CENTRAL OPERA SERVICE BULLETIN - CPANDA · CENTRAL OPERA SERVICE BULLETIN VOLUME 27, NUMBER 3 ... Chicago Ensemble, ... The libretto is made up of news clippings,

CENTRAL OPERA SERVICE BULLETINVOLUME 27, NUMBER 3

CONTENTS

NEtf OPFRAS AND PREMIERES 1NEWS FROM OPERA COMPANIES 11GOVERNMENT * NATIONAL ARTS ORGANIZATIONS 20NEW AND RENOVATED THEATERS 23EXHIBITS AND ARCHIVES 25FORECAST 26ATTENTION COMPOSERS. LIBRETTISTS, DESIGNERS 30EDUCATION 31EDITIONS AND ADAPTATIONS 33ARTISTS MANAGERS 33MUSIC PUBLISHERS 34LATEST CAREER GUIDE SUPPLEMENT 35WINNERS 42COS NATIONAL CONFERENCE 44COS INSIDE INFORMATION 45COS ANNUAL U.S. SURVEY, 1985-86 48COS SALUTES... 49APPOINTMENTS AND RESIGNATIONS $1ADDENDA TO DIRECTORY OF SETS & COSTUMES 56BOOK CORNER 63IN 1986 OPERA LOST... 74LATEST ADDITIONS. ENGLISH OPERA TRANSLATIONS 85PERFORMANCE LISTING. 1986-87 SEASON CONT. 86

Sponsored by the Metropolitan Opera National Council

¥0- «• • - n-IMBER ,3

CENTRAL OPERA SERVICE BULLETINVolume~27, Number 3 Winter 1986/87

CONTENTS

New Operas and Premieres 1News from Opera Companies 11Government & National Arts Organizations 20New and Renovated Theaters 23Exhibits and Archives 25Forecast 26Attention Composers, Librettists, Designers 30Education 31Editions and Adaptations 33Artists Managers 33Music Publishers 34Latest Career Guide Supplement 35Winners 42COS National Conference 44COS Inside Information 45COS Annual U.S. Survey, 1985-86 48COS Salutes... 49Appointments and Resignations 51Addenda to Directory of Sets 6c Costumes 56Book Corner 63In 1986 Opera Lost... 74Latest Additions, English Opera Translations 85Performance Listing, 1986-87 Season cont. 86

CENTRAL OPERA SERVICE COMMITTEE

FounderMRS. AUGUST BELMONT

(1879-1979)

Honorary National ChairmanROBERT L.B. TOBIN

National ChairmanMRS. MARGO H. BINDHARDT

National Vice ChairmanMRS. MARY H. DARRELL

Special in this issue:

THE 1987 COS NATIONAL CONFERENCE

Read about the new PRINCIPAL opera companies

THE 1985-86 COS OPERA SURVEY U.S.A.

Central Opera Service Bulletin » Volume 27, Number 3 > Winter 1986/87

Editor: MARIA F. RICHAssistant Editors: CHERYL KEMPLER

JOHN W.N. FRANCISEditorial Assistants: FRITZI BICKHARDT

NORMA LtTTON

Copyright 1987 Central Opera Service. All rights reserved.Permission to quote need not be requested, but source acknowledgment should be made.

The COS Bulletin is published quarterly for its members by Central Opera Service. Formembership information see back cover.

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.

This issue: $4.00 ISSN 0008-9508

NEW OPERAS AND PREMIERES

BLACK SEA FOLLIES, like Nixon in China (see Vol.27, No.2), deals with AMERICANpolitical ideologies and has a recent political head of state as a central OPERAScharacter. The work, conceived and directed by American composer Stan-ley Silverman, confronts Joseph Stalin with Dmitri Shostakovich, the opera'sprotagonist. His music (and a song by Weill) was adapted to fit a newtext by Paul Schmidt. The opera was first heard in Stockbridge, Massaehus-setts, on August 6, performed by the Music Theatre Group/Lenox ArtsCenter, which brought it to its New York theater for November and De-cember performances. — NIXON IN CHINA, by John Adams (music), AliceGoodman (libretto), and Peter Sellars (scenario and staging), calls for theimpersonation not only of the American President and Chairman Mao butalso of their wives and their prominent political advisers. A lecture-demonstration was offered on November 2 and 3 at the Guggenheim Mu-seum in New York; workshop readings are planned by the San FranciscoConcert Opera for May '87, and the stage premiere is scheduled for Octo-ber 16, 1987, by the Houston Grand Opera, which will open the new Wor-tham Arts Center with Aida on the previous day.

American politics lends a contemporary setting to O.T., a full-lengthopera based on Shakespeare's Othello. With the color line reversed, wefind an Irish-American politician, Owen Theodore Hulligan, running forgovernor, and his love interest a beautiful black reporter. The actionleading to the betrayal is politically motivated intrigue playing on theemotions of jealousy and love. Mirta T. Mulhare is the composer; shealso wrote her own libretto. The opera has a minimum of dialogue andrequires trained opera singers in the cast. It was premiered March 13,1986, with three subsequent performances at the Maguire Theatre in OldWestbury, NY, and will be given a concert performance in New York Cityunder the auspices of "Broadway Tomorrow" on April 26.

The above-named composer, John Adams, winner of the 1986 KennedyCenter Friedheim Award, has also composed the music for three shortoperas based on the "Coyote Stories." These American Indian legendswere edited for the stage by Barry Holstun Lopez. GIVING BIRTH TOTHUNDER, SLEEPING WITH HIS DAUGHTER, and COYOTE BUILDS NORTHAMERICA were commissioned and will be premiered in February by thePerseverance Theatre in Juneau, Alaska.

Dominick Argento has chosen Henry James' short novel THE ASPERNPAPERS as the basis for his next opera. The role of the leading character,the poet's former mistress who owns and guards his manuscripts, is beingwritten for Frederica von Stade. A premiere is tentatively planned bythe Dallas Opera for 1988.

An NEA grant to three performing groups—Voices of Change (Dallas), TheChicago Ensemble, and The Twentieth Century Consort (Washington)—faci-litated the creation and premiere of TANGO by Robert Xavier Rodriguez.(See "Young People's Opera," below, for other titles by the same composer.)The libretto is made up of news clippings, letters, and sermons from 1913-14, written at the height of the Tango craze. The 22-minute chamberopera was first performed in Dallas on January 29, 1986, with tenor PaulSperry singing all three solo roles.

A 120-voice chorus participated in the premiere of Erie Blau's and ElliotWeiss's DORI. The benefit performance on November 4 at New York'sCathedral of St. John the Divine was narrated by Douglas Fairbanks, Jr.

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— MODESTA AVILA is the title of a new American folk opera by GeorgeSiposs. The main character of this verismo tale is a 22-year-old girl ofCapistrano. The production, which played October and November in West-minster, California, was supported by grants from the local arts counciland the San Juan Capistrano and Orange County Historical Societies.

As part of American Music Week, November 3-9, 1986, the Afro-AmericanMuseum in New York premiered Paul Wilson's HEAR I STAND. Openingnight of the two-act opera was on November 9. — Composer JuliusHemphill and author/lyricist Paul Carter Harrison wrote ANCHOR MAN,a blues operetta, commemorating the 20th-anniversary season of NewYork's Negro Ensemble Company. — The latest musical version of LewisCarroll's wonderland, in a contemporary setting with a Puerto RicanAlice, is entitled BROWN ALICE. With music and lyrics by Dexter Allgoodand book and direction by Marie Thomas, it was premiered in January '87at New York City College's Davis Hall as part of the International YoungPeople's Series.

The life of ORLANDO DI LASSO inspired William Luce to write an operawith this Renaissance man as the central figure. The Western Wind VocalEnsemble gave the premiere in New York at the off-Broadway CSC Reper-tory Theater last May, and is taking the work on tour this season. — Thetwo-act opera LAWS AND CHRYSIPPUS was created by composer SamMichael Belich in collaboration with librettist Sam Shirakawa. The Decem-ber 4 premiere, with the composer conducting, took place at the JesseIsador Straus School in New York.

Lyricist Eric Townsend assembled his own Townsend Opera Players inModesto, California, on July 20 for a first staging of his OPERA LINE.Incorporating famous opera arias, Russell Warner added original music andMichael Christopher Fraser assisted with the lyrics. — Three operaspreviously premiered and now in the American Music Center catalogue,but not mentioned here before, are CATSMAN, a chamber opera by SidneyHodkinson, given by Texas Opera Theater on June 6, 1984; and from lastseason, A CHANGE OF HEARTS by David Hollister, first performed bythe Medicine Show Theatre Ensemble in New York, and THE SHEPHERDSby Frederick Koch, libretto by Seymour Reiter, first heard at the WestShore Unitarian Chuch in Cleveland.

Last May, the Spanish Lyric Theatre (formerly Spanish Little Theatre) ofTampa, Florida, produced the premiere of VIVA YBOR! The work wasespecially written for the company in celebration of Tampa's Spanish,Italian, and Cuban population living in Ibor, the Latin district of the city.— New York's Repertorio Espafiol opened this season with HABANA—AnAnthology of Cuban Music from the 16th Century to the Present. It wasconceived and directed by Ren6 Busch, the company's artistic director,who mounted ten performances from September through November.

Polly Pen wrote the words and music for SONGS ON A SHIPWRECKEDSOFA; it will be performed for the first time in May '87 at the VineyardTheater. — Composer Ron Weidberg and librettist Irwin Donald Nier,creators of Dracula (1984), wrote THE MUSE OF EXCELLENCE, whichwas premiered by Opera Uptown at' a concert of new American works atColumbia University's Minor Latham Playhouse on November 2. — Forone week in November, New York's Blue Hill Troupe gave performancesof Richard Vitzhum's new A SLICE OF LIFE at TOMI. Stephen SechristIII is the librettist.

