-16/85 Lippman's The Buck Stops Here 7 pfs.2/27,28 3/1/86 The Pirates of Penzance

KENTUCKYThe Blue Apple Players, P. Lenzi & G.A. Snyder, Co-Dirs., Louisville

2/24/86 Lenzi/Snyder's Passing in the Night prem.LOUISIANAFestival of New Music, Contemporary Arts Center, New Orleans (3/13-23/86)

3/13/86 Concert, incl. Constantinides' Intimations Faust Straley; c: ConstantinidesLouisiana State University Opera Theatre, R. Aslanian, Dir., Baton Rouge (see also Vol.26, No.4)

2/20/86 Taranto's The Cistern prem. & Penri-Evans' Study in Grey prem.; c: S. Lawton; d: R.Ney4/12,13/86 Hansel and Gretel 5/4/86 Scenes

MAINEUniversity of Maine Opera Theater, L. Hallman, Art.Dir., Orono

1/25,26,31 2/1/86 Le Nozze di FigaroMARYLANDTheatre of Nations Festival, Baltimore (6/15-29/86)

6/18-20,21m/86 Peaslee/Clarke's Garden of Earthly Delights Music Theatre Group/Lenox ArtsCenter at Goucher College

6/18-20/86 Dario Fo's Mistero Buffo Itl.; at Peabody Concert Hall; 5/28-6/7 in NY6/27,28,29m/86 Ghashiram Kotwol Theatre Academy of Poona, India at Baltimore School for

the Performing Arts; 5/25,28 in NYUniversity of Maryland Opera Theatre, M. Mangold, Dir., College Park

11/23,24/85 2/27 3/4,6/86 Hansel and Gretel Eng. Wette12/11/85 4/8 5/8,13/86 Scenes2/23,26 3/1,7/86 The Gondoliers w.o.5/14/86 Mangold's Bleah! w.o.; prem.

MASSACHUSETTSAmerican Repertory Theatre, R. Brustein, Art.Dir., Cambridge (see also Vol.26, No.4)

5/9-6/19/86 Damashek/Cavander's Olympian Games5/30-6/17/86 Genet's The Balcony Eng. van Itallie; incid. music by R. Blades; d: Akalaitis6/27-7/13/86 Alcestis adapt. R. Wilson; incid. music by Laurie Anderson; d: R. Wilson

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1985-86 Season

Berkshire Music Festival, Boston Symphony Orchestra, S. Ozawa, Mus.Dir., Tanglewood/Lenox6/27-8/31/86 Festival Concerts8/2/86 Weber's Oberon E. Connell; Lindroos; c: Ozawa, stgd. pf. (2OOth anniversary of

composer's birth)Berkshire Opera Company, R.A. Hearne, Gen.Dir., Lenox

7/26,27,29 8/1,2,6,7/86 La Serva padrona Eng. Hearne & L'Oca del Cairo Eng. HarniekBoston Symphony Orchestra, S. Ozawa, Mus.Dir., Boston (see also Vol.26, No.4)

11/1,2/85 Schumann's Das Paradies und die Peri cone. pfs. Haggander, L. Hunt, Lipovsek;Cole, Gronroos; c: Sinopoli

Boston University Opera Program, J. Haber, Dir., Boston11/6,7 12/7,8/85 Scenes1/25/86 Toch's The Princess and the Pea4/11,13/86 Le Nozze di Figaro5/2,3/86 Merryman's Antigone prem. & Walton's The Bear

Castle Hill Festival, T. Kelly, Art.Dir., Boston Camerata, Ispwich7/4-8/17/86 Festival incl. The Beggar's Opera; L'Histoire du soldat stgd.pfs.

Great Woods Performing Arts Center, Pittsburgh Symphony, M. Tilson Thomas, Mus.Dir., Mansfield(6/13-8/24/86)

8/16/86 Tosca conc.pf.; Scotto; Raffanti, Diaz, Tajo; c: Tilson Thomas; Pittsburgh SymphonyLenox Arts Center/Music Theatre Group, Stockbridge season (see also Vol.26., No.4)

7/9-26/86 Cooper/Bogart/Litwalk's Between Wind8/6-24/86 Shostakovich/Silverman's Black Sea Follies

Merrimack Lyric Opera, J. Bates, Art.Dir., Lowell11/85 Verdi Requiem5/23,25m/86 La Boheme Sasson; Cortez, Fleck; c: Laino; d: Brumet

Williams College, Williamstown4/26,27,29,30 5/2,3/86 The Abduction from the Seraglio Croll ed.

Williamstown Theatre Festival, WilliamstownSummer '86 Peaslee/Cavander's Hawthorne County

MICHIGANOpera Company of Mid-Michigan, R. Peterson, Art.Dir., East Lansing

4/26/86 Die Fledermaus at Michigan State Univ., Ann ArborPiccolo Opera Company, M. Gordon, Dir., Detroit

4/12/86 Die Fledermaus c: N. Gordon; at Civic Music Series, Erie, PASummer '86 de Pue's The Three Little Pigs at Meadow Brook Festival, Rochester

University of Michigan, Opera Workshop/Theatre Dept., Ann Arbor4/17-20/86 Raposo/Harnick's A Wonderful Life prem.

MINNESOTAMinnesota Orchestra Sommerfest, L. Slatkin, Art.Dir., Minneapolis (7/16-31/86)

7/22,25m/86 Vienna and Broadway Concert, Hohenfeld, Hardy; Groenendaal, Sykes; c: Susskind8/9/86 Fidelio conc.pf.; Hinds, Martin; Jenkins, Brunner, Perry; c: Slatkin

University of Minnesota Opera Theater, V. Sutton, Dir., Minneapolis2/21,22,28 3/1/86 The Medium &. Trial by Jury5/9,10,16,17/86 Argento's Sicilian Limes & V. Fullam's The Mermaid prem.

MISSOURISt. Louis Symphony Orchestra, L. Slatkin, Mus.Dir., St. Louis

1/16,18/86 Tosca cone.pfs.; S. Dunn; MorrisUniversity of Missouri Opera Workshop, H. Morrison, Dir., Columbia

10/27 11/2/85 Sheffield's Cleavage 7/4,5,10,14,17,22,25 8/1,2/86 Chicago2/25,27/86 Gianni Schicchi

University of Missouri, Music & Theater Depts., D. Jorgenson, Kansas City11/85 La Perichole d: Graham

MONTANAInter mountain Opera, J. Hubbard, Pres., Bozeman

5/8,11/86 Lucia di LammermoorNEW HAMPSHIREMonadnock Music Festival, A. Alexander, Bus.Mng., J. Bolle, Art.Dir., Peterborough/Jaffrey(7/12-8/31/86)

8/16/86 The Magic Flute conc.pf.Theater by the Sea, T. Celli, Dir., Portsmouth

12/85-1/4/86 Godspell2/13-3/15/86 A Day in Hollywood/A Night in the Ukraine

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1985-86 Season

NEW JERSEYMusica da Camera, M. Braun, Dir., Fort Lee

5/18m/86 Handel's Cecilia, Volgi un sguardo Am.prem.Westfield Symphony Orchestra, B. Keimach, Mus.Dir., Westfield

3/29/86 Fidelio Hinshaw; McCoy, Barzel, Hedlund; c: B. Keimaeh; Wesleyan College Chorale;at Carnegie Hall

NEW MEXICOUniversity of New Mexico Opera Workshop, M. Tyler, Dir., Albuquerque

2/28/86 Le Nozze di FigaroNEW YORKChautauqua Opera, C. Auerbach, Art.Dir., Chautauqua

7/11,14/86 II Trovatore Fernandez, Nadler; Hamrick, Dietsch; c: Kellogg; d: Kneuss; ds: Ostroff7/18,21/86 La Fille du regiment Parrish; Kunde, Malas; c: DeMain; d: D. Danner7/25,28 8/8,11/86 The Mikado Connors, Koyl; D.R. Smith, Fitch, Stevens; d: H. Danner8/15,18/86 The Rake's Progress S. Friede, S. Smith; Eisler; c: DeMain; d: Auerbach

Glimmerglass Opera Theater, P. Kellogg, Gen.Dir., Cooperstown (revised schedule)7/2-12/86 La Cenerentola* Eng.; Lerner; Haddock, Griffin, Stephens; c: Schneider; d: Holliday;

ds: Beck; 6 pfs.7/23-8/2/86 Gianni Schicchi* Eng. & Mighty Casey* Conte; Bortnick, Eddleman & Cortner,

B. Harris; Steele; c: Schneider; d: Eddleman; 6 pfs.8/13-23/86 The Pearl Fishers* Eng.; South; Pendergraph, Halfvarson; c: Schneider; d: Gately;

ds: Beck; 6 pfs.Lake George Opera Festival, B. Lingham, Gen.Dir., Glens Falls

7/18,25,29,31 8/4,6,9/86 Die Fledermaus Eng. Dietz & Kanin; Lamy, K. Beardsley; Trentham,Puzzo, Massey; c: France; d: Cullinan; ds: Klein

7/20,27 8/3,10/86 Opera-on-the-Lake Cruises7/26,28,30 8/1,5,7/86 Tosca Eng. Tracey; Hadani; Evanko, Karel; c: Salemno; d: Mattaliano;

ds: Brumley8/2/86 Anniversary Gala8/8,11,12,13,14,15,18/86 Carousel c: Everly; d/c: Holby8/17,19/86 Rita <5c L'Heure espagnole & Gallantry (American Lyric Theatre - Apprentice Artists

Program, R. Elias, Dir.)PepsiCo Summerfare, C. Hunt, Art.Dir., Purchase (7/11-8/3/86)

7/12-26/86 A Midsummer Night's Dream Guthrie Theatre prod. w. incidental music byP. Glass; d: Ciulei; ds: Montresor

7/16,18,20m,23,25,27m/86 Co l fan tutte* Felty, Kuzman, Larson; Kelley; Maddalena, Sylvan;c: C. Smith; d: Sellars; ds: Lobel/Ramicova/Ingalls; Boston Early Music Festival Orchestra

7/25,26,27m/86 Attraciones Fenix The Companias Divas; d: Rodriguez; ds: Trejo/FigueroaSociety for New Music, R. Kess, Mus.Dir., Syracuse

2/23/86 Taverner's A Gentle SpiritState University of New York Opera Workshop, D. Ostwald, Dir., Purchase

4/30 5/2,4/86 Hoist's Savitri & Gianni Schicchi Eng. GrossmanNEW YORK CITYA MAS Repertory Theatre, R. LeNoir, Art.Dir. (see also Vol.26, No.4)

2/14/86 Carleton Carpenter's Northern Boulevard prem.3/1/86 Bubbling Brown Sugar benefit pf.; Claridge Hotel, Atlantic City, NJ

American Place & New Federal Theaters, W. Handman & W. King, Jr., Co-prods.2/9-3/1/86 Smith's Williams and Walker prem.; at New Federal; 3/9 at American Place

American Symphony Orchestra, J. Mauceri, Mus.Dir., Carnegie Hall4/27m/86 del Trediei's Child Alice prem. of complete vers.; Dahl, Upshaw, Redmon

The Apple Hill Chamber Players, Symphony Space4/18/86 J. Deak's Lady Chatterley's Dream & Owl in Love

Bronx Arts Ensemble, W. Scribner, Art.Dir., Merkin Hall5/11/86 Salute to the Bronx and American Composers incl. Currie/Kornfield's A Dream Within

a Dream Hart; Spinetti, Bell; c: Gould/BoothBrooklyn College Fifth Annual Chamber Opera Competition, Gershwin Theater

4/10-13/86 Gerberg/McGuire's The Yellow Wallpaper & Bergsma's The Murder of ComradeSharik prems.; e/d: Boswell; 10 pfs.

Carnegie Hall Productions, Carnegie Recital Hall4/2,4,5m,5,6m/86 No, No Nanette orig. 1925 orchestration and book; Luker, Kaye, Connell;

Dvorsky, Groenendaal; c: McGlinn

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1985-86 Season

Cathedral of St. John the Divine, West 112th Street3/28/86 The Passion According to St. John stgd.; Bogdan, Kramer

Chelsea Theater Center, R. Kalfin, Art.Dir.4/21 6/9*/86 Isen/Beard's Spring Awakening *rev.reading5/19 6/30*786 Marvin/Jakes' The Haunted Place *rev.reading

Children's Free Opera, St. Luke's Chamber Ensemble2/86 Offenbach's Pomme d'api Eng.

Circle in the Square Downtown, Bleecker St.4/20/86 Pen/Harmon's Goblin Market (Vineyard Theater prod.) open run

Composers' Showcase, C. Schwartz, Art.Dir., Tully Hall3/23/86 Homage to Stravinsky: L'Histoire du soldat (text & dir. Corsaro) & Renard & Les Noces

Gregg Smith Singers; narr.: T. Randall; c: Craft5/11/86 Concert incl. excerpts from A. Davis' X6/16/86 Telson's The Warrior Ant conc.pf. of work-in-progress

Da Capo Chamber Players, Carnegie Recital Hall4/11/86 Pierrot lunaire Eng. Porter; Bonazzi

Diana Productions, M. Torre, Mus.Dir., Little Theater of the West Side YMCA4/17-5/3/86 Martini/Comparato's Wine In My Blood prem.

