central opera service bulletin - cpanda · central opera service bulletin volume 26, number 1 ......

CENTRAL OPERA SERVICE BULLETINVOLUME 26, NUMBER 1

I N D EX

NEW OPERAS AND PREMIERES 1

NEWS FROM OPERA COMPANIES 14

FORECAST 24

GOVERNMENT & NATIONAL ARTS ORGANIZATIONS 28

OPERA SURVEY USA, 1983-84 33

COS INSIDE INFORMATION 34

COS SALUTES 35

EDUCATION AND ACADEMIA 38

COLLECTIONS & EXHIBITIONS 42

NEW AND RENOVATED THEATERS 44

ATTENTION COMPOSERS/LIBRETTISTS & DIRECTORS 47

NEWS FROM PUBLISHERS 49

EDITIONS & ADAPTATIONS 50

BOOK CORNER 51

Sponsored by the Metropolitan Opera National Council

CENTRAL OPERA SERVICE COMMITTEE

FounderMRS. AUGUST BELMONT

11879-1979)

Honarary National ChairmanROBERT L.B. TOBIN

National ChairmanMRS. MARGO H. BINDHARDT

National Vice ChairmanMRS. MARY H. DARRELL

Items in companion issue, Vol. 26, No. 2 include:

Performance Listing, 1984-85 cont. (incl. some summer '85)

English Captions for Projection (complete list)

New Sets and Costumes for Rent

New English Translations

Appointments; Winners

Obituaries, 1984

Central Opera Service Bulletin • Vol. 26, No. 1 • Winter 1984/1985

Editor: MARIA F. RICHAssistant Editor: JEANNE HANIFEE KEMPEditorial Assistants: CHERYL KEMPLER

FRITZI BICKHARDT

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 perfor-mance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera,Lincoln Center, New York, NY 10023.

Copies this issue: $3.00 ISSN 0008-9508

NEW OPERAS AND PREMERESNew operas and music theater works once mentioned in these columnsare not relisted at the time of their premieres unless new importantinformation is to be added or changes from previous announcements haveoccurred, such as postponements or cancellations of premieres. In orderto have a complete list of first performances for any given season- including the current one - previous COS Bulletin issues should beconsulted. Annual repertory lists are also available.

The 1985 spring season will bring world premieres of two commissioned NEW AMERICANoperas to the stage of the Opera Theatre of Saint Louis. They are THE OPERASWOODLANDERS, after Thomas Hardy's novel, by Stephen Paulus, who '84-85previously gave the Missouri company The Village Singer and The PostmanAlways Rings Twice, and the four-act JORURI by Minoru Miki, theJapanese composer whose credits include An Actor's Revenge (Americanpremiere, St. Louis 1981). Colin Graham collaborated on both new worksas librettist. The premiere of the former is scheduled for June 13, ofthe latter for May 30. As always the company is adding one more newproduction of a Mozart opera in a new English translation commissionedfrom Andrew Porter. This year it will be Idomeneo.

Vincent Persichetti's first opera, THE SIBYL, offers a serious treatmentof the "Chicken Little" fable. The one-act work, with a libretto by thecomposer, will be premiered by the Pennsylvania Opera Theater on April13 at Philadelphia's Walnut Street Theatre (see also "Works-in-Progress").

Opera Ebony, New York, is planning premieres of two new operas andone ballet this season. The major full-length work scheduled for a firstperformance in June '85 is by Dorothy Rudd Moore. It is based onepisodes in the life of FREDERICK DOUGLASS, the first black citizento hold a high office in the United States Government. He was an escapedslave who then became leader of the Abolition Movement and a prominentcivil rights advocate. SOJOURNER is the title of a new one-act operaby Valerie Capers, written in a jazz idiom and telling the story ofSojourner Truth, another escaped slave who risked her life working withHarriet Tubman in the South on the Underground Railroad. This piece iscoupled with a commissioned ballet, MOVIN', AN UNDERGROUND JOURNEYby Howard Roberts. February 24 is the premiere date of this double-bill.

As previously reported, Harriet Tubman herself, the black slave whobecame a freedom fighter and civil rights leader, is the heroine of TheaMusgrave's HARRIET, THE WOMAN CALLED MOSES. It is scheduled fora world premiere on March 1, with further performances on March 3, 6,8 (COS Regional Conference) and 10 in Norfolk and March 15 in Richmond,Virginia. Cynthia Haymon will sing the title role.

Civil rights ideals were also the motivating force behind JERICHO, withbook and libretto created by Judy Brussell and music by Buck Brown. Itis based on official documents pertaining to the Greensboro, NorthCarolina, murder of five civil rights and labor leaders that occurred somefive years ago. The case was never resolved. The first performance ofwhat was billed as a music theatre piece took place on November 9 atNew York's Symphony Space. Admission was collected for the benefit ofthe Greensboro Civil Rights Fund. Ten subsequent performances werestaged at the 18th Street Playhouse in New York.

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NEW OPERAS AND PREMIERES

Yet another defender of civil rights inspired the new opera premiered onNovember 17 by the Opera Theater of Rochester, New York (see Volume25, Number 3). Originally named after its heroine Susan B. Anthony, thework is now entitled A FINE AGITATION- The Woman Who Dared. Thestory dramatizes the central character's stand on women's sufferage, herarrest and trial.

Prejudice and human rights is also at the heart of the Dreyfus Affair,which is the topic of DREYFUS, a new opera by composer Morris MosheCotel and librettist Mordeoai Newman. The dramatic musical enactmentof the famous French trial and final vindication of the accused will bepremiered on January 17 at the Brooklyn Academy of Music with theBrooklyn Philharmonic conducted by the composer. Maurice Edwards willdirect and Robert Edmonds will design the sets and costumes.

Women's power has been demonstrated anew in the 2,500-year-old storyof LYSISTRATA, which received a new treatment at the hands of composerHenry Leland Clarke. His opera was premiered at Guilford, Vermont, onNovember 9. — During October and November Theatreworks/USA toureda new short music theatre piece called FIRST LADY, music by Tierney,libretto by Belt and book by Forster. Appropriately, it opened at TheWhite House in Washington, later played at the Promenade Theatre inNew York City.

In celebration of its tenth anniversary season, Minikin Opera in Wilmington,Delaware, will mount its first premiere production. It is a new one-actversion of Hawthorne's story RAPPACINI'S DAUGHTER, this one by SamDennison; it will be presented March 22-24 together with The Impresario.

THE MUSIC CURE is a one-act comedy by Philip Hagemann, based on aGeorge Bernard Shaw play. Scored for three soloists with small orchestraand piano, the opera was premiered at the August Festival in New Harmony,Indiana, the composer's home state.

On September 1 the New Opera Company of Chicago brought DariusLapinskas1 DUX MAGNUS to Toronto's Ryerson Theatre. The story isbased on the life of Casimir, the patron saint of Lithuania, and theoccasion for the premiere was the Lithuanian Catholic World Congress,commemorating the 500-year anniversary of the saint's death. Chicagoresident Kazys Bradunas wrote the libretto; the composer conducted thepremiere performance.

St. Williams Church in Cincinnati hosted the first performance of HenryHumphreys-Rauscher's QUO VADIS DOMINE, an opera for church perfor-mances, in November. Loosely based on Sienkiewicz's novel, it incorporatesancient Latin texts.

SUMMER '85 In addition to previously announced new works, American summer festivalswill feature John Eaton's THE TEMPEST - the Santa Fe Opera on July27, 1985, and William Lewis's NIGHT MUST FALL - Squaw Valley AmericanOpera Festival at Lake Tahoe, California, also in July '85. Lee Hoiby'snew opera,-also based on Shakespeare's Tempest, will receive its premierein summer '86 in Indianola (see Volume 25, Number 3).

NEW AMERICAN The Washington Opera, in a joint venture with the Ope>a National deOPERAS '85-86 Paris, will offer the premiere of Gian Carlo Menotti's GOYA in November

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'86, a 75th birthday present to - or by - the composer. The title role ofthe famous Spanish painter and political rebel is specifically written forPlacido Domingo; the female lead, the Duchess of Alba, has not as yetbeen cast, but is scored for a mezzo soprano. The production will firstopen in Washington in 1986 and then travel to Paris. Menotti is writinghis own libretto which will be in English.

The premiere of Thomas Pasatieri's THE THREE SISTERS, originallyplanned for 1983 by the Atlanta Civic Opera, has now been announcedby Opera/Columbus in Ohio, with the dates set for March 13 and 15,1986. The production of the two-act opera, with a libretto by KenwardElmslie after Chekov, will be assisted by a $60,000 grant from the GrammaFisher Foundation.

Another Chekov story, THE MUSIC SHOP, will be turned into a shortopera by Pennsylvania composer Richard Wargo and, together with TheSeduction of a Lady (see Vol. 25, No. 3) plus a third Chekov story to beannounced, will form a new Wargo/Chekov trilogy. The Music Shop willbe one of two short operas especially written and developed for MinnesotaOpera's Midwest Opera Company's 1985-86 tour (see Vol. 25, No. 1). Theother is JARGONAUTS, AHOY!, a children's opera by James McKeel, Jr.of St. Paul. Developmental workshops for both operas were held inDecember. — The two Wargo operas mentioned above will have theiracademic premieres at Florida State University in Tallahassee in Marchand April, 1985, and their professional premieres at the '85 Lake GeorgeOpera Festival on August 10 (see "Performance Listing").

No doubt Chekov is among the most popular authors to inspire operacomposers. When Harry Freedman was commissioned recently to write aone-act opera for bass Janos Tessenyi he also chose a Chekov play. Thenew opera's title is SWANSONG IN LABRADOR.

The latest round of grants under the "New American Works" projectannounced by the National Endowment (see "Government Programs") willsupport some premiere productions previously mentioned in these pages,and some new commissions not yet reported. The latter include a full-scale musical theater work by Hugh Wheeler, Conrad Susa and RichardPearlman based on the life of Jacques Offenbach for the Center TheatreGroup of Los Angeles; SHOPPER'S OPERA by Pauline Oliveros and AnthonyMartin for Haleakala/The Kitchen in New York, a new work conceivedand composed by Stanley Silverman for the Music Theatre Group/LenoxArts Center, a new musical by Toni Morrison and Leroy Jenkins for afirst performance by the New York Shakespeare Festival, OXYMORA withmusic and libretto by Norman Durkee for the On The Boards workshop inSeattle, THE PHANTOM LADY by Joaquin Nin-Culmell after Calderon dela Barca for New York's Spanish Theatre Repertory; a yet unannouncedcomposer is to be commissioned to write a full-length opera forperformance by the San Francisco Mime Troupe based on the FactWinoplays, and a new radio opera will be created for WGBH, Boston, by thecomposer/librettist team of Donald Harris/Dori Katz.

Among the NEA "Producers Grants" - with producer meaning creatorrather than money-lending angel or overall show director - we find CherylCrawford and Willy Holtzman with a musical HURRAH BOYS HURRAH,Diamanda Galas with MEDEA, an electroacoustic opera for solo performer,Jill Kroesen with an opera-musical ballet THE ORIGINAL LOU AND

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NEA SUPPORT


WALTER STORY, and Richard Kuller with his adaptation from Shake-speare's Measure for Measure, THE ROYAL ME.

MORE Other commissions for the next season include one given by the operaCOMMISSIONS department of the 92nd Street Y in New York to Elie Siegmeister for an

opera based on stories by Bernard Malamud. Another was awarded byWGBH Radio Boston in a joint grant with the National Endowment forthe Arts to composer Donald Harris for THE LITTLE MERMAID (afterAnderson's fairytale).

Philip Glass is currently working on his fourth opera. As subject hechose Doris Lessing's novel THE MAKING OF THE REPRESENTATIVEFOR THE PLANET 8.

Opera de Camera de Puerto Rico received an assistance grant from NEAfor developing a new opera by Roberto Sierra. The librettist MyrnaCasas set the action of ESTRELLA DE MAR in the northeastern coastalsection of the island, known as Loiza Aldea, on a special national holiday.The company will take the two-act work through a workshop developmentnext summer, and hopes to give the premiere performance no later thanspring 1986, possibly in New York or in Washington, DC.

CHANGED DATES New operas previously announced but whose premiere dates have beenchanged, include Myron Fink's CHINCHILLA - the new date is January25, 1986, by the Tri-Cities Opera in Binghamton, and Leonardo Balada'sZAPATA - during the 1985-86 season by the Pittsburgh Opera. — GordonGetty's EMILY DICKINSON is a dramatic monologue consisting of selectedpoems. The American Opera Auditions gave the premiere on August 31,'84 at the Blue Ash/Cincinnati summer festival.

NEW MUSIC Following workshop previews and a premiere production by the not-for-THEATER WORKS prof it Yale Repertory Theatre, MA RAINEY'S BLACK BOTTOM by August

Wilson arrived on Broadway in October to critical and audience acclaim.It is presented in its original Yale production.

New York's AMAS Repertory Theatre will be offering three music theaterworks developed and premiered by the company under the artistic directionof Rosetta Le Noire this season. October brought a production ofANONYMOUS by Vincenzo Stornaiuolo and Giancarlo de Matteis;NORTHERN BOULEVARD by Carlton Carpenter and Kevin Brofsky isplanned for February, and MANHATTAN SERENADE by Louis Alter, AlfredHeller and Henry Le Tang for April and May '85.

The multi-media production of Peaslee/Clarke/Cole's THE GARDEN OFEARTHLY DELIGHTS received its formal premiere on November 13 at St.Clements Church in New York, mounted by the Music Theatre Group/LenoxArts Center. The same company offered a run of performances of thesame piece last spring as a developmental work-in-progress. - In Marchthe Group will give the first performance of Al Carmines' MAKING OFAMERICANS. - Within its last year's summer season at Stockbridge, Massa-chusetts, the company substituted a first staging of Stanley Silver-man/Richard Foreman's latest work, AFRICANIS INSTRUCTUS, for TheChampagne Hour (8/8-26/84).

The popular children's stories of RAGGEDY ANN have been transposedinto a musical by composer/lyricist Joe Raposo, with a book by William

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Gibson. Patricia Snyder of the Empire State Institute for the PerformingArts gave the premiere production at Albany's "The Egg" on the NewYork State Mall. It opened December 9 playing some ten performances.

In October the Pennsylvania Stage Company produced Douglas Katsaros'smusical JUST SO after Kipling's Just So Stories. Mark St. Germain wasresponsible for the book, David Zippel for the libretto.

St. Germain also wrote the book and lyrics for THE GIFT OF THE MAGI,a Christmas musical based on two O. Henry stories, with music by RandyCourts. Opening in New York on December 7, it was the Lamb's TheaterCompany's Christmas offering.

ONCE ON A SUMMER'S DAY by Arthur Perlman and Jeff Lunden dealswith the relationship between Lewis Carroll and a girl named Alice. Itwas first performed in December by the Ensemble Studio in New York.

The New Burbank Theatre Guild in California offered a three-weekpremiere run (12/7-31) of A WINTER'S TALE with music and lyrics byDavid Douglas and Kelli James; the book was adapated by Dana Axelrodfrom Shakespeare.

Stories by Horatio Alger, Jr. formed the basis of BOUND TO RISE withmusic by Robert Dennis. It could be heard throughout December in oneof New York's Off Off Broadway theaters, the Medicine Show.

Musical Theater Works allows not-yet-established composers and librettiststo try out their new creations. The latest result, presented at the St.Marks Place Theatre in New York from September 13 until October 2,was CRADLE SONG with May Bracken Phillips and Jan Mullaneycollaborating on music, book and lyrics. The story deals with the maritalproblems of a successful Manhattan couple. Composer Stephen Schwartzdirected the production.

Thornton Wilder's Our Town will return to the stage as a musical withthe new title GROVER'S CORNERS. Tom Jones wrote book and lyrics,Harvey Schmidt the music (The Fantasticks, 110 in the Shade, etc.). Itwill go through workshop tryouts from January through March when it isexpected to enter a Broadway theater.

SECOND SPECIES is an avant-garde theatre piece with musical adaptationsby Skip La Plante. The story takes place in a future society that hasjust discovered tape recordings made in our time. The premiere wasDecember 7 at Eden's Expressway in New York, performed by Keith King'sLocal Color.

D. H. Melhem, poet, collaborated with composer/conductor Grenoldo increating CHILDREN OF THE HOUSE ON FIRE, Notes on 94th Street.Based on two of Melhem's books, the author, who also teaches at theNew School for Social Research in New York, describes the musical as a"West Side story of passion and politics". The composer won a 1980Audeleo award.

Two new musicals have the Savoyard team of Gilbert and Sullivan assubjects. The San Diego Gilbert and Sullivan Company offered the firstperformance of Ian Taylor's TARANTARA, TARANTARA as a company

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benefit on July 22, while the StageArts Theater Company in New Yorkpremiered Kenneth Ludwig's SULLIVAN AND GILBERT on December 9,1984. Both works mix fact and fiction, and both, of course, featurewords and music by the famous British pair.

WORKS-IN- As part of the Performing Arts Collaborative (PAC), the First AllPROGRESS & Children's Theatre in New York presented workshop readings of two newSHOWCASES music theatre works. Edward Barnes' NEZHA is listed as "a modern opera

based on an ancient Chinese folk tale"; sample sections were performedin October. In November the same ensemble presented three concertreadings of SILAS, a musical based on George Eliot's novel Silas Marnerwith music by Bruce Coughlin, book by Anthony Stein and lyrics byMichael Korie. These programs are in part supported by grants from theNational Endowment for the Arts, the Ford Foundation and the JeromeFoundation. For further details about PAC and the list of its memberorganizations see "News from Companies/Developing New Operas". Whilethe readings were arranged and presented at First ACT, the works essayedwere not children's operas. Silas is slated for a Broadway premiere withan October '85 opening date under consideration.

The After Dinner Opera is continuing its showcases of new works at theBruno Walter Auditorium of the Lincoln Center Library. Supported byMeet the Composer grants, readings of two short operas were held onOctober 22: Philip Carlsen's IMPLICATIONS OF MELISSA, and DonaldGrantham's FROM THE DIARIES OF ADAM AND EVE. (Another Granthamopera, GESUALDA, has brought the composer an NEA grant towardscompletion of the work.) December 10 marked the first staged readingof Sam Morgenstern's one-act Christmas opera, THE BIG BLACK BOXwith a libretto by Francis Steegmuller. Other After Dinner Opera showcasedates are February 11 and April 15. Originally created for the performanceof contemporary operas - a policy adhered to except for a short interimperiod - the company and its founder/director Richard Flusser arecelebrating their thirty-fifth anniversary this year.

The Pennsylvania Opera Theater under Barbara Silverstein has createdits first "Showcase Sampler". On November 18 scenes from four differentoperas were presented, of which two had composer and librettist presentfor discussion and special work on these pieces: Lori McKelvey (music/li-bretto) for THE GOLDEN ISLAND, and Robert Xavier Rodriguez (music)and Daniel Dibbern (libretto) for SUOR ISABELLA. The other operaexcerpts were from Mechem's Tartuffe and Constantinides' Antigone. Theshowcase was held at Moore College of Art in Philadelphia and was opento the public.

The Skylight Comic Opera in Milwaukee will devote January 17 to February3 to a workshop development of a new two-act opera DANCE OF DEATHby Marjorie Rusche with a libretto by Dan Pinkerton. The workshop willculminate in two semi-staged performances with orchestra on theafternoons of February 2 and 3. These will be open to the public. Theopera is based on the Strindberg play of the same title. The company'stwo artistic directors, Stephen Wadsworth and Francesca Zambello, willdirect the workshop.

This year's season at the Comus Music Theatre in Toronto is devotedexclusively to workshop productions and developmental experiments. Inaddition to the previously announced Song for a Rainy Thursday, the

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company has chosen SAXARBA a multi-media work for four soloists bySusan Frykberg, and SPACE OPERA with music by Howard Gerhard andwords by b. p. Nichol [sic], set on a planet where only musicalcommunication is permitted and where words land you in jail.

The Minnesota Opera has taken a number of different operas throughworkshop treatments (see also 85-86 Premieres), some in collaborationwith other organizations. Its latest project was supported in part by theJewish Community Center of Greater Minneapolis, and consisted of scenesfrom ANNE FRANK, with music by Michael Cohen and a libretto by EnidFutterman.

No less than thirty new one-act and eight full-length plays includingseveral musicals ran end-to-end in a 57-hour musical endurance test.They were presented in the fifth annual Quaigh Theater Dramathon onWest 43 Street in New York, December 29-31.

Opera Uptown, the ensemble presenting contemporary opera in affiliationwith Barnard College's Music Department (see "News from Companies"),developed and premiered FRESHWATER, a one-act improvisational operabased on the play by Virginia Wolfe, with music by seven composers.These include the company's music and workshop directors, Peter Schubertand Eric Valinsky. The premiere was staged by artistic director RhondaRubinson at the Minor Latham Playhouse of Columbia University on October19, on a program with two short operas by Menotti and Barber. In May'83 the company's first production included the premiere of Schubert/Va-linsky's experimental multi-media piece, PERPETUAL, and James Steple-ton's THE PRODIGAL SON.

The first opera-in-progress workshop on television has been announced byCable Channel WHYY's program TV12/The Muse. The work chosen fordeveloping is CRAZY NORA with music by Harrison Boyle and a librettoby Robert Barnett. It is based on an actual character, Honora Power,and the tragic circumstances that involved her in a scandal in Philadelphiain the 1820's. The work, scored for two pianos, was not specificallyconceived for television, and a live production is sought for late 1985.

New York's First All Children's Theatre, under director Meridee Stein,will add two new operas for children this season. TANGLEWOOD TALESis based on Hawthorne's children's book of the same title; it has musicby Richard Peaslee and book and lyrics by Kenneth Cavander. HEARTS,with lyrics by Indira Stefanianne Christopherson, has been composed byDouglas Katsaros (see also AMAS and Pennsylvania Stage Company).— The fantasy of a little boy brings the opera THE SNOWMAN to life.Howard Blake's half-hour musical, published by Faber/G.Schirmer Inc., waspremiered in December by the Tuscarawas Philharmonic in Dover, Ohio.— Sally Wolf and Lurrine Burgess are composer and librettist of theone-act, twelve-scene children's musical MOUFFLOU, premiered in Decem-ber at their Children's Music Theatre of the Southern CaliforniaConservatory in Sun Valley. — Labeled as "a contemporary underwaterchildren's musical", THE SEA JOURNEY will be premiered by Mimi Stern-Wolfe at the Downtown Music Production in New York in May '85. — Forthe New York holiday season the Opera Shop of the Vineyard Theatermounted the first live staged performances of Fred Rogers' latest children'sopera SPOON MOUNTAIN. The comedy with participation by its youngaudiences was first performed on "Mr. Rogers' Neighborhood" children's

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MORECHILDREN'S

OPERAS


television program. It was adapted for the December stage performancesby Barbara Zinn Krieger. — The Bristol Grammar School in Englandpremiered yet another version of THE BEAUTY AND THE BEAST, thisone commissioned by the school from David Selwyn. The two-act children'sopera was heard December 12-15. — Among the 1983-84 performancesnot yet reported was the premiere of THE NIGHTINGALE'S APPRENTICE,A Story Opera for Children and Adults, presented on April 13, 1984, bythe Troika Association in Ithaca, New York.

NEW OPERAS The University of Montevallo Lyric Theatre in Alabama will stage a newIN ACADEMIA musical featuring local history in a local setting. With music and lyrics'84-85 by Edwin Robertson, BRIGHT HOPE plays in the early days of Alabama's

iron industry. It is based on The Bright Hope Furnaces in Brierfield inthe Mid-1900's, a book by William Cobb. The premiere is scheduled forApril 18, 1985.