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

The Ohio Arts Council gave a grant of $20,000 to the Lyric Opera Cleve- COMMISSIONEDland for the commissioning and pre-production expenses of Larry Baker's WORKSHAYDN'S HEAD. The first performance of the one-act opera is scheduledfor next summer as part of the company's Al Fresco Festival. The otherwork on the double-bill will be Menotti's The Medium.

Henry Mollicone has been commissioned by the Hidden Valley Opera inCalifornia to write HOTEL EDEN, a three-act opera, with Adam, Eve,Noah, and Sarah as guests in a modern, deluxe hotel. Judith Fein is thelibrettist, and Robert Darling will be the dramaturge.

A famous horror figure from literature, stage and screen will now becloned for the operatic medium. Libby Larson has been commissioned bythe Minnesota Opera in St. Paul to write FRANKENSTEIN. A workshopreading is planned by the company's composer/librettist program thisspring, and the premiere production will be given during the 1988-89 season.

After its success last season with Richard Wargo's The Music Shop, theGreater Miami Opera commissioned the composer to write A VISIT TOTHE COUNTRY. A workshop reading is planned for this winter. Thesetwo works and the earlier The Seduction of a Lady will constitute atrilogy of one-acters based on stories by Chekhov. — The AmericanChamber Opera plans the premiere of Alice Shields' SHAMAN for May'87. It will be staged at the Marymount Manhattan Theater togetherwith Dido and Aeneas.

American history is recalled by librettists Linda Peavy and Ursula Smith WORKSHOPSand composer Eric Funk in their opera PAMELIA. Set in the 1860's, itis based on the life of Pamelia Fergus, a pioneer woman who stayed be-hind in Minnesota while her husband went West for gold prospecting andland acquisition. The three-act musical drama is scored for four principals,two children, and a chamber orchestra and chorus. The Portland Operagave a reading of selected scenes last spring. - - Philip LaZebnik's andKingsley Day's STATE STREET also has a historical setting, that ofChicago before the Great Fire. The Music Theater Workshop of ColumbiaCollege in Chicago tried out the piece last summer, together with a newrock musical, Douglas Post's THE REAL LIFE STORY OF JOHNNY DEFACTO.

In March '86, the Pennsylvania Opera Theater in Philadelphia held acomposer/librettist workshop where it developed THE BLACK ROSE OFFOREST PERILOUS, music by David John Olsen, libretto by Leslie Brody.— The two music theater pieces taken through the "First Stage" workshopof the American Music Theater Festival between October 1 and 12 wereEric Salzman/Michael Sahl's STAUF (first performed in 1976) and JoannaAkalaitis/Jon Gibson's VOYAGE OF THE BEAGLE.

Basing their two-act jazz opera, SWEET MAN, on the American folk WORKS INballad "Frankie and Johnny," composer Jerry Herst and writer Jack Sharpe PROGRESScreated a story of love and passion set in 1911. With most of the dia-logue sung, the musical requires singing actors but not necessarily operaticvoices. The score and taped highlights are available from composer orlibrettist for perusal. A first performance is contemplated for 1987.—Alva Henderson, composer of The Last of the Mohicans, is working ona three-act opera, ACHILLES; his new collaborator is librettist JanetLewis.

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NEW MUSICALS Ford's Theater in Washington, DC, has scheduled the premiere of GANTRY,a musical adaptation of the Sinclair Lewis novel, for March '87. StanLebowsky has signed to write the music, John Bishop the book, and FredTobias the lyrics.

JOKERS, which has its origin in the play The Gin Game, had a four-week tryout period in October by Goodspeed at Chester, Connecticut,Goodspeed Opera's smaller theater devoted primarily to new works.Created by Hugo Peretti, the musical was completed after his untimelydeath by his collaborators Luigi Creatore and George David Weiss. MartinCharmin directed and Paul Trueblood conducted the series of performances.The cast of ten included Kim Hunter and Ronny Graham.

Judd Woldin has written the music for an adaptation of LITTLE HAM,Langston Hughes' satiric play of the 1930's. It is scheduled to open atthe George Street Playhouse in New Brunswick, NJ, on February 20.

The latest in the long list of Stephen Sondheim musicals, INTO THEWOODS, was premiered at the Old Globe Theater in San Diego in December.His recent collaborator, librettist James Lapine (Sunday in the Park withGeorge), also functioned as stage director, with Tony Straiges responsiblefor set designs and Ann Hould-Ward and Patricia Zipprodt for the designsof the costumes. The work, which combines several fairy tales into onestory, is scheduled for an initial six-week run in California.

The Arizona Theatre Company will give some forty performances in Tucsonand Phoenix of a new music theatre piece based on writings by StudsTerkel. — The York Theatre Company has announced the first perfor-mance of Ed Dixon's SHYLOCK, on May 21 at the Church of the HeavenlyRest, New York.

October brought ROMANTIC DETACHMENT to New York's Musical TheatreWorks. Russell Treyz wrote the book, John Clifton the music and lyrics.This was followed by a production of a new musical, 212, by composerDonald Siegal with book and lyrics by Victor Joseph.

The 1986 Richard Rodgers Developmental Grants were awarded to authorMichael John LaChiusa, librettist Wendy Lamb, and composer RussellWalden for a triple bill of short musicals: BREAK, AGNES, and EULOGYFOR MR. HAM. — Ms. Lamb and Mr. Walden also wrote JUBA, thestory of William Lane, the black tap dancer who confronts John Diamond,the white jig dancer. AMAS, Rosetta LeNoire's theatre company in NewYork, gave a workshop reading of the piece last summer.

Three new music theatre works on the AMAS program this season areHOT SAKE WITH A PINCH OF SALT (October-November) with music byJerome Goldstein, book and lyrics by Carol Baker and Lana Stein, basedon A Majority of One; in February, DAZY with music by Lowell Markand book and lyrics by Norman Simon, Howard Berland, and John vonHartz; and in April, PRIME TIME with music and lyrics by Johnny Brandonand a book by Ra Shiomi. — PCPA Theaterfest in Santa Maria, California,mounted a new musical with its advanced trainees. John Fletcher createdthe book and lyrics, Larry Delinger the music for TWO DOPES ON AROPE, which was given twelve performances in Santa Maria and in Solvang.

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TOMORROW AND TOMORROW by Timothy Sullivan is the second Canadian NEW CANADIANopera in recent years to receive its world premiere in the United S ta tes . OPERAS AND(The other was Raymond Pannell 's As Long as a Child Remembers, pre- MUSICALSmiered in Arkansas last year.) New York's Center for ContemporaryOpera has scheduled the work of the 24-year-old Toronto composer fora first hearing on March 29. A to ta l of three performances, incorporatingholograms and video, will take place at the Henry Street Sett lement.

Violet Archer, one of Canada's leading composers, had two one-act operasperformed at Edmonton's Citadel Theatre last season. William Shookhoffconducted the double-bill consisting of Sganarelle (1974), after Moliere,and THE MEAL, in its world premiere. Next, Ms. Archer is completingTHE TAILOR OF GLOUCESTER after the story by Beatrix Pot ter .

Modern Girls Collective of Vancouver, BC, developed and premiered SEXTIPS FOR MODERN GIRLS, book by Peter Eliot Weiss, last season atthe Vancouver Touchstone Theater . The ensemble brought their musicalto New York, giving the American premiere at the Susan Bloch Theaterin September.

Banff Centre 's Music Theatre Studio Ensemble continues to develop newpieces with its resident composers and l ibret t is ts . The most recent is atelevision musical, KILLING TIME, created by composer Stephen McNeffand librettist Ken Jones. — THE INJUSTICE DONE TO TOMMY TUCKERby Bill Jordan received its first performance at the University of Calgaryon March 28, 1986. The one-act opera was heard together with TheFace on the Barroom Floor.

Reading through this season's list of performances on the musical circuit REVUES ANDit seems that special revues—anthologies reflecting the output of and ANTHOLOGIESdedicated to one particular composer—have emerged in greater numbersthan ever before. There were those commemorating favorite composersand librettists who had recently died, such as Harold Arlen and Alan JayLerner; there were "All Hart," dedicated to Moss Hart, "Perfectly Frank"(Loesser), "Cole" and "Cole Cafe" (Porter), "Joyous Noel" and "Oh,Coward!", and "Berlin on Broadway" (Irving Berlin), not to be confusedwith "Berlin to Broadway" (Kurt Weill). "Side by Side by Sondheim," ananthology arranged by the composer himself, has been around for manyyears, but "Bernstein Revued" is new this season, assembled by StephenWadsworth, Mr. Bernstein's librettist, with assistance from the composer.They have devised an original concept of connecting musical numbers byshowing brief pretaped segments of interviews, rehearsals, relevant places,and the like.

Prolific Seymour Barab completed FATHER OF THE CHILD, An Entertain- YOUNGment for Christmas. The story was suggested by the play Butterfinger PEOPLE'SAngel, which William Gibson, author of The Miracle Worker, adapted into OPERASa l ibret to for Mr. Barab. It was given workshop performances by AfterDinner Opera in fall 1985. In a lighter vein there is Barab's new / CAN'TSTAND WAGNER, given five performances in December '86 by New York'sSingers Forum. — On November 1, Sonoma Sta te University in Californiapremiered Joann Feldman's THE COMPUTER KID'S MAGIC NIGHT—a funpiece if the work lives up to its title's promise.

Theatreworks/USA anounced the following new music theatre pieces forproduction during the current season: MARTIN LUTHER KING, JR. by

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Charles Strouse with a book by Leslie Lee; SHERLOCK HOLMES ANDTHE RED-HEADED LEAGUE with music by Richard Cummins, lyrics byGreer Woodward and a book by John Foster with Woodward and Cumminsas collaborating authors; and finally THE EMPEROR'S NEW CLOTHES byStephen Flaherty and Lynn Ahrens. This past summer Theatreworksfeatured RIGHT IN YOUR OWN BACK YARD by John Forster and LOWSBRAILLE with music by Anni Lebeaux, book by Cynthia Cooper and JoelVig, and lyrics by Jeanne Smulyan.