Gilbert and Sullivan Light Opera Co. of Long Island, Far Rockaway, Queens4/20/86 H.M.S. Pinafore in Yiddish; at Gustave Hartman Auditorium

Juilliard American Opera Center, D. Lloyd, Dir., Lincoln Center (see also Vol.26, No.4)4/16,18,20m/86 Don Giovanni c: Seibel; d: Yannopoulos; ds: Scheffler/Anderson

LaMaMa ETC, E. Stewart, Exec.Prod., East 4th Street4/3-20/86 Monk's Acts From Under and Above prem.4/22-27/86 Monk's Turtle Dreams: Cabaret5/15-25/86 Nora's Once Upon a Dream Come True

Manhattan Opera Theater, A. Charlet, Art.Dir., CAMI Hall5/16,17/86 Saint-Saen's La Princesse jaune 5/29m at Singer's Forum

Manhattan School of Music, J. Crosby, Pres. (see also Vol.26, No. 4)3/19,21,23m/86 Henze's The English Cat c: Gilbert; d: Galterio; ds: M.W. Klein/Rubin4/13-16/86 Birgit Nilsson Master Classes; 4/16 open to public4/27m/86 Opera Scenes w.p., d: Kazan

Manhattan School of Music Preparatory Division, C. Auerbach, Art.Dir.4/20/86 P.M. Davies' The Rainbow & Menotti's Chip and His Dog c: Krieger; d: King

Mannes College Opera Department, P. Wolfe, Dean5/17,19/86 Balk's Magic Abduction and Cosi Marriage of Tutte Giovanni

Metropolitan Opera on Tour, B. Crawford, Gen.Mgr., Boston, Cleveland, Atlanta, Minneapolis5/5,12,19,26/86 Tosca Bumbry; Bartolini, MacNeil; c: Badea5/6,13,20,27/86 Cavalleria rusticana & Pagliacci Lorange; Popov/DiGiuseppe & Pilou/Nicolesco;

McCracken; c: Navarro5/7,14,21,28/86 L'Italians in Algeri Dubinbaum, Norden; Ahlstedt, Montarsolo; c: Vendice5/8,15,22,29/86 Aida Mitchell; Sebastian, Zancanaro; c: Santi5/9,16,23,30/86 Carmen I.Jones/Bumbry, Pilou; Popov/Lewis, Edwards; c: Navarro5/10m,17,24,31/86 La Traviata Daniels; O'Neill, Zancanaro; c: Santi5/10,17m,24m,31m/86 Romeo et Juliette G. Robinson; Gulyas, Schexnayder, Plishka; c: Mauceri

Metropolitan Opera in New York City Parks, B. Crawford, Gen.Mgr., New York6/17,20,25,28/86 Aida Millo/Amara, Bumbry/Richards; McCracken/Veronelli, Quilico, Plishka,

Vernon; c: Santi; cone. pfs. in Central Park, Brooklyn, Bronx, Nassau County6/18,21,23,27/86 Romeo et Juliette Robinson/Baudoin, Harris; Fowler, Glassman, Schexnayder,

Plishka, Malas; c: Mauceri; cone. pfs. in Staten Island, Queens, Central Park, Co-op CityMostly Mozart, G. Schwarz, Mus.Dir., Fisher Hall (7/7-8/23/86)

8/14,16/86 La Finta giardiniera cone.pfs.; Chalker, Erickson, Parrish, D. Jones; Blake,M. Myers, Hampson; c: Schwarz

National Music Theater Network Samplers, T. Jerome, Exec.Dir., Donnell Library/New Dramatists(see also Vol.26, No.4)

3/10,11/86 Baksa's Aria da Capo <5c Troob's All Bets Off prem. & Margoshes' A MidsummerNight's Dream

5/16,17,18m,18/86 "Opening Night" Sampler Program; Andreas, Kaye; Ferrer; narr.: M.Charnin; at Fairbanks Theatre

5/19/86 Gala Benefit at NewHouse Theater

- 7 1 -

1985-86 Season

New Amsterdam Theatre Company, B. Tynes, Art.Dir., Town Hall10/20m/85 George White's Scandals of 1926 stgd.; benefit3/2m,3/86 Porter/Hart's Jubilee semi-stgd.5/17,18m,19/86 I Married an Angel semi-stgd.

New York City Opera, B. Sills, Gen.Dir., Lincoln Center (see '86-87 Season for 9/9-11/16/86)7/1,2,3,4,5m,5,6m,6/86 Candide7/8,9,10,11,12m,12,13m,13/86 Kismet7/16,22,31 8/22/86 Les Pgeheurs de perlest7/17,26m 8/2/86 Le Nozze di Figarot7/18,26 8/9m, 13,21/86 Die Fledermaus Eng.7/19m,30 8/8,14,23/86 Carment7/19,25 8/5/86 La Bohemet7/23,29 8/7,16m/86 Werther*t W.White, Peterson/S. Woods; Hadley/Garrison, Stone, Parker;

c: Comissiona; d: Mansouri; ds: Bosquet8/1,6,12,16/86 Don Quichotte*t Vergara/Marsee; Ramey/Dworehak, J. McKee/Opalach;

c: Bernardi; d: Copley; ds: Don/Benson8/2m,9,20/86 Madama Butterflyt8/15,23m/86 Cendrillont8/26-9/7/86 Romberg's The New Moon* Munro, Costa-Greenspon, Shaulis; R. White, Cousins,

McKee, Baerg; c: Coleman; d: Johanson; ds: Anania/Marley; 16 pfs.New York Grand Opera, V. LaSelva, Mus.Dir., Central Park (all stgd. pfs.)

7/10/86 La Juive K. Luna, Aronoff; Perretti, Gleason; c: LaSelva; d: Gentilesca7/17/86 La Traviata Zeldin; Naldi, Holley; c: LaSelva; d: R. Stivanello7/24/86 Oberto, Conte di San Bonifacio Minicozzi, Gruenwald; Corteggiano, Zuccarelli; d: Lucas7/31/86 Lucia di Lammermoor Kristhea; Olson, Roisum, Ulloa; d: Lucas

New York Philharmonic Horizons '86: Music as Theater Festival, J. Drucktnan, Art.Dir., FisherHall (5/21-6/4/86)

5/21/86 Ligeti's Le Grand Macabre excpts. & Aventures/Nouvelle Aventures stgd.; Hargan,O. Fredericks; Haage, Weller & K. Beardsley, Castle; Brandstetter; c: Pesk6;d: Strasfogel

6/3/86 Concert incl. Dresner's Slow Fire Act I; Paul Dresher EnsembleNew York Shakespeare Festival, J. Papp, Art.Dir., Delacorte Theater, Central Park (6/20-9/8/86)(see also Vol.26, No.4)

6/20-7/20/86 Twelfth Night w. incidental music and songs by R. Holmes; d: Leach8/6-10/86 Cabrera's La Verdadera Historia de Pedro Navaja (based on Threepenny Opera)

C. Avellanet & Teatro del Siente of Puerto Rico; d: CabreraNew York University, Reimann Opera Studio, W. Williams, Mus.Dir. (see also Vol.26, No.4)

6/27,28/86 Amram's Twelfth Night c: Amram8/7,8,9/86 High Button Shoes by NYU Summer Musical Theater

Opera Uptown, R. Rubinson, Dir., Barnard College2/20,21,22m,22/86 Cage & Valinsky/Schubert's The Bus to Stockport and Other Stories prem.

Performing Garage, 33 Wooster St.3/21,22,23/86 Christian Marclay's Dead Stories a performance-art piece, prem.; d: Marclay5/23-6/28/86 Foreman's The Cure

Philharmonica Hungarica, Avery Fisher Hall4/25/86 Zajc's Nikola Subid Zrinski conc.pf.; Hofstetter, Carrington; Geilsdorfer, Schneider;

e: Cerovac; Munich Chamber Chorus; also pfs. in Cleveland, Toronto & VancouverPlaywrights Horizon, A. Bishop, Art.Dir., 416 West 42 Street

1/1-26/86 Feldman/Wasserstein/Sussman's MiamiPRISM, R. Black, Mus.Dir., Symphony Space

2/11/86 Rudin's Three Sisters reading of scenes & arias, W. HillRiverside Opera, Rutgers Church

5/30,31 6/lm/86 WertherSequentia/Cologne, Medieval Sculpture Court, Metropolitan Museum

3/23,24/86 Hildegard von Bingen's 12th century Ordo Virtutum ThorntonSoho Repertory Theater, J. Engelbach & M. Swartz, Art.Dirs., Greenwich House

5/30-6/22/86 Bowles/Fielding's The Grub Street Opera prem.; 16 pfs.Speculum Musicae, Merkin Concert Hall

2/24/86 Henze's n Cimarrdn J. SpragueTerra Australis Incognita, M. Copland, Prod., Symphony Space

3/11/86 Concert incl. Conyngham's Bony Anderson & Butterley's The Owl Am.prems.; O'Keefe &Chilcott; c: Simon

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1985-86 Season

West End Opera Theatre Inc., W. 76 St., Trinity School, W. 91 St.5/2,3,4111/86 The Impresario Eng.; adapt. J. Kolody & Gallantry

Westside Opera Workshop, Greek Orthodox Church4/3,5/86 Cos fan tutte

York Theater at Murphy Center (see also Vol.26, No.4)2/21-3/1/86 St. German/Katsaros' Moby Dick prem.

NORTH CAROLINABrevard Music Center, H. Janiec, Art.Dir., Brevard (6/25-8/10/86)

6/28/86 Dido and Aeneas & Down in the Valley c: Saunders; d: Ferguson6/29m/86 Gianna Rolandi in Concert, c: Janiec7/4/86 H.M.S. Pinafore c: Hughes7/11/86 Lucia di Lammermoor c: Janiec; d: Patacchi7/18/86 Selections from Rogers & Hammerstein, c: Janiec7/20m/86 Samuel Ramey in Concert, c: Janiec7/25/86 The Music Man c: Janiec; d: Magoulas8/1/86 Aida c: Janiec; d: Patacchi8/2/86 Selections from Lerner <5c Lowe, c: Janiec8/3m/86 Renata Scotto in Concert, c: Janiec8/9/86 The Fantasticks c: Reilly; d: Magoulas

East Carolina University, Opera Theater, C. Hiss, Dir. Greenville11/1/85 Scenes2/20,21,22 4/17/86 Hagemann's The Music Cure & Trial by Jury & Gallantry 5 pfs. w.o.;

c: HagemannNorth Carolina School of the Arts Opera Workshop, N. Johnson, Dir., Winston-Salem

1/30 2/1,2/86 The Unicorn in the Garden & Hollingsworth's The Mother5/16,17/86 Scenes

University of North Carolina Opera Workshop, A.J. Knutsen, Dir., Greensboro10/2-6/85 South Pacific 5 pfs. w.o.10/31/85 Harper's Fanny Robin also 10/18/85 at NOA Convention11/19/85 2/17/86 Scenes4/11-13/86 A Midsummer Night's Dream 3 pfs.6/12-7/5/86 Tintypes 9 pfs.6/14-7/19/86 The Sound of Music 11 pfs.

OHIOBlossom Music Center Festival, Cleveland Orchestra, K. Haas, Gen.Mgr., Cuyahoga Falls (6/27-8/31/86)

8/31/86 The Merry Widow Silja; c: von DohnanyiCleveland Orchestra, C. von Dohnanyi, Mus.Dir., Cleveland (see also Vol.26, No.4)

4/24,25,26/86 Berlioz's Romeo et Juliette cone.pfs.; Ka. Ciesinski; Garrison, CheekKent State University Opera Theater, Kent

4/10,13/86 Britten's Curlew RiverOhio Light Opera Company, B. Havholm, Mgr., College of Wooster

6/10,13,19,21,24 7/15,16,23m,31 8/3m,10/86 Die Fledermaus6/ll,14,20,22m,28m 7/10,29 8/7/86 Patience6/12,14m,18,29m 7/19,24 8/1,5/86 The Pirates of Penzance6/17,21,25,27 7/2,12m,17,26m,27,30m 8/10/86 The Desert Song6/26,28 7/1,5m,9,13m 8/3,6m,8/86 Kalmdn's The Gypsy Princess7/3,6m,8,11,19m,26 8/6/86 The Yeomen of the Guard7/12,15,18,20m,23 8/2m 9/86 La belle Helene7/22,25,27m,30 8/2,9m/86 Trial by Jury & The Sorcerer

University of Cincinnati College-Conservatory of Music, Opera Theater, G. Samuels, Mus.Dir.,Cincinnati

11/85 Tchaikovsky's Iolantha 4 pfs.2/86 Handel's Alcina 4 pfs.5/15-18/86 The Love for Three Oranges Eng. Stoppard; c: Samuel; d: Fraser

PENNSYLVANIAErie Opera Theatre, B. M. Wright, Mus.Dir., Erie

4/25,27/86 La Boheme P. King; Sirianni; e: WrightRHODE ISLANDOpera Rhode Island, M. Robbins, Gen.Mgr., Providence

10/4,5/85 The Old Maid and the Thief & Dido and Aeneas2/7,8/86 Verdi and Puccini Scenes, Eng. Robbins

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1985-86 Season

SOUTH CAROLINACharleston Symphony Orchestra, D. Stahl, Mus.Dir., Charleston

4/19/86 La Traviata stgd.; Rolandi; W. MacNeil, Titus; c: Conlin; d: Bowes; ds: Gano/Lehmeyer

Spoleto Festival, G.C. Menotti, Art.Dir., N. Redden, Gen.Mgr., Charleston (5/22-6/8/86)5/23,27 6/2,7/86 The Saint of Bleecker Street* Dobish, Silvestri, Brown, Richards; Farina,

Biggers, Robbins; c: Badea; d: Menotti; ds: Brown5/24m,26,30m 6/lm,4,6,8m/86 de Banfield's Lord Byron's Love Letter & Renard* della Rosa,

Myerson; F. Menotti, Eagleson; Mississippi Opera prod. <5c Barrell, Broitman, Gillis,Kirchgraber; c: Choset <5c Stringer; d: de Banfield & Gordon; ds: Sormani/Horton <5cMontresor

6/l,5m/86 Concert incl. The Tender Land excpts. c: Flummerfeldt; Westminster ChoirTENNESSEECarson-Newman Lyric Theatre, C. Measels, Prof., Jefferson City

10/17-19/85 My Fair Lady w.o.4/20/86 Mendelssohn's The Conversion of Saint Paul stgd. w.o.5/29,30/86 Brigadoon

East Tennessee State University Opera Theatre, R. LaPella, Dir., Johnson City11/27/85 4/2/86 Scenes3/14,15/86 Miranda and the Dark Young Man

Playhouse on the Square, J. Nichols, Exec.Dir., Memphis9-10/19/85 Evita12/13/85-1/18/86 Gypsy4/25-5/31/86 Purlie

University of Tennessee Opera Theater, Knoxville3/7,8/86 The Magic Flute Eng. Porter

TEXASDallas Opera Education Dept. & Dallas Opera Guild, w. Puppet Opera Theater, Dallas

1-3/86 Arlan's The Ballad, of the Bremen Band abt. 75 pfs. to schoolsHardin-Simmons University Opera Theatre, J. Middleton, Dir., Abilene

2/18-22/86 Annie Get Your Gun 5 pfs.Houston Grand Opera Spring Opera Festival, D. Gockley, Gen.Dir., Miller Outdoor Theater

5/28,29,30,31 6/4,5,6,7/86 Glass/Moran's The Juniper Tree Grissom, Gale, Zambalis; Davis, J.Smith; c: DeMain; d: Serban/Otte; ds: Yeargan (American Repertory Theater prem. prod.)