An adaptation of Washington Irving's Legend of Sleepy Hollow resultedin ICHABOD, a musical with book and lyrics by Joseph Normile and RickPevey and music by Gerald Muller. The premiere was staged by theopera department of Montgomery College in Rockville, Maryland, onNovember 9. — A musical adaptation by Alfred Loeffler, LOVE'SLABOR'S LOST after Shakespeare, was produced at California StateUniversity at Chico. Four performances, November 15-18, representedthe collaborative efforts of the University's Opera Workshop and theDepartment of Theatre Arts.

Northwestern University's Theatre and Music Departments may havereceived the plum of this season's musical premieres when they acquiredthe rights to the first full production of Sheldon Harnick's DRAGONS.Originally showcased by the O'Neill Theatre Center and last year by theNational Institute for Music Theater, the work's performances in Novemberin Evanston, Illinois, were under the direction of Tom Roland. Theyrepresented the first complete staging of the musical which is based ona fantasy play by the Russian author, Yvgeney Schwartz. - In February'85, Northwestern will again be on the musical map, this time with thefirst American performance of JUHA by the Finnish composer AarreMerikanto.

In May the University of Northern Colorado Opera Workshop in Greeleywill present the premiere of Seymour Barab's latest operatic creationentitled A PIECE OF STRING. Excerpts were performed in November inDallas at the Convention of the National Opera Association. On thatoccasion NOA also announced three one-act operas chosen as finalists inits New Opera Competition: Robert Sirota's BONTSCHE, THE SILENT (seeVol. 24, No. 1), Michael Sienkiewicz's FALL LEGEND, and Bern Herbols-heimer's ARIA DA CAPO. The winning piece will be performed at the1985 NOA Convention in Louisville.

IN ACADEMIA FRANCOIS VILLON: L'Enfant Sans Souci by Anton Wolf was given its'83-84 first performance in concert form at Buffalo State College on May 17.

The one-act opera in six scenes with a libretto by Paul V. Hale representsvignettes from the life of the 15th century poet. The work requires ninesoloists and a professional orchestra, which for this performance wasmade up of members of the Buffalo Philharmonic; Muriel Hebert Wolfacted as dramaturg.

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Other academic premieres of the 1983-84 season not previously reportedinclude SVENGALI, music by Granville Walker, libretto by Jeremy Siddleafter a George du Maurier novel, in nine scenes, scored for a twenty-piece orchestra of winds, brass and string quintet, and premiered by theDepartments of Music, Theatre and Dance at Western Washington Universityin Bellingham (2/3/84). It was awarded the third prize of the NationalOpera Association's production award. — THE WEDDING OF THE WIDOWWADE by James Shaw produced by the Glassboro State College OperaWorkshop in New Jersey on a double-bill with a Menotti opera (4/12/84).— Maurice Savior's one-act THE EXPRESS, performed by five soloistsand produced by George Washington University's Vocal Theatre Workshop(4/25/84). — Mary Rhoads' HORYUJI, a one-act opera performed withorchestra at Northern Colorado University in Greeley (5/4/84). — THEBINGO GAME, "a musical comedy for the whole family" in two acts byLola Miller, accompanied by a ten-piece orchestra and piano, with a largecast of singers, actors and dancers, premiered at Shasta College inRedding, California (4/5/84). — Richard Chodosh's MOLIERE with librettoby Barry Grael, Robert Gerlach and James McDonald, premiered at theCentenary College of Louisiana in Shreveport (3/8/84). — And finallya reading of Jeremy Beck's one-act chamber opera ANNE BOLEYN atMannes College in New York (1/27/84).

In 1982 the Music Theatre Studio Ensemble at the Banff Centre in Alberta NEWcommissioned and developed parts of BIBLE BILL AND THE FUNNY MONEY CANADIANGANG with words by Ken Jones and music by Steve McNeff. The music OPERAStheatre work, which deals with the Canadian Social Credit Party's victory AT BANFFin the 1935 election in Alberta, received its fully staged premiere inDecember '84. The Calgary-born writer, who now resides in England butreturned to Banff to supervise the premiere, has two other operas to hiscredit, Eric Satie, and Lulu. — In February a Mini Festival of newpieces produced by the Ensemble under Michael Bawtree's guidance broughtto the stage Stephen Gibson's SUBCLASS FOUR MILLION: Serenades ofthe Southern Cross with a libretto by Jan Quaekenbush set in an Argentineprison, Halldor Laxness and Felix Wurman's JOURNEY THROUGH AMIRROR, an experimental piece based on Antonin Artaud's writings,Brecht's THE EXCEPTION AND THE RULE with music by Stephen McNeff,and finally THE DOCTOR AND THE DEVILS, an adaptation by CharlesCausley of Dylan Thomas's film script, again with McNeff supplying themusic. It was first heard in a shorter version in Manchester, England,in 1980.

Plans for 1985-86 include the premiere of CRAZY HORSE SUITE withmusic by Morgan Nyberg and words by Steve Chatman in December, andin March, ST. CARMEN DE LA MAIN with Sydney Hodkins responsiblefor both music and libretto. For October '85 the Studio is preparingSteve McNeff's musical treatment of Gogol's THE INSPECTOR GENERALin a new adaptation by Steve Chatman.

For his latest stage work, MEDEA, Robert Wilson chose British composer AMERICANGavin Bryars as collaborator. The opera was premiered on October 22, OPERAS1984 by the Ope>a de Lyon in France, and played through November 9 ABROADon alternate evenings with Charpentier's M&d&e. The same subject, inthe musical treatment by Cherubini, will join the Lyon repertoire in thespring. Meanwhile, immediately after closing in Lyon, the Wilson/Bryarsopera was taken to Paris for a series of performances at the Theatredes Champs-Elyse'e.

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Last June the Abbey Opera Company of London presented the first Britishproduction of Robert Ward's THE CRUCIBLE, and June '85 will bring theBritish premiere of Philip Glass's AKHNATEN staged by the EnglishNational Opera. — Menotti's Help! Help! The Globolinks made its firstappearance in Austria at the Vienna Volksoper in November, and Johnson'sFour-Note Opera was heard at the Vienna Kammeroper last fall.

AMERICAN The first U.S. performance of Peter Maxwell Davies's TAVERNER,PREMIERES originally scheduled by the Opera Company of Boston for last season, has

been postponed until April 1985.

The Santa Fe Opera will offer the American premiere of DIE ENGLISCHEKATZE by Hans Werner Henze on July 13, 1985. The opera was firstheard at the Schwetzingen Festival in June '83. The New Mexico companyhas performed several Henze operas in the past and last summer gavethe first U.S. production of the composer's We Come to the River.

Raymond Pannell's REFUGEES, first heard at the Co-Opera Theatre inToronto in 1979, will be presented by the Arkansas Opera Theatre inLittle Rock in April 1986 in its first United States performance.

Following a concert performance by the New York Philharmonic at itsHorizons '84 summer series, Oliver Knussen and Maurice Sendak's WHERETHE WILD THINGS ARE will be staged for the first time in the UnitedStates in September '85. The performances will be the result of the firstcollaboration between the Minnesota Opera Company, the St. Paul ChamberOrchestra with Pinchas Zuckerman conducting, and the GlyndebourneOpera whose production will be imported. — The professional premiereof Iain Hamilton's RALEIGH'S DREAM has been announced by the CharlotteOpera and its touring arm, the North Carolina Opera, for the 1985-86season. The premiere was presented at Duke University last year. — OnOctober 12 the Orchestra of our Time under music director Joel Thomegave the American premiere of Henze's EL REY DE HARLEM at NewYork's Cooper Union.

La Soeiele'e de Musique Contemporaine du Quebec is planning the NorthAmerican premiere of Wolfgang Rihm's JAKOB LENZ for January 26,1985. The performances, co-sponsored by the Goethe Institute, will beheld at Toronto's Ryerson Theatre as part of its New Music Concert series.

Turning from the contemporary repertory to the Baroque, we find JohannChristian Bach's AMADIS DES GAULES staged in its U.S. premiere by theBel Canto Opera in collaboration with the Baroque Dance Ensemble inNew York on October 27, 1984. First heard in Paris in 1779, it is based ona libretto by Quinault, who wrote the original words for the 1684 operaof the same title with music by Lully. — Indiana University in Bloomingtonwill give the first American stage production of Handel's TAMERLANEon January 26. — On November 17 the Opera Workshop at the Universityof Colorado at Boulder staged Haydn's LE PESCATRICI, a work onlyrecently rediscovered and given what was considered its world premierein Eisenstadt, Austria, by students of the University of Iowa.

Predating the above is LA CATENA D'ADONE (The Chain of Adonis) byDomenico Mazzocchi (1592-1665), an Italian composer/lawyer whose nameis hardly known today. His only extant opera, first heard in Rome in1626, received its American premiere at the University of Minnesota in

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Minneapolis on November 30 in a new edition by David Livingston withan English translation by the opera theater's director, Vern Sutton.

A new operatic comedy, A QUESTION OF LOVE by Patricia Gilbert (words NEWand music), could be heard at Conway Hall in London on November 7. — FOREIGNTwo recent British musicals currently running in London are Andrew Lloyd OPERASWebber and Trevor Nunn's STARLIGHT EXPRESS, and Marvin Hamlish andPeter Hall's ANIMAL FARM, the latter based on George Orwell's book. —The Buxton Festival in Derbyshire included the first performance ofNorman Kay's ROBIN HOOD in last July's schedule. — The HarrogateFestival and British Arts Council commissioned composer Wilfred Josephsto write ALICE IN WONDERLAND for production by the Leeds YoungOpera Group. — London's Guildhall School performed two new musicalslast summer: Paul Barker's WALL, and Buxton Orr and Kenneth Rea'sTHE LAST CIRCUS (6/12/84). - On July 11 the Birmingham School ofMusic offered a workshop production of Giles Swayne's LE NOZZE DICHERUBINO.

From half-way around the world comes news of two other new Englishlanguage operas. The Australian Opera Company in Sydney has establisheda National Opera Workshop for the development of new Australian musictheater pieces. METAMORPHOSIS, with music by Brian Howard and alibretto by Steven Berkoff after the Kafka novel, has been chosen asfirst opera to receive semi-staged readings at the Sydney Opera House'sRecording Hall. Choreographer Graeme Murphy is in charge of direction.— After some preview tryouts, Anne Boyd's version of Anderson'sfairytale, THE LITTLE MERMAID, will be given ten performances duringthe August '85 school holidays. (See "Attention Composers" regardingthe submission of new works.)

The Opera School of New South Wales gave the premiere of GillianWhitehead's KING OF THE OTHER COUNTRY earlier this season. -August 25 through 29 marked the performance dates of Barry Conyngham'sopera FLY by the Victoria State Opera in Melbourne. — WAITUHI: TheLife of the Village is based on an original Maori novel whose author,Witi Ihimaera, also wrote the libretto for composer Ross Harris. Thework was premiered on September 8 by the State Opera Wellington inNew Zealand.

In celebration of the 150th anniversary of the writing of the FinnishKalevala, the Helsinki Festival will give the first performance of EinojuhaniRautavaara's THOMAS, an opera based on this national epic, in May '85.— During the current season, the Royal Opera Stockholm will presentthe premiere of Sven-David Sandstrom's EMPEROR JONES. — Sweden'sVadstena Academy was the site of the first performance of poet/composerLaszlo Horvath's ICEFLOWERS IN A NOSTALGIC UNIVERSE. The one-act opera, based on Poe's The Oval Portrait, was performed last summertogether with an 18th century farce.

The reopening of the Zurich Opera house after extensive two-yearrenovations was celebrated with the world premiere of a new work byone of Switzerland's most successful composers. On December 4, RudolfKelterborn's DER KIRSCHGARTEN, after Chekov's Cherry Orchard,opened, featuring Evelyn Lear, with Ralf Weikert conducting and NikolausLehnhoff directing. — In April '85 Michel Tabachnik's ARCH for soprano

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and orchestra will be premiered in Geneva; Rosemarie Landry will be thesoloist. — DER DRACHE (The Dragon) by Jost Meier will have its firstperformance at the Basel Stadttheater later this season. — The Theatrede la Monnaie in Brussels will share its February '85 premiere productionof Boehmer's DOKTOR FAUSTUS with the Paris and Netherlands (Amster-dam) opera companies.

The Robert Wilson/Gavin Bryars MEDEA (see "American Operas Abroad")opened in Lyon in October and subsequently played in Paris at the Theatredes Champs-Elysee (11/21-12/2). — Lyon was also the house to presentthe first performance of Georges Aperghis1 THE RED BAND (6/4/84).— The opera companies in Bordeaux and Toulouse, jointly commissionedand produced Marcel Landowski's MONTSEGUR. The premiere announcedfor February 15 in Bordeaux will star Karan Armstrong and Gino Quilico,with Michel Plasson conducting. — Claude Prey's one-act DONNAMOBILE 1 has been paired with a short Ibert opera for a first stagingin Tours, France, on March 8.

Spring '85 will bring two new works to the stage of La Scala, Milan:Franco Donatoni's ATEM with Zoltan Pesko conducting, and Luigi Nono'sPROMETEO, Claudio Abbado conducting. — Riccardo Luciani is thecomposer of TALGOR, first performed by the Teatro Comunale in Florenceon October 11, 1984. — Last summer the ten-year-old Musica nelChiostro festival in Batignano premiered yet another version of The Beautyand the Beast, this one by British composer Stephen Oliver as LA BELLAE LA BESTIA. — Written for three singers, two mimes and an actor,and including the use of a digital synthesizer, and video and cinemascreens, IPERMESTRA was first staged by the Ferrara Festival on June13. Ivan Fedele is the composer, Giuliano Corti is the librettist, whoused Orwell's 1984 as a basis for his one-act, one-hour music theatre piece.

In Germany a number of well established composers will be representedby new works this season. On May 11, 1985, the Deutsche Oper willgive the first performance of Siegfried Matthus1 DIE WEISE VON LIEBEUND TOD DES CORNETS CHRISTOPH RILKE in West Berlin. It will alsomark the debut of Maximilian Schell as operatic stage director. — Munichwill be treated to three new operas this season. ROI BERENGER I byHeinrich Sutermeister is scheduled for a first performance on July 22,1985, at the Bayerisehe Staatsoper. The same company's second theater,the Theater am Gartnerplatz, has programmed the premiere of DERGOGGOLORI by Hiller and Ende for February 3, and the smallest house,the Theater im Marstall, will give the first performance of Ferrero's LANOTTE in May. — The Cologne Opera was in the news with theproduction of Jens-Peter Ostendorf's MURIETA on October 25. The titlerole was sung by Dolores Ziegler; Steuart Bedford conducted and HansNeugebauer directed. — Alexander Goehr has given the rights to thepremiere of his latest opera SEHT IHR DIE SONNE? to the Deutsche Operam Rhein. The first performance will be on April 11 in Diisseldorf,— The Hessisehe Staatstheater in Wiesbaden has announced the firstproduction of Kurt Dietmar Richter's ADAM UND EVA for June 1, 1985.— Listed for a first German performance at the Stuttgart Kammeroperthis season is Ullmann's DER TOD DANKT AB (Death Resigns). — May 10,1984 brought the first performance of Wolfgang Matz's one-act opera, INDEN SPUREN EINER NEUEN ERDE to the stage of the Freiburg opera,together with Haubenstock-Ramati's SPIEL.

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British composer Peter Maxwell Davies has been awarded a commissionfrom the Staatstheater Darmstadt for a new opera to be completed in1987. It will be entitled RESURRECTION. — Krzysztof Penderecki isworking on THE BLACK MASK, which is tentatively scheduled for apremiere at the 1986 Salzburg Festival.

Two studio workshops attached to professional opera companies arecurrently assisting in the development of new operas, similar to theirabove mentioned American counterparts. In Kiel the premiere of Stahnke'sHEINRICH IV is in preparation, and in Mannheim Wolfgang Rihm's DIEHAMLETMASCHINE and Eberhard Streul's DER THEATERREQUISITEUR.- The newly formed Vorarlberger Opernwerkstatt in Bregenz (see also"Career Guide Addenda"), which operates for two weeks in September,included Marc Neikrug's new opera FOUR ROSES among its performances.Young singers of professional standing in need of some specific vocalassistance, such as a possible change of voice category or "Fach", orwishing to study specific roles, may apply for admission.

During last summer's Vienna Festival Weeks, the Theater an der Wiengave the premiere of DER WELTUNTERGANG (The End of the World) byWilhelm Zobl, a piece combining elements of opera, musical comedy andcabaret. The librettist, Peter Daniel Wolfkind, based his satire on anoriginal story written by 26-year-old Jura Soyfer in a concentration campwhere he perished. The prediction of the destruction of the world througha comet brings out the best and the worst in people, and it sends Vienneseinto various frenzied preparations, including such plans as the filming ofan anticipated television spectacular. — The Vienna Kammeroper per-formed Rlidenauer's LIEDERSPIEL on June 1 for the first time, and theCarinthian Summer Festival in Ossiach, Austria, premiered HerbertLauermann's SIMON on August 6, conducted by Erwin Ortner. — Soloists,chorus and a small orchestra offered Jan Astriab's THE BLIND, a one-act opera based on a Maeterlinck drama. It was performed at the 1984Poznan Spring Music Festival. []

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NEWS FROM OPERA COMPANES

NEW COMPANIES For the last few years Maestro Laszlo Halasz has appeared as conductorwith several smaller companies on Long Island (NY). In summer '83 hebecame music director of a new organization, the NATIONAL GRANDOPERA, founded by Michael Scuderi who is president and general manager.The first performance was Aida at the Lakeside Theatre at EisenhowerPark on Long Island (8/6/83), featuring Jurkiewicz-Scuderi in the titlerole, with Barbara Conrad and Ruben Dominguez filling the other leadingparts. The winter season found the company performing four operas fromthe Italian standard repertoire at the C.W. Post Concert Theater withsuch well-known artists as Teresa Kubiak, Catherine Lamy, Justino Diazand Pablo Elvira. Two of the four operas were repeated last summer,again at Eisenhower Park. (For the schedule of the current season seePerformance Listing.)

OPERAWORKS, LTD., burst on the New York scene with a Septemberannouncement of an early October two-week, four-program season. WithDavid C. Leighton as conductor and Joel P. Casey as director, the companyoffered two evenings of contemporary music theatre: three short piecesby George Crumb (Ancient Voices of Children, Voice of the Whale, Nightof Four Moons), and Peter Maxwell Davies's The Martyrdom of St. Magnus.A production of he Nozze di Figaro completed the first season on October13. The 250-seat Larry Richardson's Dance Gallery on East 14th Streetwas the performance space which allowed for a very small orchestra.

Two performances of Otello at New York's Beacon Theatre in Septemberwere presented under the auspices of a newly created organization, RPMPRODUCTIONS. J. Szicheng Lau was music director, conducting anorchestra of freelance musicians.

Add to Green Bay, Wisconsin, a Czech conductor with the local symphonyorchestra, and a theater at the University of Wisconsin, and you get thePAMIRO OPERA COMPANY. Founded by Miroslav Pansky, the newcompany will give its debut production of Don Pasquale in June at theUniversity Theater. Young professional singers have been engaged forthe leading roles, to be joined by the University chorus with the GreenBay Symphony in the pit. During their stay in Wisconsin the soloists willalso hold masterclasses at UWGB. In addition to the above premiereproduction, a three-year plan by the opera company calls for twoperformances of The Italian Girl in Algiers in 1986, and Die Fledermausthe following year.

The HOLLYBUSH FESTIVAL in Glassboro, New Jersey, which gave itsinitial performance in 1983, will stage a major two-week festival thisspring. Between May 7 and 23 there will be two opera productions (seePerformance Listing), concerts by the New Jersey Symphony Orchestraand dance evenings presented by the New Jersey Ballet. Veda Zuponcicis the festival director, Karin Keltner music director for opera; perfor-mances will take place at the Wilson Concert Hall of Glassboro StateCollege.

The commissioning, developing and premiering of new works and theproduction of contemporary operas previously premiered is the stated goalof OPERA UPTOWN, a performing ensemble affiliated with the musicdepartment of Barnard College in New York. May '83 marked its firstpresentation - a triple bill which featured a new experimental musictheater piece developed by the group. Last October another triple bill

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NEWS FROM COMPANIES

again included a new experimental work by the same team of composers(see New Operas - Workshops, and Performance Listing). Rhonda Rubinsonis the company's artistic director, Peter Schubert is music director andEric Valinsky workshop director.

The AMERICAN CHAMBER OPERA COMPANY has been founded for thepurpose of presenting both contemporary and classical chamber operas inEnglish with young New York singers, accompanied by a small chamberorchestra. Douglas Anderson is the executive director, Laura Greenburgartistic director, and Donald Venezia managing director. The first seasonwill bring two double bills, one in the fall, the other in the spring, toSaint Michael's Church on New York's Upper West Side.

Three musicals, scheduled for October, January and May, make up thefirst season of the SAN GABRIEL VALLEY CIVIC LIGHT OPERA inCalifornia. Each production is given four performances.

Although the LOS ANGELES MUSIC CENTER OPERA ASSOCIATION wascreated some time ago, it has never been an actively producing company.It was titularly involved in the Los Angeles Philharmonic/Royal OperaCovent Garden coproduction of Falstaff and in the visit of the CoventGarden company - under the Olympic Festival banner - last summer. Withthe recent appointment of Peter Hemming as Executive Director (see"Appointments"), the company will begin to plan its own productions, inaddition to booking some major visiting opera companies into the MusicCenter on a more regular basis. Plans include the possible use of thesmaller theaters also, besides the main auditorium at the Chandler Pavilion,and collaborative productions with other constituents of the Center arealso being considered.

THE NEW OPERA GROUP performed Cost fan tutte in April at Our LadyQueen of Martyr's Church in Manhattan.

As discussed frequently in these and other pages, the arrangement ofseasons' schedules for American opera companies offering only a limitednumber of productions and performances per year raises several problems.Opera producers must decide whether to program all performancescontinually within a closed period, enabling them to engage the artisticand technical staff for the run of the complete season - with obviouseconomic and artistic advantages - or whether to arrange productionsspread out over the year to better accommodate its audience - especiallythe subscribers - who may prefer their cultural entertainment scatteredthroughout the winter. Several companies have built a tradition of aclosed fall season, such as San Francisco, Chicago, Dallas, Kansas City,and lately Washington, DC, and New Orleans; others have scheduledperformances in late winter (Miami and Sarasota). A concentrated springseason has been the trademark of St. Louis, and then, of course, thereare the many summer festivals, some inclusive of opera and othersexclusively operatic. Companies in Philadelphia, Pittsburgh, Houston,Louisville, Baltimore, Boston, Tulsa, Portland, Fort Worth, Seattle andmany others have retained the schedule originally adhered to by almostall American opera producers of evenly spacing their three to sixproductions between September and May.

Previously reported experiments changed the seasons in Detroit to threefall and one spring productions, in San Diego to even fall and spring

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Correction

CHANGES INSEASONS

SCHEDULES

NEWS FROM COMPANIES

seasons of three operas each, although the latest announcement fromSouthern California indicates another change, this one to an October,February and May schedule of two operas each. Conversely, Cincinnati'soriginal summer season is now split into four summer productions plus onein the fall and another in the spring. When the time came to expandactivities, companies such as those in San Francisco, Dallas and KansasCity continued their long established, concentrated fall seasons and addednew spring or summer stagiones.