Children and animals—live or stuffed—always result in good chemistry.Composer Alan Rea and his Sierra Chamber Opera gave some 100 perfor-mances of his THE OWL'S SECRET, while New York's Downtown Chamberand Opera Players delighted its young audiences with the premiere ofNicholas Scarim's THE OWL AND THE PUSSYCAT, after Edward Lear'spoem. — The Alaska State Arts Council and the Fairbanks Choral Socie-ty commissioned Ravonna Martin to write a children's opera resulting inTHE VELVETEEN RABBIT, first performed in Fairbanks in May by theChoral Society with children as soloists. — Dallas Opera's Puppet OperaTheater, which is part of the company's educational program, will openits season in January with Robert Xavier Rodriguez's MONKEY SEE,MONKEY DO. The libretto for the one-act opera is by Mary Dovan.

In addition to the above and the aforementioned Tango, Rodriguez alsocreated the fourth opera based on the O. Henry story THE RANSOM OFRED CHIEF, this one written for the Lyric Opera of Dallas and performedat Mesquite High School. — For its spring tour to North Carolina schoolsbeginning in February, Opera Carolina has commissioned jazz composerLoonis McGlohon and librettist Charleen Swansea to create a new musictheater work, untitled as of this writing.

Kentucky's Blue Apple Players, whose programs are geared to family en-tertainment, opened the season on October 26 with its own THE MELTINGPOT—An American Story, paying "tribute to the immigrants and the en-during power of the American dream." Next on the program was THETHREE PIGS by producers Geraldine Snyder and Paul Lenzi, in which"the sheriff/hero brings the famous desperados to justice."

AMERICAN New York 's Opera Shop a t t h e Vineyard, a company frequent ly present ingPREMIERES the unusual, has announced the first U.S. performance of Giuseppe Sar t i ' s

/ DUE LITIGANTI for March '87 . Writ ten t o a l i b re t to by Car lo Goldoni,it was premiered at La Scala in 1782 under the full t i t l e of Fra duelitiganti il terzo gode. Its claim to fame today is as the source of someof Don Giovanni 's dinner music in Act II of Mozar t ' s opera .

A Handel work, heard here for the first t ime and possibly even a worldpremiere , was performed by the Bronx Arts Ensemble under Kenneth Coo-per on December 7. TIRSI, CLORI E FILENO da tes from Handel 's t h reeyears in I ta ly (1707-1710) and is a serenata—a brief opera or d ramat icc a n t a t a for chamber ensemble. There is no record of an ear l ier perfor-mance, and some of the music has not survived; Mr. Cooper ' s versionborrows from other Handel works to supply a missing ove r tu re , severa lother musical numbers, and the t r io f inale. The l a t t e r , previously thoughtto have been left unfinished, was found by Mr. Cooper with differentwords in another Handel s e r e n a t a .

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

Antedating the Handel opera is Pietro Antonio Cesti's ORONTEA, givenits world premiere in Venice in 1649. The Skylight Comic Opera inMilwaukee will bring the story of Orontea, Queen of Egypt, to its stagenext season in what will be the first professional performance in theUnited States. Former American productions were limited to studentperformances—at Cornell University in 1968 and UCLA in 1972.

Two British contemporary works were brought to the U.S. during the lastfew months, both performed in New York churches. The Talking Bandand the French Roy Hart Theater collaborated in creating FURIES, anavant-garde theater opera. It is based on Robert Lowell's translation ofthe Oresteia, with music by Ellen Maddow, Harry Mann and JonathanHart, and was first heard in Paris on October '85 and at New York'sCathedral of St. John the Divine on May 2, 1986. — C.S. Lewis' TheLion, the Witch and the Wardrobe appeared as NARNIA—The Musical atNew York's Christ and St. Stephen's Church in New York in October.Jules Tasca and Thomas Tierney were responsible for the music, TedDrachman for the libretto.

Another British contemporary import will be given its American premierenext June. It is THE BEAUTY AND THE BEAST, first staged at theBatignano Festival in Italy in 1984 as La Bella e la Bestia. Written byStephen Oliver, whose Duchess of Malfi was performed at Santa Fe in1978, the work is scheduled for four performances by the Opera Theatreof Saint Louis with Colin Graham as stage director.

Composer Tony McCauley and librettist Dick Fossburg transformed theclassic play, The Front Page, into the musical, WINDY CITY. The PaperMill Playhouse in Millburn, NJ, offered the first U.S. production lastseason. — The French/British musical, LES MISERABLES— an unlikelysubject for a musical, but an undisputed success in London—celebratedits American opening at the Kennedy Center December 20 in the British(Royal Shakespeare Company) production conceived by Trevor Nunn. TheVictor Hugo epic was adapted by writer Alain Boublil and composerClaude-Michel Schonberg. A Broadway run will follow.

The previously announced American stage premiere of Szymanowski's KINGROGER was postponed by the Long Beach Opera until January 26, 1988.The dates left open have been filled by performances of Ariadne aufNaxos. — The Cinnabar Opera in California will play Rodriguez' Tangoin place of the American premiere of KRAPP'S LAST TAPE by Mihalovici.

AMERICANPREMIERESPOSTPONED

The Deutsche Oper Berlin contempla tes giving the world premiere of Marc AMERICANNeikrug's LOS ALAMOS in the 1988-89 season. — The first German- OPERAS ABROADlanguage performance of Bernste in ' s A QUIET PLACE is scheduled forMarch '87 in Bielefeld. The '86 performances a t the Vienna S taa t soperwere in the original English. — While audiences in Linz, Austr ia , werethe l a t e s t to be offered the popular Menot t i double bill of The Medium/TheOld Maid and the Thief, it was the municipal opera house in Giessen tha tgave the first German performance of his MARIA GOLOVIN. — Menot t i ' sTHE BOY WHO GREW TOO FAST, coupled with Amahl, was performedin December at the Sadler's Wells Theatre in London under the directionof the composer.

The first British production of Sondheim's PACIFIC OVERTURES has beenprogrammed by the English National Opera for the 1987-88 season, while

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

Elizabeth Swados' THE INCREDIBLE FEELING SHOW was exported lastsummer to Japan under the auspices of the International Youth Theatreand the International Cultural Exchange Association of Japan. Stagedunder the direction of Meredith Stein, the performances in Tokyo andOsaka featured a cast of children from the United States, Japan and China.

NEW OPERAS For the festive opening of its new opera house in Amsterdam, the Nether-ABROAD lands Opera commissioned and in September premiered a new Dutch opera.

Otto Ketting's one-act ITHAKA, sung with an English text by the composerand Kees Hin, was presented on September 23, together with a new Dutchballet. Other special new productions during this inaugural season includeZemlinsky's Der Kreidekreis.

The Norwegian National Opera in Oslo has announced the world premiereof an opera by Norwegian composer Oddvar S. Kvam. / 13. TIME [In the13th Hour] will have the first of eight performances on March 7. — Helsin-ki is planning a special event for the opening of its new opera houseprojected for 1990. Aulis Sallinen has been commissioned to write a newwork which will carry the title KULLERVO, after a central figure in thenational Finnish epic Kalevala. — Stockholm's Royal Opera, which alsoadministers the "Live Marionettentheater", premiered there last April aone-act opera, BALAGANTJIK by Jan Edvard Wallgren.

YAN TAN TETHERA, Harrison Birtwistle's 1985 television opera with alibretto by Tony Harrison, had a live performance in August '86 when itwas presented by the Opera Factory as part of London's SummerscopeFestival. (See also "Book Corner.") The same performing ensemble alsopremiered Nigel Osborne's Hell's Angels in January '86 (Vol.26, No.3), incollaboration with the London Sinfonietta. — Francis Hodgson Burnett'sfamous children's book, THE SECRET GARDEN, has been converted intoa British musical, as has Gaston Leroux's 1911 novel, THE PHANTOM OFTHE OPERA. The latter opened in October in London's West End in theform of an Andrew Lloyd Webber musical, staged by Harold Prince. — Incelebration of the 850th anniversary of the dedication of Glasgow's St.Columba Cathedral, the Scottish Opera had commissioned Kenneth Leigh-ton's COLUMBA, a work on the life of the Scottish national saint. Thepremiere was staged in February '86 at the Cathedral. The Royal ScottishAcademy of Music had previewed excerpts in 1981 with a student cast.

LE CYCLOPE by French composer Betsy Jolas was premiered at Avignonlast July 27 in a production that played Paris in November. Her earlieropera, Le Pavilion au bord de la riviere (1975), was also first performedin the French papal city. — Last March, Lyon heard the first performanceof LA GROTTE D'ALI, based on the Ali Baba story, with music by Austra-lian composer Mark Foster. — On January 27, Andr6 Bon's PERSEPHONEwill receive its first production in Nancy and is scheduled for Orleanslater this season.

On April 8, the opera house in Geneva will give the world premiere ofRolf Liebermann's latest opera, LA FORET. Anne Howells and RuggeroRaimondi will assume the leading roles with Jeffrey Tate conducting.

CHRISTOPHER COLUMBUS by the Barcelona-born, American-residentcomposer Leonardo Balada, with a libretto by the Argentine-born AmericanTito Capobianco, has been accepted by the Gran Teatro del Liceu inBarcelona for a gala world premiere on September 19, 1987. The command


performance will take place before King Carlos and Queen Sofia of Spain,and two world-renowned Spanish singers, Montserrat Caball6 and Jos6Carreras, will portray the leading characters. Mr. Capobianco will bethe stage director, and the performance will be telecast throughout Europe.It will inaugurate a five-year celebration of Columbus' arrival in America.— Another Spanish composer, Josep Soler, enjoyed a premiere productionof one of his works in Barcelona when EDIPE I JOCASTA was presentedon May 22, 1986.

The year 1987 will bring two new operas onto the stage of La Scala.On January 27, Flavio Testi's RICCARDO III will be heard for the firsttime, conducted by Claudio Abbado and directed by Virginio Puecher, andon July 7 Franco Mannino's IL PRINCIPE FELICE is scheduled by thesame company for its first staged production.