Lyric Opera of Dallas (form. Public Opera of Dallas), T. Hicklin, Gen.Dir., Dallas6/20-29/86 The Magic Flute Eng.; Paschal, Barrow; Ca. Freeman, Coker; c: Salemno; d: Muni;

ds: Conklin; 6 pfs.7/11-20/86 Madame Butterfly Eng.; Jonason, Knight; Serbo, Perry; c: Burrows; d: Luchinger;

6 pfs.7/25-8/3/86 H.M.S. Pinafore 6 pfs.

Metro Opera Works & Tarrant County Junior College, M.K. Little, Dir., Ft. Worth11/85 Le Nozze di Figaro Act II; Eng. Martin3/12,14,15/86 Susannah at Carillon Theater w.o.4/3 5/10/86 Scenes

Rice University, Shepherd School of Music, A. Addison, Dir., Houston11/2,19/85 3/1,22/86 Scenes11/16/85 The Man on the Bearskin Rug at NATS Convention, San Marcos2/25,26/86 The Crucible

San Antonio Festival, J. Cunningham, Mng.Dir., revised schedule (6/7-22/86)6/7/86 Opening Gala Opera Concert, Arroyo; McFarland, Hines; c: Franci6/16,19/86 Recitals Hines and Arroyo6/21m/86 Zarzuela Music Concert, Aznir; Lagunes6/21/86 Bernstein's Mass Nolen; c: Nance; d: Karp6/22/86 Handel's Saul stgd.; Esswood, Evitts; c/d: McGegan

Texas A & I University, Opera Workshop, R. Scott, Dir., Kingsville10/16/85 Pirates of Penzance w.p. 4 pfs.4/9/86 Company 3 pfs.7/9/86 Once Upon a Mattress 3 pfs.

University of Houston Opera Workshop, B. Ross, Dir., Houston4/18,20/86 The Mother of Us All4/29/86 Mahagonny Songspiel

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1985-86 Season

UTAHBrigham Young University Opera Theater, C. Robison, Dir., Provo

11/1,2,6,8,9/85 The Tales of Hoffmann w.o.; c: Robison2/19-22/86 d'Albert's Die Abreise Eng. Robison & Hin und zuriick Eng. Farquhar & The Stoned

Guest & Trouble in Tahiti w.p.3/26-29/86 Pasatieri's Calvary w.o.6/4-7/86 The Merry Widow Eng. Curtis; w.o.

VIRGINIASouthwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke (see also Vol.26, No.4)

5/7,9,10/86 Naughty Marietta C. Nail; Fulsebakke; c: GrangerWolf Trap Opera Company, P. Russell, Adm.Dir., R. Woitach & F. Rizzo, Art.Dirs., FileneCenter/The Barns, Vienna

7/10,12,17,19/86 The Marriage of Figaro* Eng. Porter; Faulkner, Dahl, Redmon; Bernard,Barth; c: J. Rescigno; d: Mattaliano; ds: J. Schneider; at the Barns

7/24,26,31 8/1/86 Postcard from Morocco* c: Woitach; d: L. Brovsky; ds: Schneider; at the Barns8/3m/86 Showcase Concert w. members of the Company, w.o. at Filene Center8/14,16/86 The Tales of Hoffmannt Dahl, Faulkner, Redmon; Livengood, A. Glassman, Garcia,

Hawkins; c: Woitach; d: Ehrman; ds: Sehneider-Siemssen (Greater Miami prod.) at Filene CenterWolf Trap Opera Company's Children's Series, Theatre-in-the-Woods, Vienna

7/5,12,19/86 Little Red Riding Hood7/26 8/2,9/86 Cox and Box

Wolf Trap Summer Festival, C. Harford, Pres., Filene Center, Vienna (5/28-8/31/86)6/10,12/86 Carmen New York City Opera prod.6/11,13/86 La Boheme New York City Opera prod.6/14,15/86 Die Fledermaus New York City Opera prod.7/l,2,3,4,5m,5,6m/86 Singin' In The Rain Broadway prod.8/14,16/86 see Wolf Trap Opera Company above8/23-31/86 Camelot 10 pfs.

WASHINGTONUniversity of Washington Opera Theater, R. Feist, Dir. Opera & Symphony, Seattle

11/14,15,16,17/85 The Magic Flute Eng. Martin; c: Feist; d: Liotta2/27,28 3/1,2/86 II Combattimento di Tancredi e Clorinda <5c La Paloma e la verbena

c: K. Thomas/J. Hendrix; d: Deacon/Chacon5/21,23,24,25/86 L'ltaliana in Algeri Eng. Martin; c: Feist; d: Farrar

WISCONSINLawrence University Opera Theatre, J. Koopman, Dir., Appleton

4/24-26/86 La Canterina Eng. Zytowski & La Serva padrona Eng. BenzCANADABanff Centre Music Theatre Studio Ensemble, M. Bawtree, Art.Dir. (see also Vol.26, No.4)

8-9/85 Schafer's The Princess of the Stars mus.dir.: R. Rosen10/85 McNeff's The Government Inspector pfs. in Banff & Alberta tour2/86 "Mahagonny Songs" Concert, Jones3-4/86 Mini Festival: Cocteau's play/Poulenc's opera La Voix humaine Krueker; Parsons/

Anderson's Garden Variations; Kohn/White's Rite of Passage; Grant/Devin's Dreamer;Grant/Causely's Kings' Children; Causely's A Field of Vision

Banff Festival of the Arts, Alberta (7/7-8/16/86)8/9,12,14,16/86 Eugene Onegin c: Vendice; d: Graham; ds: Jampolis8/13,14/86 Gianni Schicchi & The Bear & The Scarf <5c The Dinner Engagement

L'Opera de Montreal, J. Langevin, Gen.Mgr., Montreal (see also Vol.26, No.4)4/24,26 5/1/86 n Barbiere di Siviglia Marsee; Gimenez, Baerg, Charbonneau, Corbeil; c: Hetu;

d: Gascon; ds: PreVost; L'Orchestre des Jeunes de QuebecToronto Symphony Orchestra, A. Davies, Mus.Dir., Toronto (see also Vol.26, No.4)

8/5,6/86 L'Histoire du soldat d/chrgr: B. Macdonald (9/86 at Edinburgh Festival Scotland)University of British Columbia Opera Theatre, F. Tickner, Dir., Vancouver

3/17,18,20,21,22/86 Postcard from Morocco c: E. Wilson; d: TicknerVancouver Expo '86 - World Festival, A. Ferris-Darling, Art.Dir., Vancouver, BC (5-10/86)

5/2/86 Gala Opening Concert, 16 internatl. solo artists, Vancouver Symphony, c: Bernardi5/3,6,8,10/86 Carmen Vancouver Opera prod, (see also Vol. 26, No.4)6/1-8/86 The Telephone Trifunovich; Oliver; d: Alarie; Canada Opera Piccola prod, at Canada

Pavilion, 14 pfs.6/6,7,8/86 Antologia de la Zarzuela Domingo continued

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1985-86 Season

Vancouver Expo, continued6/18-24/86 Davies1 The Lighthouse Guelph Spring Festival prod., 5 pfs. at Canada Pavilion6/20-7/5/86 Ruddell/Pollock's God's Not Finished with Us Yet7/15-22/86 Pop Opera Selections, Canada Opera Piccola prod, at B.C. Pavilion7/15-26/86 42nd Street7/22-29/86 Schirle's Whiteman Meets Bigfoot8/12/86 Marni Nixon Sings Gershwin8/24-9/4/86 Guest Engagement Teatro alia Scala, Milan; I Lombardit Connell/Hayashi;

Burchuladze, Luchetti; c: Gavazzeni; d: Diaz; ds: Agostin ucci/Viotti; 6 pfs.; Verdi Requiem2 pfs.

9/3,5,6,8/86 Le Nozze di Figaro Canada Opera Piccola prod, at Queen Elizabeth Playhouse;also 8/21,23,24 in Victoria, B.C.

9/22-27/86 Anne of Green Gables (Charlottetown Festival prod.)Victoria International Festival, Victoria, B.C.

7/10-8/24/86 Festival incl. Le Nozze di Figaro Eng.

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FIRST PERFORMANCE U5TING, 1986-67 SEASON

All performances are staged with orchestra unless marked "conc.pf." or "w.p." (with piano). An* following a title indicates a new production; a t indicates performances shown with projectedEnglish Captions. Performances and news items once listed will not be relisted at the timeof performance. A single date appearing for a listing of several performances indicates theopening night.

ALABAMAMobile PacOpera, H. France, Mus.Dir., Mobile

10/9,11/86 La Bohemet3/19,21/87 Die Zauberflfite Eng. Porter1/87 Ba-ta-clan Eng. Strasfogel; w.p.; tour

ALASKAAnchorage Opera, J. Wright, Gen.Dir., Anchorage

9/19-27/86 La Traviata 4 pfs.3/27-4/4/87 The Barber of Seville 4 pfs.

Perseverance Theatre, M. Smith, Art.Dir., Douglas2/87 Adams/Lopez's Giving Birth to Thunder, Sleeping with His Daughter, Coyote Builds

North America prem.; d: Smith, ds: Ray; chrg.: Dworkin-Kerr; also tour through AlaskaARKANSASArkansas Opera Theatre, A. Chotard, Gen. & Art.Dir., Arkansas Arts Center, Little Rock

9/19,21m/86 Rigoletto Eng. Fenton; Donahue; Spencer-Atkins, Lightfoot; d: Chotard; set inLatin America in 30's

ll/7,9m/86 Sondheim's A Little Night Music2/27 3/lm/87 The Barber of Seville C. Rose; Parsons; c: Hess5/16m,23m/87 The Pirates of Penzance Castle House out-door pfs.

ARIZONAArizona Opera, G. Ross, Gen.Dir., Tucson/Phoenix*

10/23,25,30* 11/1V86 Pique Damet Eng.; V. Thomas, Thebom; Sooter; d: Lucasl/8,10,15*,17*/87 La Bohemet Luna, Welty; Ichihara, Perry, Drake; c: Holt2/5,8,12*,15m*/87 Manon Lescautt Lorange; Ashbaker; e: Colacioppo3/5,7,12*.14*/87 The Barber of Sevillet Peterson; Elvira, Tozzi, Freeman, Kline

CALIFORNIABerkeley Opera, R. Goodman, Art.Dir., Berkeley

2/13,14,19,20,22,28 3/1/87 Fidelio5/1,2,8,9,16,17/87 n Tabarro & Gianni Schicchi

Cinnabar Opera Theatre, M. Klebe, Art.Dir., Petaluma10/31-11/15/86 The Medium1/19-31/87 Barab's Who Am I3/13-28/87 Mihalovici's Krapp's Last Tape Am.prem. & Henze's A Country Doctor5/8-30/87 The Consul7/10-8/15/87 Man of La Mancha

Hollywood Opera Ensemble, A. Monte, Gen.Dir., Los Angeles9/28/86 The Telephone & Pagliacci1/18/87 Carmen

The Lamplighters, G. Russak, Art.Adm., Opera West Foundation, San Francisco9/20-10/26/86 The Merry Widow Eng. Pippin12/5,6,7/86 The Opera Gala3/7-4/12/87 Ruddigore6/20-8/2/87 The Pirates of Penzance

Long Beach Opera, M. Milenski, Gen.Dir., Long Beach10/17,19,21,24,26/86 The Tales of Hoffmann2/10,14/87 Szymanowski's King Roger Am. stage prem.3/21,23,25,27,29/87 The Ballad of Baby Doe

Los Angeles Music Center Mark Taper ForumFall '86 Sobol's Ghetto Am.prem.