A COMPANY FOR Beverly Sills displayed great courage when, after finding her company inALL SEASONS desperate financial difficulties, she proposed a radical change in the NEW

YORK CITY OPERA'S performance schedule, which had a tradition of afall and a spring season. Never before was there a full summer seasonpresented by a resident opera company in New York - but she took thatgamble and won it handsomely. The new performance schedule proved tobe an unqualified success, and now that the returns for the first completesummer/fall season are in (the original plans for 1983 went awry when alabor dispute delayed the June opening until September), they outdistancedoverwhelmingly even the most optimistic first estimates. The 1984 seasonwas conservatively budgeted at 66 percent of capacity ticket sales forJuly and August, and 82 percent ticket sales for September through mid-November; final receipts showed sales of 83 percent for the summer and90 percent for the fall season. The announcement held a number of othersurprises which seem vital for careful consideration by opera companymanagers, since they contradict previously established "truth", and may,in fact, be the first indications of new trends. There is no need toexpound on the advantages of subscription sales and, for the last ten oreven twenty years, much effort has been expended by marketing andpromotion departments to extend the subscription base. During the lasttwo seasons, however, an increase in single ticket buyers could be discerned(see article on COS Opera Survey results in Opera News) and the NewYork City Opera experienced a dramatic showing of this trend. Of course,summer visitors to New York accounted for part of this shift, but it alsoheld true in the City Opera's fall season - a trend confirmed by severalmajor companies in their 1983-84 reports for the COS annual OperaSurvey. - This was also the first New York City Opera season that offeredall foreign operas in the original language with the projected Englishcaptions, all except The Magic Flute, and the company attributed partof its success to this new device.

The other startling fact revealed by the City Opera's report on its pastseason was the decline of audience interest in the Italian standardrepertory, the so-called bread and butter operas which are supposedlythe opera companies' safeguard for box-office revenues. Of the seventeenoperas presented this season, The Barber of Seville, La Boheme, MadamaButterfly had by far the lowest attendance, while La Rondine and Lakm6played to full houses, and tickets for the twenty-two performances ofThe Rake's Progress, Akhnaten, Sweeney Todd became prized possessions.Additional performances of these "high-risk" productions could haveaccommodated the long waiting lists! Of the 136 performances more thanhalf were completely sold out.

Meanwhile, the company is making further strides in the expansion of itsactivities and the length of its season, which, it is anticipated, will beat least 36 weeks long in the late 1980's. A $5 million grant from Mr.and Mrs. Lawrence A. Wien, to be paid in five equal, annual installments,

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will facilitate the creation of a spring season of musical comedy, forwhich Harold Prince will be the artistic advisor. Plans call for the firstproduction of one musical in a five-week run in March '86, and an eventualtwo- or three-show, eight-week run in the late 80's. December '86 willfind the company returning to California for the first time since its lastperformances at the Los Angeles Music Center in 1982. It will open thenew 3,000-seat Orange County Performing Arts Center in Costa Mesawith a six-week guest engagement, and, in the summer, the New YorkCity Opera will be back at Wolf Trap in Virginia for one week. Thus,between the summer/fall opera season and the spring musical shows atits home at Lincoln Center, the guest appearances in California andVirginia, and the pre-performance rehearsals, the New York City Operawill be the company with the second-longest season in the United States,after the Met. (See Forecast for some future repertory plans.)

The CANADIAN OPERA COMPANY has added a seventh production and EXPANDEDincreased its performances in Toronto from 42 to a total of 50 this season. SEASONSThe company's answer to the above question of a seasons' schedule isthe pairing of two operas performed within a three- to four-week spanin October, January, May-June, and a single one in April (see PerformanceListing, Vol. 25, No. 3).

The current season finds the KNOXVILLE OPERA in Tennessee stagingthree full-length operas for the first time. Last year the company offeredone double-bill and one full-length work plus an operatic concert inpreparation for this year's three opera/four performance schedule.

As a result of the heavy demand for tickets for its January productionof Madama Butterfly, the PITTSBURGH OPERA announced in Decemberthat it added an extra, third performance of the opera. If this experimentis successful, the company might schedule three performances of all itsproductions next season. Director Tito Capobianco credits the successin large measure to OpTrans, the company's projected English captions.

The SKYLIGHT COMIC OPERA in Milwaukee offered its first summerfestival in 1984. An Offenbach operetta, a Victorian musical and a revuewere staged at the company's own small theatre in a total of thirty-twoperformances.

In May, the ARKANSAS OPERA THEATRE will be featured in the Festivalon the Green at Little Rock. This will mark the first performance bythe company at Castle House, and it adds a fourth production to theArkansas Opera's schedule. The customary three productions in sixperformances take place at the Arkansas Arts Center.

A ten-year plan of expansion announced by the DALLAS OPERA providesfor almost tripling its current activities to total some sixty performancesin its main resident season in 1994. This will be made possible by thecompletion of a concert hall which will be the new home of the DallasSymphony beginning in 1987. Until then the opera company is sharingthe Music Hall at Fair Park with the orchestra and is therefore greatlyrestricted in the auditorium's use. Since the symphony is also the orchestrafor the opera company, general manager Plato Karayanis and music directorNicolas Rescigno will have to assemble a new orchestra once the twoorganizations use different facilities. By the end of the ten years, theDallas Opera is to give seven productions in six performances each at

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NEWS FROM COMPANIES

the Music Hall in the fall and winter, and four productions in sixperformances each at the smaller Majestic Theater in the spring. Aspecial series presenting major artists in concerts and recitals will alsobe added.

The BROOKLYN ACADEMY OF MUSIC is adding a spring festival to itsvarious programs. Entitled "New Traditions", it will present dance, music,opera, and theatre productions. The first festival in February and March1985 will offer five programs by visiting dance companies.

. . . IN With the Australian Bicentennial due in 1988, the AUSTRALIAN OPERAAUSTRALIA COMPANY initiated a plan for a five-year outreach program last year.

Supported by Esso Australia, Ltd., the expansion will effect three areasof activities: 1) the company's Young Artists Development Program, atraining and performance oriented project for particularly gifted Australianperformers at the beginning of their professional career, which will alsoinclude an annual "Young Artist of the Year Award"; 2) a free Opera inthe Park Programme which will feature Joan Sutherland in the initial1985 production; and 3) the development of electronic media activities.In recognition of the oil company's generosity, the Australian Opera willdesignate twenty-five performances as "Esso Night at the Opera". - Othernew developments include the creation of a NATIONAL OPERA WORK-SHOP for the promotion of new Australian operas and music theatrepieces. The first two choices have been announced by the Workshop'sartistic director, Moffatt Oxenbould (see "New Foreign Operas"). Furthermaterial is being sought and Australian composers are invited to submitworks in either of two categories, a chamber opera of about 40 minutes,and a large-scale work with at least 30 minutes completed. — Anothersign of the company's growth is the addition of a permanent office inMelbourne at 3 Bowen Crescent, Melbourne 3004.

REDUCED In a reversal of the above trend, the BRONX OPERA, which has givenSEASON two productions for all its past thirteen seasons, has limited its activities

this year to one production in four performances.

TOURING This spring's METROPOLITAN OPERA tour will not return to Dallas andMemphis due to insufficient guarantees and the former brief stays in bothcities. This will shorten the tour by one week, two weeks compared tolast year which included the Toronto Festival, but the company will playone full week in each of this year's tour cities (see "Performance Listing").

Recent tours by major European opera companies brought the BAYERISCHESTAATSOPER of Munich to China with stops in Peking and Shanghai inSeptember and October '84, and, in that same period, the Zurich Operacompany to Greece for a one-week guest engagement in Athens. Theformer travelled with two Mozart operas, Le Nozze di Figaro, DieZauberflote, the latter with Idomeneo. Carmen, Jeanne d'Arc au Metier.— In May 1987 the Deutsche Oper am Rhein will travel from Dusseldorfto Moscow's Bolshoi Theater to perform Le Nozze di Figaro, DieZauberflote, Elektra, Parsifal, and Die Walkiire.

NEW By next August the SPOLETO FESTIVAL will have become The FestivalAFFILIATIONS of Three Worlds, with Australia the latest continent to be added, and

Melbourne joining Spoleto, Italy, and Charleston, South Carolina. In anexchange arrangement, artistic director Gian Carlo Menotti will bringAustralian theater and dance companies to Charleston. They will be

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NEWS FROM COMPANIES

joined by Australian filmmaker Bruce Beresford who will come as operaticstage director for a new production of La Fanciulla del West. The 1985dates for the Festival USA are May 24 through June 9.

In another triumvirate, MEMPHIS OPERA has joined the opera companiesof Syracuse and Indianapolis under the administration of Robert Driver.The companies are planning joint productions which will be assisted byan increased grant from USAir, the airline servicing Memphis in additionto the up-state New York and Indiana cities.

Some forthcoming productions by the MINNESOTA OPERA will be presentedin collaboration with the ST. PAUL CHAMBER ORCHESTRA. Amongthem will be next season's first American staging of Knussen's Where theWild Things Are which will mark the operatic debut by the chamberorchestra's music director Pinchas Zuckerman. The premiere of Argento'snew opera this spring (see Vol. 25, No. 3), also to be accompanied bythis renowned orchestra, will be conducted by Christopher Keene, whosubsequently will take Casanova's Homecoming to the NEW YORK CITYOPERA.

Last season OPERA ST. PAUL joined with the Chimera Theater Companyto produce a Moliere Festival. The opera company's contribution was aproduction of Mechem's Tartuffe, the theater company's Moliere's heMisanthrope.

"Music and Marionettes for Adults" offers three productions by puppeteerDaniel Llords with vocal and instrumental parts to be performed by localmusicians. Bastien und Bastienne was produced at The Barns at WolfTrap, and the other two operatic puppet shows available from LlordsInternational (Hillsboro, Ohio) are Haydn's Philemon und Baucis and deFalla's El retablo di Maese Pedro. Although the puppeteer has playedhouses as large as 2,000 seats on international tours, the productions arerecommended primarily for smaller theaters.

Coproductions by European opera houses will join the Paris Ope>a Nationaland the Cologne Municipal Opera in a new Tristan und Isolde underconductor Marek Janowski and director Michael Hampe, featuring alter-nating casts of Ute Vinzing/Gwyneth Jones and Ren6 Kollo/William Johns.— Four French theatres and one Italian will share a new production ofMozart's Mitridate, re di Ponto. The rarely heard work with apredominantly American cast (Ashley Putnam, Georgine Resiek, BrendaBoozer, and Rockwell Blake) will appear in Aix-en-Provence, Nice, Lyon,Orleans, and at the Teatro Fenice in Venice.

The first economic reports from opera companies for the current yearare quite encouraging. Several organizations, particularly those with fallseasons, already announced record sales and attendance. This has beentrue for the NEW YORK CITY OPERA in its fortieth season (see above),the LYRIC OPERA OF CHICAGO in its thirtieth anniversary year, forthe DALLAS OPERA (see above), the CANADIAN OPERA COMPANY, andthe LYRIC OPERA OF KANSAS CITY which registered a 21 percentincrease in box-office revenues over 1983. The DAYTON OPERAannounced a 60 percent increase in its subscriptions over last year, andthe SAN FRANCISCO OPERA just released its figures for fall '84 showingan 8.4 percent increase in revenues from total ticket sales and a 16.6percent increase in single ticket sales, compared to fall '83.

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. IN EUROPE

FINANCES

NEWS FROM COMPANIES

FUNDRAISING Popular and successful fundraising events included the Lyric Opera ofAND Chicago's one-day radio "OPERATHON" over WFMT, which resulted inPROMOTION pledges of $230,000; and the Washington Opera's silent auction by mail

and by telephone bids during radio station WGMS' "Opera Week". Morethan half of the catalogue offered services and privileges rather thanmerchandise, and included such items as "Meet Domingo after a perfor-mance in his dressing room, good for 2, suggested value $1,000".

The MET's RAFFLE has been so successful, netting over $1 million, thatit is now organized twice a year, and donated items must have an estimatedvalue of at least $200.

FILM SHOWINGS have served opera companies as promotional tools aswell as as fundraisers. Recent gala benefits have been mounted by theSan Francisco Opera and the Washington Opera, both using FrancescoRosi's "Carmen" film with Migenes-Johnson, Esham, Domingo and Raimondi,and the San Francisco Opera and the Metropolittan Opera Guild eachwill host the nine-hour version of "Wagner", the Tony Palmer film withRichard Burton in the title role. - A three-day festival arranged jointlyby the Dallas Opera and the USA Film Festival offered a historic overviewof opera films: the 1925 silent version of "Phantom of the Opera", theMarx Brothers' 1935 "A Night at the Opera", Jeanette MacDonald andNelson Eddy's classic "Rose Marie" (1936), Kaslik/Boehm's "CoSi fan tutte"with Janowitz, Ludwig, Alva, Prey and Berry (1970), Ingmar Bergman's1975 "The Magic Flute", Joseph Losey's 1979 "Don Giovanni" with Moser,Te Kanawa, Berganza, Raimondi, Van Dam and Maazel conducting, H.J.Syberberg/Francis Ford Coppola's "Parsifal" filmed in 1980/81, and finallyZeffirelli's 1983 "La Traviata" with Stratas and Domingo conducted byLevine.

While fashion shows have been vehicles for operatic benefits before, theCINCINNATI OPERA has announced an original, novel idea for combiningits own crafts and expertise with those of a leading American fashiondesigner. For a one-night fundraising event, the company will stage aproduction of Jerome Kern's 1930's musical Roberta, transplanted intothe present and featuring Bill Blass's latest fashions. The September 7gala will be cosponsored by the internationally renowned designer.

Taking the ideas of fashions and foods as fundraisers a step further, theMICHIGAN OPERA arranged a benefit fashion show in collaboration witha leading hair salon, which showed suggested hairstyles for operaticcharacters including Carmen, Dalila, Tosca, and Medea. - A "SweeneyTodd and Mrs. Lovett's Meat-Pie Party" following a performance of theSondheim musical guaranteed the unauthentieity of its product by importinga famous New York chef to be in charge of the preparations.

According to Arts Management, the New York Chamber Group had"phenomenal success" with a good-size ad in The New York Times,announcing its season and a discount on its subscription, plus a $5 refundbonus to the first 1,000 subscribers for "cab fare home". It was the firsttime the ensemble essayed this method rather than the commonly useddirect mail campaign, which had elicited a much poorer response.

Two programs for late ticket purchasers have been created by theAUSTRALIAN OPERA. "Opera Standby" will make left-over ticketsavailable at half price after 5 pm, or after 11 am for matinees, on the

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day of performance, although management reserves the right in someinstances to sell the best tickets at full price until curtain time. Thesecond program, "Opera Passport", is exclusively for students. It consistsof a book of ten vouchers for $100, or of five for $60. Vouchers maybe exchanged for tickets to any production after 9 am on the day ofperformance.

When the LOS ANGELES OPERA THEATER opened with Der Rosenkavalierin October, it boasted a show of equal - or possibly even greater - glamourin its audience than it did on stage. Among the invited guests was oneof the most famous protagonists of the role of the Marschallin, ElisabethSchwarzkopf. She was joined by Tilly de Garmo Zweig, who had sungSophie to Lotte Lehmann's Marschallin under Richard Strauss and who isthe widow of conductor Fritz Zweig, and by Herta Glaz, who had sungOctavian in several productions, and Annina at the Met. A very effectivepromotional stunt for the company! — A similar coup is in the offing:when BEL CANTO OPERA performs Lehar's Giuditta in New York, JarmilaNovotna who created the title role in Vienna in 1934 will be in theaudience.

While the duality of opera/musical theater has become a familiar and EXCHANGEDfrequently used term, it is almost always associated with opera companies REPERTOIREventuring into the lighter music theater field. How deeply the wholeprofession has been affected can be seen by recent developments thatbring classical opera onto the stages of companies heretofore the exclusiveterritories of plays and musicals. Examples include the mounting of Coslfan tutte by the American Repertory Theatre in New Haven and the NewStage Theatre in Jackson, Mississippi, of Albert Herring by the LongWharf Theatre in New Haven, Connecticut, The Barber of Seville at thePublic Theatre in Dallas, and the Peter Brooks' reworked production ofCarmen at the Beaumont Theatre. Some of these presentations had alteredthe original concept of the works, but all were performed by professionalopera singers. The latest entry, a production of La Boheme by the NewYork Shakespeare Company, is just the reverse. While the overall conceptand the vocal music were retained - the orchestration was "streamlined"as was the English text - the performers came from the pop field withoperatically untrained voices. Three alternating casts performed in eightweekly shows in November and December at Papp's Shakespeare Theatrein New York.

The Connecticut Opera, which created and sponsors the educational touring COMPANIESensemble Opera Express, is offering an additional new touring program ADD:for 1985-86. Following the opera company's takeover of all managerial EDUCATIONALresponsibilities for the Hartford Ballet in 1982, it has now organized a TOURSCONNECTICUT OPERA/HARTFORD BALLET ON TOUR program withTerry Hicklin as national tour director booking both the above mentionededucational program as well as the new fully professional touringensembles. The opera on tour will be The Merry Widow, and while theballet program has not as yet been announced, the company stated thatit will bring its own dance floor, to avoid being dependent on the qualityor type of the locally available stage floor.

Under the title of CARRY-OUT OPERA, the Dayton Opera Ensemble ofyoung professional performers offers eight different programs for in-schoolperformances. — Last season, OPERA EBONY/Philadelphia sent a three-artist ensemble with educational in-school programs to New Orleans for

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NEWS FROM COMPANIES

the first time. The performers have been invited back with new programsthis spring. — Some 250 schools and senior citizens' homes in centraland southern Louisiana will be visited this season by BATON ROUGEOPERA'S educational program. Managed by soprano Julie Ashton andartistic director Donald Dorr and supported by the Baton Rouge AreaFoundation, the group presents operatic scenes with props and costumes.

OPERA ON THE GO is the new name of Dallas Opera's educational touringprogram, formerly known as High Noon Ensemble. Four singers offer avariety of programs for booking in the Dallas and Fort Worth area.

Minnesota Opera's MIDWEST OPERA is now planning its 1985-86 tourwhich will take the ensemble through the western states, exclusive ofCalifornia but inclusive of Hawaii. The tour is cosponsored by the WesternStates Arts Foundation.

. . . M O R E The GREATER MIAMI OPERA has rescheduled the dress rehearsals ofPROGRAMS its National Series performances to Sunday afternoon in order to makeFOR THE them more accessible to the disabled. These rehearsals will also beHANDICAPPED interpreted for the hearing impaired, while for the visually impaired,

cassette guides replacing the printed material are available prior to therehearsals.

The method of "shadowing" opera performances for the hearing impairedhas been used very successfully by TEXAS OPERA THEATER for threeyears during its home season (see Vol. 25, No. 3). This year's opera sopresented is La Traviata, and it will be the first time the company isoffering on tour this imaginative system of a second cast for the majorroles, moving on stage, miming, dancing, and using some sign language.

VIRGINIA OPERA in collaboration with Cultural Experiences Unlimited inNorfolk selected a matinee performance of Amahl and the Night Visitorsfor presentation to the handicapped. Signing was used to aid the deafor hearing impaired, and both large-print and Braille program notes wereavailable for the blind or visually impaired.

. . . M O R E "One-Aria-Opera" is the name of the TEXAS OPERA THEATER programWORKSHOPS FOR devised to discover and develop the best in new musical stage works.DEVELOPING All media and styles are acceptable, whether opera or musical comedy,NEW OPERAS involving elements of jazz, rock, country-western, electronic, etc. Cast

requirements call for two to seven singers. Tryout readings will be heldthroughout the year, and the best pieces will be presented in threeevenings of public performances. When first submitting a work forconsideration the application should be accompanied by a synopsis andmusical excerpts. If accepted for a reading the complete libretto and aminimum of fifteen minutes of music, which must include at least onearia, will be required. For further information contact Jane Weaver,General Director, TOT, 401 Louisiana Street, Houston, TX 77002.

The PENNSYLVANIA OPERA THEATER has outlined a ten-year programof commissions and premieres of new American operas and/or music theaterpieces. Composers under consideration for commissions will have a sampleof their work showcased by the company. If accepted, the new work willbe developed over a two-year period, when a full premiere production byth" Pennsylvania Opera Theater will be mounted. The first "ShowcaseSampler" took place at Moore College of Art in Philadelphia, November 11,

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NEWS FROM COMPANIES

when excerpts from four works were read (see "New Operas/Works-in-Progress" and "Performance Listing") and subsequently discussed with therespective composers and librettists who were present.

The following six institutions have joined together to form the PER-FORMING ARTS COLLABORATIVE: the Minnesota Opera, MinnesotaPublic Television, Eugene O'Neill Theatre Center, First All Children'sTheatre, Circle Repertory Company and American Ballet Theatre II. Theprimary object of PAC is to essay new works through readings, tryoutsand showcases held by the various constituents. For works-in-progressshowcases offered by the First All Children's Theatre in New York andthe Minnesota Opera in St. Paul see "New Operas/Works-in-Progress".

A recently concluded three-year contract between ACTORS' EQUITY andOff and Off Off Broadway theaters and producers also covers many housesthat serve as try-out/workshops or showcases for new operas and musicals.While the new provisions cover increases in actors and singers' salarieswhich vary with the size of the hall - there is a 3.3 percent increasefor work in theaters seating 350 to 500, and up to 11 percent in spacesaccommodating 100 to 200 - fees are still very low. Therefore, aprotective clause was added to provide for performers, understudies andstage managers participating in a showcase production during its tryoutsand rewrites, if and when it ultimately moves on to a larger or commercialtheater . The artists are to be retained with the show for an agreedminimum time at full, not Off Broadway, fees, or they are to be paid acertain compensatory sum. Referred to as "conversion rights", theseconditions are now the obstacle for plays/musicals that had their startat Off or Off Off Broadway theaters to be accepted by commercialproducers. This in turn results in playwrights and their agents currentlywithholding new plays from tryouts in the Off Broadway houses.

Composer Kenneth Frazelle has been chosen as composer-in-residence bythe PIEDMONT OPERA COMPANY in Winston-Salem. Last spring he andstage director Ann-Marley Willard visited third and fourth graders in localschools where they initiated a "Write Your Own Opera" project, similarto the one run by the Metropolitan Opera Guild. The North Carolinaprogram was so successful that this year junior high school students willalso be included.

Under the category of "Singer Contract Support", the NATIONAL INSTI- SINGERTUTE FOR MUSIC THEATER has awarded a total of $36,000 to the SUPPORTfollowing fifteen companies in 1984, to assist them in engaging young THROUGHtalented American artists: Arkansas Opera Theater, Baltimore Opera, JOBSBrooklyn Academy of Music, California Coast Opera, Florentine Opera,Fort Worth Opera, Los Angeles Opera Theater, Mississippi Opera,Opera/Columbus (OH), Opera Omaha, Pennsylvania Opera Theater, Portland(OR) Opera, Sacramento Opera, Texas Opera Theater, and Virginia Opera.— A change in the 1985 deadline for applications moves that date toApril 12 next year. Companies may request up to a maximum of 50percent of a singer's fee.

The American Opera Auditions summer festival, Opera at Peterloon, has NEWbeen moved t o Blue Ash, Ohio, and was presented t h e r e last summer for PERFORMANCEthe first t ime as OPERA AT THE AMPHITHEATRE. As always, t he LOCATIONperformances presented t he winners of t h e Cincinnati competi t ion.

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NEWS FROM COMPANIES/FORECAST

With the current season, the CLEVELAND OPERA is moving from the1,500-seat Hanna Theatre into the 3,100-seat State Theatre. Consequentlyit will reduce the number of performances per production from four totwo for two operas and three for the third opera on its program.

Many of New York's smaller opera companies have great difficulty infinding permanent homes, even though they may have regularly scheduledannual performances. The BEL CANTO OPERA has essayed a number oftheatres, and after a stay at the Wagner Jr. High School Auditorium thecompany recently moved to the West Side and will stage this season'soperas at the Joan of Arc Jr. High School on West 93 Street.