Hans-Jiirgen von Bose, whose Leiden des jungen Werther was premieredin Schwetzingen and Hamburg in April '86, witnessed the first performanceof one of his short operas on June 11 when CHIMARE, based on a playby Garcia Lorca, was mounted by the Aachen Staatstheater. Sharing thebill was Bose's Der Blutbund (1977), also after a Spanish play. — OnApril 20, Walter Zimmermann's opera DIE BLINDEN was premiered in Gel-senkirchen, and on the preceding day Klaus Obermayer's LOLA (for LolaMontez) was produced in Passau, while on April 21 Wuppertal heard Krysz-tof Meyer's KYBERIADE for the first time. May 15 marked the premiereof GRABBES LEBEN by Walter Steffen together with LETZTEN ENDESby Holm Keller at Hamburg's Opera Stabile, which also staged ArghyrisKounadis1 DER SANDMANN, after E.T.A. Hoffmann, in December. — TheTheater in der Lindemannstrasse in Dortmund presented the first perfor-mance of Hannes Sanger's musical, ELVIS, EIN AMERIKANISCHER TRAUM.— Also during the past season, the Badisches Staatstheater in Karlsruhestaged Rainer Kunad's DER MEISTER UND MARGARITA, based on MikhailBulgakov's 1930 novel; the premiere was on March 9. And on June 15the Stuttgart Kammertheater premiered CAFE EROS—eine dekadenteRevue by Hubert Stuppner, a psychoanalytical study.

This almost unending list of new German music theater works continuesinto 1987 with Manfred Stahnke's HEINRICH IV in Kiel in March, WolfgangRihm's OEDIPUS with Fischer-Dieskau in June, and (as listed above) Ameri-can composer Marc Neikrug's LOS ALAMOS, planned for a first showingby the Deutsche Oper Berlin in 1988. — The aforementioned Mr. Rihmwas also this year's winner of the Rolf Liebermann Prize of DM75,000for his latest opera, DIE HAMLETMASCHINE after a play by Heiner Miiller,to be premiered May 16 in Freiburg.

On November 5, the Wiener Kammeroper presented another new versionof Ionesco's The Bald Soprano, this one LA CANTATRICE CALVA byLuciano Chailly.

From Czechoslovakia comes news of several recent operatic premieres:Emil Hlobil's LE BOURGEOIS GENTILHOMME in Liberec in Spring '86,and in the same city a children's opera, THE TALE OF THE GREATTURNIP by Jaroslav Kadlec; a 55-minute television opera, ETERNALFAUST, by LuboS FiSer with a libretto by Eva BezdSkova' and JaroslavJlreS; and finally a two-act comic opera, THE CLEVER MOUNTAIN-DWELLER, with MiloS Sedmidubsk;? writing both words and music.— Violeta Dinescu, Romanian composer of Hunger und Durst, and 1986

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winner of the Carl Maria von Weber prize, had her latest children's opera,THE 35th OF MAY OR KONRAD IS RIDING INTO THE SOUTH SEAS, pre-miered in Mannheim on November 11. The composer spent the last semes-ter in residence at Frostburg State College in Maryland.

The Australian Opera is planning a workshop reading of Edgar Bainton'sTHE PEARL TREE for October '87. — Nick Rossi and his Studio Liricoin Stia gave a workshop performance of 1L PRINCIPE BARBABLU by theSouth African composer Hendrik Kofmeyr.

AWARD WINNERS Herbert Appelman's HEYDAY won the second annual award for a newmusical from the American Musical Theatre Festival in Carmel. Thisnetted the composer a cash prize of $1,000 and further development ofthe piece in a three-week workshop. Information on the next competitionmay be obtained from AMTF, Moss Hall, Dramaturg, P.O. Box I, Carmel,CA 93921.

The 1982 chamber opera THE GENTLE BOY, by Philip Rhodes after theHawthorne story, won first prize at the '86 NOA Convention in LosAngeles. Runners-up were Michael Ching's 1985 folk opera COCKS MUSTCROW and a new work, SPARK PLUGS, by Michael Granger. The Rhodesopera will be presented next fall in a fully staged production by FloridaState University, on the occasion of the next NOA meeting in Orlando.

The British Music Society honored Paul Barker for his THE MARRIAGEBETWEEN ZONES 3, 4, AND 5 when it was declared the best new Britishopera of the season. It was staged by Opera Viva in London last year.— The Friends of the Royal Academy of Arts in London selected StephenOliver's EXPOSITION OF A PICTURE for a first performance on June24, 1986. The one-act chamber opera calls for two singers and fourinstrumentalists. — DIE HAMLETMASCHINE (see above) was awardedthe Rolf Liebermann Prize for 1986.

LATE NEWSNEW MUSICTHEATER WORKS

NEW OPERA

AMERICANPREMIERES

Romain Gary's novel Madame Rosa and the subsequent award-winning filmof the same title form the basis for a new musical. ROZA, music byGilbert B6caud, book and lyrics by Julian More, was premiered at CenterStage in Baltimore on December 12, directed by Harold Prince. — Thelatest discoveries by the Music Theatre Group/Lenox Arts Center includea new piece by the Vienna Lusthaus team, Richard Peaslee and MarthaClarke, entitled THE HUNGER ARTIST and based on Kafka, to be triedout in New York in the spring. The other work is THE VENDLERTELEVISION PLAYHOUSE by composer David van Tigen and librettistSusan Rice, scheduled for a first performance in June.

On February 12, the New York Shakespeare Festival will premiere THEKNIFE, a new opera conceived by David Hare, with music by Nick Bicatand libretto by Tim Rose-Price. The work attempts to deal with thepsychological and practical problems arising from a sex-change operationof a heretofore family man. Mandy Patinkin will portray the central figure.

Robert Schumann's only completed opera, GENOVEVA, best known for itsoverture, will be mounted in June in a fully staged production by theBel Canto Opera in New York. Victoria Bond will conduct these firstAmerican performances. — The Early Music Ensemble, together withthe Los Angeles Baroque Orchestra, will give the first American stageperformance of Pureell's MASQUE IN TIMON OF ATHENS, on February14, announced as its contribution to Valentine's Day. []

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NEWS FROM OPERA COMPANIES

Music director/conductor John Balme has assembled a new company in NEWBrookline, Massachusetts, THE LONG WOOD OPERA, performing at Newton COMPANIESHighlands' Congregational Church. Two staged performances of La Bohemeinaugurated the season in November.

The WASHINGTON CONCERT OPERA was founded by conductor StephenCrout with the purpose of presenting infrequently heard operas in concertwith renowned singers and, in case of foreign language operas, to presentthem with projected English captions. The choice for the opening workfell on Les Pecheurs de perles with a cast featuring Hei-Kjung Hong,Jerry Hadley and Gaetan Laperriere under the baton of Mo. Crout; thesingle performance is scheduled for a Sunday afternoon in May. Thecompany will use Lisner Auditorium, Washington Opera's first house priorto the completion of the Kennedy Center.

Tenor Gary Glaze is the artistic director of the BERKSHIRE OPERACOMPANY, which performs at the Cranwell Estate near Lenox in thesummer. After a tryout in 1985 with one short opera, the companyexpanded last summer into six performances of an evening-filling doublebill. Rex Hearne is the company's general director.

Two new organizations were founded specifically to assist composers andwriters in the creation of new works. The ACTORS THEATER OF SAINTPAUL has just received financial assistance from the National Institutefor Music Theater towards the residency of composer Randall Davidsonand playwright Amlin Gray, for them to develop a new music theaterpiece. — THE WRITERS THEATRE on New York's Second Avenue is deve-loping and trying out new pieces with a non-paying audience in attendance.June featured a real estate musical, Haven't We Met?

The new AT&T Performing Arts Festival, organized under the AmericanNational Theatre, provides for exchange programs between the La JollaPlayhouse and the Kennedy Center. Plays and musicals premiere alternate-ly on the East and the West Coast and, after a short run, play the otherlocation.

Going into its second season, OPERA LYRA of Ottawa has moved intothe National Arts Centre with its September production of II Barbiere diSiviglia. The company's first performances in 1985-86 were staged atthe Carlton University Auditorium, and the spring '87 opera will be givenin concert form at the Technical High School. Diana Gilchrist is theartistic director.

LES NOUVELLES VARIETES LYRIQUES in Montreal chose a favoriteOffenbach entertainment for their first production. Twelve performancesof Orphee aux enfers were offered during the month of December.

This item could be called "Expanding Company—Shrinking World". It EXPANDINGstarted in Italy, in the small old town of Spoleto, and was grandly called COMPANIESthe FESTIVAL OF TWO WORLDS since it brought American financial sup-porters and American performers to Italy. After some years it becametruly of two worlds, with a related festival in Charleston, SC, theSPOLETO FESTIVAL USA, or "Spoleto in Charleston". Now a third conti-nent, Australia, has been added and with this "Spoleto in Melbourne" ithas turned into a Festival of Three Worlds. Its schedule is June in theUSA, July in Italy, and September in Australia. There is a lively exchange

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CANCELLED ORREDUCEDSEASONS

of productions across the oceans, and even the Washington Opera, anotherhome away from home for Mr. Menotti, got into the act by sending itsdouble-bill of The Medium/The Telephone to Melbourne for severalperformances. This winter, too, there is an extra "Spoleto Comes toBrooklyn", a chamber music festival in December at the Brooklyn Aca-demy of Music in celebration of the composer's 75th birthday. Whetherthis too will evolve into an annual event, only the future—or maybe Mr.Menotti or Mr. Lichtenstein, BAM's director—can tell.