Marin Opera, L Martinez, Gen.Dir., Ignacio9/26,28/86 Madama Butterfly12/28,31/86 Die Fledermaus3/6,8/87 The Ballad of Baby Doe5/8,10/87 Carousel

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1986-87 Season

Music Center Opera Ass'n., P.Hemmings, Exec.Dir., Chandler Pavilion, Los Angeles10/7,10,12/86 Otello*t Plowright; Domingo, Milnes; c: Foster; d: Friedrich; ds: Schneider-

Siemssen/J. Skalicki10/8,11,14/86 Madama Butterflyt Mitchell/Kim, A. Baker; N. Wilson, Glossop; c: A. Gibson;

d: P. Ebert; ds: Lee (Washington Opera prod.)10/9,13,18/86 Salome*t Ewing, Cariaga; Devlin, Ulfung; c: H. Lewis; d: Hall; ds: Bury11/4,6,8/86 Alcinat Auger, S. Vlahos; D. Jones ; c: Hickox; d: Corsaro; ds: Crowley; Philharmonia

Baroque Orchestra/LA Master Chorale (eo-prod. London's Opera Stage) Wiltern Theatre2/19,20,21/87 Porgy and Bess c: DeMain; d: O'Brien; ds: Schmidt/Potts (shared prod.)

Oakland Opera, A. Taylor, Art.Dir., Calvin Simmons Theatre, Oakland9/86 The Magic Flute

Opera Pacific, D. DiChiera, Gen.Dir., Orange County Performing Arts Center, Inaugural Season2/11-15/87 Porgy and Bess (shared prod.) c: DeMain; d: O'Brien; ds: Schmidt/Potts; 7 pfs.2/20-3/8/87 West Side Story d:Montel; ds: O'Hearn/Caine (Michigan Opera Theater prod.) 18 pfs.3/27 4/1,4/87 La Boheme Soviero, Huffstodt; Hadley, Noble, Cox, Tajo; c: Maueeri; d: Menotti;

ds: Z. Brown (Washington Opera prod.; Lyric Opera Chicago costumes)Opera San Jose, I. Dalis, Gen.Dir., San Jose

10/4,5,10,11,18,19/86 Gianni Schicchi Eng. <5c Suor Angelicat10/12m/86 Eilana Lappalainen in Recital12/13m,13,14m,14/86 Amahl and the Night Visitors2/28 3/1,6,7,14,15/87 Le Nozze di Figarot2/11/87 An Evening with Sherrill Milnes3/8m/87 David Rohrbaugh in Recital6/6,7,12,13,20,21/87 The Merry Widow6/14m/87 Elizabeth Enmann in Recital

Riverside Opera, J.A. Sullivan, Gen.Dir., Riverside10/12/86 The Impresario3/14,24*/87 Un Ballo in maschera *Palm Springs5/30/87 II Barbiere di Siviglia

Sacramento Opera, M. Oaks, Gen.Dir., Sacramento9/19,21/86 Carmen11/21,23/86 The Merry Widow2/27,28 3/1/87 La Traviata

San Diego Gilbert & Sullivan, H. Koman, Gen.Dir., San Diego9/26,27,28 10/4,10,12/86 Jones' The Savoy Theatre Cat prem.10/3,5,11,17,18,19/86 Ruddigore2/20m,20,21m,21,22/87 Florodora conc.pf.3/27,28,29, 4/3,4m,4/87 She Loves Me6/19,20,21,26,27,28/87 The Mikado

San Diego Opera, I. Campbell, Gen.Dir., Civic Theatre, San Diego10/ll,14,17,19m/86 Toscat Zschau; Popov, Fortune; c: Fulton; d: S. Wanamaker10/25,28,31 ll/2m/86 Normat Deutekom, Ziegler; Barasorda, Ghiuselev; c: MUUer; d: Benthaak2/7,10,13,15m/87 Der fliegende Hollander*t Hass; Jerusalem, Roloff, Langan; c: Kuntzsch;

d: Benthaak2/21,24,27 3/lm/87 The Barber of Sevillet Mentzer; DuBois, Prey, Langan, Loup; c: Keltner;

d: W. Weber (San Francisco Opera prod.)1/23/87 Joan Sutherland in Concert, c: Bonynge2/28/87 Kiri Te Kanawa in Recital2-4/87 Don Pasquale abrdg.; Opera Highlights; tour by San Diego Opera Ensemble3/5,7m,7,8m,8/87 Porgy and Bess (shared prod.)

San Diego Opera at the Old Globe, I. Campbell, Gen.Dir., San Diego1/26/87 Sigfried Jerusalem in Recital5/9,11,13,15,17/87 The Telephone & The Medium A. Burton; Turnage <5c B. Evans, Pelle;

F. Menotti; c: Keltner; d: Menotti (Washington Opera prod.)San Francisco Concert Opera, K. Cathcart, Art.Dir., San Francisco

2/12/87 I Lombardi3/18/87 Rameau's Hippolyte et Aricie5/21-24/87 Adam's Nixon in China conc.wksp.pf.

Sierra Chamber Opera, A. Rea, Gen.Dir., Fresno1986-87 The Impresario Eng.; adapt. Monsontour to schools: Rea/Monson's The Owl's Secret prem.

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1986-87 Season

San Francisco Opera, T. McEwen, Gen.Dir., San Francisco9/2/86 Sutherland & Pavarotti in Concert, San Francisco Opera Orchestra, c: Bonynge; at

Oakland Coliseum9/5,10,13,17,20,28m 10/1/86 Don Carlos*t Lorengar, Toczyska, Voigt; Shicoff, Rouleau, Titus,

R. Lloyd; c: Pritchard; d: Cox; ds: Lazaridis; 5-aet vers.; in French9/6,9,12,16,21m,24,26/86 Le Nozze di Figarot Te Kanawa, Rolandi, Quittmeyer; Ramey, Devlin;

c: Tate; d: Copley; ds: Brown9/14m, 19,23,27 10/2,5m/86 Jenufat Bendckovd, Rysanek; Ochman, Rosenshein; c: Mackerras;

d: W. Weber; ds: Bauer-Ecsy9/25,30 10/4,9,12m,15,18/86 La Forza del destinot Slatinaru, Forst; Cossutta, Zancanaro,

Plishka, Fissore; c: Meltzer; d: Calabria; ds: Samaritani10/7,10,16,22,25,30 ll/2m/86 Faustt M.J. Johnson, Cowdrick, Christin; Dvorsky, R. Lloyd, Titus;

c: Fournet; d: Zambello; ds: W. Skalicki/Munn/Mahoney; 10/16,30 stud.mats.10/14,19m,23,26m,29 11/1,7/86 Die Meistersinger von Niirnbergt Studer, Snd. Walker; Schunk,

Tschammer, Rydl, Trempont; c: Adler; d: Brenner; ds: Oswald10/24,28,31 11/4,6,9m,12,15/86 La Boheme*t Miricioiu, d'Amico/Gustafson; Cupido/Lima,

Krause, Pendergraph, Langan; c: Arena; d: Freedman; ds: Mitchell/Button; 10-11/86 stud.mats.& abrv.vers. pfs.in Eng. in schools

11/8,11,16m,21,26,30m 12/5/86 Eugene Onegint M. Freni, Snd. Walker; Gulyas, T. Allen,Ghiaurov, Tate; c: Bradshaw; d: Copley; ds: Don/Stennett

11/14,20,23m,28,30 12/3,6/86 Manont Greenawald; Araiza, G. Quilico, T. Paul; c: Fournet;d: Mansouri; ds: Mitchell/George

11/19,22,25,29 12/2,4,7m/86 Macbeth*t Verrett; Popov, Noble, Tomlinson; c: Kord; d/ds: PizziSan Francisco Opera - Royal Family of Opera Series, War Memorial Opera House

10/5/86 Jessye Norman in Recital10/26/86 Carlo Bergonzi in Recital3/4/87 Kiri Te Kanawa in Concert5/13/87 James Morris in Recital

San Francisco Opera Summer Season, T. McEwen, Gen.Dir., San Francisco6/87 Tippett's The Midsummer Marriage d: Copley6/87 Die Frau ohne Schatten6/87 La Fanciulla del West6/11-14/87 Central Opera Service National Conference

Ventura Opera, B. Taft, Art. & Mus.Dir., Ventura10/24,26/86 Madama Butterfly3/20,22/87 Orph6e aux enfers

West Bay Opera, M. Holt, Gen.Mgr. Palo Alto10/24,25,26,30,31/86 La Boheme c: Cristler; d: Helfgot1/30,31 2/1,5,6,7/87 Manon c: Popper; d: Clark5/15,16,17,21,22,23/87 La Traviata c: Ramadanoff; d: Helfgot

COLORADOOpera Colorado, N. Merrill, Pres. & Gen.Dir., Denver

5/2,5,8/87 Manon Lescaut5/9,12,15,17/87 Samson et Dalila

CONNECTICUTConnecticut Grand Opera & Stamford State Opera, J. Hiddlestone, Gen.Mgr., Stamford/Bridgeport*

9/13,20*/86 Rigoletto Valente; Elvira; c: G. Bellini; d: Gentilesca11/15,22*/86 Busoni's Turandot* Am. stage prem.; P. Craig; c: Gilgore; d: A. Brown; ds: Nespolo3/21*,28/87 Cherubini's Medea Cruz-Romo; c: G. Bellini5/9,16*/87 La Boheme Kineses; c: Gilgore

Connecticut Opera, G. Osborne, Gen.Dir., Hartford10/23,25/86 Tosca Verrett11/21,22/86 Cosi fan tutte2/13,14/87 Cavalleria rusticana & Pagliacci3/12,14/87 Hansel and Gretel

Goodspeed Opera House, M. Price, Exec.Dir., East Haddam10/1-12/7/86 Carnival! c: Crigler; d/c: Gruenewald/Giiagni; ds: Joy

New England Lyric Operetta, W.H. Edgerton, Pres., Palace Theatre, Stamford9/20/86 Naughty Marietta3/7/87 La Vie parisienne Eng.5/8/87 Operetta Scenes

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1986-87 Season

DELAWAREOperaDelaware, E. Kjellmark, Admin., Grand Opera House, Wilmington

11/29 12/5,6/86 Cavalleria rusticana 3c Pagliacci Eng. Machlis; e: Ahramjian; d: K. Walker/C. Tobias

2/27,28/87 Help, Help, the Globolinks! c: E. Swensson; d: Menotti; 4 pfs.5/9,15,16/87 Fidelio Eng. S. Kozinski; c: S. Kozinski; d: McDonough; also recitals & workshop

on Harriet, A Woman Called MosesDISTRICT OF COLUMBIAKennedy Center Handel Festival '87, S. Simon, Mus.Dir., Kennedy Center

1/18/87 Joshua C. Watkinson; Vickers; conc.pf.3/1/87 Deidamia Valente, Troyanos, Marsh; Meredith; conc.pf.5/3/87 "Hallelujah, Handel IV"

Washington Opera, M. Feinstein, Gen.Dir., Kennedy Center10/25,29,31 11/3,9,13/86 n Trovatoret S. Dunn, Toczyska; Bonisolli, Manuguerra; c: Oren;

d: W.D. Ludwig; ds: Benois (co-prod. Miami, Chicago, Dallas opera companies) at Opera House10/28 11/1,5,7,10,16/86 Rimsky-Korsakov's The Tsar's Bridet* (in Russian) Knighton, Ciurca,

Guzman; McCauley, S. Dupont, A. Baldwin, Voketaitis; c: Rostropovich; d: G. Vishnevskaya;ds: Brown (co-prod, w. Monte Carlo Opera) at Opera House

11/15,19,23,26,28/86 Menotti's Goya prem.; Vergara, Huffstodt; Domingo, Otey, Dupont;c: Friihbeck de Burgos; d: Menotti; ds: P. Grossi; at Opera House

11/22,24,29,30/86 n Matrimonio segretot J. Hall, Resick, Szirmay; Feller, Kuebler, C. Nicolai;c: Ostman; d: Hampe; ds: Sehlubach/Rupprecht; at Opera House (Cologne Opera prod.)

12/13,15,17,19,21,23,26,28,30/86 1/3,5,7,9,11/87 Don Pasquale* P. South; Wilson, Busterud,Loup; c: Kellogg; d: Wager; ds: Brown; at Terrace Theater

12/16,20,22,25,27,29,31/86 1/2,4,6,10,13,16,18/87 The Abduction from the Seraglio Eng. Porter;Guyer; Kuebler, Beudert, Cox; c: Isep; d: Major; ds: Brown; at Terrace Theater

1/12,14,17,20,24,26,28,30 2/1,3,7,9,11,13,15/87 Strauss's Wienerblut Eng.; S. Woods, Reaux;Thomsen, Manguin, Fiorito; c: Mauldin; d/chorgr: Saddler; ds: Brown; at Terrace Theater

1/19,21,23,25,27,31 2/2,4,6,8,10,14/87 The Coronation of Poppea Eng.; E. Ross, E. Golden,W. Hill; Ellsworth, Hardesty, Roy, Remo; c: McGegan; d: C. Alden; ds: D. Eastman/Berry(modern dress - Long Beach Opera prod.) at Terrace Theater

FLORIDACoconut Grove Playhouse, A. Mittelcan, Prod.Art.Dir., Miami

10/86 Coconuts revue; open runFall '86 A Latin C e ^ - a t i o n12/5-21/86 Levy/Margcsiiv: 'Fernandez's Fame H.S. prem.2/27-3/15/87 Goggin's Nunsei.,-4/10-26/87 Martin's Swallows

Festival Miami, Miami Chamber Symphony.. J. Serebrier, Art.Dir., Gussman Center, Miami11/86 Liszt's Don Sanche Am.prem.; semi-stgd.; McDonall, Dobie, Dugdale; Goldthorpe,

McDonnell; c: Serebrier; d: DeSouzaFlorida Opera, T. Palmer, Gen.Mgr., Clearwater