CHANGES OF OPERA SAN JOSE is the new name of the former San Jose Opera TheatreNAMES & under the directorship of Irene Dalis. — The West End Opera AssociationADDRESSES of Upland, California, now carries the grand name of OPERA THEATER

OF THE INLAND EMPIRE; Frank Fe t t a remains music director . — TheCommedia dell 'Opera Company has opted for the new name BERKELEYOPERA, identifying it with its home city. Richard Goodman is thecompany's ar t i s t ic director . — The Opera Company of Greater Lansing,located in East Lansing, is branching out and in order to reflect this hasadopted the name OPERA COMPANY OF MID MICHIGAN. — As severalother companies have done in the recent past, t he MADISON OPERA inWisconsin deleted the word Civic from its t i t l e . — With al ternat ingperformances in St. Petersburg and in Clearwater , the former FloridaOpera West has shortened its name to FLORIDA OPERA; Thomas Palmeris general director.

Offices of the SHREVEPORT OPERA are now located at Lane Building,#610, Marshall at Milam, Shreveport, LA 71101 (telephone remains thesame); — of OPERA/COLUMBUS at LeVeque Tower Mezzanine, 50 WestBroad St ree t , Columbus, OH 43215 (same telephone). — INDIANA OPERATHEATRE can now be reached through i ts Post Office Box 55231,Indianapolis, IN 46205.

FORECAST Entries in this column are handled the same as those under "New Operasand Premieres". Unless changes need to be reported, items once includedhere appear subsequently only under "Performance Listing". — Theformat below, by title rather than by company, was first established inthe last issue and, due to the positive response, is being continued.

Adriana Lecouvreur San Francisco Opera, CA (Freni; Mauro, Nucci) 9/85Die aegyptische Helena (R. Strauss) Santa Fe Opera (d: Jarvefelt) 7/86Aida Canadian Opera Co., Toronto (Mitchell) 4/86 (Eng. captions)

Cincinnati Opera (E.Shade; R.Dominguez) 11/13,15/85Tulsa Opera, OK (c: Somogi) 11/85 (Eng. captions)

Akhnaten (Glass) New York City Opera 11/85Amahl and the Night Visitors Washington Opera (d: Menotti) 12/85L'Amour des trois oranges New York City Opera 9/85 (Eng. captions)Andrea Chenier San Francisco Opera, fall '85Ariadne auf Naxos Opera Theatre of Rochester, NY 5/86Un Ballo in maschera Washington Opera (d: Rizzo) '85-86

San Francisco Opera, CA (M.Price, Cossotto, Mills;Domingo/Mauro, Carroli) 11/85

n Barbiere di Siviglia Opera/Columbus (opening new theatre) 10/85Billy Budd San Francisco Opera (Duesing, King, Morris; c: Leppard) 11/85

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FORECAST

La Boheme Dallas Opera (c: Rescigno) 11/85 (Eng. captions)Houston Grand Opera (M.Freni, Greenawald; Domingo; c: D.Oren; d: Hampe) 10/85

Boris Godunov Metropolitan Opera (d: Everding) '86, '87Carmen New York City Opera, fall '85 (Eng. captions)Casanova's Homecoming (Argento) New York City Opera (prem.prod.) 11/85Cavalleria rusticana Metropolitan Opera (Behrens) (w. Pagliacci) '85

Opera de Montreal (w. Pagliacci) 9/85La Cenerentola New York City Opera 9/85 (Eng. captions)Les Contes d'Hoffmann San Diego Opera (Miricioiu; Lima, Morris) 9/85Cosi fan tutte Pittsburgh Opera (Murphy, Marsee, Woods; Farina, Cross;

c: Woitach) 1/16,18,21/86 (Eng.)Seattle Opera (Erickson, Schuman, Gamberoni; Kuebler, Duesing,Patrick; c: Sehwarz; d: Karp; ds: Naccarato) 1/86 (Eng.)

Dialogues des Carmelites Canadian Opera Co., Toronto (Vaness, Forrester;c: Fournet; ds: Skalicki) 4/86 (Eng. captions)

Don Giovanni Washington Opera (d: Ponnelle) fall '85Don Pasquale Central City Opera, CO, summer '85L'Elisir d'amore Dallas Opera (c: Rescigno) 12/85 (Eng. captions)

San Diego Opera '85-86Die EntfUhrung aus dem Serail Opera Theater of St. Louis 6/86 (Eng. Porter)Eugene Onegin San Diego Opera (Bouleyn) '85-86

Seattle Opera (Haddon, Hughes; Duesing, Kazaras; c: Holt;d: Wadsworth; ds: Yergen; Welsh Opera prod.) 5/86 (Eng.)

Washington Opera (d: Menotti) '85-86Falstaff Metropolitan Opera 9/85

San Francisco Opera, CA (Lorengar, Swenson, Home; Wixell; c:Arena; d/ds: Ponnelle) 10/85

La Fanciulla del West Fort Worth Opera (M.J. Johnson) '85-86Faust Calgary Opera, Alberta 10/85

Cleveland Opera 2/21,23/86Tulsa Opera, OK 3/86 (Eng. captions)

Fidelio Kentucky Opera, Louisville 10/85La Fille du regiment New York City Opera 9/85 (Eng. captions)

Pittsburgh Opera, PA (Sutherland; Blake; c: Bonynge;d: Capobianco) 6/5,7,10/86 (Eng. captions)

Der fliegende Hollander Metropolitan Opera (new prod., d: Everding) '89La Forza del destino Pittsburgh Opera, PA (Evstatieva; Giacomini; c:

Coppola; d: Igesz) 4/3,5,8/86 (Eng. captions)Der FreischOtz San Francisco Opera (Lorengar) conc.pf. 6/85GStterdfimmerung Dallas Opera (c: Klobucar; d/ds: Oswald) 11/85Grfifin Mariza (Kalman) The Lamplighters, San Francisco 12/85 (Eng.)Hamlet (Thomas) Canadian Opera Co., Toronto (Sutherland; Brocheler; c:

Bonynge; d: Mansouri) 10/85 (Eng. captions)Jenufa Metropolitan Opera (Behrens, Rysanek) opening night '85Kismet New York City Opera, fall '85Khovanshchina Metropolitan Opera (d: Everding) '85Das Land des Lachelns Sarasota Opera, spring '86 (Eng. Hadley)Lear (Reimann) San Francisco Opera (Silja, Dernesch; T. Stewart) 9/85Lohengrin New Orleans Opera (V. Braun) 9/85Lucia di Lammermoor Manitoba Opera, Alberta '85-86

New Orleans Opera (Welting; Alexander) 11/85New York City Opera, fall '85 (Eng. captions)Seattle Opera (Rolandi; DiPaolo, Brandstetter; c: Colacioppo; d:Cataldi-Tassoni; ds: Hall) 11/85 (Eng. captions)

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FORECAST

Die lustige Witwe New York City Opera, fall '85 (Eng.)Southwest Virginia Opera, Roanoke 9/85 (Eng.)

Madama Butterfly Canadian Opera Co., Toronto (Watanabe/Pellegrini; SanFrancisco prod.) 10/85 (Eng. captions)Lyric Opera of Chicago (R. Stilwell) fall '85Manitoba Opera, Alberta '85-86New York City Opera, fall '85 (Eng. captions)ECCO! (Cincinnati Opera Ensemble) tour 2-4/86 (Eng.)

Manon New York City Opera 9/85 (Eng. captions)Seattle Opera (Vaness; M. Myers; c: Rosenthal; d: Bakman; ds:Dahlstrom) 9/85 (Eng. captions)

Manon Lescaut Tulsa Opera, OK 5/86 (Eng. captions)Die Meistersinger von NUrnberg San Diego Opera (Jerusalem, Estes) '86-87The Mikado Canadian Opera Co., Toronto (d: Mansouri; ds: Bosquet) 1/86

Cleveland Opera 4/11-13/86New York City Opera, fall '85

Moses und Aron (Schoenberg) New York City Opera, possibly '87Norma New York City Opera, fall '85

Pittsburgh Opera, PA (Plowright; Murgu; c: Mueller; d: Capobianco)10/3,5,8/85 (Eng. captions)

Orlando (Handel) San Francisco Opera (Home, Masterson, Swenson; Gall,Howell; c: Mackerras; d: Copley; ds: Pascoe) 9/85Lyric Opera of Chicago (San Francisco prod.) fall '86

Otello Dallas Opera (c: Rescigno; ds: Colonello) 11/85 (Eng. captions)San Diego Opera (Tokody; Giacomini; d: Mansouri) '85-86

Pagliacci Metropolitan Opera (w. Cavalleria rusticana) '85Ope"ra de Montreal (w. Cavalleria rusticana) 9/85

I Puritani New York City Opera 10/85 (Eng. captions)The Rake's Progress New York City Opera, fall '86Rigoletto Pittsburgh Opera (Esham; Milnes, Leech; c: Alcantara; d:

Capobianco) 5/3,6,10/86 (Eng. captions)Der Ring des Nibelungen Seattle Opera (c: Jordan; d: Rochaix; ds: Israel)

8/86Ring of the Fettuccines Broque Opera, NY, tour '85-86II Ritorno d'Ulisse (Monteverdi) Skylight Comic Opera, Milwaukee '86-87Roberta (Kern) Cincinnati Opera (benefit perf.) 9/85Romeo et Juliette Central City Opera, CO, summer '85La Rondine Lyric Opera of Chicago (S.J. Langton) fall '85

New York City Opera, fall '85 (Eng. captions)Der Rosenkavalier San Francisco Opera, CA (Te Kanawa, Fassbander, Par-

rish; Moll; c: Pritchard; d: Neugebauer; ds: Schneider-Siemssen) 11-12/85

Salome Canadian Opera Co., Toronto (Sundine/Kr.Ciesinski, Forrester; Fox;c: O'tvos; d: Mansouri; ds: Skalicki) 1/86 (Eng. captions)Seattle Opera (Barstow, Decker; Roloff, Belcourt; c: Minde; d/ds:Frisell) 3/86 (Eng. captions)

Samson (Handel) Lyric Opera of Chicago (Vaness; Vickers; c: Rudel; RoyalOpera, London prod.) fall '85

Satyagraha (Glass) Saratoga Arts Center, NY (c: D.R. Davies) concertscenes 7/85

Die schweigsame Frau (R.Strauss) Santa Fe Opera (d: Jarvefelt) 7/87Susannah (Floyd) Florida Opera, St. Petersburg '85-86Tosca Cleveland Opera 11/15,17/85

Pittsburgh Opera (Zschau; Lindroos, Hale; c: Alcantara) 11/14,16,-19/85 (Eng. captions)San Francisco Opera (Slatinaru; Giacomini, Morris; c: Cillario) 11/85

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FORECAST

La Traviata Canadian Opera Co., Toronto (Miricioiu; DiPaolo/Power,Monk; d: Leberg; Chicago Lyric prod.) 6/86 (Eng. captions)Florida Opera, St. Petersburg '85-86Lyric Opera of Chicago (Malfitano) fall '85New York City Opera 10/85 (Eng. captions)

Tristan und Isolde Ope>a de Montreal 1-2/86Turandot Michigan Opera Theater (Dimitrova) 3/86 (Eng. captions)

New York City Opera, fall '85 (Eng. captions)Opera Theatre of Rochester, NY 9/85San Francisco Opera (Marton/Kelm; Bonisolli; c: Klobucar) 10/85

Viva La Mamma (Donizetti) Broque Opera, NY tour '85-86Werther San Francisco Opera (Seotto; Kraus; c: Plasson; d: Uzan) 10/85Where the Wild Things Are (Knussen) Minnesota Opera, St. Paul '85-86Willie Stark (Floyd) Shreveport Opera <5c Charlotte Opera, Shreveport 10/85Die Zauberflote Edmonton Opera & Manitoba Opera, Winnipeg 1-2/86

Midwest Opera of Minnesota Opera, tour '85-86New York City Opera 10/85 (Eng.)San Diego Opera '86-87

Glyndebourne, England (5/20-8/14/85): Carmen, Albert Herring, La Cene-rentola, Arabella, Idomeneo, Where the Wild Things Are & Higglety,Pigglety Pop!

Glyndebourne touring 1985: Carmen, Idomeneo, Midsummer Night's DreamGlyndebourne summer '86: Porgy and Bess, Simon Boccanegra (will initiate

a new Verdi series)Salzburg Easter Festival, Austria '85: Carmen (Baltsa; Carreras, van Dam;

c/d: Karajan; ds: Schneider-Siemssen)Salzburg Summer Festival 7-8/85: Capriccio (c: Tennstedt), Macbeth

(Dimitrova), Monteverdi-Henze's Ritorno d'Ulisse in patria (c: Tate); atCollegien Kirche: Saul, Jephta (c: Weikert; d: Mirdita)

Bregenz, Austria (7/23-8/24/85): Die Zauberflote on floating stage (c:Guschelbauer; d:Savary); I Puritani at festival house (c:Masini; d: Deflo)

Bayreuth, Germany summer '85: opening 7/25 Tannhauser (c: Sinopoli; d:W. Wagner), Parsifal (c: Levine; d: Friedrich), Der Ring des Nibelungen(c: Schneider; d: Hall), Der fliegende Hollander (c: W. Nelsson; d: Kupfer)

Arena di Verona, Italy (7/4-9/1/85): II Trovatore, Aida (Bumbry), AttilaAix-en-Provence, France summer '85: Monteverdi's Orfeo, he Nozze di

Figaro, Ariadne auf Naxos (J. Norman)Orange Festival, France summer '85: Simon Boccanegra, Boris GodunovOrange Festival, summer '86: Macbeth

La Scala, Milan, will open its 1986 season with Die Frau ohne Schatten,with Placido Domingo assuming the role of the Emperor for the firsttime. Ute Vinzing and Bernd Weikl will portray the Dyer and his wife,Wolfgang Sawallisch will conduct and Jean-Pierre Ponnelle will direct.

FORECAST OFFOREIGN

FESTIVALS

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GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS

NEA With no firm budget decision for the FY'86 appropriations for theNATIONAL ENDOWMENT FOR THE ARTS, Congress had voted last Octoberfor a Continuing Resolution, i.e. to extend last year's appropriations' billuntil a final vote determines the current funding level. The 1985 provisionshad settled at $162 million for NEA. The recommendation by the HouseAppropriations Subcommittee came in for an '86 funding of $175 million,the OMB - the executive's Office of Management and Budget - suggested$143.8 million; the House first approved $169.75 million, which was cutby the Senate in a three percent across the board reduction to $162million. And this is most likely the amount to be appropriated for NEAfor FY'86.* To put this figure into perspective one must realize that in1980 NEA was already operating with a $154.4 million appropriations and$162 million represents only an increase of about 5 percent for the five-year period, while the overall budget has risen from $576 billion to $925billion, an increase of over 64 percent for the same five years. Yet,credit must be given to some of the staunchest defenders of funding forthe arts and we gratefully acknowledge their contribution and supportwhich stresses the importance of culture as a nation's heritage and as asign of a country's health and values. We think specifically of CongressmanThomas Downey (D-NY) who organized and is chairman of the CongressionalArts Caucus, as well as the ever present friend, Sidney Yates (D-IL).

This being the twentieth anniversary year of the National Endowment, itis also a time for reflection, particularly for those who remember theinitial struggle of creating this governmnent body with federal dollars.(COS was one of the first organizations to include a representative ofthe National Council on the Arts in its national conference in New Yorkin early 1966.) Remembering the hopes, the dejections at its beginnings,this year is indeed a milestone - a cause for rejoicing and celebrating.The year-long festivities will be organized by a 30-member committeemade up of America's leading and most prestigious artists. In spring '85President Reagan will award a Special National Medal of Arts to Americanindividuals and/or institutions, and in the fall, the week of September 23will be designated National Celebration of American Art and Artists Week,commemorating President Lyndon Johnson's signing of the legislation onSeptember 29, which created the National Endowment.

•Late News - It was just announced that President Reagan, in his budgetmessage, will request Congress to cut the appropriations for NEA by 11.7percent, asking for $144.5 million, returning again to the already rejectedOMB proposal. Speaking of "dejections in the beginning" in the paragraphabove, we seem to have to fight that fight all over again. While themoney saved compared to the overall budget would be miniscule, theeffect of the cut would be felt tenfold by artists and arts organizations,where every federal dollar awarded is multiplied several times by private,corporate, and foundation grants. The suggested distribution of the cutsis totally incomprehensible. By first accounts, it is the Opera-MusicalTheater program that would have to sustain the heaviest loss - a reductionof over 18 percent to $4.9 million, "Because", as one National Councilmember is quoted, "of the present creative shortfall in the field". Thepremiere of about 100 new American operas and music theater works andan additional 29 new pieces in workshop readings or demonstrations, thehighest number - 261 - American contemporary operas given in the greatestnumber - 3,916 - performances in one season (see 1983-84 Opera Survey),these figures certainly testify to a very lively and exciting creativity inthe field! We can only hope that Congress in its wisdom will reverse

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GOVERNMENT & NATIONAL ORGANIZATIONS

the proposed cuts and vote for the already extremely low appropriationsoriginally suggested for FY'86.

Meanwhile, NEA Chairman Frank Hodsoll has announced several new CHALLENGEprograms and recent grants. A total of $21.1 million was distributed GRANTSunder the Challenge Grant Program in 1984 to 47 cultural institutions.The highest amount disbursed under this program was $30.7 million in1978, the lowest $11 million in 1982. Special awards to "develop stablemanagement and assist in planning effective fundraising to insure thecompanies' future" were made to 36 organizations. They were chosenfor their high artistic standards combined with a demonstrated need forimprovement in administrative and managerial skills and efficiency. Atotal of $2.5 million was distributed under this new program, which cutsacross arts disciplines and also offers technical aid to the organizations.Although no opera companies were included in this category (have operacompanies come of age and become administratively self-reliant andefficient?), several music organizations were assisted: the Cabrillo Festival(CA), the Canton (OH) Symphony, and New York City's Gregg SmithSingers, St. Luke's Chamber Ensemble, and Speculum Musicae.

Following the previously announced NEA Exchange Fellowship program FOREIGNwith Japan, the United States and France have concluded a similar FELLOWSHIPSagreement whereby ten annual NEA fellowships for work and study inFrance will be made available in the visual and the performing arts, whilethe French Ministries of External Relations and Culture will be under-writing fellowships for French artists to work and study in the UnitedStates. American candidates will be chosen from among artists who werepreviously selected as Endowment Fellows (stipends up to $25,000).

Under the NEW AMERICAN WORKS category of the Opera-Musical Theater OPERA-program, the National Endowment has just awarded forty grants, plus MUSICALanother eleven in the related Producer's Grants program. A total of THEATER$668,000 was thus disbursed to support the creation, development and PROGRAMproduction of new American operas and musical theater works, and toassist in expanding audience awareness and appreciation of contemporaryworks of this genre. The cash awards to companies and educationalinstitutions under "New American Works" ranged from $1,500 for theLehman Engel Music Theatre Workshop to $40,000 for the Houston GrandOpera, although cumulatively it was Haleakala, Inc./The Kitchen thatreceived the largest award of $44,450 for three separate projects.

A closer analysis of the types of grants approved may be valuable. UnderNew American Works thirteen grants went to companies to supportpremieres of new, completed or almost completed American operas ormusic theater pieces. Among them we find Glass1 Akhnaten (Houston10/84), Argento's Casanova's Homecoming (St. Paul 4/85), Susa's The Loveof Don Perlimplin (San Francisco 3/85), Musgrave's Harriet, The WomanCalled Moses (Norfolk 3/85), Clarke's The Garden of Earthly Delights(New York 11/84), Subotnick's The Double Life of Amphibians (Los Angeles6/84), Peaslee's Tanglewood Tales (New York 12/84), and Eaton's andHoiby's two versions of The Tempest (Santa Fe 7/85 and Indianola 7/86,respectively). (For details on these titles see "New Operas" in this andprevious issues.) Eleven organizations were chosen for assistance to theirworkshops and readings of not as yet identified new works in progress.These showcase workshops included the Eugene O'Neill Memorial TheaterCenter, the Music Theater Workshop of the Los Angeles Civic Light

-29-


Opera (see "Education"), the Manhattan Theatre Club, the First AllChildren's Theatre, and the One-Aria-Opera program of the Texas OperaTheater (see "News from Companies"). Nine companies were granted fundsto commission new works, and another six to develop new works withintheir ensembles. The Fort Worth Opera was given financial assistancefor the second production of Paulus' The Postman Always Rings Twice(3/85), and two companies will use their awards for second readings ofpreviously workshopped operas: Davis' "X" and Ames' Amarantha.

"Producers Grants" were awarded to eleven composers, librettists, de-signers and choreographers, with the word "producer" intended as asynonym for creator, rather than for the commonly used term "producer ofa show". Grants in this category varied from $3,500 to Richard Kullerfor the completion of a musical play up to $35,000 to Robert Ashley forthe creation of an opera for stage and television. The eleven awardsdisbursed a total of $150,000, which also included one to MaryanneAmacher for a musical for television, produced for interactive digitalsound and video disc.

Finally, under the Special Opera-Musical Theater Projects category theadditional sum of $186,284 was divided into another sixteen grants for adiversity of programs. Five will assist producers and presentors withperformances of rarely-heard baroque operas; others will bring WesternOpera Theater to Hawaii's smaller islands, float Minnesota Opera's specialshowboat productions down the Mississippi River, bring operatic highlightsinto New Mexico's tri-cultural communities, and facilitate the visit bythe Saint Louis company to San Antonio to promote closer ties betweenthese sister cities. Other beneficiaries and their special programs includeOpera America and Michigan Opera Theater in support of services to thefield, the Chicago Lyric Opera Center to support its composer-in-residenceprogram, the Opera Orchestra of New York for a Young Artists' TrainingProgram and the Texas Opera Theater for "shadowed" performances forthe hearing impaired. In addition to the above, particular opera productionsto be aided include the Boston Concert Opera's Katya Kabanova, theDurham (NC) Arts Council's five performances of Carmen - possibly becausethe area is considered operatically virgin territory - and the first fullyprofessional production of de Banfield's Lord Byron's Love Letter in April'85 in Jackson, Mississippi.

Gene Boucher, national executive secretary of the American Guild ofMusical Artists (AGMA), is the first representative of a union to serveon an NEA Opera-Musical Theater Program Panel.

NEW TAX If the first draft for new tax reforms submitted by the then TreasuryPROPOSALS Secretary Donald T. Regan were to be accepted, it would cut sharply

into the private giving to social and cultural not-for-profit institutionsthat depend so heavily on the individual's generosity. When governmentfunds were first cut, great stress was put on the individual donor whowas to pick up the slack left by former federal support programs. Thenew tax law would allow deductions only for the amount given above andbeyond the first two percent of an individual's gross income. This meansthat someone earning $25,000 would donate up to $500 without any taxadvantage and only grants made after the first $500 commitment wouldbe eligible for tax write-offs. It would create a truly impossible conditionfor the arts to continue to exist!

-30 -


While the NEW YORK STATE COUNCIL ON THE ARTS receives the STATEhighest funding of all s ta te agencies - last year 's appropriations amounted ARTSto about $39 million - cultural leaders a re preparing for a major appeal AGENCIESto Albany for a total appropriation of $50 million for the next fiscalyear. Their argument is that the Arts Council's budget for 1975-76 was$34.2 million and that at a fifty percent loss in buying power over thesepast ten years the current budget should be $70 million to keep pace.Another weighty fact in their lobbying effort for more support is thatthe arts are vital to New York, probably more so than to any other city,and that they contribute $7 billion each year to the State's economy.— Meanwhile, the Council found itself forced to cut its staff. Whereformerly application reviews were done by two separate groups withdifferent expertise - one evaluating the artistic merits of the applicantsand the other evaluating their fiscal/economic soundness - now one andthe same individual reviewer or review panel must make both judgements.