Evaluating the results of the 1985-86 COS Opera Survey USA, we findthat while performance numbers had again increased, audiences—particu-larly subscription audiences—as well as financial support have not keptpace. There was "cause for concern" (see the Survey article of that titlein the November '86 Opera News). Therefore it is especially gratifyingto receive notices from many companies of increased advance and subscrip-tion sales for the current season, and of added performances in responseto audience demand. Leading this list is the METROPOLITAN OPERAwith many sold-out performances in the first quarter of its season. Higherincome from greater ticket sales has also been reported by the operacompanies in Washington DC, Miami, Kansas City, Cincinnati, LexingtonKY, and Dallas. (See also "Fund Raising & Promotion" below; also "Govern-ment & National Arts Organizations" for a new ticket sales program initi-ated by the Theatre Development Fund.)

Among the companies planning an increase in performances for the currentseason is the CLEVELAND OPERA, which goes from two to three perfor-mances for each opera and from three to six for the "popular" work;possibly this is in preparation for next season, when the company willpresent five productions instead of four. — ARIZONA OPERA, whichwill give two performances of each opera in its home town, Tucson, andtwo of each in Phoenix, has added a fourth production this year; SARA-SOTA OPERA has added a Christmas production of Hansel and Gretelwith five performances for the first time this season, going from 15 to20 presentations; OPERA COLORADO in Denver is offering an extraSunday matinee series resulting in four performances per production,OPERA/COLUMBUS has added two performances, and PENNSYLVANIAOPERA THEATER in Philadelphia an extra Wednesday matinee subscriptionseries; ATLANTA OPERA is scheduling a third production in its summerprogram which will consist of nine performances this year, plus theinnovation of three preview dinners during the non-operatic winter months,with each evening devoted to one of the summer operas. Already duringthe past season, the BERKELEY OPERA in California had raised itsnumber of productions to three and the total performances to eighteen.

On the debit side we must note the cancellation of the SAN FRANCISCOOPERA'S summer season, at least until 1990 when the complete Ring willagain be presented. (This also meant the cancellation of the COS Confer-ence scheduled for June in California to coincide with the company's20th century opera program; for new dates see "Inside Information".)— The 17-year-old LIGHT OPERA OF MANHATTAN was almost put outof business due to the loss of its 300-seat auditorium and subsequentmove to the Cherry Lane Theater of only half that capacity. But foronce the city's zoning restrictions worked for and not against the arts;the sale of the building housing the company's original home, the EastSide Playhouse, was canceled, and LOOM, after having already announcedits dissolution, reassembled its forces and opened in November with Babes

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in Toyland. The company's annual 300-plus operetta performances, espe-cially of the Gilbert and Sullivan canon, would have been sorely missedin New York.

Other companies cutting back the number of productions and/or performan-ces include the ANCHORAGE OPERA, from three to two operas; TRI-CITIES OPERA in Binghamton, from four to three performances of eachof its three productions; and NEW ORLEANS OPERA, which reduced itsperformances from three to two for each of its four operas. OPERADELAWARE with three operas has scheduled a season's total of six perfor-mances rather than the usual nine.

Rearranging operatic seasons has, in most cases, been an attempt to maxi- CHANGEDmize subscription opportunities while economizing on art is t ic and technical SEASONSexpenses. Frequently, these two considerations point in exactly oppositedirections: subscribers like their entertainment spread more or less evenlyover a long period, while opera economics favor a close-knit stagione-like season since salaries, fees, and expenses for performers and techpersonnel can thus be reduced, often considerably. In the United States ,only the four major companies have always played in repertory fashion.As other opera companies grew slowly, evolving naturally into principaland regional companies (see "COS Inside Information"), they generallyadded single productions cautiously and scheduled them at wide intervals.Some of these companies now program in clusters; for example, one offer-ing a tota l of six productions may schedule them in pairs at three differentperiods, while another may program them in triplets twice a year. Wehave reported on many experiments with schedules, and obviously no onesolution is right for every company, every community.

The Houston Grand Opera, for example, will be dividing its total of sixproductions into three pairs, with performances scheduled for October/November, January/February, and April/May in 1987-88, its first seasonat the new Wortham Arts Center .

Beginning with the 1988-89 season, the SAN DIEGO OPERA will scheduleits four major productions at the Civic Theater between January andApril, with opening nights planned for January 21, February 11, March4, and April 15. The Civic Theater season in 1987-88, like the currentone, will present two operas in October/November and two in February/March. Plans also include the continuation of recitals and special eventsoutside of subscriptions at the Civic Theater, the Old Globe Theatre, andelsewhere. In the spring, the San Diego Opera Ensemble will tour schoolsand community centers with an abridged Don Pasquale.

Some changes in schedules as well as in the number of performances areoccurring this year due to the touring Houston Grand Opera productionof Porgy and Bess, shared by fourteen opera companies from Miami toPortland (OR), from Los Angeles to Cleveland. While some companieshave incorporated this production into their seasons as part of their sub-scription series, others offer it as a special a t t ract ion outside their regularschedule with separa te t icket sales.

The CANADIAN OPERA COMPANY has received a three-year grant of NEW SUPPORT$1.4 million from the Ministry of Youth in Ottawa under a "national skill FORshortages program" which will enable it to add twelve more a r t i s t s to its EDUCATIONALappren t ice and professional t raining/performing group, the COC ENSEMBLES

13


ENSEMBLE. These will include not only singers but also coaches andapprentice directors. — The OMAHA MAGIC THEATRE has added aYouth Workshop under Nebraska's "Excellence in Youth" program. Profes-sional performers will visit Westside community schools, working withstudents to develop their sense of sound and movement and to createnew plays or music theatre pieces. — Thanks to a special grant foreducational purposes, the ORLANDO OPERA can expand its touring pro-gram within its county, performing at more elementary schools and, forthe first time, at some secondary schools as well.

COMPOSER/ Last summer, the MINNESOTA OPERA offered the "Opera Tomorrow" pro-LIBRETTIST gram in which young singers sampled excerpts from various new operas,WORKSHOP assisting the respective composers and librettists in developing and refining

their new creations. Continuing this project in March-April '87 in asimilar form, the company will assemble a New Music-Theater Ensemble,again consisting of young performers who will work with composers andlibrettists on new music-theater pieces, presenting scenes from some andchoosing one which will be produced complete at the end of the program.

TOURS ACROSS A heretofore little-known avocational opera group from Surry, Maine,THE SEA made international news when it announced preparations to take Boris

Godunov to the USSR. Headed by farmer/pianist Walter Nowick, who alsofounded the SURRY OPERA, the company gave performances—in Russian—in Tbilisi and in Moscow. Responding to special requests, the companyalso performed selections from Porgy and Bess and other American vocalmusic. Intended as a neighborly gesture, a direct people-to-peopleapproach, this was not an officially endorsed tour and thus not subsidizedby government funds. It was the town of Surry and its 900 inhabitantsthat raised $180,000 to cover the expenses. Thinking big is not new forthis company, which staged Aida the previous year.

The WASHINGTON OPERA'S Menotti double-bill of The Telephone/TheMedium journeyed to Australia in September to take part in the Spoleto-in-Melbourne festival. The much-travelled dual production, staged by thecomposer, had been taken to Edinburgh in 1985 and to Jerusalem for theIsrael Festival, and will be presented in San Diego's Old Globe Theatreby the local opera company next spring.

One of the longest flights planned by Mini! and her Bohemian friends willtake them from San Francisco to Shanghai in March, when the SANFRANCISCO OPERA CENTER will give three performances of La Bohemein that Chinese city. The visit has been arranged through the exchangeprogram of Sister Cities International, and it will include workshop sessionsand discussion groups with Chinese music students at the Conservatory.Several Chinese singers have recently been among the winners at interna-tional competitions, and the visit of an American opera company and theopportunity to exchange views and experiences must be of great interestto the young oriental musicians. Workshops in stage techniques and otherrelated areas are also planned. The visiting ensemble will be accompaniedby local musicians—an orchestra made up of students and professionals—and a closing concert will feature both American and Chinese performers.

A new agreement between L'OPERA DE MONTREAL and L'Opera de Lillewill facilitate the exchange of productions between these two French-speaking cities. The first project will bring Les Contes d'Hoffmann fromFrance to Canada.

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Among recent foreign performing groups visiting the U.S. was THEPAVILION OPERA COMPANY from England, a chamber ensemble thatperforms in clubs and private homes, preferably in 18th- and 19th-centurysettings. Cosi fan tutte was a practical choice for a work to be broughtto several American mansions last October.

On a recent tour, the BERLINER ENSEMBLE gave its only performanceson this continent on the occasion of an International Brecht Conferenceat the University of Toronto. Four performances of Die Dreigroschenoperwere staged between October 21 and 25 at the Royal Alex Theatre.

In order to facilitate further visits by the Deutsche Oper Berlin to theUnited States (the company played Los Angeles in 1985), the AMERICANBERLIN OPERA FOUNDATION has been formed. Individuals and corpora-tions are invited to become Friends of the Deutsche Oper Berlin andsupport programs which include, besides a projected guest appearance atthe Kennedy Center in 1989, the sponsorship of an American apprenticesinger and apprentice director with the company in Berlin (see "CareerGuide Addenda"), and the possible world premiere of an American operathere. An announcement by Gotz Friedrich, the company's artistic andgeneral director, mentions a new opera, Los Alamos by Marc Neikrug, asbeing considered.

The PENNSYLVANIA OPERA THEATER'S outreach program, Opera Around OUTREACH TOTown, which brings "Hits from the Musical Stage" to twelve hospitals, THE SICK ANDrehabilitation centers, and geriatric and psychiatric wards this winter, is HANDICAPPEDthe basis for what may prove to be a very important and decisive study.The program's therapeutic and entertainment effects on and their valuefor recovering patients, and the degree of improvement in the quality oflong-term hospital confinement will be measured and evaluated.

Of particular interest to companies considering their first shadowedproduction for the hearing-impaired will be a videotape made by theBOSTON LYRIC OPERA during its 1986 shadowed performance of TheBarber of Seville. — GREATER MIAMI OPERA continues its outreachprogram by bringing groups of the disabled to its dress reheasals. Specialaudio cassette guides are available for visitors with reading difficulties.— Now in its fourth year, the MICHIGAN OPERA THEATER'S specialprogram under the direction of Karen DiChiera is again offering its pro-duction of a musical in two signed performances for the hearing-impaired.— Last season, the LYRIC OPERA OF KANSAS CITY joined other con-cerned opera companies with its own first performance interpreted forthe hearing-impaired.