11/16,18/86 n Barbiere di Siviglia3/27,29/87 Tosca

Greater Miami Opera, R. Heuer, Gen.Mgr., Miami12/29,30,31/86 1/2,3,4/87 Porgy and Bess (shared prod.)1/12,13,14,17,18/87 La Traviata Miricioiu; Elvira; c: Veltri; d: Uzan; ds: O'Hearn2/9,10,11,14,15/87 Salome Zschau, Dunn; Devlin; c: Waters; d: Hebert; ds: Klein3/9,10,11,14,15/87 Thomas' Hamlet Rolandi; Milnes; c: Buckley/Waters; d: Melano;

ds: Toms/Vanarelli4/6,7,8,11,12/87 Aida Chiara; c: Buckley/Waters; d: Ventura; ds: Skalicki

Orlando Opera Company, R. Owens, Gen.Mgr., Orlando11/7,9/86 Der Rosenkavaliert Lear, Hastings, Found; Best, Fiorito; c: Eberhardt12/19,20,21/86 Amahl and the Night Visitors d: Menotti1/23,25/87 L'Elisir d'amoret Kim; Merritt, Cossa, Kline; c: Coppola; d: Butler3/20,22/87 Susannah Holleque; Wells, Steele; c: Huckaby; d: Floyd

Palm Beach Opera, A. Guadagno, Art.Dir., J.H. Conlin, Gen.Mgr., Palm Beach12/12,14/86 Manon Lescaut Riociarelli; Sebastian, Lambrinos, D. Peterson1/9,11/87 The Barber of Seville H. Kristhea; J. Evans, Fissore3/6,8/87 Die Fledermaus Eng.; Neblett, C. Nail; Ahlstedt3/3/87 Gala Concert, J. Carreras

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1986-87 Season

Sarasota Opera, D.C. Allyn, Exec.Dir., V. DeRenzi, Art.Dir., Sarasota2/7,10,12,15111,20,22,25,28/87 Carment2/14,17,19,22m/87 The Daughter of the Regiment Eng.2/21,24,26 3/lm/87 CavaUeria rusticanat & n Tabarrot2/23/87 Visiting Artists' Concert2/27/87 Apprentice Artists' Concert3/14/87 Concluding Concert <5c Crystal Ball

GEORGIAAlliance Theatre Company/Atlanta Childrens Theatre, E. Love, Mng.Dir., Atlanta

8/28-10/5/86 The Gospel at Colonus12/3/86-1/4/87 A Funny Thing Happened on the Way to the Forum

Augusta Opera, E. Bradberry, Gen.Dir., Augusta9/17,19,20/86 Romeo et Juliette Eng.1/87 Hansel and Gretel4/87 La Traviata

HAWAIIHawaii Opera Theatre, R. Cribley, Gen.Mgr., Honolulu

1/30 2/1,3/87 Un Ballo in maschera2/13,15,17/87 Le Peeheurs de perles2/27 3/1,3/87 La Boheme

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

2/14,15,18,20,21,22,25/87 Cos\ fan tutte4/4,5,8,10,11,12,15/87 The Turn of the Screw5/23,25,27,29,30,31 6/3/87 The Two Widows

Light Opera Works, B. McDonough, Mng.Dir., Evanston9/5,6,7/86 The Grand Duchess of Gerolstein Eng.12/31/86-1/4/87 Die Fledermaus Eng. Puffer

Lyric Opera of Chicago, A. Krainik, Gen.Mgr., Chicago9/12/86 Silver Jubilee Concert: Sutherland <5c Pavarotti; c: Bonynge; at Rosemont Horizon9/20,23,26,29 10/2,7,11,15/86 The Magic Flutet Blegen, Serra, Gamberoni, Daniels; Araiza,

Nolen, Salminen, T. Stewart; c: Slatkin; d: Everding; ds: J. Zimmerman9/24,27,30 10/4,8,13,17*/86 La Bohemet Ricciarelli/*Dessr, Daniels; Lima, Corbelli, Kreider,

Washington, Capecchi; c: Tilson Thomas; d: Copley; ds: Pizzi; 1/18,21,24,30/87 Benackova,Putnam; Cianella, Titus; c: Mauceri

10/6,10,14,18,22,25,30/86 Parsifal Troyanos; Vickers, Nimsgern, Sotin, Salminen/Kennedy, Becht;c: Perick; d/ds: Pizzi

10/24,28,31 11/3,8 12/1,5/86 Orlandot Home, J. Anderson, Rolandi; R. Kennedy, Gall;c: Mackerras; d: Copley; ds: Pascoe/Stennett (co-prod, w. San Francisco Opera)

11/1,4,7,10,16,19,22,25 12/4*,10*/86 Lucia di Lammermoor Gruberova/*J. Anderson;Shicoff/* Domingo, Raftery, G. Howell/Giaiotti; c: Mackerras; d: Reichenbach; ds: Bardon/Hall(Dallas Opera prod.)

11/14,18,21,14,29 12/3.6V86 Un Ballo in maschera Chiara, Cossotto, Blackwell; Pavarotti/•Sebastian, Cappuccilli, Vinco; c: Bartoletti; d: Frisell; ds: Conklin (San Francisco prod.)

11/28 12/2,5,8,12,17,20/86 Katya Kabanova* Eng.; E. Shade, Palmer, Graham; Jenkins, D. Bailey,Kunde, Wildermann; c: Bartoletti; d: Puecher; ds: Schneider-Siemssen/Walek (San FranciscoOpera prod.)

12/13,15,19,30/86 1/3,6,11,14,16/87 The Merry Widow Ewing, Mentzer; Hadley, Titus, Adams,Kessler; c: Podic; d: Mansouri; ds: Laufer/Mess (Canadian Opera Co. prod.)

1/13,17,20,23,26*,29*,31*/87 La Gioeonda Dimitrova, Milcheva, M. Dunn/*Curry; Martinucci,Welker, Plishka; c: Bartoletti; d: Crivelli; ds: Brown/Robbins (San Francisco Opera prod.)

Opera Factory, B.A Lewis, Art.Dir., Chicago4/3/87 Salieri's Arlecchinata <5c n Segreto di Susanna Eng.6/12,13,14/87 La Finta semplice & Salieri's Arlecchinata

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

9/27 10/3,4,11/86 The Bartered Bride10/18,25,31 11/1/86 The Rake's Progress11/8,14,15 12/6/86 Der FreischUtz2/7,13,14,21/87 Rigoletto2/28 3/7,27,28/87 Dialogues of the Carmelites4/4,11,18,25/87 Rimsky-Korsakov's The Legend of the Tsar Saltan

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1986-87 Season

Indianapolis Opera, R. Driver, Art.Dir., Indianapolis11/7,9/86 Carmen12/12,14/86 Tosca3/27,29/87 Ariadne auf Naxos

Whitewater Opera Company, C. Combopiano, Art.Dir., Centerville H.S.; Richmond/Centerville10/3,4/86 Kismet2/20,21/87 Carmina burana & Hazon's The Marriage Agency4/24,25/87 La Traviata

KENTUCKYKentucky Opera, T. Smillie, Gen.Dir., Kentucky Arts Center, Louisville

10/25,27,29/86 Aidat Hinds, Meyerson; Bakst, A. Smith, Samuelsen; c: A. Gibson; d: Muni; atWhitney Hall

1/31-2/11/87 The Barber of Seville Eng.; Terzian; C. Freeman, Everette, Havranek;c: R. Bernhardt; d: Uzan; ds: Girard; at Bomhard Theater; 6 pfs.

4/11,15/87 The Golden Cockerel Eng.; e: L. Smith; d: Sutcliffe (Scottish Opera prod.) atWhitney Hall

5/6-10/87 Porgy and Bess c: DeMain; d: O'Brien (shared prod.) 5 pfs. at WhitneyHall

Louisville Children's Theatre, Macauley Theatre, Kentucky Center, Louisville1986-87 Rumplestiltskin; Legend of Sleepy Hollow; Snow Queen; Little Red Riding Hood and

Three Little Pigs; Sherlock Holmes; Charlotte's Web; Hey, There - Hello!; Tale of PeterRabbit; some with children/audience participation; also regional tour

LOUISIANABaton Rouge Opera, H. Holt, Art.Dir., Baton Rouge

10/15,17/86 The Barber of Seville2/4,6/87 Don Giovanni5/6,8/87 La Traviata

New Orleans Opera, A. Cosenza, Art.Dir., New Orleans9/24,27/86 D Trovatoret Evstatieva, Nadler; Bonanome, MacNeil, Cheek; c: Siciliani; d: Hebert;

ds: Gano10/15,18/86 Madama Butterfly! Soviero, Rose; Farina, Opthof; c: Coppola; d: Uzan; ds: Gano11/12,15/86 Faustt Christos; Cupido, Galbraith, Diaz; c: Giovaninetti; d: Morelock;

ds: Armstrong12/10,13/86 The Magic Plutet S. Wolf, Hynes; Ashbaker, Parker, Patterson; c: Manahan;

d: Hebert; ds: KleinShreveport Opera, R. Murray, Gen.Dir., The Strand Theatre, Shreveport

10/25/86 Rigoletto2/21/87 Met Winners' Recital4/25/87 Lincoln Center to Broadway Recital5/23/87 The Medium12/6/86 1/24/87 Film Festival (Carmen, La Traviata)

Tulane University Music Department, Downman Performance Series, F. Monachino, Cnrm., NewOrleans

ll/2m/86 A Gilbert & Sullivan Potpourri12/7m/86 Berlioz's L'Enfance du Christ2/12,14/87 Le Nozze di Figaro Eng. Dent5/3m/87 Follies

MARYLANDBaltimore Opera, J. Holbrook, GeiuMgr. Baltimore

10/30 11/1,3/86 La Forza del destinot Neblett; Veronelli, Hines, Kouloumbis; c: Guadagno;d: Gately

2/19,21,23/87 Romeo et Juliettet Gamberoni; Schwisow, Pedrotti; c: Kellogg; d: Hebert4/2,4,6/87 Turandott J. Meier, Haymon; Moldoveanu; c: Keene; d/ds: Lehmeyer

Baltimore Opera Touring Theater, R. Allen, Mgr., Baltimore1986-87 The Toyshop; One Pig Puppet Theater

MASSACHUSETTSBoston Concert Opera, D. Stockton, Art.Dir., Boston

10/12/86 Manon P. Schuman; Shicoff11/16/86 Porgy and Bess C. Haymon; D.R. Albert2/8/87 Rusalka Eng.4/11/87 Tosca Falcon

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1986-87 Season

Boston Lyric Opera, J. Balme, Art.Die, at Northeastern Univ., Boston10/17,19m/86 Rigoletto Eng.; Saffer; Honeysucker; e: Balme; d: Ewers1/23,25/87 The Rake's Progress J. West, V. Walters; M. Jackson, J. Kleyla

Merrimack Lyric Opera, J. Bates, Art.Dir., Lowell3/87 L'Elisir d'amore

Opera New England, S. Caldwell, Art.Dir., Boston10/26-11/9/86 Rigoletto11/14-27/86 The Jumping Frog of Calaveras County5/8-24/87 L'Elisir d'amore

MICHIGANComic Opera Guild, T.W. Petiet, Mng.Dir., Ann Arbor

10/10,11,12 11/21/86 Cogger's Revue prem.; w. music of Offenbach, Verdi, Mascagni & others;adapt. Petiet

5/5,6,7,21/87 KismetMichigan Opera Theatre, 0. DiChiera, Gen.Dir., Fisher Theatre & Masonic Temple, Detroit

10/10-18/86 Orpheus in the Underworld* Eng.; ds: G. Scarfe (English National Opera prod,shared w. Houston); at Fisher Theatre; 6 pfs.

10/24-11/1/86 Madama Butterflyt Spacagna; c: Flint; at Fisher Theatre 6 pfs.11/14-12/7/86 My Fair Lady* 24 pfs. at Fisher Theatre5/9,13,16/87 Tosea*t Zampieri; Aragall; d: Uzan; ds: Brown; at Masonic Temple5/23,27,30/87 n Barbiere di Sivigliat Forst; Elvira, Berberian; at Masonic Temple6/3-7/87 Porgy and Bess c: DeMain; d: O'Brien; ds: Schmidt/Potts; (shared prod.)

7 pfs.Opera Grand Rapids, R. Peterson, Gen.Dir., Grand Rapids

10/22,24/86 Le Nozze di Figaro3/18,20/87 L'Elisir d'amore

MINNESOTAMinnesota Opera, K. Smith., Gen.Dir., Ordway Theatre, St. Paul

9/19,21m,26,27/86 The Pearl Fisherst Gustafson; Schwisow, Busterud; c: P. Nadler; d: Gately10/31 ll/2m,7,8/86 Paulus' The Postman Always Rings Twice P. South; Kreider, Kazarus;

c: Manahan; d: Wadsworth6/5,7m,11,13/87 Ariadne auf Naxost Eng.prol.; J. Meier, Mills, Bunnell; Bachlund; c: P.

Zukerman (co-prod, w. St. Paul Chamber Orchestra)6/87 "Opera Tomorrow" at Ordway Studio Theater7/87 Broadway Musical prod. w. Ordway Music Theatre

MISSISSIPPIMississippi Opera, F. Choset, Art.Dir. & Gen.Mgr., Jackson

10/8,10/86 Tosca2/5,7/87 Q Trovatore

MISSOURILyric Opera of Kansas City, R. Patterson, Gen. & Art.Dir., Kansas City

9/16,17,18,19,20,22/86 Where the Wild Things Are* & The Goose from Cairo* K. Beardsley <5cGumbel; ds: Sendak; 8 pfs.