"ARTIFACTS" is the apt title of the newsletter published by the SouthCarolina Arts Commission.

With support from the Ford Foundation's Fund for the City of New York, CITY OFa new cooperative organization was founded for mutual and reciprocal NEW YORKassistance among i ts member groups. The NONPROFIT COORDINATINGCOMMITTEE OF NEW YORK hopes t o a t t r a c t some 10,000 not-for-profitorganizations in the city whose members a re ac t ive in education, health,the a r t s and enter tainment . Despite the tremendous diversity of act ivi t ies ,it is assumed that sufficient common interest and services will be foundto make the new organization an effective tool of assistance.

The BRONX COUNCIL ON THE ARTS has moved into new offices; the CHANGES OFaddress is 1738 Hone Avenue, Bronx, NY 10461; telephone (212) 931-9500. ADDRESS

The national headquarters of the CANADIAN MUSIC COUNCIL a re nowlocated in a renovated Victorian mansion in Toronto. The Chalmers House,formerly the home of Canadian ar t s patrons Floyd and Jean Chalmers, islocated in downtown Toronto a t 20 St. Joseph S t ree t . The Council 'sprevious address was Bay St ree t .

The Verona Congress, a meeting of various opera producers in Verona,Italy, last summer was devoted to "The Evolution of the Opera Audience".Ultimately it resulted in the founding of the INTERNATIONAL ASSOCIA-TION OF LYRIC THEATER. The organization differs from that of theInternational Intendanten by also including directors of smaller operahouses. Part icipating directors from North America a t the Verona meetingwere Kurt Herbert Adler (formerly San Francisco Opera), David DiChiera(Michigan Opera Theater) and Jacques Langevin (L'Ope>a de Montreal).The new organization will be headquartered at the Ope"ra Royal de Walloniein Liege, Belgium, with its director Raymond Rossius as general secre tary .Renzo Giacchieri of the Arena de Verona is chairman, and David DiChiera(Detroit), August Everding (Munich) and Robert Satanowski (Warsaw) wereelected vice presidents, with Sven Gunnar Tillius of Stockholm as t reasurer .The organization's objectives a re t o promote the lyric thea te r , collectand disseminate information, foster international cooperation, organizemeetings and, every three years , hold its own international congress. Thenext congress is scheduled for 1987 in Warsaw, Poland, with the WielkiTeatr as host company.

INTER-NATIONAL

ASSOCIATIONOF LYRIC

THEATER

-31-


NATIONAL DANCE/USA has instituted a "National Talent File" for administrativeARTS personnel in the dance field. The categories identified at present are:ORGANIZATONS president, general manager, development director, marketing director,

finance/business manager, production manager, technical director, andassistant general manager.

A new service institution is being created for the field of jazz. TheNATIONAL JAZZ SERVICE ORGANIZATION will be based in Washingtonand will have the support of the NEA.

The ART HAZARDS INFORMATION CENTER, a project of the Center forOccupational Hazards, will answer written or telephone inquiries on thehazards of the use of arts and crafts materials. It will also offer adviceon suitable precautions relating to hazardous materials. A number ofpamphlets deal with specific problems. A list of publications is availableand requests should be accompanied by a self-addressed, stamped envelope:AHIC, 5 Beekman Street, New York, NY 10038; telephone (212) 227-6220.

CONFERENCES 12/7,8/84 Volunteer Lawyers for the Arts, Museum of Modern Art, New& YorkSEMINARS 12/9-12/84 Winter Conference, Chamber Music America, Hebrew Arts

School, New York12/9-13/84 International Society of Performing Arts Administrators,

Roosevelt Hotel, New York12/15-19/84 Association of College, University and Community Arts Ad-

ministrators (ACUCAA), Sheraton Centre Hotel, New York2/3-5/85 OPERA America, XV Annual Conference, "The Future of

Opera", Ramada Renaissance Hotel, Washington, DC2/7/85 Arts Management Seminar: "Careers in Arts Administration"

McGraw-Hill Bldg. #208, New York2/13/85 National Institute for Music Theater (NIMT), Eighth Awards

Presentation, Kennedy Center, Washington2/23-25/85 West Coast Women Conduct or/Composer Symposium, "Per-

spectives: Is Her Work Standard Repertoire Yet?", Universityof Oregon, School of Music & Center for the Study of Womenin Society, Eugene

3/8,9/85 Central Opera Service Regional Conference, Norfolk, VA.3/27-30/85 American Society of University Composers, Arizona State

University, Tempe4/11-13/85 NIMT: Symposium for Administrators & Trustees of Opera

Companies, and Presentors of Musical Theater, Concernedwith Producing New American Works, Minnesota Opera - host,St. Paul

4/14/85 Metropolitan Opera National Council Final Auditions Concert,Metropolitan Opera House, New York

4/20/85 Metropolitan Opera Club's Ball in the Opera House, "A Saluteto Italy"

9/9-13/85 International Congress of International Association of Li-braries and Museums of the Performing Arts, Victoria & AlbertMuseum, London, England

10/31/85 Metropolitan Opera Guild 50th Anniversary Luncheon, WaldorfAstoria Hotel, New York

11/1,2/85 Central Opera Service National Conference, in associationwith the Metropolitan Opera Guild on its 50th Anniversary,and with the Metropolitan Opera National Council, New York

11/4-10/85 American Music Week []

-32 -

CENTRAL OPERA SERVICE ANNUAL U.S. SURVEY STATISTICS

Opera/Musical Theatre Companies and Workshops

PERFORMING GROUPS*

Companies: over $100,000 budgetCompanies: otherCollege/University workshops

Total

NUMBER OF PERFORMANCES

Standard repertoireContemporary foreign repertoireContemporary American repertoire

sub-total

Musicals (exclusive of commercial theatre)Total

NUMBER OF OPERAS PERFORMED

StandardContemporary (foreign)Contemporary (American)

sub-total

Musicals

Total

World Premieres (98 American contemp.)

Premiere Readings (not incl. in World Prems.)

American Premieres

Attendance (in millions)

EXPENSES (in millions)Companies: over $100,000 budgetCompanies: $25,000-$99,999 budgetsAll others

Total

83-84 82-83 81-82 80-81 79-80 74-75 70-71 64-65 54-55

154491406

1,051

144488399

1,031

133416444993

127456436

1,019

109458419986

54335418807

40269376685

27296409732

na280167447

5,884 5,909 5,534 5,475 5,482 4,097 3,332 2,643 1,844621 596 535 555 548 677 504 1,533 1,373

3,916 4,188 3,456 3,653 3,361 1,654 1,410 na na10,421 10,693 9,510 9,683 9,391 6,428 5,246 4,176 3,217

2,787 2,749 2,233 2,251 1,39713,208 13,442 11,758 11,934 10/F88

25461

261576

129705

101

27

24

13.04

27864

248590

120710

16

28

12.7

27554

242571

122693

94

14

31

10.9

26362

234

118677

27

25

11.1

23747

213497

104601

79

23

22

10.7

nana

20971

107387

$236.7 $212.4 $191.1 $161.6 $133.64.7 4.9 4.9 4.9 3.7

38.4 41.6 4U) 42^4 3iy>$279.8 $258.9 $237.0 $208.9 $175.8

nana

15867

na

167164

nana

103107

11

8.0

11

6.0

$41.2na

•DETAIL OF PERFORMING GROUPS number of companies1983-84 1982-83

number of performances1983-84 1982-83

Companies: budget over $1 millionCompanies: budget over $500,000Companies: budget over $200,000Companies: budget over $100,000

sub-total

Companies: budget over $50,000Companies: budget over $25,000

sub-total

Orchestra/Festival/ChorusAvocational/Clubs, etc.Theatres (non-profit)

sub-total

Total Companies

College/University Workshops

Total Opera Producing Organizations

38315431

154

513586

107193105405

645

406

1,051

36234738

144

464793

122172101395

632

399

1,031

4,583

1,081

4,743

2,801

13,208

4,374

968

5,136

2,964

13,442

MISCELLANEOUSLight repertoire of opera companies, workshops, and non-profit theatres included above

Gilbert 4 Sullivan (17) 1,210Classical operetta (24) 663Musicals (129) 2,787

1,170474

2,7494,393

In addition to regular season:Companies: community/educational

service programs 127Academia: community/educational programs 65Academia: scene programs 110

13356

5,438295268

5,507351

Academic - joint programs w. companiesAcademic - degree programs

9863

7341

Especially noteworthy: The increase in the number of professional performances by opera companies last season has been offsetby the decrease in academic opera performances, resulting in what erroneously seems little change in the overall picture.Please see also the further growth in American contemporary opera productions and in new works in readings and premiereproductions.

- 3 3 -

COS INSIDE INFORMATION

NEXT COS For the 1985 CENTRAL OPERA SERVICE NATIONAL CONFERENCE, aNATIONAL very special program is being planned. It will celebrate the fiftiethCONFERENCE anniversary of the METROPOLITAN OPERA GUILD and will be an

unprecedented gala event: the first conference ever presented jointly bythe Guild, COS and the Metropolitan Opera National Council. Place anddate are as follows:

November 1 and 2, 1985 - New York CityPlease note the dates and expect to receive a very exciting detailedprogram, announcing national and international personalities as partici-pants. That week will also feature especially interesting performancesand a new production at the Metropolitan Opera and a premiere at theNew York City Opera.

REGIONAL Norfolk, Virginia, is the si te of the next COS REGIONAL CONFERENCE;CONFERENCE the occasion is the premiere production of Thea Musgrave's Harriet, The

Woman Called Moses. Conference dates a re March 8 and 9, with aHospitality Welcome on the evening of March 7. Meetings are scheduledfor the morning and afternoon of Friday, March 8, and at tendance at theperformance is planned for that evening. After the opera there will bea party for cast and COS delegates at the home of the Virginia Opera'spresident. Interesting and distinguished speakers will feature prominentopera producers, directors and composers, including of course Ms. Musgraveherself. Saturday morning will offer a tour of the thea ter , led by thecompany's production team. Rooms at special ra tes are being held atthe Omni International Hotel, where the meetings will take place. Thedetailed program with reservation forms for the Conference, the hoteland the opera performance will be mailed to COS and MONC membersdirectly. Non-members interested in attending should request forms fromthe Virginia Opera or the COS New York office.

NEW REGIONAL R. MARSH GIBSON was appointed Central Opera Service Regional DirectorDIRECTOR for the Mid-South. A resident of Memphis, Tennessee, he is also President

of Opera Memphis.

COS The 1984-85 edi t ion of t h e COS DIRECTORY OF OPERA/MUSICALPUBLICATIONS THEATER COMPANIES AND WORKSHOPS IN THE UNITED STATES ANDNEW EDITIONS CANADA is now a v a i l a b l e . This pub l i ca t ion , a lways in g r e a t demand , has

been updated, and names and addresses have been verified through theCOS Survey mailing. As always, the listing is arranged by states andcities and is coded by budget size of the larger opera companies;orchestras, theater groups and festivals are so identified, as are all operadepartments/theaters/workshops at academic institutions. Informationincludes names and titles of head administrator(s), artistic and/or musicdirector(s), addresses and telephone numbers; name(s) of performingfacility(ies), seating capacity, type of stage (proscenium, arena, thrust)and stage dimensions. Companies with summer and winter addresses arelisted with both. The Directory of 34 pages with about 1,000 organizationsmay be ordered for $8.00 plus $1.25 for postage and handling (we arepleased to be able to hold the price at the 1980 level). The address listis also available on pressure sensitive labels for $50 plus $3 for postage.

Also available is the latest list of OPERA REPERTORY USA - 1983-84.All titles of operas performed last season are included, with mention ofthe number of U.S. performances during 1983-84; world premieres (101),premiere readings (27), and American premieres (24) are specificallyannotated. The list is arranged by 1) Standard/Classical Repertory (254),

-34-

COS INSIDE INFORMATION

2) Contemporary Operas (322), and 3) Musicals (129) (performed by opera,light opera or nonprofit theatre companies). In all, the lists include13,208 performances (see "COS Opera Survey"). The price is $3 includingpostage. Back copies of ten previous seasons are also available.

The companion issue - Vol. 26, No. 2 - to the current COS Bulletin in-cludes the latest additions to the Directory of English Translations, thelatest additions to the Directory of Sets and Costumes for Rent, and thelatest additions to the Listing of Projected English Opera Captions. TheseAddenda represent the new 1984 information. Master addenda for theDirectories of English Translations and Sets and Costumes are available,containing all information since the publication of each directory.

Because of the extensive changes in the CAREER GUIDE FOR THE YOUNGAMERICAN SINGER since the last printed edition, and because of thevoluminous size of the last Addenda, COS is publishing a new, completeedition, reflecting the latest dates and conditions. The new Career Guide,Vol. 25, No. 4, may be ordered for $8, plus $1.50 postage.

COS SALUTES...

...LAURENCE D. LOVETT as the fifth recipient of the Eleanor BelmontAward, for nearly 25 years of dedicated service to the MetropolitanOpera Guild and of these, seven as its president. He is also NationalChairman of the MONC Regional Auditions.

...BEVERLY SILLS who received the 1984 Arnold Gingrich Memorial Awardfrom the Arts and Business Council for "extraordinary achievements forthe arts". Previous individual recipients included Leonard Bernstein, IsaacStern, Marion Anderson, and Stephen Sondheim. For their contributionsto the arts in 1984, ABC also cited five arts organizations (the BrooklynMuseum, the Harlem School of the Arts, Jamaica Arts Center, La MaMaE.T.C., and Playwrights Horizons), and five arts supporting corporations(American Savings Bank, Chemical Bank, General Electric Foundation,R.H. Macy & Corporation, and Metropolitan Life Foundation).

...ARDIS KRAINIK, General Manager of the 30-year-old Lyric Opera ofChicago, whose recent honors include receiving the title of Commendatoreof the Italian Order of Merit, conferred on her by the President of theRepublic of Italy who was represented in a formal ceremony by the ItalianConsul General Claudio Ferrari.

...DANNY NEWMAN, who on the same occasion was dubbed "CavalliereUfficiale" of the Republic of Italy, and who as Press and Public RelationsDirector of the Lyric Opera of Chicago and creator of innumerableAmerican subscription series, also received the American Symphony Or-chestra League's 1984 individual Gold Baton Award (and incidentally andbelatedly was awarded the Bronze Star for Army combat action duringWorld War II).

...MERRILL LYNCH as the 1984 corporate recipient of the ASOL GoldBaton Award.

...ALVIN AILEY as recipient of the Award of Merit from the Associationof College, University and Community Arts Administrators, recognized asfounder and director of the first black modern dance company.

-35 -

COS SALUTES

...the five honorees of the 1984 Kennedy Center Awards, selected for"distinguished achievements and career contributions to American culture",who were feted on December 2 at a White House reception and a subsequentgala at the Kennedy Center. The artists were LENA HORNE, DANNYKAYE, GIAN CARLO MENOTTI, ARTHUR MILLER and ISAAC STERN.

...composer EDWARD APPLEBAUM (1974 opera: The Frieze of Life), whoreceived the Kennedy Center Friedheim Award for orchestral composition.

...OMUS HIRSHBEIN, Director of the Performing Arts at the 92nd StreetY, New York, who was named "Arts Administrator of the Year"; - RICHARDCLARK, President of Affiliate Artists, who received the 1984 CareerService Award; - and PATRICK HAYES, Managing Director Emeritus ofthe Washington Performing Arts Society, who was given an extraordinaryaward for "service to the arts during a fifty-year career", all threeconstituting the 1984 Arts Management Awards.

...American soprano JESSYE NORMAN on the occasion of receiving theFrench Order of Arts and Letters for "her contribution to the lyric art",awarded her by the French Minister of Culture.

...baritone SHERRILL MILNES on the occasion of receiving the "Achieve-ment in the Arts Award" from Northwood/IASTA.

...TERENCE A. McEWEN, General Director of the San Francisco Opera,who received the first Colonel John Geary Mayoral Award for "outstandingachievements", presented by Mayor Dianne Feinstein; - the six 1984recipients of the New York Mayor Edward Koch's Awards of Honor forArts and Culture for "a lifetime achievements in the arts". They includedset designer MING CHO LEE, choreographer TWYLA THARP, Afro-CubanJazz musician MARIO BAUZA, and Juilliard School's director of dance,MARTHA HILL.

...the General Director of the Tulsa Opera, in whose honor the city'sMayor Young proclaimed November to be EDWARD C. PURRINGTONMONTH in Oklahoma, "in recognition of ten years of operatic leadership".

...RUSSELL PATTERSON, General and Artistic Director of the Lyric Operaof Kansas City and the Kansas City Symphony, on having been named"Executive of the Year" by Kansas City's Corporate Report.

...two new members of the Order of Canada: MICHAEL M. KOERNER,General Director of the first Encyclopedia of Music in Canada and trusteeof the Toronto Symphony and the Toronto Art Gallery; - and WALTERHOMBURGER, Managing Director of the Toronto Symphony for the lasttwenty-two years and also first Canadian recipient of the ASOL's LouisSudler Award for Distinguished Service.

...honorees of the Canadian Music Council medals: soprano FRANCES J.ADASKIN of Victoria, BC, for "pioneering in performances of 20th centurymusic"; - librarian of the Canadian Music Centre in Toronto HENRYMUTSAER; - and "Composer of the Year" VIOLET ARCHER of Edmonton.

...the five California recipients of the Jacopo Peri Award presented byOpera Associates of Los Angeles: IAN CAMPBELL - General Director,San Diego Opera, NATALIE LIMONICK - Director, Opera Theatre, Univer-

- 36 -

COS SALUTES

sity of Southern California, JOHANNA DORDICK - Artistic Director, LosAngeles Opera Theater, MICHAEL MILENSKI - General Director, LongBeach Opera, and Dr. DAVID SCOTT - Director, Opera Theater, CaliforniaState University, Northridge.

...1985 as the tercentenary year of GEORG FRIEDRICH HANDEL and ofJOHANN SEBASTIAN BACH, and the centenary year of ALBAN BERG andJEROME KERN.

...ERNEST KRENEK on his 85th birthday and Sir MICHAEL TIPPETT onhis 80th, both in 1985, and PETER MAXWELL DAVIES on his 50th earlierthis season.

...the following operatic institutions in special anniversary years: the 50-year-old GLYNDEBOURNE FESTIVAL which observed the event byreleasing an EMI three-record album, "An Anthology of Historic Recordingsfrom Glyndebourne Productions 1934-63"; - the 50-year-old ACADEMYOF VOCAL ARTS in Philadelphia, which will celebrate the occasion withthe inauguration of its new Hall of Fame on March 30. At an AwardsBall on that date, the first nineteen singers chosen for this honor willbe inducted and personally receive the specially designed AVA medal (seealso "Education"); - and the AFTER DINNER OPERA and its founder/di-rector Richard Flusser on the company's 35th anniversary (see also "NewOperas/Works-in-Progress").

...the HAWAII OPERA THEATRE and the VANCOUVER OPERA COMPANYon their silver anniversaries.

...LINCOLN CENTER FOR THE PERFORMING ARTS which broke ground25 years ago and opened the first building, then called Philharmonic Hall,20 years ago; and the MUSIC CENTER OF LOS ANGELES and the ChandlerPavilion, which have served Southern California for the last 20 years.

...the NATIONAL ENDOWMENT FOR THE ARTS on entering its twentiethanniversary year, an accomplishment many of us, who hoped and workedto make this institution a reality against what sometimes seemed almostinsurmountable odds, will particularly appreciate (see also "Governmentand National Organizations"). Among the festivities will be the awardingof special arts medals by President Reagan to individuals and organizations,and designating the week of September 23 National Celebration ofAmerican Art and Artists Week in commemoration of President Johnson'ssigning of the legislation which created the Endowment.

...the NATIONAL INSTITUTE FOR MUSICAL THEATER, founded fifteenyears ago as the National Opera Institute in Washington. The recentbirthday celebration brought together current and past officers andadministrators, including chairman Harold Prince and executive directorJohn Ludwig. They were joined by numerous artists who had benefittedfrom NIMT's programs and now showed their appreciation by entertainingtheir benefactors and the special audience.

...the OPERA THEATRE OF SAINT LOUIS on its 10th anniversary, aseason marked by two world premieres and by a changing of the guard,from the sole and omnipotent management of Richard Gaddes to theshared responsibilities of the new triumvirate of Artistic Director, MusicDirector and Executive Director (see "Appointments"); - also on its 10thanniversary, THE MINIKIN OPERA COMPANY in Wilmington, Delaware,generally specializing in touring with short operas but celebrating thisoccasion with a world premiere. []

- 3 7 -

EDUCATION AND ACADEMIA

NEW SCHOOLS The young a r t i s t s ' training workshop which was part of the Civic LightOpera of the Los Angeles Music Center for the last twenty years (seeVol. 24, No. 2) has now become an independent school. The AMERICANCENTER FOR MUSIC THEATER, under director Paul Gleason, continuesto offer advanced professional training for the musical s tage to particularlygifted performers. Since its separation from the Civic Light Operacompany, the workshop has added a new division for opera t ic trainingand has engaged Natalie Limonick of the University of Southern Californiaas head of this depar tment . For further information contact Mr. Gleason,Director, American Center for Music Theater , 1743 North Curson, LosAngeles, CA 90048.

A new music school, THE WASHINGTON CONSERVATORY OF MUSIC,opened at Chevy Chase Circle last fall. It was launched by a 19-memberfaculty-board with former Metropolitan Opera soprano Mattiwilda Dobbsin charge of the voice depar tment . Diana H. Young is administrat ivedi rec tor . The Conservatory, located at 5838 Chevy Chase Parkway NW,Washington, DC 20015, plans to add an opera workshop in the near future.

The NEW YORK ACADEMY OF THE ARTS is adding a ten-week operaworkshop this spring. Courses in act ing and s tage direction will be ledby Christopher and David Alden, while musical mat ters will be in thehands of conductor Randall Behr.

NEWS FROM The Juilliard School's AMERICAN OPERA CENTER has announced tha t ,MAJOR MUSIC after several years of tuition requirements, it is now able to resumeSCHOOLS offering a limited number of full scholarships to specially ta lented young

ar t i s t s . They must agree to par t ic ipate a minimum of 15 hours a weekfrom September to May. While the Center was originally founded as afull scholarship workshop with stipends available to the most advancedstudent performers, this policy had to be discontinued due to the school'seconomic si tuation.

As part of i ts fiftieth anniversary celebrat ion, THE ACADEMY OF VOCALARTS will establish the AVA Hall of Fame of Great American Singers.On March 30, a t an Awards Ball in Philadelphia, the following firstnineteen members will be inducted in a formal ceremony: John Alexander,Martina Arroyo, Richard Cassilly, Lili Chookasian, Phyllis Curt in, SimonEstes , Frank Guarrera , Jerome Hines, Cornell MacNeil, John Macurdy,James McCracken, Pat r ice Munsel, James Morris, Roberta Pe te rs , NellRankin, Regina Resnik, Eleanor Steber , Rise Stevens and Beverly Wolff.The honorees will receive a specially designed medal, and two newAmerican singers will be added to the roster annually. AVA was foundedin 1934 by Helen Corning Warden, who provided the school with asufficiently large endowment to guarantee its existence as a fullscholarship ins t i tu te for advanced voice and opera training. Indeed, theschool, which has been under the direction of Dino Yannopoulos for thepast nine years , never charged tui t ion.

UNIVERSITY This winter for the first time the Power Center for the Performing ArtsNEWS at the UNIVERSITY OF MICHIGAN in Ann Arbor is combining all the

school's departments of the performing arts under its new Vocal ArtsCenter. Begun in 1974, it now encompasses the University Players, theUniversity Dance Company, the UM Opera Theater, and the UM MusicalTheatre - the latter under its new director Brent Wagner - as well asthe Contemporary Directions Ensemble and the new video facilities which

-38-

EDUCATION & ACAOEMIA

are under the supervision of film director Robert Altman, who staged theUniversity's production of The Rake's Progress two years ago.