As announced in the last Bulletin (Vol. 27, No. 2), the New York CityOpera signed its agreement with Local 802 of the AMERICAN FEDERA-TION OF MUSICIANS at an early date, insuring the orchestra's participationthrough the 1989 season. — Recently, the Metropolitan Opera concludedan agreement with the musicians union clearing the way for the first Metrecordings in many years: the complete Ring cycle with Deutsche Grammo-phon. Following close on its heels came the signing of a new three-yearcontract between the musicians' union and the Met, almost a year beforethe current one was to expire, extending the services of the orchestrauntil summer 1990. As noted here before, labor relations in the artshave certainly reached a turning point: the realization and understandingthat in the arts, labor and management interests must be the same—they

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UNIONCONTRACTS


must fuse—for the art form and all those connected with it to surviveand flourish. Parts of the Met three-year agreement have been madepublic and these include a five percent increase in the weekly base payin each of the three years, reaching about $1,000 in 1990. Other changesaffect retirement and pension regulations; for example, players retiringafter thirty years of service will now be eligible to receive half of their1985-86 pay. It also adopted a new "85 rule" which allows musiciansunder the official retirement age of 65 to retire without penalty if theirage plus years of service total 85 or more.

New York's free-lance musicians did not fare as well, but did settle aftera three-week strike against eight orchestras in and around the city, in-cluding the Opera Orchestra of New York and the St. Luke's ChamberOrchestra. A three-year contract, recommended by Local 802 and ratifiedby its members, assures the players a minimum of $109 per concert servicein 1989.

A three-year agreement was concluded between ACTORS EQUITY ASSO-CIATION and the League of American Theaters and Producers, whichraises salaries and fees by 5i percent in the first two years and fivepercent in the third year. Special benefit improvements were to takeeffect immediately.

FUND-RAISING ^ story told in pictures will always make a greater impact than a storyAND PROMOTION ^ ° ^ ' n numbers—even though these numbers may themselves be most per-

suasive. The UTAH OPERA, in its annual brochure, presents its case forsupport in a series of candid photographs representative of all, or atleast most, of the elements of opera production that together add up tothe overall expenses. The photos include the stage set of a past production,a group of soloists, the chorus, the orchestra, stage crew, ushers, scoresand library, lighting supplies, make-up artists and costumers, and thetheater itself. The caption for each picture gives the cost of the partic-ular category, summarily making up the companies expenses. In additionthere were two brief budget lists by percentages: "Where our moneycomes from" and "How our money is spent." It is the most compellingappeal for support that we have seen, and certainly the most informativeand appealing presentation.

Another way of effectively reaching your audience through the use ofthe company magazine or brochure was impressively demonstrated by theSEATTLE OPERA, which displayed, on an otherwise empty page, the fac-simile of a check in the amount of $4,340,000—four million three hundredforty thousand dollars—payable to the Seattle Opera and signed "OperaPatrons". The almost superfluous caption elucidates: "That's the amountSeattle Opera must raise this year. Please give generously."

Promoting subscription and single ticket sales by offering them as aspecial privilege to a select group of "preferred customers" enhances theirattraction while flattering the addressee. Following this principle, theWASHINGTON OPERA sent out oversized cards announcing a "PrivateSale" of subscriptions and single tickets for certain performances, withthree days designated for telephone orders. To qualify for this specialone-time service, the preferred customer gave the personal ID numberfrom the mailing label. The card also contained performance and priceinformation, while the volunteers, manning the special telephone lines,could confirm the latest ticket availability.

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A lively imagination is the name of the promotion game. Apropos per-formances of The Elixir of Love, OPERA/COLUMBUS arranged a silentauction, and besides the obvious variety of potions—spirits as well asointments, beauty products and enticing perfumes—you could also bid onhaving your message of love flown, on a banner, over the Ohio Statefootball stadium. Who could resist such temptation?

The terrible fire that destroyed the vast holdings of costumes and relateditems of the NEW YORK CITY OPERA started the company on an urgentfund drive to raise an initial $5 million. This goal was achieved even-before the originally set term of one year, only to reveal that an additional$2 to 3 million was still needed to restore the loss. Appropriately, numer-ous leading American fashion designers have offered their aid to the com-pany. They are designing special, opera-inspired gowns to be shown atthe New York City Opera Fire Fund Benefit, a black tie affair withcocktails, dinner, and a fashion show on February 18. Just about all thedistinguished fashion houses will be represented. The price of admissionis $250.

Most companies find special ways to honor their supporters and patrons.These are frequently gala affairs with festive dinners and entertainment,such as the MET and CHICAGO LYRIC produce on the main stages oftheir respective opera houses. These include musical entertainment sup-plied by their established, most distinguished, or their most promisingyoung artists. Special names are created for the groups of most generoussupporters and grantees, such as the Angels' Circle (Tri-Cities), Presidents'Council (Calgary), and, depending on the size of the donation, the Maece-nas, Founder's, Producer's, and Director's Forums (Pittsburgh). The PITTS-BURGH OPERA also arranged a "Salute to Business and Industry" to showits appreciation to its corporate supporters at a cocktail reception anda special pre-opening performance of a new production; the Salute itselfwas sponsored by Equibank Corporation. — The young patrons group ofOPERA/COLUMBUS, which has adopted the name "The Impresarios,"recently included among its social functions a "Roaring Twenties" fund-raising event.

To reach new audiences, NEVADA OPERA holds lunchtime Brown BagConcerts and recently offered "Pasta and Tosca," a dinner entertainmentheld at a local Italian restaurant. — "Noche Azul" was the romanticname for a Spanish evening cosponsored by OPERADELAWARE and theDelaware Hispanic Arts and Humanities Society, featuring tangos as wellas zarzuela and opera selections in Spanish.

Food and entertainment spectaculars have replaced some of the moretraditional opera balls. The SAN DIEGO OPERA put a price tag of $500per couple on an 18-hour opera spectacular scheduled around the season'sopening performance of Tosca. Included were a pre-performance cocktailreception, post-performance supper and dancing, overnight accommodationsat the Westgate Hotel, Sunday brunch at the Fontainebleau, and valetparking throughout the duration. And to think that part of the $500 wastax-deductible, too. — On a more modest scale was OPERA CAROLINA'Ssecond annual benefit, "Guest Quarters' Best of Charlotte," for whichthe Guest Quarters Hotel assembled delicacies from 35 of the city's selectrestaurants to be sampled by the participants; music was supplied byensembles including a brass jazz band, a dance orchestra, bluegrass andbagpipe players, and a Bach chamber group. An admission charge of $40

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provided $25 for the opera company. — Similar to the New York PublicLibrary's benefit of "The Night of 100 Dinners," San Francisco's ARCHIVESFOR THE PERFORMING ARTS organized almost continuous eventsthroughout a whole week, which could be attended collectively at a fixedprice or sampled individually. There were breakfasts, brunches, lunches,teas, garden parties, dinners and suppers, offered at a variety of settingsfrom the wineries in Napa and Sonoma counties to the tennis courts ofWoodside, all sponsored by generous hosts. — To end this collection offoods and eateries on a sweet note, we report on the LYRIC OPERA OFKANSAS CITY's "Chocolate Plus Festival", where a prepaid admission of$5.50, or an at-the-door price of $6.50, will let you taste the goods andgoodies of local and national confectioners to your heart's content—andwithout a scale in sight.

Benefits should also be considered from the point of view of buildinggood will in the community and reaching out to people who may neverhave been to the opera. The financial return may be considerably smallerthan with some grand "elitist" event, and the preparation no less involvedand time-consuming, but the return in the community's awareness andappreciation of the company will do much for its efforts in advocacy andvisibility. For instance, book and record sales—of items collected byguild or women's committee members throughout the year plus donateditems from merchants offered at discount prices—have proven extremelypopular and rewarding, as reported by the KENTUCKY OPERA.

Mention must still be made of opera tours and opera cruises, and whilethese are not novel ideas, they become ever more popular and ever longerand far-reaching as travel to faraway places becomes an ever more pre-ferred pastime. The complications of travel arrangements, and the frequentinaccessibility of opera performances, particularly at the major musicfestivals, make opera-oriented tours especially attractive—and profitableto the beneficiary. The METROPOLITAN OPERA GUILD'S Travel Programoffers a choice of two tours for February: one to Australia and theOrient, the other for a gala week in Austria to include the famous Vien-nese Opera Ball and opera performances at both theaters in Vienna, aswell as in Salzburg and, on a side trip, in Budapest. — The SAN JOSEOPERA is taking advantage of the performances of Aida in Luxor (seebelow) with a special tour to Egypt.

ANOTHER Thanks to a generous bequest, the Opera Guild of the LYRIC OPERAGUILD PROGRAM OF KANSAS CITY finds itself custodian of a sizeable operatic video

library, and as such is able to offer a most unusual service to its members.Copies of some forty titles in both VHS and Beta format are stored inthe Guild Room and may be borrowed by Guild members for a maximumof one week.

OPERA England's D'OYLY CARTE OPERA COMPANY, which had become a nation-COMPANIES al landmark institution until it was disbanded in 1982, is being returnedABROAD to active duty. A recent bequest from Dame Bridget D'Oyly Carte will

put the company back on stage later this year.

Last summer, the GLYNDEBOURNE FESTIVAL received its first outsidefinancial support when IBM United Kingdom Trust sponsored the new pro-duction of La Traviata. — In recent years, Great Britain has followedthe American example in promoting corporate sponsorship of the arts, andCovent Garden has had many gifts from major corporations. A recent

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addition among corpora te a r t s g ran tees is the National Westminster Bank,which has become a primary sponsor of England's touring OPERA '80,replacing the company's original supporter , the Arts Council of GreatBri ta in. — The American/Irish char i ty organizat ion, the Ireland Fund,has taken up some of the slack in funding of the WEXFORD FESTIVAL,c rea t ed through cutbacks by the Irish Arts Council.