9/27,29 10/1,3/86 The Crucible H. Foss10/4,6,8,10/86 Tosea* Hadani; d: Brumley; tour 8/22,24 Boonesville, 10/16,20,21,23,254/18,20,22,24/87 Falstaff* B. Steele4/15,21,13,25,27,29 5/1,2,5/87 The Pirates of Penzance

Opera Theatre of Saint Louis, C. MacKay, Gen.Dir., St. Louis10/12,14-19,21,22,23,25/86 Curlew River12/26,27,28,30,31 1/2,3m,3,4,6,8,9,10m,10,11/87 The Gondoliers5/23-6/21/87 Carmen 9 pfs.5/28-6/21/87 Alcina 5 pfs.6/5-21/87 La Cenerentola 7 pfs.6/11-21/87 Oliver's Beauty and the Beast prem.; 4 pfs.

NEBRASKAOpera/Omaha, M. Robert, Gen.Dir., Omaha

2/4,6,8/87 La Traviata 4/30, 5/1,2m,2/87 Porgy and Bess (shared prod.)3/18,20,22/87 The Barber of Seville

NEVADANevada Opera, T. Puffer, Art. & Gen.Dir., Reno

10/24,25/86 Tosca 4/10,11/87 The Vagabond King2/13,14/87 Cavalleria rusticana & The Medium

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1986-87 Season

NEW JERSEYNew Jersey State Opera, A. Silipigni, Gen.Dir., Newark

10/26/86 Zaza3/8/87 OteUo5/3,9/87 La Traviata

NEW YORKDelaware Valley Arts Alliance, E. Giguere, Exec.Dir., Narrowsburg

4/87 Debbins' The Scheme prem.National Grand Opera, M. Scuderi, Gen.Mgr., C.W.Post College, Greenvale

12/6/86 Samson et Dalila I. Jones; McCracken, Schwartzman, Reid, Asbaugh; c: Coppola;ds: Stivanello

3/21/87 Madama Butterfly Matsumoto; c: Kamirslci; ds: Stivanello4/25/87 n Trovatore Jurkiewicz-Scuderi, Eckhart; Bini, Elvira; c: Coppola; ds: Stivanello5/16/87 Norma Falcon; Cecchele, Reid; c: Morss; ds: Stivanello7/87 Lucia di Lammermoor at Eisenhower Park

Syracuse Opera, R. Driver, Gen. & Art.Dir., Syracuse10/17,19/86 Carmen11/14,16/86 Tosca2/6,7,8,13,14,15/87 Man of La Mancha

Tri-Cities Opera, P. Hibbitt & C. Savoca, Co-Dirs., Binghamton11/1,8,9/86 The Tales of Hoffmann Eng.1/24,31 2/1/87 Handel's Giulio Cesaret4/25 5/2,3/87 Faustt

Tri-Cities Opera-Go-Round, touring co., Binghamton1986-87 Hansel and Gretel abrgd.; Fair Means or Foul; Rumpelstiltskin

NEW YORK CITYAmato Opera, A. Amato, Pres., 319 Bowery

9/12,13,14m,20,21m,27,28m 10/4,5m,ll,12m/86 Don Giovanni10/25,26m,31 11/1,8,9m,14,15,21,22,23m/86 Carmenll/2m/86 Gala Benefit; scenes from Gomes' operas12/5,6,7m,13,14m,31/86 l/3,4m,10,llm/87 Die Fledermaus Eng.2/27,28 3/lm,7,8m,13,14,21,22m,28,29m/87 Madama Butterfly4/24,25,26m 5/2,3m,9,10m, 15,16,22,23,24m/87 Gomes' Salvator Rosa* Am.prem.

American Chamber Opera Co., D. Anderson, P.S. 910/30-11/1/86 A Water Bird Talk & Hin und zuriick Eng. Farquhar; 3 pfs.tba Shields' Shaman prem. <5c Dido and Aeneas

Herbert Breslin, Inc., Madison Square Garden9/16/86 Sutherland & Pavarotti Gala Concert; c: Bonynge; 9/2 Oakland, CA; 9/6 Hollywood

Bowl; 9/12 Rosemont Horizon, ChicagoBronx Opera Co., M. Spierman, Art.Dir., Lehman College Theatre & Hunter College Playhouse

1/10,11,16,17/87 The Ballad of Baby Doe5/8,9,15,16/87 The Elixir of Love Eng.

Broque Opera Co., M.A. King, Dir., Triplex Theatre11/86 The Marriage of Figaro2/87 Weill's Seven Deadly Sins

Brooklyn Academy of Music, H. Lichtenstein, Pres.3/87 three-week George Gershwin Festival, mus.dir.: M. Tilson Thomas5/87 International Festival of Children's Theater

Brooklyn Academy of Music Next Wave Festival, H. Lichtenstein, Exec.Dir.10/14,15,16,17,18,19/86 Boilen/Schneider's Social Amnesia Impossible Theater10/22,23,24,25,26/86 Ping Chong's The Angels of Swedenborg The Fiji Company11/7,8,9/86 Bolcom/Blake's Songs of Innocence and Experience Brooklyn Philharmonic; c: Foss12/2,3,4,5,6,7/86 L'Histoire du soldat The Flying Karamazov Brothers/The Kamikaze Ground

Crew12/14,16,18,20,26/86 Glass/Wilson's the CIVIL WarS Act V: Rome Section; Am.prem.

Center For Contemporary Opera, R. Marshall, Dir., Symphony Space1/24,30,31/87 Argento's Christopher Sly3/28 4/3,4/87 T. Sullivan's Tomorrow And Tomorrow prem.5/87 Britten's Curlew River6/8,9/87 International Opera Singers Competition Finals6/10/87 Susan Alexander in Recital

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1986-87 Season

Clarion Music Society, N. Jenkins, Mus.Dir., Tully Hall5/7/87 Stephani's Le Rivali Coneordi Eng. Jenkins; Am.prem.; eone.pf.

Liederkranz Opera Theatre, J. Balme, Mus.Dir., Liederkranz Club10/23,25/86 Ariadne auf Naxos w.p.11/4/86 von Suppers Die schone Galatea conc.pf. w.p.12/9/86 Otello conc.pf. w.o.1/31/87 Die Entfiihrung aus dem Serail conc.pf. w.o.3/27,28/87 Die tote Stadt w.p.5/23/87 Die Fledermaus conc.pf. w.o.

Lincoln Center Theater, G. Mosher, Dir., Vivian Beaumont Theater (11/86-6/87)5/87 Porter's Anything Goes Crouse/Weidman vers.

Metropolitan Opera, B. Crawford, Gen.Mgr., J. Levine, Art.Dir., Lincoln Center9/22#,25,30 10/4,8,13,17/86 2/26 3/4,7m/87 Die WalkUre* Behrens/Altmeyer, Altmeyer/Meier,

Fassbander/Dunn; Hofmann/Jenkins, Estes/Mclntyre, Haugland/Vogel; c: Levine; d: Schenk;ds: Schneider-Siemssen/Langenfass

9/23,26,29 10/2,7,1101,16,23,28*,31 11/3/86 Aida Arroyo/Millo, Bumbry/Berini; Giacomini,Nucci/MacNeil, Giaiotti/Kavrakos; c: Santi

9/24,27m 10/3,6,11/86 1/20,23,28,31m 2/3/87 Manon Lescaut Mitchell; Mauro, Schexnayder,Tajo; c: Rudel

9/27 10/l,4m,10,14,18m,22*,25/86 l/8,12,17*/87 Madama Butterfly Scotto/Watanabe;Moldoveanu, Nucci/Clark/Carlson; c: Masini; d: Scotto

10/9,15,18,21,24,27 ll/lm,7/86 1/29 2/2,7m/87 Le Nozze di Figaro Soderstrom/Griffel,Battle/Erickson, von Stade/H. Harris; Hampson/Hartman/Hynninen, van Dam; c: Levine

10/20,25m,29 ll/l,5,8m)ll,15*,20,24,28 12/l,5*/86 Tosca Marton/Slatinaru; Domingo/Ciannella,Pons/L. Quilico, Tajo; c: Navarro

10/30 11/4,8,12,15m,19,22m,27/86 2/13,17,21m*/87 Der Rosenkavalier Tomowa-Sintow/Gessendorf/Soderstrbm, Fassbander/Boozer, Hendricks/G. Robinson; Ichihara/Alexander/Gulya"s, Korn/Nieders, Hornik/Meredith; c: Tate

11/6,10,13,17,21,25,29 12/3,6m,11/86 Romeo et Juliette Gasdia/G. Robinson; Kraus,Schexnayder/Hartman, Plishka/Macurdy; c: Domingo

11/14*,18,22,26,29m 12/2,6,9,13m,18/86 I Puritani Sutherland/Garner; Fisichella/Blake,Milnes/Ellis, Ramey/Robbins; c: Bonynge

12/4#>8,12,16,20,24,27m>31*/86 1/3,6,9,14,17/87 Die Fledermaus* Te Kanawa/Griffel, Blegen/Dobish, Troyanos/Boozer; Rendall/Cole, Hagegard/Hartman, Devlin/Courtney, Mazura/Malas,Schenk/Castel; c: Tate; d: Schenk; ds: Schneider-Siemssen/P.J. Hall

12/10,13,17,20m,27/86 1/1/87 Fidelio Behrens, McLaughlin/Esham; Schunk/Sooter, McCauley,Nimsgern, Hb'lle/Macurdy; c: Tennstedt

12/15,19,23,26*,29/86 l/3m,7,10 4/2,11*,15,18/87 La Boheme Mitchell/Hong/Alexander,Daniels/Merritt; Ciannella/GulyaVCole, Schexnayder, Furlanetto; c: Rudel

12/22,25,30*/86 1/2,5,10m,13,16*,21,24/87 Rigoletto G. Robinson/Devia; Raffanti/Guly^s,Milnes/L. Quilico, Clark, Kavrakos/Macurdy; c: Fulton

1/15,19,24m,27,31 2/5,11/87 Tannhauser Norman/Rysanek, Randova/Gilmore; Cassilly/Sooter,Hagegard/Hynninen, Rootering/Macurdy; c: Levine

1/22,26,30 2/4,7,10,14m,19/87 La Clemenza di Tito Vaness, G. Robinson/Upshaw, Troyanos/Montague; Rendall/Alexander, Robbins; c: Levine

2/6#,9,14,18,21,25,28m 3/3,7,10,13,16/87 Manon* Malfitano/Andrade; Shicoff/Gulyds,S6n6chal/Castel, Holloway, Malas, Furlanetto/Robbins; c: Rosenthal; d/ds: Ponnelle

2/12,16,20*,24,28* 3/5,ll,14,18,21m,26/87 Carmen Baltsa, Bena"5kova/Cotrubas; Carreras,Ramey/Baker; c: Levine

2/23,27 3/2,6,9*,14m,19,23/87 Boris Godunov Mineva/Ciurca; Talvela/Plishka, Popov/Raitzin,Nagy/Lewis, Mazura/Meredith, Plishka/Koptchak; c: Conlon

3/12#,17,20,25,28m 4/1,4,9/87 Turandot* Marton, Mitchell/Millo; Domingo, Plishka/Macurdy;c: Levine; d/ds: Zeffirelli

3/21,24,27,30 4/4m,7,10,16/87 Dialogues des Carmelites Ewing/Erickson, Norden/Upshaw,Norman/Craig, Crespin, Quivar/Amara; Kuebler, Courtney/Meredith; c: Rosenthal

3/28,31 4/3,8,13,18/87 Samson et Dalila Horne/Milcheva; Vickers, L. Quilico/Baker, Cook,Macurdy; c: Fournet; d: Merrill; ds: O'Hearn

4/6,llm,14,17/87 Parsifal Troyanos; Jenkins, Estes/Clark, Sotin, Mclntyre; c: Levine# Guild benefit pfs.; * non-subscription pfs.

-85 -

1986-87 Season

New York City Opera, B. Sills, Gen.Dir., N.Y. State Theater (for 7/1-9/7/86 see 1985-86 listing)9/9,13,18 10/18,26m,31/86 Faustt9/11,20m H/lm,9/86 Madama Butterflyt9/12,20,25 10/1/86 Le Nozze di Figarot9/13m,21m,27m 10/2/86 Les Pecheurs de perlest9/14m,21,27/86 Carment9/14,19,26,30 10/llm/86 Normat9/17,28m 10/4 ll/2,8m/86 La Bohemet9/28 10/5m,8,14/86 Davies's X (The Life and Times of Malcolm X) prem.; c: Keene; d: R.

Levine; ds: Conklin10/4m,12m,25/86 Don Quichotte*t Vergara/Marsee; J. McKeel, Ramey, Opalach; c: Bernardi;

d: Copley10/5,9,19m,25m 11/1,7/86 Mefistofelet10/7,17,22/86 Werther*t Woods, Marsee; Garrison, Parker, Green; c: Comissiona; d: Mansouri;

ds: Bosquet10/10,19,28 11/5/86 La Traviatat10/11,15,23,30/86 Cendrillont10/18m,26 ll/2m,8/86 Die Fledermaus Eng.10/24,29 ll/4,9m/86 Love for Three Orangest11/11,12,13,14,15m,15,16m,16/86 Candide1/13-25/87 Guest engagement at Orange County Performing Arts Center, Costa Mesa, CA2/23-3/29/87 Musical tba, at Lincoln Center4/20-26/87 Guest engagement at Tampa Bay Performing Arts Center, FL6/87 One week at Wolf Trap Farm Park (Vienna, VA)6/87 One week at Saratoga Springs Performing Arts Center (Saratoga Springs, NY)

New York City Opera National Company, B. Sills, Gen.Dir.3-4/87 Madama Butterflyt on tour; 32 pfs.