WRIGHT STATE UNIVERSITY in Dayton and the Dayton Opera Companyhave reached an agreement whereby voice students enrolled in theUniversity's Opera Production department will receive coaching andadvanced courses at the school and also participate in the opera company'sperformances, mostly as chorus members. Admission to this program isthrough auditions by the university as well as by the opera company.

The UNIVERSITY OF NORTH CAROLINA in Greensboro instituted a newdoctorate program last fall. The degree is Doctor of Music Arts and isgiven in applied performance, composition and theory.

A newly revised degree program at MOORHEAD STATE UNIVERSITY inMinnesota offers students the option of a Bachelor of Music in Performancedegree or a Bachelor of Arts degree combining music performance withstudies in arts management, music industry or mass communication.

A CENTER FOR MUSIC BUSINESS STUDIES opened in Elmhurst, Illinois(110 Schiller Street, #205, 60126). Approved by the Illinois Board ofEducation, the school offers its instructions in evening and weekendclasses only. It awards a Diploma in Music Business Studies and Certifi-cates in 1) Music Business, and 2) Audio/Video Production to studentswho have completed the required courses.

Alvin H. Reiss, editor and publisher of the Arts Management newsletterand director of Adelphi University's graduate arts management programand of the Performing Arts Management Institute, will offer an all-dayseminar, CAREERS IN ARTS ADMINISTRATION. It is scheduled forFebruary 7 at the McGraw-Hill Building, room 208, in New York.

The School of Business Administration of the University of North Carolinain Chapel Hill announced its fifth annual symposium, MANAGING THEARTS. The dates are June 16-28 and it carries an application deadlineof April 1. Tuition and living expenses for the two-week period are $1,200.

Last November BIRGIT NILSSON joined the ranks of other distinguishedcolleagues in offering master classes for advanced singers in New York.They were held at the Manhattan School of Music on three consecutivedays with the final sessions open to the public. The income from ticketsales went into the School's newly-created Nilsson Scholarship Fund.

NICO CASTEL, tenor and diction coach at the Metropolitan Opera, isholding master classes in "Tri-Lingual Diction and Style for Singers andCoaches" at the State University of New York in New Paltz. They areoffered under SUNY's Foreign Language Department.

The Cleveland Institute of Music announced the participation of sopranosELLY AMELING and ANJA SILJA and baritone GERARD SOUZAY in thisyear's master classes and concerts and in a new festival. Miss Silja,whose husband Christoph von Dohnanyi is the new Music Director of theCleveland Orchestra, will chair the Institute's first Art Song Festival.

Classes in wig making and make-up training, formerly offered in SanFrancisco by RICHARD STEAD, have moved to St. Paul - as has their

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ARTSADMINIS-TRATION

TRAINING

MASTERCLASSES

EDUCATION & ACADEMIA

master instructor . Mr. Stead, who has exchanged the Minnesota Operafor the San Francisco company, will offer six-month instructions in bothfields beginning in March '85 . The course will be limited t o 12 s tudents .

AMERICANS The lit t le-known School and Festival devoted to American Musical Thea t reIN EUROPE: was held for the second year in the South of France . Last summer fiftyMUSICAL students were enrolled in THE BRIDGE - bridging the gap from trainingCOMEDY and avocational performances to fully professional productions. Founder/TRAINING director Avra Petrides, a former ac t ress and playwright from New York,

was able t o arrange for t he part icipation of Bet ty Comden, Adolph Greenand Phyllis Newman, and all three taught and performed there last summer.The s tudents , most of whom were at an early professional level, weresingers, ac tors and dancers from all over the world. The Festival ofAmerican Musical Thea t re , consisting of live and some musicals-on-filmperformances, was held during the last t en days of The Bridge at Beziers.In its first year , the school had a t t r ac t ed Alan Jay Lerner and VirgilThomson as ar t is ts- in-residence.

...OPERA Now that the renovation of the opera house in Zurich has been completed,TRAINING the well-known INTERNATIONAL OPERA CENTER will again resume its

act ivi t ies in the 1985-86 season. The Cente r ' s director , Marc Belfort,will hold auditions in May '85 in New York open t o young singers with ahigh potential for an operat ic career and with some professionalexperience. For an audition application write Mr. Belfort at IOC,Falkenstrasse 1, CH-8008 Zurich.

. . .FOR The OPEN DOOR Student Exchange program will allow scholarshipHIGH SCHOOL assistance t o qualified high-school students for their participation inSTUDENTS summer music, ar t and craft programs in Europe. Supported by grants

from the U.S. Information Agency, Open Door's international summerprograms may be contacted at 124 East Merrick Rd., Valley Stream, NewYork 11582; telephone (516) 825-8485.

CHINESE With Chinese musicians joining t h e mainstream of Western music, asMUSIC evidenced by several winners from the Republic of China in internationalCOURSES v o c a l competitions (see "Winners"), it is not surprising tha t the SHANGHAI

CONSERVATORY OF MUSIC has announced seminars and special coursesin "Chinese Music for Americans". Scheduled for August 2 t o 31 , theprogram will include an introduction to the Chinese language and visitst o historical and cultural s i tes . The tuition fee of $1,380 also coversaccommodations and meals for the one month; the additional airfare fromthe U.S. amounts to about $1,500. Arrangements should be made throughCET, 1110 Washington S t ree t , Boston, MA 02124; telelphone (800) 225-4262.

ARTS A new emphasis on a r t s education in schools by the National EndowmentEDUCATION for the Arts and its Chairman FRANK HODSOLL resulted in the ArtsIN SCHOOLS Reporting Service comment, "Arts education is a new major effort on the

NEA agenda, perhaps the most significant s tep taken in years . . . . Thismay well be Frank Hodsoll's legacy... ."

A CHILDREN'S TELEVISION ARTS SERIES, cosponsored by NEA and theJ . Paul Get ty Trust of Los Angeles, will be created t o encourageappreciation and comprehension of the a r t s , and t o st imulate individualcreat ive expression. "Adequate background in the a r t s in childhood willmake more perceptive adults", s ta ted Mr. Hodsoll. Funding will occur in

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EDUCATION & ACADEMIA

t h ree s tages: 1) research and development of project, 2) creation of apilot program and 3) production of the series.

The Task Force of Opera America 's Education Program has prepared a TEACHERS'paper, FRAMEWORK FOR AN OPERA EDUCATION CURRICULUM GUIDE, AIDSgeared to kindergarten through grade 12 covering opera as well as musicalt hea t e r . The project is supported by grants from the NEA/Artists inEducation Program and by the Skaggs Foundation. For further informationcontact Marthalie Furber, Education Director, Opera America, 633 EStree t NW, Washington, DC 20004. — Opera America, together withthe Music Educators National Conference and Opera for Youth, plans topublish a newslet ter , KIDS CREATE AND PARTICIPATE, which will tel labout new operas/music thea te r pieces developed by students in schools,and about new works wri t ten for performances in schools. DorothyKit taka, a former Teacher Fellow of the Kennedy Center Alliance forArts Education, will be one of the edi tors .

The CENTRAL OPERA SERVICE DIRECTORY OF CHILDREN'S OPERASAND MUSICALS will be ready in the spring and promises to be a mostuseful and unique guide. It will include not only information on length,cas t , orches t ra t ion, availability of performance mater ia l , and age groupfor which each work has been wri t ten , but also comments from producersas to audience response and production difficulties, and in many casesexcerpts from reviews. Teachers , heads of educational opera workshopsand others contemplating productions will find the COS Directory filledwith useful and unique information.

The Metropolitan Opera Guild's OPERA BOXES have been another sourceof inspiration and aid to music t eache r s . Two new Boxes have beenadded by the MOG Educational Department: one for Madama Butterfly,t he other for The Flying Dutchman. Each is priced a t $34.00.

The second Summer Fellowship Program for American Teachers of the TEACHERArts will be offered by the ALLIANCE FOR ARTS EDUCATION from TRAININGJune 30 to July 20, 1985. These Kennedy Center Fellowships offer a$2,000 stipened and free housing, and are suitable for t eachers fromkindergarten through 12th grade. Further inquiries should be addressedto the Alliance for Arts Education, Kennedy Center , Summer Fellowships,Washington, DC 20566.

Next fall the LOS ANGELES HIGH SCHOOL FOR THE ARTS will open HIGH SCHOOLSon the campus of California S ta te University in Los Angeles. The school, FOR THE ARTSwhich will be tui t ion free, will include a full complement of courses inl e t t e r s and sciences in order to make it a s t a t e accredi ted inst i tut ion.In addition t o formal, specialized training in music, drama, dance, t h evisual a r t s , and motion picture and television production, the county-widehigh school will also offer master classes by professional a r t i s t s , col lab-orative programs with other educational inst i tut ions, and internships withmajor a r t s /en te r ta inment organizat ions. The school's founding committeeis headed by Los Angeles County Supervisor, Michael Antonovich.

The FIORELLO LA GUARDIA HIGH SCHOOL OF MUSIC AND THE ARTSopened in September '84 in back of Lincoln Center . With i t , New York'sHigh School of Music and Art , formerly on West 135 S t ree t , and the HighSchool of the Performing Arts , formerly on West 46 S t ree t , were broughtunder one roof in the new building on Amsterdam Avenue and 65 S t r ee t .The two schools had come under a joint administration in 1961. []

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COLLECTIONS AND EXHIBITIONS

The ROBERT L. B. TOBIN COLLECTION ONTHEATRE ARTS, a collection of rare books ontheatre arts, theatre architecture, the art ofthe book and the artist's book, and also a largepart of the R. L. B. TOBIN COLLECTION OFORIGINAL STAGE MODELS AND SCENIC ANDCOSTUME DESIGNS has been donated to theMarion Koogler McNay Art Museum in SanAntonio. In order to properly display thisinvaluable and unique collection, brought to-gether by a connoisseur with scholarly know-ledge and impeccable taste, the Museum builtthe Tobin wing which will keep on exhibit partsof the collection on a rotating basis. Admissionto the wing is free and the special library willbe open to scholars and researchers. For thatreason and because of the great value andrarity of the items no part of this collectionwill be available as a circulating library. TheMcNay Art Museum is "dedicated to the ad-vancement and enjoyment of Modern Art".

The GERSHWIN ARCHIVES were donated to theLibrary of Congress by Leonore Gershwin, Ira'swidow. They consist of manuscripts, memora-bilia, artifacts, programs, posters, and somepaintings executed by both George and IraGershwin. They further include Ira Gershwin'scomplete library and two pieces of furnitureoriginally owned by George - his Steinway grandpiano and a small rosewood desk, both used bythe composer when writing music. These pieceswere kept by Ira and his wife after thecomposer's death in 1937. The Library inWashington will establish a George and IraGershwin room in its main building. Ira hadbeen a benefactor of the Library for manyyears.

"HOCKNEY PAINTS THE STAGE" has movedfrom the Walker Arts Center in Minneapolis tothe Fort Worth Arts Museum where the exhibi-tion in all its colorful glory can be admiredthrough February.

On the occasion of the Pacific NorthwestWagner Festival in Seattle in summer '85, theSwiss Council for the Arts has arranged anexhibit of stage designs by the most famous ofWagnerian designers. In ADOLPHE APPIA -PERFORMER - SPACE - LIGHT the public willbe able to view three-dimensional stage designs,prompt books and drawings and paintings, atotal of 108 different items.

Theatrical stage designs are also the subjectof the special show "STAGED/STAGES", whichopened at the Bernice Steinbaum Gallery inNew York last December and which will tourlibraries and museums at universities throughoutthe country for the next two years. The showwas intended primarily for people who do not

come to New York but who are interested inseeing stage designs by world-famous paintersand sculptors.

The extensive collection of the Czech/Americanarchitect and theater designer will form theRICHARD RYCHTARIK ARCHIVES at the NewYork Public Library of the Performing Arts atLincoln Center. They were donated by theartist's widow with the expressed wish to makethe original drawings, designs and other ma-terial available to students and scholars. Afterbeing catalogued, they will be open and avail-able for research.

DU BOSE HEYWARD, author of the original"Porgy" and librettist of Porgy and Bess, hadleft his estate including rights and royalties tohis daughter. Upon her recent death the estateand all income was left to the MacDowellArtists Colony, of which her father and theGershwin brothers were Fellows.

Well over one-hundred manuscripts by theinternationally renowned Mexican composerCARLOS CHAVEZ were deposited with the NewYork Public Library in 1978, shortly before thecomposer's death. During these last years allmaterial was purchased by the Library; it hasnow been catalogued and is accessible for study.

Between November '84 and February '85 theabove mentioned Public Library at LincolnCenter offers a special retrospective exhibition"Music by Richard Rodgers" drawing on its ownRodgers Archives. — Thanks to a specialgrant from the National Endowment for theArts and some private donors, the ResearchDepartment of the Library has recently exten-ded its hours, closing at 8:00 pm on twoevenings and opening at 10:00 am on threedays; on the other days opening time is noon.

A GEORG FRIEDRICH HANDEL TERCENTE-NARY EXHIBIT has been mounted by NewYork's Pierpont Morgan Library. It will be onview until February 17, to be followed by"Music in Austria", devoted to Mozart, Haydn,Schubert, Mahler, Berg and Schonberg. Thisshow can be viewed until mid-May.

In recognition of having been chosen as reposi-tory for the collection and estate of theconductor Fritz Reiner, Columbia University isestablishing the FRITZ REINER CENTER FORCONTEMPORARY MUSIC. Estimated at avalue of $1.2 million, the gift consists ofmusical scores, correspondence with many ofhis famous contemporaries - composers andperformers - photographs, books, recordings andmemorabilia; it also includes all royalty pay-ments on the conductor's recordings. This

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money will be used to endow a Fritz ReinerProfessorship of Musical Composition. Theestate was left to the University by theconductor's widow who died last year.

Harvard University Library is the recipient ofa major collection of musical manuscripts bycontemporary or near-contemporary composers,all of whom were born in or emigrated to theUnited States in this century. The collectionwill be known as the MOLDENHAUER AR-CHIVES after the pianist and manuscript col-lector, Hans Moldenhauer. His collection ofWebern manuscripts was purchased last year bythe Swiss collector/conductor Hans Sacher tobecome part of the Sacher Foundation Col-lection, of which the biggest and most impor-tant part is the incomparable Stravinsky estate.The Harvard/Moldenhauer collection was ac-quired as a joint project with the BavarianState Library in Munich, where another partof the original Moldenhauer collection has beendeposited.

Some ninety musical manuscripts by MODERNFRENCH COMPOSERS such as Ravel, Debussy,Dukas and Faure' have been acquired by thelibrary of the University of Texas in Austin.

The archives of the CHICAGO CIVIC OPERA,dating from 1910 to 1931, will be housed atNorthern Illinois University in De Kalb. Theseitems will be added to the University's previousholdings which date back to the 1880's andreflect the city's early operatic history.

Upon retiring, pianist/conductor FRITZ JA-HODA donated his music library to a smalllending library in Brooksville, Maine, where hemaintains a summer home. He felt that hiscollection would duplicate many of the holdingsof the major libraries, while the Bagaduce MusicLending Library could make good use of thematerial through its service to all music organi-zations in the New England States.

Composers' SocietiesThe FONDAZIONE ROSSINI in Pesaro will bepublishing "The Collected Letters of GioachinoRossini", compiled and edited by the Americanmusicologist Philip Gossett. Professor Gossettrequests anyone who owns or knows of thewhereabouts of a Rossini letter to get in touchwith him at the University of Chicago, Depart-ment of Music, 5845 South Ellis Avenue, Chi-cago, IL 60637. He is also interested in letterswritten by the composer's wife, Olympe orOlympia, and the composer's father, Giuseppe.

New American chapters of the following com-poser's societies have been established: TheINTERNATIONAL HEINRICH SCHUTZ SOCIETY,

Box 2157, Princeton, NJ 08540; membership feeis $15. — The NEW BACH SOCIETY, 1725Main Street, Bethlehem, PA 18018; membershipfee is $20. — The AMERICAN BRAHMSSOCIETY, University of Washington, School ofMusic, DN-10, Seattle, WA 98195.

Singer's SocietyThe RICHARD TAUBER FOUNDATION wasformed in London in honor and memory of therenowned tenor. The Foundation plans tocollect and exhibit memorabilia and to awardscholarships to worthy and needy singers witha good operatic potential. At this time theFoundation is soliciting new members and dona-tions to develop its programs. For furtherinformation write to RTF, 10 Victoria Road,Mill Hill, London NW7 4SB, England.

Lieder Manuscripts FoundWhen Maria Jeritza's estate was auctioned bySotheby's New York, a song by Richard Strauss,believed to be the last he composed, was foundamong her music. Its existence was known butit was believed to have been lost. Entitled"Malven", a type of flower, the song waswritten in Montreux, Switzerland, dated Novem-ber 23, 1948, thus carrying a later date thanThe Four Last Songs. Dedicated to the com-poser's favorite soprano, the unpublishedmanuscript carries the inscription "To thebeloved Maria, this last rose!" The manuscriptwas sold on December 12 for $60,500. Thepostscript to the story occurred January 10 ata subscription concert of the New York Philhar-monic conducted by Zubin Mehta with Kiri TeKanawa as soloist in Strauss's "Four LastSongs". Thanks to the dedication and perse-verance of all parties concerned, and throughrather complicated arrangements involving thepurchaser of the manuscript, collector andphilanthropist Frederick Koch, the composer'sson Dr. Franz Strauss, the Swiss librettist BettyKnobel, and the representative of Miss Jeritza'sestate, the song was indeed heard at the aboveconcert. Miss Te Kanawa was accompanied atthe piano by Martin Katz, and this marked thefirst public performance of "Malvin". Theautograph manuscript will be deposited at ThePierpont Morgan Library.

Two unknown songs by Franz Schubert datingback to his student years (1812) were discoveredby Raymond Beegle. He is director of the NewYork Vocal Arts Ensemble, which premiered thesongs at Tully Hall on October 27, 1984. "Quelinnocente figlio" has a text by Pietro Meta-stasio and shows extensive corrections in thehandwriting of Antonio Salieri, who was Schu-bert's teacher. The second is an ecclesiasticalsong, "Urn Dich, O Herr". []

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NEW AND RENOVATED THEATERS

NEW ARTS Currently under construction, the TAMPA BAY PERFORMING ARTSCENTERS CENTER is to be ready for a fall '86 opening. It will house three halls,

the 2,400-seat Festival Hall, the 900-seat Playhouse and the 300-seatStudio Theater. Equipped with all modern technical facilities onstageand backstage, the Festival Hall will be able to accommodate a maximumof 130 musicians in its orchestra pit. It will stand on an easily accessibledowntown site and is expected to serve the Bay area including Tampa,St. Petersburg and Clearwater. The Center's cost is estimated at $52million. ARTEC Consultants of New York have been retained as acousticaland theater designers; the Tampa architectual team of McElvy JenneweinStefany and Howard together with ARCOP of Toronto are collaboratingas the architects in charge of the project.

A fall '86 opening is also projected for the ORANGE COUNTY PERFORM-ING ARTS CENTER in Costa Mesa, California. The main theatre buildinghousing the 3,000-seat, multi-use auditorium will feature an innovative,asymmetrical design, although the hall will have a traditional prosceniumstage. The complex will also include a smaller 1,000-seat theater. Oneof the important features will be the Center's overall concept of designrelating to the environment through its plazas, gardens, and promenades.Once completed, it will be the West Coast home of the New York CityOpera for two weeks in November.

RENOVATED This is the first time that Opera Memphis has moved its performances outTHEATERS of the university auditorium and into a downtown theater. The recently

renovated ORPHEUM THEATRE will now be the company's residence forits two opera productions and one gala concert. Although under the newmanagement of Robert Driver in collaboration with the opera companiesin Indianapolis and Syracuse, Opera Memphis still presents its season incooperation with Memphis State University.

Another theater-turned-movie-house-turned-theater-and-concert-hall willbe resounding with operatic music this season. Opera/ Columbus in Ohiohas moved into the attractively refurbished PALACE THEATRE, whichalso enlarged its orchestra pit to accommodate a full opera orchestra.With a seating capacity almost equal to the company's former home, theOhio Theater - 2,800 versus 2,750 - the number of performances perseason was not affected.

This, however, was not the case for the Cleveland Opera (see also "Newsfrom Companies"). Moving from the 1,500-seat Hanna Theatre and theoccasionally used 1,100-seat Kulas Hall to the 3,100-seat STATE THEATERobviously had to bring about a change in the company's planning. Witha double amount of tickets for sale per performance, director DavidBamberger cut the number of performances from four to two for each ofhis three productions.

The CIRCLE THEATER on Monument Circle in Indianapolis is anotherformer movie palace, which has been partially restored to its original1916 look and partially remodeled to accommodate modern equipment, allat a cost of $7 million. The hall, tuned by acoustician Christopher Jaffe,now seats 1,850, and is home to the Indianapolis Symphony conducted byJohn Nelson, as well as to the Indiana Repertory Theater.

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NEW & RENOVATED THEATERS

Following the signing of a twenty-year lease by the Lyric Opera ofChicago, the CHICAGO CIVIC OPERA HOUSE will undergo renovations ata cost of about $1 million. The refurbishing will be done in stages andis expected to be completed after five years.

In order to afford a major renovation of the NEW YORK CITY CENTERFOR MUSIC AND DRAMA on West 55th Street, and to assist itsconstituents, the organization has sold the air rights of the building toa commercial developer for the construction of a residential tower. Ofthe $11 million realized through the sale, about $5 million will pay forsuch items as enlargement of the stage through added wing space,modernization of technical facilities, renovation and enlargement of allpublic areas including box office facilities and backstage and storageareas and dressing rooms. There will be new elevators and new seatswill also provide improved sightlines. Further renovations of the smalltheater area called The Space are also planned (see Manhattan TheatreClub above). Of the remaining sum, $3 million will be turned over toeach of the Center's constituents, the New York City Opera and the CityBallet companies.

Renovation and modernization of equipment is also planned for the OPERAHOUSE of the Brooklyn Academy of Music. The theatre consultant andarchitect firm of Hardy Holzman Pfeiffer Associates is in charge of theremodeling.

On October 19 Metropolitan Opera bass Jerome Hines opened the newlyrestored PROSPECT HALL in Brooklyn's historic Park Slope district. This1,500-seat theater dating back to the 19th century again displays its"Victorian beauty and the baroque-style ornaments".

Another New York concert hall of landmark importance that reopened itsdoors this fall is TOWN HALL on West 43rd Street. After one year ofrenovation and an expenditure of $1.5 million, the 63-year-old auditoriumis again in full use. Originally started as a meeting hall for suffragists,it was used extensively for lectures before becoming one of the city'smost important concert and recital halls. Practically every major Americanor foreign singer who performed in New York between the 1930's and60's appeared at Town Hall. With renewed interest in recitals and chambermusic concerts, the hall should again become a lively music center.

The fourteen-year-old Manhattan Theater Club is moving its main OFFproduct ions from i t s 150-sea t t h e a t e r on West 73 S t r e e t t o THE SPACE, BROADWAYa lower-level open area theater at the New York City Center on West THEATERS55 Street. Directors Lynn Meadows and Barry Grove were given a grantby Banker's Trust Company for the remodeling of The Space which willaccommodate an audience of 300. The company's home theater, whichseats 150, launched a number of very successful musicals and plays andwill continue to be used for second productions.