With several German opera houses maintaining experimental s tages fornew works, t he opera house in Bonn plans to add just such a workshop,the BONN OPERA STUDIO, under opera director Jean-Claude Riber; UdoZimmermann is t he new composer- in-res idence.

Three major addit ions to the PICCOLO TEATRO DI MILANO (not to be PICCOLOconfused with La Piccola Scala) a re planned by director Giorgio Strehler , TEATRO DIone s t ruc tu ra l and the o thers re la t ing to ensembles and programs. Under MILANOthe overall name of Citta del teatro, the organizat ion will add II TeatroGrande, which is to be the future home of the Piccolo Tea t ro . A TeatroStudio will be c rea ted for experimental works and for readings, develop-ments and trying out of new works-in-progress, and finally, la ter thisseason, a t hea t e r school will open under the supervision of Mr. Strehler ,who divides his time between direct ing plays and direct ing operas .

Verdi's Aida will be taken on tour , this time from the land of its c rea tor OPERATICto the place of its ac t ion . In May '87, the ARENA DI VERONA production HOMECOMINGSwill be seen on the banks of the Nile at the Temple of Luxor.

The THEATRE DE LA MONNAIE in Brussels will send one of its Mozartopera productions to Salzburg 's Landes thea te r during the winter season.The same production will be part of the Holland Festival next summerand, also next summer, a Belgian Falstaff production will be seen at theAix-en-Provence Fest ival .

Opera Ebony, originally established in Philadelphia by the l a te Sister NEW NAMEElise, has been renamed OPERA NORTH, with a new address of 4401Conshohocken Avenue, Phi ladelphia , PA 19131; t e l ephone (215) 879-9029.Malcolm Poindex te r remains the company manager . The organiza t ion isno longer a f f i l i a ted with Opera Ebony in New York, which is under thed i rec t ion of Benjamin Mat thews and music d i r ec to r Wayne Sanders .

Ca lgary Opera , 1011 First S t . S.W., # 306, Ca lgary , Alber ta T2R 1J2 CHANGES OFFour Corne r s Opera (win ter address) , 11859A Academy Rd., Phi ladelphia , ADDRESS

PA 19154; (215) 632-2070Lyr ic Opera of Dallas, 2733 Oak Lawn, # 2 0 1 , Dallas, TX 75219; (214)

522-5653; Te r ry Hicklin, Gen.Dir. , John Burrows, Art .Dir .Opera de Camera de P u e r t o Rico, 14 Candina St . , Condado , PR 00907;

Luis Pe re i r a , Art .Dir .Opera O r c h e s t r a of New York, 228 West 72nd St . , #2R, New York, NY

10023Opera Paci f ic , 17712 Mitchel l , I rvine, CA 92714Opera T h e a t e r of Roches te r , 130 East Main St . , Roches te r , NY 14604,

At tn : John W. Cla rkeOrange County Opera , Inc. , P .O. Box 1470, Sunset Beach, CA 90742 []

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GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS

NEA After much consideration and debate, appropriations for the NATIONALENDOWMENT FOR THE ARTS for FY'87 were signed at $165.08 million.While the figure is extremely low compared to the Endowment's historicaldevelopment of funding, it is at least near the highest amount recommendedfor this year by the various agencies and committees—all bent on keepingthis part of the federal budget within stringent limits. The Administration'srecommendation had been for $144.9 million, the Senate AppropriationsCommittee's for $159.95 million, and the House's for $165.66 million,indicating a vote of confidence for the NEA. Last year the Endowmenthad to settle for $158.53 million, reflecting a last minute reduction ofover four percent due to the Gramm-Rudman-Hollings across-the-boardcuts. The OPERA/ MUSICAL THEATER PROGRAM, under its directorPatrick Smith, is to receive $6.19 million in FY'87, or about 3.7 percentof NEA's total appropriations.

Sixty arts groups shared in the $21.5 million disbursed by NEA throughthe '86 Challenge Grants Program II. The awards, distributed toorganizations in 23 states, the District of Columbia, and one in France,ranged from $100,000 to $1 million. The current format, however, willbe phased out gradually over the next five years with the last grants tobe made in 1991. NEA examined the current program and, deciding thatchanges were needed, announced a new format for Challenge Grants IIIto begin in 1988. The new program will address areas not presentlycovered by the various NEA departments, and will include venture capitaland special projects. Further information for this '88 program will bepublished as it is received.

NASAA The NATIONAL ASSOCIATION OF STATE ARTS AGENCIES has compileda list of state appropriations for the arts, indicating increases anddecreases compared with last year's, and showing per capita arts councilbudgets. Those arts agencies with more than $7 million at their disposalare New York ($49 million plus $15 million from the National HeritageTrust), Massachusetts ($18.2 million), New Jersey ($13.4 million), Florida($12.7 million), California ($12.6 million), Michigan ($11.4 million), PuertoRico ($10.5 million), Ohio ($9 million), Illinois ($8.7 million), andPennsylvania ($7.8 million). While the total picture showed an averageincrease in State Arts Agency funds of about 10.7 percent, some statesrecorded increases as high as 150 percent (Maryland), 88 percent (Iowa),69 percent (Colorado), and 53 percent (Virginia). The largest decreasesoccurred in Tennessee (61.7 percent, due to the omission of one specialgift), Alaska (45 percent), Texas (38 percent) and Missouri (36 percent).And finally, the states with the highest per capita arts appropriationsare Alaska ($4.20), the District of Columbia ($3.78), Puerto Rico ($3.22),Massaehussetts ($3.13), New York ($2.73), Guam ($2.55), and Hawaii ($2.16).

Begun with an initial $10 million grant from the Ford, Andrew Mellon,and Rockefeller Foundations, the NATIONAL ARTS STABILIZATION FUNDhas selected Kansas City as the second city where the fund will beworking with a local committee to set up its system of aid to residentarts organizations. The Fund's activities were launched in 1983 with apilot program in Boston (see Vol. 25, No. 1).

The results of a recent study by the INDEPENDENT SECTOR have beenpublished in a booklet particularly recommended for distribution to membersof boards of directors and other volunteers active in the arts. It isavailable from I.S., 1828 L Street, NW, Washington, DC 20036, for $5 per

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GOVERNMENT & NATIONAL ORGANIZATIONS

single copy, $2.50 each on orders of 2-10 copies, and $1 each on ordersof 11 or more. The booklet also includes the Independent Sector's pre-dictions for a-doubling of volunteer time and of charitable giving by 1991.

Three major arts service organizations have become neighbors—and more SERVICES TO—moving into the older part of the Equitable Center Building at 1285 THE ARTSAvenue of the Americas, between 51st and 52nd Streets in New YorkCity. Now the AMERICAN COUNCIL FOR THE ARTS, the CENTER FORARTS INFORMATION and the VOLUNTEER LAWYERS FOR THE ARTSjointly occupy space on the third floor. With financial assistance fromthe Reed Foundation, they have established and share a collaborativeresearch library of some 15,000 volumes, and by pooling their knowledgeand resources they have formed a loosely organized umbrella organization,THE ARTS RESOURCE CONSORTIUM. Because of their non-profit servicestatus, Equitable Real Estate Group has given them special financial con-sideration in its rental agreement. The arts-oriented Equitable Centeralso houses a branch of the Whitney Museum, and its public areas aredecorated with several contemporary murals and sculptures.

The TKTS kiosk on Times Square in New York has become a well-known TELEPHONElandmark to New Yorkers as well as to visitors from out of town. Created TICKETand maintained by the THEATRE DEVELOPMENT FUND, it and the two SERVICEother TKTS stations in Brooklyn and downtown Manhattan sell at halfprice remaindered tickets to theatre, music and dance events taking placethat same day. This has been an extremely successful operation, withticket sellers as pleased as ticket buyers. Now TDF is establishing anationwide system for ticket information about any performing arts eventin New York City. It will operate under the name of NYC/On Stage, usinga toll-free 800 telephone number, with an intricate and sophisticatedcomputer program developed by Voicetek Corporation. The caller willbe directed to use different additional digits for information on plays,musicals, Broadway shows, Off-Broadway shows, music events includingmajor and smaller opera productions, and dance performances, and willthen hear a complete list of relevant performances and up-to-dateinformation on openings, closings, and ticket availability. Information onhow to order the various tickets will also be supplied. (The installationhas just been completed for New York City 587-1111.) TDF hopes to havea ticket ordering service for major credit card holders incorporated intoits system within six to twelve months, so that receiving information andordering tickets may be accomplished with a single telephone call.

A cooperative of non-profit groups has formed the Telecommunication TCNCooperative Network (TCN) to create a low-cost telephone service fornot-for-profit organizations exclusively. UNIVERSAL SWITCHBOARD(UNIS) of TCN claims to save up to twenty percent over the commerciallong distance discount rates. TCN is also developing other services suchas electronic mail capabilities. For more information contact TCN, 505Eighth Avenue, suite 1805, New York, NY 10008, telephone (212) 714-9780.

Consultant services to performing arts organizations, with particular CONSULTANCIESspecialization in electronic media projects, are offered by Robert R.Porter (31 West 75th Street, #3A, New York, NY 10023). His expertiseis based on experience gained in former positions with the Opera Theaterof Syracuse, the New York City Opera, the New York State Arts Counciland, for the last eight years, with the Chamber Music Society of LincolnCenter. — GIBBS COMMUNICATIONS (P.O. Box 3562, Philadelphia, PA

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GOVERNMENT & NATIONAL ORGANIZATIONS

19122) announces free services to non-profit arts organizations in thefields of promotion and marketing, education, and the training of youngartists. This new Gibbs Out Reach Program promises that the only costscharged will be for subcontracted services and out-of-pocket expenses.