New York Philharmonic, Z. Mehta, Mus.Dir., Fisher Hall12/11,12,16/86 Verdi Requiem, Chiara, Verrett; Pavarotti, Salminen; c: Mehta; NY ChoralArtists4/16,17,18/87 Mahler Symphony No. 2, Hendricks, Ludwig; c: Bernstein; Westminster Choir

Opera Orchestra of New York, E. Queler, Art.Dir., concert pfs. at Carnegie Hall1/12/87 Verdi's La Battaglia di Legnano Millo; Malagnini, Manuguerra, Hines2/8/87 Norma Dimitrova, Toczyska; Martinucci, Plishka2/22/87 All-Wagner Program incl. Siegfried Act III; the Immolation Scene from Die

Gotterdammerung Marton; Goldberg, Roloff3/3/87 DvoMk's Rusalka Bena6kovd; Koptchak

Operaworks, D. Leighton & J. Casey, Co-Dirs., Symphony Space9/11,13,18,20/86 The Soldier's Tale & Babar the Little Elephant Eng.9/12,14m/86 The Jumping Frog of Calaveras County9/19,21m/86 Davies' The Martyrdom of St. Magnus H. Harris; Eisler

Richard Tucker Foundation Eleventh Gala, K. Nelson, Admin., Avery Fisher Hall11/30/86 Gala Concert incl.; Behrens, Marton, Peters; Kraus, Milnes, Plishka, Ramey; Met

Opera Orchestra; c: BonyngeNORTH CAROLINAGreensboro Opera Company, P.P. Fuchs, Art.Dir., Greensboro

10/24/86 Madama Butterfly Spring '87 tbaNational Opera Company, D.H. Witherspoon, Gen.Dir., Raleigh

1986-87 tour: The Barber of Seville Eng. Bird; Martha Eng. Baum-Ronell; El Capitan; LaBoheme Eng. Martin; 90 pfs.

Opera Carolina, (formerly Charlotte Opera) B. Chalmers, Gen.Dir., Charlotte10/2,4/86 Gianni Schicchi Eng. & Pagliaccit Telese11/13,15/86 A Little Night Music1/17/87 "Catch A Rising Star" S. Dunn, Fernandez, Forst; G. Lakes; w. orch & chorus3/26,28/87 The Barber of Seville* Larmore; Price, Nolen, R. McKee, Corbeil1986-87 tour: Sid, the Serpent Who Wanted to Sing; Cogi fan tutte; A Little Night Music; spec.

ed. program; R. Swedberg, Dir. of Education <5c TouringPiedmont Opera Theater, N. Johnson, Gen.Dir., Winston-Salem

9/19,21,23/86 Die Fledermaus4/3,5,7/87 The Abduction from the Seraglio

Young Artists Opera Theater, P. Russell, Gen.Mgr., Greensboro9/86 Mechem's Tartuffe

-86-

1986-87 Season

NORTH DAKOTAFargo-Moorhead Civic Opera, D. Martin, Art.Dir., West Fargo

10/16,17,18/86 Le Nozze di Figaro1/15,17/87 Faust4/30 5/1,2/87 Gianni Schicchi & Cavalleria rusticana

OHIOCincinnati Opera, J. de Blasis, Gen.Dir., Cincinnati

11/19,21/86 La Fanciulla del Westt Zschau; Norman, Steele3/25,27/87 Les Contes d'Hoffmannt6/25,27/87 Leoncavallo's Zazat7/2,5/87 Madama Butterflyt7/9,11/87 D Barbiere di Sivigliat

Cleveland Opera, D. Bamberger, Gen.Mgr. & Art.Dir., State Theaterll/7,8,9m/86 The Merry Widow Peters; Reardon; c: Allers2/20,21,22m/87 Lucia di Lammermoort Mills/Donahue; c: Page4/3,4,5m/87 Les Contes d'Hoffmannt S.J. Langton, Vergara; J. Evans, Powers; e: Bergeson5/27,28,29,30m,30,31m/87 Porgy and Bess (shared prod.)Fall '86 Barab's Little Red Riding Hood 30 pfs. on tour

Dayton Opera, D. DiChiera, Art.Dir., Dayton11/7,8/86 Madama Butterflyt Spacagna12/12,13/86 My Fair Lady3/27,28/87 Romeo et Juliettet

Opera/Columbus, M. Harrison, Gen.Dir., Columbus10/9,11/86 Macbetht Niska; Elvira, Halfvarson; c: Eros; d: de Blasis11/20,22/86 L'Elisir d'amore Gutknecht; M. Thomsen, Bertolino; c: Coppola; d: Stephens3/18,21/87 Madama Butterflyt Kineses, Hegierski; Johannsson; c: Armenian; d: Igesz4/23,24,25/87 Porgy and Bess Fernandez; A. Smith; c: D. Kosloff; d: L. Fuller

Toledo Opera, J. Meena, Art.Dir., Toledo10/25/86 La Traviata2/14/87 Carmen5/2/87 The Student Prince

OKLAHOMATulsa Opera, E. Purrington, Gen.Dir., Tulsa Performing Arts Center

11/1,6,8/86 Porgy and Bess S. Reese, Lister, Simpson; S. Estes, D. Evans, Baker; c: Nance;d: Lehmeyer

3/7,12,14/87 Le Nozze di Figaro* Eng.; S.J. Langton, L. Haywood, Clarey, Christin; Cheek,Carlson, Strummer; c: Montgomery

5/9,14,16/87 Don Carlost (4-act vers.) Plowright, Troyanos; Ciannella, Ramey, Vanaud, Hines;c: N. Rescigno; d: Frisell

OREGONEugene Opera!, J. Toland, Gen.Mgr., Eugene

10/24,26/86 The Barber of Seville12/28,31/86 The Merry Widow2/20,22/87 The Medium4/24,26/87 The Mikado

Portland Opera, R. Bailey, Exec.Dir., Portland9/27 10/1,4/86 La Boheme South; Leech, Burchinal; c: Pallo; d: Bailey11/8,12,15/86 Der Rosenkavalier* Thomson, Parrish, Quittmeyer; Rintzler; c: CrosOy; d: Hebert;

ds: Klein3/21,25,28/87 Macbeth Tinsley; Braun, Hines; c: Guadagno5/2,6,9/87 The Magic Flute Wolf, Langan; Garrison, Fields; d:Kuntsch

PENNSYLVANIAAmerican Music Theater Festival, M. Samoff & E. Salzman, Dirs., Philadelphia

9/10-10/11/86 Cabaret #1-5, 20 pfs.9/11-21/86 Goldenthal/Goldfarb's The Transposed Heads prem.; 6 previews & 20 pfs.; Drexel

Univ., Mandell Theater9/18-28/86 Ellington's Queenie Pie prem.; mus.dir.: M. Peress; 9 previews & 14 pfs.; Annenberg

Center, Zellerbach Theater9/25-28/86 Dresher's Slow Fire prem.; 2 previews & 6 pfs.; Annenberg Center, Prince Theatre10/9-12/86 Glass/Moran's The Juniper Tree 5 pfs.; Walnut Street Theatre10/1-12/86 First Stage #1 <5c #2 work-in-progress 6 pfs.; Annenberg Center, Prince Theatre

-87-

1986-87 Season

Pennsylvania Opera, B. Silverstein, Gen. & Art.Dir., Philadelphia4/18,24,25/87 The Magic Flute O'Flynn5/30 6/5,6/87 The Turn of the Screw Marrazzo; d: Harrer

Pittsburgh Opera, T. Capobianco, Gen.Dir., Heinz Hall, Pittsburgh10/9,11,14/86 Macbetht Dimitrova; Bergonzi, Diaz, Elenkov; c: Rigacci; d: Capobianco12/4,6,9/86 Faustt Watanabe, Creffield, Griffin; Leech, Hale, Burchinal; c: Alcantara; d: Farlow3/5,7,10/87 Lucia di Lammermoort I. Nielsen; M. Myers, Ghiuselev, Rawnsley; c: Pallo; d: Denda4/2,4,7/87 n Trovatoret E. Connell, Finnie; Murgu, Rawnsley, Burchinal, Langan; c: Alcantara;

d: Aragon5/30 6/2,5/87 Thomas' Hamlett S. Murphy, G. Knight; Milnes, Absalom, T. Fox; c: Muller;

d: CapobiancoOpera Company of Philadelphia, M. A. Everitt, Gen.Dir., Philadelphia

10/27,31/86 Madama Butterfly Mitchell; Capecchi; d: Uzan; ds: Girard12/1,5/86 Death in Venice W. Lewis; c: M. Korn; chorgr: Sebastian1/26,30/87 Don Giovanni E. Connell, Y. Kenny; G. Quilieo, L. Quilico3/30 4/3/87 Boris Godunov P. Burchuladze4/27 5/1/87 Mefistofele Soviero; Morris; c: Baudo; d: Uzan; videotaped for PBS for Spring '87

Opera Ebony, B. Matthews, Art.Dir., Philadelphia2/26,28/87 Lost in the Stars6/12,14/87 Carmen

PUERTO RICOOpera de Camara, L. Pereira, Art.Dir., Rio Piedras

10/9,11/86 Sierra's El Mensajero de Plata prem.5/87 tour: The Old Maid and the Thief

RHODE ISLANDNewport Festival Opera, D. Pelton, Exec.Dir., Newport

9/19,21,26,28/86 Der Schauspieldirektor & Prima la musica poi le parole c: N. Kraemer;d: P. Ebert

Opera Rhode Island, M. Robbins, Gen.Mgr., Providence10/2,5/86 Coil fan tutte Eng. Robbins12/21/86 Amahl and the Night Visitors & The Unicorn in the Garden 2 pfs.

SOUTH CAROLINACharleston Opera Company, D. Dreyfoos, Art.Dir., Charleston

12/5,6/86 Hansel and Gretel3/28,29/87 Showboat

TENNESSEEChattanooga Opera & Symphony Ass'n., T. Jordania, Art.Dir., Chattanooga

10/4/86 Carmen2/7,8/87 La Perichole4/11/87 II Trovatore

Knoxville Opera, R. Lyall, Gen. & Mus.Dir., Knoxville7/17,18,19,20m,20/86 South Pacific10/31 11/2/86 Rigoletto Luna; Raitzin, Burchinal4/3,5/87 Romeo et Juliette

Opera Memphis, R. Driver, Gen. & Art.Dir., Memphis10/30 11/1/86 Carmen1/22,24/87 Tosca3/12,14/87 Ariadne auf Naxos

University of Tennessee, A. Nelson, Art.Dir., Harriett Fulton Perf. Arts Theatre, Martin10/17/86 Bastien and Bastienne Eng.; w. Daniel Llords1 Marionettes

TEXASAustin Lyric Opera, J. McClain, Gen.Dir., W. Ducloux, Art.Dir., Austin Performing Arts Center

1/9,10,11/87 The Magic FluteDallas Opera, P. Karayanis, Gen.Dir., Music Hall/Majestic Theatre, Dallas

10/5m/86 Samuel Ramey in Recital10/30 ll/2m,4,8/86 Andrea Cheniert Evstatieva; Mauro, diBella; c: N. Rescigno; d: Trevisan11/15,18,21,23/86 Rigolettot Welting, Mineva; Raffanti, Zancanaro, Halfvarson; c: D. Renzetti;

d: Bruscantini; ds: Scarfiotti11/29, 12/2,5,7m/86 La Sonnambulat von Stade; P. Ballo, Federici; c: Rescigno; d: F. Crivelli12/13,16,18,21m/86 La Fanciulla del Westt Zschau, Vozza; Giaeomini, Mastromei, Green,

Langan; c: Rescigno; d: Prince; ds: E. Lee/P.J. Hall2/lm/87 Joan Sutherland in Concert c: Bonynge; at Fair Park continued

1986-87 Season

Dallas Opera cont.3/4/87 Marilyn Home and Montserrat Caballe' in Concert; c: N. Rescigno; at Fair Park4/8,10,12m/87 H Turco in Italiat Welting; Ahlstedt, Bogart, Montarsolo; c: N. Reseigno;

d: Montarsolo5/13,14,16m,16,17m/87 Porgy and Bess (shared prod.); 6 pfs.