New York's THEATER FOR THE NEW CITY performing in the East Village(Second Avenue-lOth Street) has not been that lucky. Rent for its currenttheater is being increased manyfold and the company's budget will notbear that expense. Small avant-garde plays and musicals are the company's

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NEW & RENOVATED THEATERS

specialty, and although some have been taken up by other performingensembles, they are not the type to wind up in Broadway houses.Negotiations for a performing space in a sanitation department buildingin the same area are still inconclusive.

THEATER Commissions given to THEATRE PROJECTS CONSULTANTS, a twenty-CONSULTANTS five-year-old British firm with offices in North America for the last five

years, included feasibility, planning, and/or design studies for the followingU.S. and Canadian theatre projects during 1984: a Dallas Arts District(53 acres to be developed over the next five to twenty years); a newopera-ballet house in Toronto, Ontario; a Performing Arts Center forCharlotte, North Carolina; a new Performing Arts Center for Arts WestAspen, Colorado; and the Portland (Oregon) Performing Arts Center,incorporating the 1927 Paramount Theatre. Louis K. Fleming is vicepresident in charge of the New York office. Among the company's currentmajor overseas jobs is the restoration of the Kallang Theatre in Singapore.When it reopens later this year it will accommodate 1,800 spectators andwill be equipped to present Oriental as well as Western style opera, danceand other forms of entertainment.

ADDITION TO LINCOLN CENTER will add a new building whose facilities are to beLINCOLN CENTER shared by all constituents. Plans call for ample rehearsal spaces, for

teaching rooms for the Center's educational programs, office space forLincoln Center's administrative staff, possibly also for dormitories for200 to 300 students of the Juilliard School and the School of AmericanBallet of the New York City Ballet company. Also under considerationis the addition of a small theater for the Metropolitan Opera and forthe Ballet. In order to make the project economically feasible, the upperfloors of the highrise structure will be made up of residential units.Construction is to begin later this year and is expected to take two tofour years. The building will stand on the corner of 65th Street andAmsterdam Avenue, adjoining Juilliard and wrapping around the firehouseand church that face 66th Street, on the site of a vacant lot and theformer, now closed, Brandeis High School. Construction costs will bedivided between the Center's occupants with each carrying a sharerepresentative of the amount of space allotted them in the new building.

EUROPEAN Two Swiss opera houses are celebrating their reopening this season. TheyOPERA HOUSES were closed for one and two years, respectively, due to major renovations.

The BERNER STADTTHEATER opened in November, and the ZURICHOPERNHAUS offered a Gala concert on December 1 and a world premiereby Swiss composer Rudolf Kelterborn on December 4 (see "New Operas").— On November 1 the WURTTEMBERGISCHE STAATSOPER in Stuttgartreopened with Don Giovanni. []

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ATTENTION COMPOSERS/LIBRETTISTS AND DIRECTORS

While this column addresses items of specific interest to composers, someannouncements of equal importance to the creative musician but fallingmore naturally under different titles appear under other headings. Someof the most important ones may be found under "New Operas andPremieres", "News from Companies/Developing New Operas" and "Govern-ment and National Organizations/NEA Opera-Musical Theater Program".

The O'NEILL THEATER CENTER'S Opera/Music Theater Conference haschanged its schedule of reviewing new scores and with it the deadlinefor applications. While the workshop continues in May and June as before,new works submitted for consideration will be examined in December, inMarch and in June, and composers and librettists will receive notificationthree months after receipt of their application.

The American Music Center in collaboration with the American PublicRadio announced participation by the United States in the 1985 INTER-NATIONAL ROSTRUM OF COMPOSERS, scheduled for the InternationalMusic Council Congress in Paris. Composers, publishers, and recordingand performing institutions are invited to submit works for considerationto IMC Rostrum, WGUC, 1223 Central Parkway, Cincinnati, OH 45214.The following conditions must be fulfilled: only one work per composer,written within the last five years, may be submitted. Although any lengthwork is eligible, send no more than 35 minutes of music for evaluation;only works by living composers who are U.S. citizens will be accepted.Send only recording/tape of professional quality and furnish the followingpapers and guarantees: 1) that performance material is easily availablewhen needed, 2) that if chosen, the recording may be rebroadcast abroadwithout further payment, 3) if chosen that three copies if published, ortwo copies if unpublished, will be available within two weeks to accompanythe recording to Paris, 4) details and analysis of composition submitted,and 5) composer's biography.

At the time of this printing, participation in the IMC Congress by Americanorganizations or artists is in question. It will depend on the possiblewithdrawal by the United States from UNESCO, under whose auspices theInternational Music Council operates.

Suggestions of composers and their works for inclusion in the 1985 NEWMUSIC AMERICA FESTIVAL (see Vol. 25, No. 3) may be submitted toNMAF, 849 South Broadway, Suite 632, Los Angeles, CA 90014.

THEATRE WORKS/USA (131 West 86 Street, New York, NY 10024) issoliciting new musicals for young and family audiences. Scores or tapesand a typed synopsis or script should be submitted for performanceconsideration. A limited number of commissions - up to $7,500 - mayalso be available.

Thanks to the commitment and projected grants from the HewlittFoundation, the CABRILLO MUSIC FESTIVAL in Aptos, California, isorganizing an annual commissioning program. Dennis Russell Davies isthe Festival's new music director.

The eminently successful MEET THE COMPOSER program has publishedan informative handbook, "Commissioning Music", with a preface by BillyTaylor and an introduction by Virgil Thomson. The new booklet is designedto stimulate interest in individuals and organizations in commissioning new

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ATTENTION COMPOSERS/LIBRETTISTS & DIRECTORS

works, and, through the discussion of fees, contracts and any other relatedproblems, it will be equally helpful to those giving a commission and tothose receiving one. The publication was made possible by grants fromthe Noble Foundation and the New York State Council on the Arts.Copies are available for $1.00 for postage and handling from Meet theComposer, 2112 Broadway, New York, NY 10023. A self-addressed mailinglabel should accompany the order.

The KURT WEILL FOUNDATION FOR MUSIC is awarding grants in thefollowing six categories: for research, publication assistance, performanceand production grants, for travel, dissertation fellowships, and fortranslations and adaptations. For further details contact David Farnethat the Foundation, 142 West End Avenue, New York, NY 10023, ortelephone (212) 873-1465.

Open to composers or composer/librettist teams residing in Pennsylvaniais a grant program initiated in 1984 by the PENNSYLVANIA COUNCILON THE ARTS. Individual grants up to $5,000 were awarded to allowtime for creative work during the first half of 1985. For new dates writethe Arts Council, 17120 Finance Building, Room 216, Harrisburg, PA 17127.

British author and librettist Paul Bentley (48 Dukes Avenue, New Maiden,Surrey KT3 4HN) has written a libretto based on Herman Melville's MOBYDICK. He is now looking for an American composer to set the text tomusic and create a new opera. Mr. Bentley, who is also a singer,previously wrote lyrics for two professionally produced musicals.

An international competition for sacred music will be held in Fribourg,Switzerland, in 1985 for the first time. The FESTIVAL DE MUSIQUESACREE DE FRIBOURG is arranged by the local chapter of the JeunesseMusicale and the Radio de la Suisse Romande. Entries must be submittedin six copies before August 1 and should be addressed to Youth andMusic, Fribourg Festival of Sacred Music, International Competition, 1701Fribourg, Switzerland. The first place winner will receive 5,000 SwissFrancs and a performance; second and third prizes are cash only - SF2.000and SF1.000, respectively.

The annual opera/ballet competition of the City of Geneva, also incollaboration with the Radio de la Suisse Romande, is limited this yearto ballet music for orchestra. The music must be unpublished and mustnot have been previously performed. There are no restrictions as to thecomposer's age, citizenship or residency. The first prize consists ofSF20.000 and a public performance. Send applications before August 31,1985, to Maison de la Radio, 66 Boulevard Carl-Vogt, CH1211 Geneva,Switzerland.

Australian composers are invited to submit new operatic or music theaterpieces for consideration by the new National Opera Workshop of theAUSTRALIAN OPERA. The new program under artistic director MoffattOxenbould will develop chamber works, with the first two scheduled forstaged presentations at the Recording Hall of the Sydney Opera House(see "New Foreign Operas" and "News from Companies"). New worksshould be submitted in the summer for possible workshop presentation inOctober or early November. Chamber operas should play about 40 minutes,and, in cases of full-length works, a minimum of a 30-minute completedsection must be sent.

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ATTENTION COMPOSERS/LIBRETTISTS & DIRECTORS

The NEW YORK THEATER WORKSHOP, which develops new plays andcarries them through the tryout and rehearsal process to full production,has established a "New Directors Project". In its first year it chose fouryoung directors and assigned each to one new play being workshopped byan experienced professional director. These supervised the work of theapprentice directors who brought the plays to premiere productions. []

ATTENTIONSTAGE

DIRECTORS

NEWS FROM PUBLISHERS

THEODORE PRESSER COMPANY of Bryn Mawrhas been named representative for the UnitedStates, its territories and Mexico for the salesand performance catalogues of N. Simrock, D.Rahter, and Anton J. Benjamin. RichardSchauer Music Publisher of London and Hamburghad acquired these catalogues some time agoand has appointed Presser as its U.S. agent.

John S. Pope, former Sales Manager of Boosey& Hawkes, has joined G. SCHIRMER, INC. andASSOCIATED MUSIC PUBLISHERS as VicePresident of Marketing. Ann Berkhausen is themusic publisher's new Advertising Manager.

EUROPEAN AMERICAN MUSIC DISTRIBUTORShas moved from New Jersey to Pennsylvania,and inquiries should be addressed to Box 850,Valley Forge, PA 19482; telephone (215) 648-0506.

Vilma Wollner's Erbe in Vienna, listed in theCOS Directory of Operas and Publishers as asource for rare musical material, is no longerin existence. Should information become avail-able as to the whereabouts of some of the

scores we shall include mention of it in thenext COS Bulletin. Meanwhile please deletethis source from your copy of the Directory.

Music Associates of America, George Sturm,Executive Director, announced the establishingof an American office of the 109-year-oldViennese publishing house DOBLINGER. Englishlanguage catalogues are available and list pricesin U.S. dollars. DOBLINGER USA will belocated at 305 Bloomfield Avenue, Nutley, NJ07110; (201) 667-0956. — Under FOREIGNMUSIC DISTRIBUTORS INC., the same pub-lishers' representative is also a U.S. source forthe purchase of material published by Baeren-reiter Verlag. MagnaMusic Baton has the per-formance parts for rent.

Recent publications of American contemporaryoperas have been announced by Belwin Mills- Wargo's The Seduction of a Lady, and by G.Schirmer - Barab's Only a Miracle and Strouse'sNightingale. The last mentioned was performedin a new, two-act version first in London andlast December in New York by the GoldenFleece company. []

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EDITIONS AND ADAPTATIONSArtistic director Paul C. Echols and his MannesCamerata ensemble will present two medievaldramas out of the 12th century "Fleury Play-book" in January in New York. HEROD andTHE SLAUGHTER OF THE ISNOCENTS, whichserved the late Noah Greenberg and the NewYork Pro Musica as the basis for The Play ofHerod, have been re-edited by Mr. Echols andwill be performed with old instruments and bycandlelight at Christ Church United Methodist.

The Opera Theater of the University of Minne-sota gave the first modern revival and the firstAmerican performance of LA CATENAD'ADONE by Domenico Mazzocchi (1592-1665).It was premiered in Rome in 1626 and is oneof two operas by the Roman lawyer turnedcomposer, who was also known for his madrigals,oratorios and other liturgical music. DavidLivingston is responsible for the new editionused in the University production, and VernSutton, director of opera at the University,made the English translation. It was performedon November 30 in Minneapolis as The Chainof Adonis.

Unlike Mazzocchi, Giovanni Legrenzi (1626-1690) was a well-trained, professional andinfluential musician who also became an impor-tant teacher to other renowned Italian com-posers. His IL GIUSTINO was performed at theBishop Otter College in Chiehester, England,last July in a new edition by Michael Waite.

Another modern revival, this one of a 19thcentury opera believed to have been lost, tookplace at the Rossini Festival in Pesaro lastsummer. The American musicologists JanetJohnson and Philip Gossett reconstructed thescore from extensive fragments. The opera'sfirst performance was staged in Paris in 1825- it was Rossini's last opera written in Italian- and although reports indicate that it was verysuccessful, it seems that the composer put thework in its original form aside and used largestretches of music in later works, especially inLe Comte Ory. IL VIAGGIO A REIMS waswritten for the coronation of Charles X, andthe story follows a carload of internationaltravellers to the coronation in Reims. It is,however, not the coronation and its spectaclebut the travellers' adventures en route thatserve as the opera's plot. The modern revivalfeatured such star performers as Katia Riceia-relli, Cecilia Gasdia, Ruggero Raimondi, LeoNucci and Samuel Ramey under the musicaldirection of Claudio Abbado. The performancewas videotaped for RAI.

David Lawton has created a new critical editionof AID A, based on a manuscript score by thecomposer. The new version was performed byOperaDelaware in Wilmington earlier this sea-son. Because of the very limited space and

the limited resources, Mr. Lawton conducted agreatly reduced orchestra, using his own, spe-cial orchestral arrangement.

John Gay's THE BEGGAR'S OPERA is receivinga new musical treatment for a performance bythe Juilliard Theater (not Opera) Center.Edward Flower and Stanley Silverman are un-dertaking the musical adaptation with Mr.Flower functioning as music director, MichaelLangham as stage director and Douglas Steinas designer of the production.

Benjamin Fleisohmann began work on ROTH-SCHILD'S FIDDLE, based on a Chekov story,but left the operatic manuscript unfinished. Itwas completed and orchestrated by DmitriShostakovich and recently had its first perfor-mance in the West in Duisburg, Germany, in asymphony concert led by the American conduc-tor Lawrence Foster. The opera score hasbeen published by Sikorski.

Rudolf Friml's operetta THE THREE MUSKE-TEERS, which served as a 1928 Ziegfeld ex-travaganza, was adapted into a Broadwaymusical by Mark Bramble. Most of the originallyrics by P.G. Wodehouse and Clifford Greywere retained, while the book was rewrittenand the orchestration "jazzed up". It openedat The Broadway Theater in New York inNovember.

Hungarian composer Ference Farkas reworkedhis first opera THE MAGIC CUPBOARD, re-ducing the orchestration to chamber size, fora performance by the Zurich Opera Studio. Theopera was premiered in 1942 in Budapest.

Two new adaptations of classical operas wererecently premiered. One was LA BOHEME,performed by pop singers and produced by theNew York Shakespeare Festival in New York(see also "News from Companies") with a newEnglish text by David Spencer and a neworchestration by Michael Starobin for 15 playersand some amplified instruments. - The otherwas CARMEN turned into Carmencita y elSoldado, "a theatrical production with Bizet'smusic, using Don Josh's confession as frameworkfor the story with some scenes in flashbacksand ending with his execution." Antony Free-man made a reduced orchestration for tenmusicians, and the Arizona Opera which hadcommissioned this version took it on a state-wide tour to theaters, schools, meeting halls,etc. Languages are mixed with about 30percent in Spanish, all other lyrics in French,with Spanish and English dialogue and narration.The opening performance was staged in Tucsonon October 14; the cast included Joanna Simon,Sharon Daniels, John Fay and Charles Pailthorpin the leading roles. []

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Italian musicologist Giorgio Pestelli's THE AGE OF MOZART ANDBEETHOVEN offers a detailed historic, philosophical and sociologicalexamination of the diverse events in the late 18th and early 19th centuriesthat led to the birth of Romantic music. The author analyzes thecharacteristics of numerous composers, with Beethoven as the archetypicaltransitional figure, and discusses the decline in court patronage and itsconsequences. Mr. Pestelli also touches on the general operatic andorchestral developments of the era, including the vogue for the antique,the rise of the opera buffa and the new instrumental schools. Eric Cross's323-page translated version, which sells for $29.95 in cloth and $9.95 inpaper and is published by Cambridge University Press, contains an indexas well as additional notes and bibliographic material geared to theEnglish-speaking reader.

Today it may be difficult to think of bel canto operas as "show biz"entertainment, but John Rosselli's THE OPERA INDUSTRY IN ITALYFROM CIMAROSA TO VERDI - THE ROLE OF THE IMPRESARIO providesample evidence about an age when operas were produced by shrewdindividuals as money-making ventures. Yet, it is far from a mere economichistory; a panoramic overview of the early 19th century theatrical worldemerges through information on customs, operatic personalities andpolitical events. Cambridge University Press publishes this 214-page,indexed volume, illustrated with period engravings and the author's chartsand graphs. It sells for $34.50 in cloth and $14.95 in paper.

Although Purcell's operas and semi-operas have been studied extensively,relatively little attention has been given to that which comprises thebulk of his oeuvre - the music he wrote for the theater. In HENRYPURCELL AND THE LONDON STAGE, Curtis Price re-examines the Britishcomposer's work for Restoration dramatists, arguing that it was themusical accompaniment which provided the enhancement and created anemotional profundity often lacking in the plays. Written primarily forthe musicologist, the 380-page book, also published by Cambridge UniversityPress, contains an index, extensive notes and a bibliography, numerousmusical examples and several portraits of Restoration writers, actors andactresses. It is priced at $49.50.

Another book which deals with the relationship of music to the spokenor written word is Herbert Lindenberger's thought-provoking OPERA: THEEXTRAVAGANT ART. The author, a professor of comparative literature,employs the critical tools of his own discipline to prove that it is theintrinsically stylized nature of opera that generates its intensity. Healso examines opera in the context of social history as well as itsrelationship to popular culture, drama and the novel. Although the subjectis approached from a scholarly perspective, this book would be enjoyedby anyone with an interest in literature or musical theater. This 298-page volume is indexed, priced at $25, and published by Cornell UniversityPress.

The University of Western Ontario Department of Music History haspublished the papers presented at the February, 1982, symposium, CROSS-CURRENTS AND THE MAINSTREAM OF ITALIAN SERIOUS OPERA, 1730-1790, as volumes 7/1/82 and 7/2/82 of its Studies in Music series. Thepublications include scholarly essays by Philip Downs, Nino Pirrotta, RolandWilrtz and others.

OPERA ANDMUSIC

HISTORY

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OPERA With numerous opera anthologies in existence, one might question theANTHOLOGIES need for the publication of yet another . Not so, af ter one peruses John

W. Freeman's authorat ive and expertly presented THE. METROPOLITANOPERA - STORIES OF THE GREAT OPERAS, which t r ea t s 150 standardand rarely-performed works by 72 composers with knowledge and thoroughdramatic and musical understanding. The reader will discover freshnuances in many of the most familiar works through the a t ten t ion t odetail and the concise writing of Mr. Freeman, who is an Opera Newseditor and co-author of The Golden Horseshoe. Composers' pictures andbrief biographies are followed by entr ies on each opera, including premieredates and cast requirements . The 547-page book, priced at $20, containsa foreword by James Levine and an introduction by Peter Allen and isjointly published by W.W. Norton and the Metropolitan Opera Guild.

Indiana University Press has published GOOD AFTERNOON, LADIES ANDGENTLEMEN! - INTERMISSION SCRIPTS FROM THE MET BROADCASTS,twenty-six essays by the noted operat ic authori ty Boris Goldovsky. Thesepopular lec tures offer musical and dramatic analyses of standard and lessfrequently performed operas. The 172-page book with musical examplessells for $15.95; an optional casse t te t ape containing over 250 recordedmusical illustrations to accompany the lectures is available for $7.95.

George Martin's THE COMPANION TO TWENTIETH-CENTURY OPERA, a1979 publication now reissued in softcover, is neither a conventionalsurvey nor is it limited to the mere cataloguing of contemporary works.Sensitively wri t ten narrat ives of 78 currently performed operas of theinternational reper to i re transmit the mood of these works, composedprimarily before 1960. Information as t o running t ime, conventional cutsand even t ransla ted vocabulary is also provided. Introductory essays onimportant composers and cultural t rends further enhance the reader ' sunderstanding and appreciat ion of modern opera . A third sect ion focuseson repertory s ta t i s t ics of 23 international houses. Published by Dodd,Mead & Co. , the 653-page book sells for $13.95.

FOR A LIGHTER The art of fundraising takes many inventive forms. Opera companiesTOUCH have collected "operatic" recipes, and now the Washington Opera Guild

has obtained permission from Alfred A. Knopf to reprint Newman Levy's1923 volume of satiric poetry, OPERA GUYED, with pictures by NewYorker cartoonist Rea Irvin. This 86-page light entertainment can beordered for $6.95 plus $1.50 postage.

MET Although there are several books that deal with the history of theMetropolitan Opera, none of them go into quite such detail as does thelatest entry, THE METROPOLITAN OPERA - THE FIRST TWENTY-FIVEYEARS, 1883-1908, by the late Paul E. Eisler. Through copious quotesfrom newspaper articles, critiques and reviews, and reprints of lettersand contracts unknown to today's readers, the 331-page indexed andannotated book documents all events that occurred during those twenty-five years in and about the opera house. Early photographs from theMetropolitan Opera Archives of renowned singers and a foreword byRobert Tuggle, Director of the Met Archives, are included in this volumepublished by North River Press and available for $29.95.

Frederick Feller's THE METROPOLITAN OPERA ON RECORD: A DIS-COGRAPHY OF THE COMMERCIAL RECORDINGS documents the record-ings, on cylinders and discs, of the Metropolitan Opera's orchestra and

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chorus, with or without soloists, between 1906 and 1972. When available,each entry includes information on location, release dates, and matrix,take and catalogue numbers. The 128-page book, containing an appendixas well as performer and composer indices, is one of a series of GreenwoodPress discographies. It sells for $25.

Music lovers the world over will be grateful to Marcello Conati for hisdedicated compilation and annotation of the material he selected forENCOUNTERS WITH VERDI. The 417-page book, translated from theItalian by Richard Stokes, encompasses some fifty articles, interviews andcommentaries on Verdi's private, public and professional life by as manyof his contemporaries. The book reveals a wealth of new informationand although necessarily seen from highly personal viewpoints, each chapteralso offers an insight into the composer's relationship with the specificauthor. The articles are presented in chronological order with an intro-duction to each containing a brief biography of, or at least historicreferences to, the individual writer. Julian Budden, the Verdi scholar,wrote the foreword to the photo-illustrated volume, which also providesa bibliography, notes and an index. Priced at $25, it is published in theUnited States by Cornell University Press.

THE BRITTEN COMPANION also presents views, opinions and evaluationsby a number of experts, voiced in individual articles, which together formthis new volume on Benjamin Britten and his works. Christopher Palmersigns as editor; he also contributed one chapter on "Britten as anInstrumentalist" and a second one on "Perspectives". Other authors includeJohn Culshaw, Imogene Hoist and Donald Mitchell, who is represented byseveral chapters on individual Britten stage works. In this section wealso find Peter Pears writing about his role as Peter Grimes. Becauseof the many-faceted approaches, the book offers new thoughts on thecomposer and his works and will be a welcome addition to other volumeson Britten. Illustrated with photos and musical examples, the 485-pagebook has been published by Cambridge University Press in cloth-cover tosell for $34.50, in paperback for $11.95.

COPLAND, 1900 THROUGH 1942 will be an essential addition to everyself-respecting music library; it is also a book that will bring greatpleasure to music fans and musicians alike. Presented in a rather unusualformat, that of part autobiography, part comments and stories by thecomposer's colleagues and friends, and further interspersed and completedwith "interludes" by co-author Vivian Perlis, the book achieves its objectivecommendably. The somewhat awkward sounding concept serves well itssubject, the rather reticent personality of Aaron Copland, whose praisesand achievements are more effectively alluded to by Nadia Boulanger,Leonard Bernstein or Virgil Thomson than by himself. These recollectionsand comments appear in chronological order, not so much interrupting asenhancing the author's own recollections. The 402-page book is generouslyillustrated with photographs, copies of letters, musical manuscripts, pro-grams, etc., and is supplied with a summary of biographical notes and anindex. Priced at $24.95, it is published by St. Martin's/Marek, New York,as part one of a two-part biography.

Another American-born and schooled composer whose biography has beenpublished recently is William Grant Still, Jr. As told in IN ONE LIFETIMEby his widow, Verna Arvey, the struggles that he faced were manifold.He was a black musician trying to break out of the mold of identification

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AND OTHERWRITINGS

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with spirituals and jazz. He was a pioneer foraging into avant-gardemusic in his twenties but changing to the tonal and melodious style longbefore this had again become fashionable. He fought for a place as ablack composer of classical music for the concert hall and the operastage. His recognition and success is attested to by the long list ofprestigious orchestras and conductors who performed his compositions.He was able to muster support for his compositions, only to find that itwas of short duration. Yet he was the only classical black composer ofthat generation and of that period to receive recognition by national andinternational colleagues. His second wife was a white, Jewish pianistand writer; she is the book's author. Their pride in their very successfulintermarriage brought the antagonism of both the black and the whitecommunities. His strength was his faith and belief in the ultimate triumphof goodness, although it seemed shattered several times during his lifetime.A special citation presented by Mississippi Governor Waller to the composerin 1974, made the book's author thoughtful of the changes that had indeedoccurred in American society over some thirty years. A fascinating pieceof American history is unrolled in this biography of the leading blackAmerican composer who had had worldwide success only to fall out offavor in later years. The illustrated book, which closes with severalappendices including one listing all compositions - 14 works for the stagealone - is published by the University of Arkansas in Fayetteville in 262pages, and is available for $20.

Number 1 in the Greenwood Press "Bio-Bibliographies in Music" series isdevoted to the British/American composer, THEA MUSGRAVE. The textis written and compiled by Donald L. Hixon, Fine Arts Librarian at theUniversity of California in Irvine. Following a brief, six-page biography,this library reference book offers "Works and Performances", a listingwhich indicates orchestration, publisher, playing time, etc., of each ofsome thirty compositions, and includes all performances with place, dateand performing ensemble and cast. This section is followed by the"Bibliography", i.e. quotes from articles and reviews, filling over 100 ofthe total of 186 pages of the indexed, hardcover book, apparently set byword processor and priced at $29.95.

It is as much his lively, individual style of writing as the content itselfthat make Ned Rorem's books such a pleasure to read. Limelight Editionshas just republished his 1983 SETTING THE TONE - ESSAYS AND ADIARY in a 383-page paperback edition to sell for $9.95. The very briefstories involve Rorem's thoughts on composers such as Boulez, Webern,Debussy, Messiaen - and on himself in the chapter "Setting the Tone";we also find snatches from travel and other diary entries. As in most ofthe previous Rorem books of collected writings, this too is bothentertaining and thought-provoking.

Originally published in German in 1980, Martin Gregor-Dellin's RICHARDWAGNER, HIS LIFE, HIS WORK, HIS CENTURY appeared in the Englishtranslation by J. Maxwell Brownjohn in its first U.S. printing by HarcourtBrace Jovanovich Publishers in 1983. The author was co-editor of CosimaWagner's "Diaries", on which he drew heavily for this biography, writingin a novelistic rather than a scholarly style. The composer and hismotivations are viewed in the context of the national, cultural and politicalclimate which played so important a role in Wagner's life. The 557 pagesare indexed and contain a bibliography, notes and several photographs.The book is available for $25.

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The latest in The New Grove's series is WAGNER by John Deathridgeand Carl Dahlhaus. Published by W. W. Norton, the 226-page paperbackedition is priced at $7.95, the cloth binding $17.95. About one third ofthe book is devoted to a biography, the remainder to analyses of Wagner'stheoretical writings, his aesthetics, his musical style, and finally anexamination of his music dramas. Although extremely brief for the widematerial the book tries to cover, it is, as are all volumes in this series,an extremely knowledgeably written, concise and informative treatise,complete with a listing of the composer's works, a bibliography and anindex.

It may be particularly appropriate to mention in this issue, in which thereview of Galina Vishnevskaya's book appears (see "Singers" below), therecent publication of a paperback edition of Solomon Volkov's TESTIMONY,the fascinating but also controversial "Memoirs of Dmitri Shostakovich asRelated to and Edited by S. Volkov". Maestro Shostakovich plays animportant part in the Galina autobiography. The softcover edition ofVolkov's book, published by Limelight Editions, is available for $9.95.The first edition was reviewed in detail in Vol. 22, No. 4.

A new series of books, PORTRAITS IN GREATNESS, has been launchedby Elite Publishing Corporation in New York. An oversize format andhigh quality color illustrations with a popular yet informative text makethese biographies very attractive paper-bound picture books. Each volumecontains 75 pages and a chronological table. The 50-volume series includesfour books on famous composers: MOZART, BEETHOVEN, VERDI, andCHOPIN, each volume available for $7.50.

In OTTO KLEMPERER, HIS LIFE AND HIS TIMES - Volume 1, 1885-1933, CONDUCTORS'Peter Heyworth has created a document of major proportions. A giant BIOGRAPHIESamong musicians - physically as well as mentally and musically - Klempererled a turbulent life in a turbulent era. In fact, he lived through severaleras. The first ended at the time used as cut-off for this volume - hisflight from Nazi Germany in 1933, when he left the post of Music Directorof Berlin's exciting Kroll Opera, the site of several world premiereschampioned by Klemperer. In spite of numerous debilitating accidentsand serious illnesses in later life, his wiry tenacity and nervous energyreturned him to the conductor's podium time and again, and he was foundeven in his mid-80's leading the London Philharmonic in public concertsand recording sessions. Heyworth's first volume of the conductor'sbiography affords a close look at his early development - it was Mahlerwho had recommended him for his first permanent job at the DeutscheOper in Prague in 1907 - which was soon followed meteorically byengagements with major German orchestras and opera companies. The1920's found Klemperer on guest tourn6es to England and Russia, to NewYork, South America and Australia. He had become an internationalcelebrity involved in the obligatory love scandals, but was revered andrespected as a leader in musical tastes and style. His musicianship alwaysremained impeccable and of the highest and incorruptible standard. Thanksto his association with the important and influential composers andperformers of his day, we have the opportunity to meet these artists inthis lucidly written volume, and to relive the exciting atmosphere ofcreativity of the late 20's, particularly that of Berlin. The biographerbased his book on many previously unused letters and documents, whichwere also helpful for some psychological comments and evaluations aboutKlemperer's not unknown neuroses. The 492 pages, annotated and indexed,

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A DIRECTOR'SDIARY

SINGERS'BIOGRAPHIES

also include a discography and some photographs. A Cambridge UniversityPress publication, it is available for $34.50.

George Martin's THE DAMROSCH DYNASTY - AMERICA'S FIRST FAMILYOF MUSIC not only chronicles the history and achievements of membersof this illustrious family from their emmigration from Germany in 1871,but also paints a vivid picture of cultural life in New York in the 19thand 20th centuries up until 1964. From this work, one can trace theirinfluence on the development of music in America. In the late 1870's,Leopold founded the New York Oratorio Society and the New York Sympho-ny, and in 1884 became manager of and conductor al the MetropolitanOpera, where he initiated the German seasons. He died the followingyear and his son Walter succeeded him as conductor at the Met and musicdirector of the Symphony, which later became the New York Philharmonic.He was a champion of American music until his retirement in 1942. Hisbrother, Frank, founded the Juilliard School, and their sister Clara andher husband, Paul Mannes, established the Mannes School of Music. Pub-lished by Houghton, Mifflin and Co. and generously illustrated with photo-graphs, the 526-page book contains notes, a selected bibliography and anindex, and is priced at $29.95.

When the author of PETER HALL'S DIARIES decided to publish, he musthave been well aware of the storm they would create. In a very candidand uninhibited account he did not spare friend or foe his criticism,exposures and accusations, which are directed primarily against SirLaurence Olivier. The uproar almost drowned out the basic idea andfunction of the book, that of recounting the work and important rolethat Peter Hall has played in the development and success of the Britishtheater. Written, or rather tape-recorded, between 1973 and 1979, theentries have been edited by John Goodwin and have been published in507 indexed pages by Harper & Row. It was in 1973 that Sir Peter wasnamed successor to Sir Laurence as director of the National Theater inLondon, and the trials and tribulations of these years give the book thesubtitle of "The Story of a Dramatic Battle". But throughout its pageswe also follow the director's tremendous triumphs with adventureouspremiere productions, are able to observe from close range his circumspectconsiderations and imaginative planning, which by necessity had to serveboth masters in him - the one as stage and artistic director, the other asthe company's administrator with ever-present financial burdens. Thebook, priced at $25, is illustrated with black and white photographs.

It has become de rigew for star singers - and not only for the brightestones - to write and publish their memoirs. Many of these autobiographiesare mere ego trips and means of publicity with their appeal limited tothe most dedicated and patient fans, although there are, of course, theexceptions where singers are able to communicate more than just thefulfillment of their childhood yearnings. Now comes what is no doubtthe most unusual and fascinating autobiography by a singer, GALINA, ARussian Story, by Galina Vishnevskaya. It is written with great compassionand a frank and truly no-holds-barred approach about her background,the poverty and deprevation she and the whole nation experienced underStalin, and her own professional struggles and ultimate triumphs. Shebecame the reigning soprano of the Bolshoi Theater and remained its starfor many years - as many as she would allow herself to be used as a politi-cal instrument by those in power - that is, until she fell into disfavorby opposing the party line. She and her world-renowned husband, cellist

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and conductor Mstislav Rostropovich, offered support and sanctuary todissident writer Alexander Solshenitzin, and from that day forward theirfate in Russia was sealed. Their self-imposed exile came at a time whenher vocal resources began to diminish, but her husband's star rose everbrighter. The immediacy of Ms. Vishnevskaja's writing, kept intact inGuy Daniels' translation, brings to life an era and the countries and citiesthat were and are home to the author. She speaks with equal importanceof her private life, her first meeting with Rostropovich, her own role inshaping her destiny; she talks about her family and her compatriots,colleagues and friends, each taking on a special role as seen through theeyes of the singer-turned-author. Published by Harcourt Brace Jovanovich,San Diego, the indexed book contains many formerly unknown photographs.The 519 pages will give the reader many fascinating hours for the priceof $19.95.

TITTA RUFFO: AN ANTHOLOGY, edited by Andrew Farkas, examines thelife of the legendary baritone in interviews and articles by historians andcritics. Reviews written during Ruffo's lifetime demonstrate that thesinger's lack of musicianship and dramatic abilities contrasted sharplywith his stunning natural vocal gifts. Chapters tracing his impoverishedbackground and sporadic training do much to explain both his characterand the meteoric rise and fall of his career. Essays by Ruffo's son arereverent tributes to his father's courage during the fascist regime inItaly. This fascinating 289-page book, with a foreward by Tito Gobbiand several appendices including a discography, chronology and index, ispublished by Greenwood Press and priced at $35.

Tito Gobbi's powers of communication were not limited to the operaticstage. The late baritone's expertise, sense of humor and deft perceptionwere contained in his 1979 autobiography My Life and are again apparentin the posthumously published TITO GOBBI ON HIS WORLD OF ITALIANOPERA, written in collaboration with Ida Cook. In chapters devoted toTosca, Falstaff and other operas in which he performed his most famousroles, Mr. Gobbi provides the reader with a wealth of anecdotes, adviceto singers and fascinating glimpses of twentieth century operatic history.Mr. Gobbi's ingratiating personality emanates from his prose and givesthis book charm. Interesting production and rehearsal photographs of thesinger and his colleagues contrast with the naive drawings placed at thebeginning of each chapter in this 265-page, indexed book, which is publishedby Franklin Watts, Inc. and sells for $17.95.

DEMENTED, a humorous look at the eccentricities of the diva throughthe ages, is a collection of observations and little-known anecdotes aboutsuch prima donnas as Malibran, Patti, Flagstad and Callas. Ethan Mord-den's title supposedly refers to the superlative term bestowed upon a fa-vored soprano by members of her claque. Indexed and illustrated with pho-tographs, the 310-page book published by Franklin Watts sells for $16.95.

Robert Rushmore's THE SINGING VOICE, which first appeared in 1971, FOR SINGERShas been published in a revised and expanded second edition by DembnerBooks to sell for $16.95. While much of the information is quite basicand general and therefore accessible to vocal afficionados, there is asufficiently professional approach by the author/singer/voice teacher tomake this a very useful book for young singers. Illustrated withphotographs, charts and musical examples, the 369-page book includes abibliography and an index.

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ON AND BYINSTRUMEN-TALISTS

Jerome Hines1 excellent 1982 collection of interviews, GREAT SINGERSON GREAT SINGING, has been reissued in soft cover by Limelight Editions.The 356-page book sells for $8.95 (see review Vol. 24, No. 3).

Richard Owens, Director of the American Institute of Musical Studies inGraz, has used his vast experience of working with young singers, andidentifying their needs, in compiling and publishing THE PROFESSIONALSINGER'S GUIDE TO NEW YORK. Realizing that all those aspiring to aprofessional singing career come to New York as the Mecca for youngartists and, once there, many find themselves lost and without direction,he has collected most valuable information in this 163-page paperback.His is the truly practical approach, including tips on where and how tofind jobs - in or out of the profession, to pay for the voice and coachinglessons and for living expenses (he also has advice on finding a place tolive). He lists teachers with their fees, and auditions and artists man-agement practices. Even the need for a piano tuner can be satisfied. Thebook may be found at music stores in New York or can be ordered fromAIMS in Dallas for $9.95.

"Five Steps You Must Take to Get Established", announces the cover ofTHE PERFORMING ARTISTS HANDBOOK by Janice Papolos. Althoughthe author is a singer, this 219-page hardcover book addresses problemscommon to all performing artists such as writing resumes, business approachto making contacts, and promotional ideas. The sum of $15.95 will buyall this "how to" advice, including illustrations, charts, etc., published byWriter's Digest Books, Cincinnati.

The New Libretto, a publishing house in Greenwich, Connecticut, intendsto enhance the opera lover's experience by producing a new series ofline-by-line opera translations. They will aid the singer who, by necessity,needs a literal understanding of the text. THE BARBER OF SEVILLE,CARMEN and THE MAGIC FLUTE are currently available.

Nelson-Hall Publishers, Chicago, have released SIGHT SINGING THROUGHMELODIC ANALYSIS, "A Guide to the Study of Sight Singing and an AidTo Ear Training Instruction" by Leland D. Bland. In 345 pages of musicalexamples - exercises and over 600 melodies - the author, who is a voiceteacher, hopes to assist young singers who rely primarily on a self-taughtmethod. Bound in hardcover, it is available for $34.95.

And lastly, remember the truly essential CENTRAL OPERA SERVICECAREER GUIDE FOR THE YOUNG AMERICAN SINGER is being publishedin a completely revised and updated third edition. As in the previouseditions, categories will include Grants for Singers/For Study Abroad,American Vocal Competitions, Foreign Vocal Competitions Open toAmerican Singers, Apprentice Programs for Singers, American OperaCompanies and Their Audition and Hiring Policies, and a special sectionFor Canadians Only. The price is $9.50 postpaid.

THE GLENN GOULD READER, edited and introduced by New York Timesmusic critic Tim Page, contains the complete critical writings, radiobroadcasts and interviews of the prodigy and rebel who renounced theconcert stage at the age of 32, restricting his pianistic brilliance torecordings. The book reflects Gould's far-ranging interest in and loveof controversy over such subjects as experimental radio, recordingtechniques and politics. This indexed book contains numerous musicalillustrations and is published by Alfred A. Knopf. It sells for $20.

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BOOK CORNER

Joseph Horowitz's CONVERSATIONS WITH ARRAU, reminiscent of thestyle of the Copland biography, paints a portrai t of the celebrated pianistthrough narra t ive , interviews with colleagues, and writings by Arrauhimself. Winner of t h e 1983 Deems Taylor Award, the book t r ace s theperformer 's history from child prodigy in South America through his presentday internat ional ca ree r . Originally published by Alfred Knopf in 1982,the 318-page publication has been re-issued in soft cover by LimelightEditions. Fascinat ing photographs, numerous appendices and an index areincluded in the book, priced at $8.95.

James A. Hepowski's GIUSEPPE VERDI: FALSTAFF is the la tes t of the OPERACambridge Opera Handbooks devoted t o the historical , analyt ic and cr i t ical HANDBOOKSexamination of a specific work. In Verdi's last burst of creat iv i ty , hisone major comic opera, he was a t tempt ing to forge a new musical idiomas an a l te rna t ive to the Wagnerian aes the t i c then in vogue. Mr. Hepowskidiscusses the score ' s history and musical s t ruc tu re as well as Boito 'sl ib re t to and i ts sources in Shakespeare 's Falstaff plays. He also includeschapters on s tage history and recent investigations into Fals taff ' scharac te r . Musical i l lustrations and historic set and costume designs a rean important part of the 181-page book, which also contains a discography,bibliography and index. The price is $19.95 hardback and $8.95 paper.

Of course, a Shakespearian tex t was the inspiration for more than oneVerdi masterpiece . Many of the scholarly essays in VERDI'S MACBETH- A SOURCE BOOK, edited by David Rosen and Andrew Porter , containnew information on the opera 's complex process of creat ion, performancehistory and vocal iconography. The book, which had its genesis a t t he1977 Verdi Congress in Kentucky, includes the l ib re t to , different sourcematerial and t h e composer 's l e t t e r s per t inent t o Macbeth. It a lsoreproduces those par ts of the 1847 piano vocal score which were changedin t h e 1865 Paris version. This 527-page indexed volume, published byW.W. Norton, has numerous appendices, a glossary, bibliography, musicali l lustrations and drawings. The price is $39.95.

THEATRE WORDS - A DICTIONARY OF INTERNATIONAL TERMS is a DICTIONARIESpocket-sized reference of over 1,000 thea t r i ca l terms in English with &translat ions into French, Spanish, I talian, German, Swedish, Hungarian and DIRECTORIESRussian. Indexed by language, the 156-page paperback book also includesil lustrations and sells for $14. It is published by the Nordic Thea t re Unionand may be obtained from the U.S. Inst i tu te of Thea t re Technology.

First published in 1973 by Northwestern University Press, Theodore Karp 'sDICTIONARY OF MUSIC has been reissued in an "updated version withnew il lustrations". Considering the handy small format of this 448-pagepaperback and the vast material it a t t empts to cover , choices had t o bemade, which in most cases a re fel ici tous. One does question the updatingof the information, as for instance in the case of Peter Mennin, who waspresident (never a director) of the Juilliard School from 1963 until thet ime of his death in June 1983, but nei ther fact is noted. The Dictionarysells for $4.95; i ts editor is Chairman of the Department of Music Historyand Li te ra tu re a t Northwestern University's School of Music.

The BRITISH MUSIC YEAR BOOK 1984 is now available in the U.S. fromG. Schirmer Books for $29.95. This annual , hardcover directory with some10,000 entr ies in 650 pages, is a vast source of information on the Britishmusical scene in general and the events of 1984 in par t icular . Edited byMarianne Barton, it is a well organized and easy to use reference book.

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BOOK CORNER

ARTS Frederick J. Turk & Robert P. Gallo of Peat, Marwick & Mitchell & Co.ADMINIS- have published FINANCIAL MANAGEMENT STRATEGIES FOR ARTSTRATION ORGANIZATIONS, which covers such topics as strategic planning, budg-

eting and financial management information systems. The 185-page book,published by the American Council on the Arts, contains numerousappendices and is priced at $17.95.

A collection of papers delivered at a symposium dealing with government'seffect on the priorities and aims of cultural institutions has been editedby W. McNeil Lowry and published as one of The American Assemblyseries by Prentice-Hall under the title of THE ARTS <5c PUBLIC POLICYIN THE UNITED STATES. The 185-page book includes a transcript of thesymposium, "Issues in the Emergence of Public Policy". The price is$14.95 in hardcover, $7.95 in paperback.

The National Assembly of State Arts Agencies has produced the REVISIONSAND IMPLEMENTATION SCHEDULE for its major 1981 publication All inOrder. It can be obtained from the NASAA office in Washington, D.C.

The 1984-85 edition of the 48-page GUIDE TO BUSINESS-OF-MUSICSCHOOLS AND CAREERS has been compiled and published by CharlesSuber <5c Associates, Chicago, and may be ordered for $5.95. It includesa description of the curriculum, a 25-page listing of schools that offerbusiness-of-music courses, a discourse on the various career options, anda guide to music-related organizations.

CREATING AN BUILDING FOR THE ARTS: A GUIDE BOOK FOR THE PLANNING ANDARTS CENTER DESIGN OF CULTURAL FACILITIES by Catherine R. Brown, William B.

Fleissig and William R. Morrish provides individuals or organizations witha step-by-step plan, from initial feasibility studies to the opening dayceremonies of a projected arts center. Detailed floorplans of varioustypes of arts complexes, theatrical spaces and gallery designs illustratepertinent chapters. A publication of Western States Arts Foundation incollaboration with the planning and design firm CITYWEST, this 260-pagesoftcover book contains amusing drawings, charts, graphs, numerousappendices, a bibliography and index. The cost is $13.95.

THEATER The 174 member organizations of the Theatre Communications Group areREFERENCE listed in its 1984 catalogue, THEATRE PROFILES 6 - THE ILLUSTRATEDBOOKS REFERENCE GUIDE TO AMERICA'S NONPROFIT AND PROFESSIONAL

THEATRES. Each entry includes the company's artistic and managingdirectors, Equity and booking stipulations, budget, repertory for the pasttwo seasons, performance facilities, and special programs and services.The 267-page softcover book, edited by Laura Ross, is illustrated withnumerous photographs and is indexed. The price is $15.95.

The entries for each of the 2,193 companies in the 1985 edition of THENEW YORK THEATRICAL SOURCEBOOK lists each company's productsand services, from Adhesive and Glue to Winemaking Supplies, as well asbusiness hours and location. Josie Caruso and her staff also providehelpful editoral comments. This 544-page spiral-bound, softcover directorycontains numerous appendices and an index. Published by the Associationof Theatrical Artists and Craftspeople, it sells for $19.95.

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CENTRAL OPERA SERVICEMetropolitan Opera Lincoln Center

New York, NY 10023 (212) 799-3467

LIST OF PUBLICATIONS

#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 t i t le.

#2 Directory of American Premieres 1962-68 (Vol. 11, No. 2) For sequels see #5 4 #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 t i t le.

#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. PUBLICATION DATE: SPRING '85.

#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) second editionListing 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.

#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 ListsTitles, composers, and numbers of performances of standard and contemporaryoperas and of musicals, 1967 to present.

#15 Gateway to Opera (Vol. 23, No. 2)A 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)Listing 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 InstitutionsListing 90 operas or operatic excerpts suitable for performance in churches, synagogues, andother religious institutions.

#18 Transcripts of COS National ConferencesTopics: 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, A the A t s

#19 Back Issues, COS BulletinNews issues beginning with Vol. 9, No. 1

#20 Binders black vinyl, holding 8-10 issues of the COS BULLETIN

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INFORMATION SERVICESCentral Opera Service will either supply specific information requested or will suggestsources where information may be acquired. This is a coooperative information exchangeservice on:Repertory, Translations, Performances, Musical Materials, Scenery, Costumes, Props.

PUBLICATIONS, SURVEYS AND SPECIAL LISTINGSQuarterly Bulletin. Lists of: Opera Producing Companies in the U.S. and Canada. AnnualPerformances; Premieres in the U.S.; Available English Translations; Career Guide for theYoung American Singer; Directories of American Contemporary Operas and ForeignContemporary Operas, etc. (Request latest COS publication list.)

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