Fort Worth Opera, J. Mario Ramos, Mng.Dir., Fort Worth11/21,23/86 Le Nozze di Figaro Telese1/9,23/87 La Gioeonda3/13,15/87 La Boheme Telese

Houston Grand Opera, D. Gockley, Gen.Dir., Jones Hall10/16,19,21,24/86 Boris Godunovt (orig.vers.) Ghiaurov, Kavrakos, Gregor; c: Tehakarov;

d: Mansouri; ds: Skalicki/Stennett (Canadian Opera Company prod.)11/28,29,30 12/2,3,5/86 Orpheus in the Underworld Eng. S. Wilson; Dahl; Eisler, Orth;

c: De Main; d: Schifter; ds: G. Scarfe (English National Opera prod, shared w. Michigan)1/16-25/87 Porgy and Bess c: DeMain; d: O'Brien; and tour; 14 pfs. (shared prod.)2/20,21*.22,24,25*,27/87 Falstafft M.J. Johnson, C. James, D. Mazzola; Leech, Elvira,

Wixell/*Noble; d/ds: Ponnelle; (joint prod. w. Lyric Opera of Chicago & San Francisco Operacompanies)

3/27,28*,29,31 4/1*,3/87 Salomet Barstow/*H. Christians; Ochman, Wixell; c: DeMain;d: Zambello

4/23,26,28 5/1/87 Normat Dimitrova, Toczyska; Giacomini, Kavrakos; c: D. Oren; d: Serban;ds: Yeargan

6/22,25,28 7/1,4/87 Turandott Marton, Kim; Ciannella, Albert, Noble; c: DeMain (joint prod.w. Dallas Opera, Greater Miami Opera & San Francisco Opera companies)

Texas Opera Theater, J. Weaver, Gen.Mng., Houston (HGO's touring company)2-3/87 La Boheme Eng.; 30 pfs. on tour9/86-5/87 community and in-school pfs.: Starbird; Some Enchanted Evening; Opera Pops;

Papageno's Puppet ParadeUTAHUtah Opera Company, G. Peterson, Gen.Dir., Salt Lake City

10/9,11,13,15/86 Turandott Kelm, K. Anderson/D. Mitchell; Peterson, Tozzi; c: Lipton;d: Eddleman

1/22,24,26,28/87 n Barbiere di Sivigliat Senn; Croft, Hanson, LiPaz, Tozzi; c: Robinson, d: Lucas5/7,9,11,14/87 La Traviatat Peters; Serbo, Robison; c: J. Rescigno; d: Igesz

VIRGINIASouthwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke

9/86 Tosca 3 pfs. at Center in the SquareVienna Light Opera, D. White, Vienna

11/86 Rosemarie5/87 Rusalka Eng. White

Virginia Opera, P. Mark, Gen.Dir., Norfolk/*Richmond10/24,26,31 ll/2,7*/86 Carmen11/28,30 12/5,7,12*/86 Musgrave's A Christmas Carol*1/23,25,30 2/l,6*/87 Lucia di Lammermoor3/6,8,13,15,20*/87 Man of La Mancha

WASHINGTONSeattle Opera, S. Jenkins, Gen.Dir., Seattle

9/20,24,27/86 Tosca*t Dimitrova; Popov, Patrick, Loup; c: J. Rescigno; d: Takazauckas;ds: Brown; 9/21,26 Donaldson, Dietsch

11/1,5,8/86 Don Pasqualet Gamberoni; Morales, Loup, Elvira; c: Kellogg; d: Cazan; ds: Conklin;11/2,7 Wilson, Parce

11/6/86 Renata Scotto in Recital1/17,21,24/87 Faustt Studer, Harris; M. Myers, Van Allan, Duesing; c: H. Michael; d: Zambello;

ds: P. Horne/Staley (co-prod. Houston Grand Opera); 1/18,23 Gustafson; Kazaras, Corbeil2/28 3/4,7/87 Otellot Vaness; Sooter, Ellis, Glassman; c: Bradshaw; d: Bakman; ds: W. Skalicki;

3/1,6 Vanelli; Gray, Crafts4/8,9,10,llm,11,12m,12/87 Porgy and Bess d: O'Brien (shared prod.)

WISCONSINFlorentine Opera of Milwaukee, J. Gage, Gen.Mgr., Milwaukee

11/13,15,16/86 Toscat3/19,21,22/87 Don Giovannit Devlin5/7,9,10/87 Les Contes d'Hoffmannt

-89-

1986-87 Season

Madison Opera, A. Johnson, Art.Dir., Madison9/20m,20/86 Noye's Fludde11/8/86 Fidelio conc.pf., Meier; Vickers4/3,5/87 Tosca

Skylight Comic Opera, S. Wadsworth & F. Zambello, Art.Dirs., Milwaukee9/10,12,13,14,17,19,20,21,24,25,26/86 The Cradle Will Rock10/8,10,11,12,15,17,18,19,22,24,25,26,29,30,31/86 Wadsworth's Bernstein Revued12/3,5,6,7,10,12,13,14,17,19,20,24,26,27,28,3101,31/86 The Mikado also tour12/10,12,13,14,17,19,20,21,26,27,28,31m,31/86 Flanders & Swann's At the Drop of a Hat1/28,30,31 2/lm,1,4,5,6,7,8m,8,11,12,13,14,15m,15/87 Ain't Misbehavin'3/25,27,28,29 4/1,3,4,5,8,10,11,12/87 Cos! fan tutte5/6,8,9,10m,10,13,14,15,16,17m,17,20,21,22,23,24m,24/87 Sweeney Todd

CANADACalgary Opera, B. Hanson, Gen.Mgr. & Art.Dir., Calgary, Alberta

10/23,25,27/86 The Mikado Welhasch; Eisler, Wildermann; c: Bate; d: Leyshon12/27m,28m,29/86 Hansel and Gretel Eng.; K. Barber1/15,17,19/87 Toscat Soviero; Barasorda; c: Pallo; d: Uzan3/26,28,30/87 n Barbiere di Sivigliat Forst; DuBois, Strummer, Barcza; c: Speers; d: Cotton

Canadian Opera Company, L. Mansouri, Gen.Dir., Toronto, Ont.9/12,17,20,23,25,28 10/1/86 Boris Godunov* Eng.; C. Powell; G. Howell; c: Klobucar; d: Mansouri9/19,21,24,27,30 10/2,4/86 Macbeth*T Sass; Monk; c: Domingo; d: Moshinsky (co.prod. w. Los

Angeles Music Center)1/15,18,20,23,26,28,30 2/3,7/87 Die Fledermaus Eng.; Terrell/Thomson; Baerg/Jobin1/24,27,29,31 2/2,4,6,8/87 Rigolettot Cuccaro/Spacagna; Ellis/Monk3/28 4/2,5,8,10,14/87 Idomeneo*! Vaness; Jerusalem4/3,6,9,12,15,18/87 Adriana Lecouvreurt Can.prem.; Sutherland; Cupido; c: Bonynge6/10,11,12,13,15,17,19,20,21/87 Lucia di Lammermoort Miricioiu; Hadley/Leech

Edmonton Opera, R. Hallam, Gen.Mgr., Edmonton, Ala.9/9,10,11/86 Trial by Jury & Sullivan's Pineapple Poll ballet10/16,18,20/86 Rigoletto Donahue, Stubbs; Fowler, Tumagian; c: Carson; d: Speers11/27,29 12/1/86 Co& fan tutte Kolomyjec, Hermiston, Forst; Farina, Corbeil, Lapperriere;

c: Agler; d: Maedonald1/22,24,26/87 Salome Andersson, Vergara; W. Neil, Schwisow; Johnson; c: U. Mayer; d: Ewers3/26,28,30/87 Tosca Sass; Barasorda, Crafts, Benson, Cameron; e: Kohn; d: Guttman

Kitchener-Waterloo Symphony, R. Armenian, Mus.Dir., Center in the Square, Kitchener, Ont.9/6/86 Anhalt's Winthrop prem., conc.pf.; Landry, Feldstein; Glyn Evans, Baerg, Ens;

c: Armenian; broadcast CBC 9/14Manitoba Opera, I. Guttman, Art.Dir., Winnipeg, Manitoba

11/22,25,28/86 Tosca Stapp; Barasorda, Braun; c: Kohn; d: Guttman2/21,24,27/87 Die Fledermaus Thomson; D.R. Smith, Opthof; c: Coppola; c: Morelock4/25,28 5/1/87 La Traviata Huffstodt; M. Myers, Monk; c: Pallo; d: Guttman

Opera Hamilton, D. Lipton, Art.Dir., Hamilton, Ont.9/18,20/86 Un Ballo in mascherat2/5,7/87 "An Evening of Song" w. Hamilton Philharmonic5/14,16/87 Andrea Cheniert

Opera in Concert, S. Hamilton, Art.Dir., Mallett & MacMUlian Theatres, Toronto, Ont.11/8,9/86 Massenet's Sapho Landry/Collins; DuBois; c: Hamilton12/13,14/86 La Favorita MacPhail/Milsom; Barcza; c: R. Cooper2/21,22/87 Die lustigen Weiber von Windsor Welhasch, Swanston; Cameron3/21,22/87 Bizet's Djamileh & L'Heure espagnole Loeb/Beaupr6; Silva-Marin, Stilwell

Royal Alexandra Theatre, E. & D. Mervish, Prods., Toronto11/4/86 The Mikado d: Maedonald (Stratford Festival Prod.) 6-wk. run in 4-month tour

Toronto Symphony Orchestra, A. Davis, Mus.Dir., Toronto, Ont.86-87 Handel's Solomon Blaser; c: Davis10/86 Acis & Galatea Collins; Crook; c: Davis

Vancouver Opera, B. McMaster, Art.Dir., Vancouver10/4,7,9,11/86 JanaCek's From the House of the Dead Eng.; North Am. stage prem.; K. Barber;

Reece, Maxwell, G. Clark, Barcza; c: Andre1; d: Pountney; ds: Bjornsen1/24,27,29,31/87 Le Nozze di Figaro* MacKenzie, K. Barber; Laperriere; c: Bakels; d: Walsh3/7,10,12,14/87 Madama Butterfly Eng.; 1904 orig. vers.; Illing, J. Stilwell; Pederson, Barcza;

c: J. Smith; d: J. Herz; ds: R. Zimmermann/E. Kleiber5/2,5,7,9/87 Lucia di Lammermoor S. Murphy; D. O'Neill, Malis, Dworchak; c: Bakels

-90-

1986-87 Season

L'Opera de Montreal, J. Langevin, Gen.Dir., J.P. Jeanotte, Art.Dir., Montreal9/9,13,18,20,24,27,29/86 Romeo et Juliette Soviero; Cupido, Laperriere, Charbonneau;

c: H. Lewis; d: Uzan; ds: Girard11/18,22,27,29 12/3,6,8/86 Die ZauberflSte Cuccaro, Christman; P. Power, Melbye, Garrard;

c: Armenian; d: Corsaro; ds: Sendak1/27,31 2/5,7,11,14,16/87 Manon Lescaut Tokody; Lindroos, Siena, Vanaud, Charbonneau;

c: Silipigni; d: Hebert; ds: A.C. Klein4/14,18,23,25,29 5/2/87 I Puritani Serra; Kunde, Fazah, Capeechi, Charbonneau; c: Franci;

d/ds: Oswald6/2,6,9,12,16,20,22/87 Tosca Slatinaru; Raffanti, L. Quilico, Capeechi; c: Veltri; d: Gascon;

ds: PreVost

- 9 1 -

CENTRAL OPERA SERVICEMetropolitan Opera Lincoln Center

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LIST OF PUBLICATIONS

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#1 Directory of Operas and Publishers - in two parts (Vol. 18, Nos. 2 & 3)Detailing the musical material for 3,000 operas written by 1,028 composers, available from 135publishers. By composer, cross-referenced by title.

#2 Directory of American Premieres 1962-68 (Vol. 11, No. 2) For sequels see #5 & #6A listing of the 400 operas which received American premieres during 1962-68. (A sequel toThe Handbook of American Premieres by Julius Mattfeld.)

#3 Directory of American Contemporary Operas (Vol. 10, No. 2) For sequels, see #5 & #6A listing of the 1,000 operas written between 1930 and 1966 in the U.S. Includes names of composerlibrettist, and information on premiere, length of work, original book, orchestration, publishers, e tc .By composer, cross-referenced by title.

#4 Directory of Foreign Contemporary Operas (Vo. 12, No. 2) For sequels, see #5 & #6A listing of the 1,500 operas written between 1950 and 1968 outside the U.S. Information as in #3.

#5 Directory of American and Foreign Contemporary Operas 1967-75 (Vol. 17, No. 2)A sequel to #2, #3, #4. Details information on 398 American and 552 foreign operas, and on 112American premieres. Information as in #3.

#6 Directory of American and Foreign Contemporary Operas 1975-80 (Vol. 22, No. 2)A sequel to #2, #3, #4, #5. Details information of 455 American and 449 foreign operas, and on96 American premieres. Information as in #3.

#7 Directory of Children's Operas and Musicals (Vol. 24, No. 4)Details on over 1,600 operas and musical theatre pieces suitable for performance for or bychildren. Suggested age groups, source of materials, and comments by producers or quotes fromreviews are included.

#8 Directory of English Translations (Vol. 16, No. 2) with latest addendaListing the availability of some 2,000 English translations of over 500 operas by 220 composers.By composer, cross-referenced by t i t le.—Addenda only

#9 Directory of Sets and Costumes for Rent (Vol. 21, No. 2) with latest addendaA listing of some 2,000 sets and/or costumes available for 500 operas, operettas, and musicals;indicates rental source. Includes stage size or set size and trucking requirements.—Addenda only

#10 Career Guide for the Young American Singer (Vol. 25, No. 4) fifth edition; with latest addendaListing national and international competitions, grants for study, apprentice programs for singers,statements on auditions and hiring policies by American opera companies, apprentice programs forartists other than singers.—Addenda only

#11 Directory of Opera/Musical Theatre Companies and Workshops in the U.S. and CanadaA current listing of addresses, telephone numbers, and names of managers and/or artistic directorsfor approximately 1,100 producing organizations. Codes indicate type and size of company.Available information on auditoria included. Revised annually (fall).

#12 Mailing labels, self-adhesive, for #11

#13 English CaptionsA listing of the English captions available for proscenium projection

#14 Opera Repertory USA; Annual Repertory Lists yTitles, composers, and numbers of performances of standard and contemporaryoperas and of musicals, 1967 to present.

#15 Gateway to Opera (Vol. 23, No. 2) 8.00A guide for opera administrators, boards of directors, trustees, and volunteers.COS National Conference Seminar, 1981.

#16 Directory of Selected Opera Films (Vol. 19, No. 2) 6.00Listing 187 operatic films available for 83 American distributors, with emphasis on educationalfilms. By composer, cross-referenced by t i t le. Includes biographical and educational films.

#17 Guide to Operatic Music Suitable for Performance in or by Religious Institutions 2.00Listing 90 operas or operatic excerpts suitable for performance in churches, synagogues, andother religious institutions.

#18 Transcripts of COS National Conferences each 12.00Topics: a) Training and Career Development of the Young Singers; b) Concepts of StageDirection in the 80's/Career Development of the Young Director; c) Tourism, Opera, & the Arts;d) 1985 International Symposium

#19 Back Issues, COS Bulletin each 4.00

News issues beginning with Vol. 9, No. 1

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