CANADA The CANADA COUNCIL has c r ea t ed a Glenn Gould In ternat ional PrizeCOUNCIL for an Exceptional Contr ibut ion to Music and Its Communication. A

committee headed by Council chairman Maureen Forres ter will considernominations and select the individual who earned national or in ternat ionalrecognit ion for his or her ac t iv i t ies t ha t significantly benef i t ted musicand its communication. A cash prize of $50,000 will be presented in aformal ceremony in October 1987.

CHANGES OF American Council for the Ar ts , 1285 Ave. of the Americas, 3rd fl., NewADDRESS York, NY 10019

Center for Arts Information, 1285 Ave. of the Americas, 3rd fl., NewYork, NY 10019

Chamber Music America, 545 Eighth Ave., New York, NY 10018 (212)244-2772

National Assn. of Teachers of Singing (NATS), 2800 University Blvd. No.,Jacksonvil le , FL 32211; (904) 744-9022

National Music Council , 45 W. 34 S t r ee t , # 1010, New York, NY 10001(212) 563-3734

Volunteer Lawyers for the Arts , 1285 Ave. of the Americas, 3rd fl., NewYork, NY 10019

CONFERENCES 11/21-25/86 National Guild of Community Schools of the Arts ,Washington, DC

12/14-17/86 National Society of Performing Arts Administrators , NewYork, NY

12/14-17/86 Chamber Music America, Hebrew Arts School, West 67thSt. , New York, NY

12/18-22/86 Ass'n of College, University and Community Arts Adminis-t r a to r s (ACUCAA), New York, NY

1/9-11/87 OPERA America, Dallas, TX2/7/87 Li terary Managers and Dramaturges of America, Symposium,

Columbia University, New York, NY6/1-4/87 Internat ional Society of Performing Arts Administrators

(ISPAA), In ternat ional Congress , London, England6/10-13/87 American Symphony Orches t ra League, Waldorf Astoria

Hotel , New York, NY6/20-24/87 National Association of Local Arts Agencies (NALAA),

Port land, OR10/15-18/87 College Music Society, New Orleans, LA10/21-24/87 Central Opera Service National Conference, New York, NY10/21-24/87 National Assembly of S t a t e Arts Agencies (NASAA), Nashville,

TN11/2-8/87 American Music Week (annually—designated by NEA & AMC)11/87 National Opera Association, Orlando, FL12/17-21/87 Association of College, University and Community Arts

Administrators (ACUCAA), New York, NY1/88 OPERA America, Houston, TX2/25-27/88 Opera Guilds International, San Diego, CA []

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NEW AND RENOVATED THEATERSThe Glimmerglass Opera Theater in Cooperstown, New York, has announced NEW THEATERSthe opening of its new opera house for next summer; there will be a galaconcert with Frederica von Stade and Alan Titus on June 27. With theinitial planning begun less than three years ago, the completion of theALICE BUSCH OPERA THEATER has kept remarkably to its original sche-dule. Designed by Hugh Hardy of Hardy Holzman Pfeiffer, the barn-likeexterior fits into the rural setting, while the interior features two-levelseating including parterre boxes, accommodating a total audience of 920.The orchestra pit can hold up to 80 players; there is a full height stagehouse as well as adequate wing space on either side of the stage, and a24-foot high proscenium. The side walls of the vestibule and public areascan slide open, to take advantage during intermissions, weather permitting,of the view of the lake and the surrounding countryside.

The Philadelphia Orchestra, which has performed at the ACADEMY OFMUSIC since its founding 86 years ago, has announced plans for theconstruction of a new concert hall near the Academy, at the intersectionof Broad and Spruce Streets. Completion is projected for 1991. At thesame time, the Academy is to undergo a renovation and modernization ofits technical facilities for use by opera and ballet/dance companies andfor musical theater productions. The new hall has been budgeted at $60million, the renovation of the Academy at about $8 million.

CARNEGIE HALL reopened as scheduled on December 15 in all its newand shining glory, in spite of workmen bustling and hammering until thatvery afternoon. A ribbon-cutting ceremony was followed by a gala perfor-mance with the New York Philharmonic under Zubin Mehta with star solo-ists who were joined by surprise guests Leonard Bernstein and VladimirHorowitz. The central figure of the evening, however, was Isaic Stern,who almost singlehandedly had saved the hall from demolition threatenedin the late 1950's. — The former Carnegie Recital Hall, now renamedWEILL RECITAL HALL, also benefitted from the renovation with a newstage and lighting system; its seating capacity remains just under 300.

The MAJESTIC THEATER, two blocks from the Brooklyn Academy ofMusic, will be remodeled to open next fall as part of the BAM theatercomplex. The renovation will give the theater flexibility to be used witha thrust stage and a seating capacity between 450 and 900. The firstproduction, scheduled to open on October 13, 1987, will be Peter Brook'sstage version of the Hindu epic, Mahabharata, translated into English.This nine-hour play with music, having run for one year in Paris, is bookedinto the Majestic for three months. The Academy plans to use the Majes-tic for its own productions for about four months out of the year.

Columbia University announced plans for the renovation of its 63-year-old McMILLAN THEATER. Refurbishing the 700-seat hall will includethe installation of new lighting and sound systems and central air con-ditioning. The cost is estimated at $2.5 million. A grant of $1 millionfrom a private foundation will give the hall its new name, the GILBERTAND KATHRYN BACHE MILLER THEATER. In the 1940's, the theaterwas the site of many important concerts and opera performances, particu-larly of contemporary music, including several world premieres.

Another small concert/recital hall in New York is to be refurbished foruse by music, theater, and dance ensembles, and for film. It is the 400-seat auditorium of the FRENCH INSTITUTE, the Alliance Francaise. The

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RENOVATIONS

NEW AND RENOVATED THEATERS

Florence Gould Foundation has donated $1 million towards this project,to be completed by spring '87.

In San Francisco, the GHIRARDELLI SQUARE CINEMA will be convertedinto a performing arts space for use by the Pocket Opera Company andthe Waterfront Theater, which will share the facility as resident ensembles.The 450-seat hall will also be suitable for recitals, dance performances,seminars, and other functions. (See also "Exhibitions" for Tivoli Theatre.)— The ANCHORAGE OPERA will be moving into a newly renovatedmovie theater with a thrust stage. While the company used to perform ina 625-seat house, the new facility will limit the audience to 520.

NEW THEATERS Last September, Amsterdam opened its new opera house, HET MUZIEK-ABROAD THEATER, built at a cost of $73 million (US), with premieres of two new

Dutch compositions, the opera Ithaka and the ballet Zoals Orpheus. Thesemi-circular auditorium sports a state-of-the-art stage with the latesttechnical and lighting equipment. The orchestra pit can accommodate upto 120 musicians, and the theater seats an audience of 1,614.

A new Finnish opera house is on the drawing board, to be built in Helsinkion lakefront property donated by the city. The opening is projected for1990, at which time a new national opera, Kullervo, commissioned forthe occasion from Aulis Sallinen, will be premiered. This new home ofthe FINNISH NATIONAL OPERA will have a seating capacity of 1,400.

Construction of Paris's much debated OPERA DE LA BASTILLE has finallyresumed—after all work had been halted because of enormous overrunson the budgeted cost—but not before the dismissal of the original architectand the adoption of a much simplified design. The new reduced scaleeliminates, for instance, workshops for sets and costumes.

On November 5, London's Royal College of Music opened its newly com-pleted BRITTEN OPERA THEATRE with a performance of A MidsummerNight's Dream. The new opera house is conceived in the traditional formwith a three-tier auditorium holding just over 400.

COVENT GARDEN A grand plan for renovation and expansion, approved by the officers andRENOVATION trustees of the ROYAL OPERA, COVENT GARDEN, is currently being

considered for approval under the city ordinances. The proposal includesthe removal of two smaller adjoining buildings in order to enlarge thesite. Rents from shops and offices in the new parts of the building wouldhelp to defray costs that will otherwise accrue to the opera house. Theproposed improvements include new side and rear stages, renewed stagemachinery, an enlarged orchestra pit, and more rehearsal space. A secondentrance to the opera house with its own foyer is also deemed necessary.If approved, work could start in 1991. During the two-year renovationthe company would perform at the Theatre Royal Drury Lane.

CORRECTION The design as well as the acoustics and theatre consultancy for ThunderBay Community College, Ontario, were the responsibility of ARTEC CON-SULTANTS. Eight different architects joined to form the Associated Ar-chitects for the Thunder Bay Community Auditorium; Garwood-Jones wasnot among them (see Vol. 27, No. 2).

CHANGE OF SRO Consultants have moved to Georgia: 1395 Marietta Parkway, BuildingADDRESS 500, suite 100, Marietta, GA 30067; (404) 423-1811. []

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EXHIBITS AND ARCHIVES

The Museum of Broadcasting in New York organized a program, THEMETROPOLITAN OPERA: THE TELEVISION AND RADIO LEGACY, whichcould be viewed and heard at the East 53rd Street location last Septemberthrough November. Celebrating 55 years of the Met's recorded history,the museum offered screenings and replays of 51 radio programs and 36television productions, beginning with the December 1931 Hansel andGretel and including the 1966 "Farewell to the Old House on 39th Street".

The Archives for the Performing Arts at San Francisco's War MemorialOpera House devoted this winter's exhibit (it opened October 24) to THETIVOLI OPERA HOUSE, 1875-1913. Subtitled "Music-Mad San Francisco",the show documented the colorful and prestigious history of the little-known opera house that presented Mascagni conducting Cavalleria rusti-cana and Zanetto and Leoncavallo conducting Pagliacci, that offered atwelve-month operatic season, and accumulated a record number of perfor-mances between 1879 and 1906—over 4,000, compared to a total of 255performances by the Grand Opera House between 1875 and 1906, whenboth theaters were destroyed by the earthquake. Begun as a beer gardenin 1875, the Tivoli added a concert hall with a gallery and a total seatingcapacity of 1,000 four years later, opening on Eddy Street with the thenone-year-old H.M.S. Pinafore. Already the following year the theaterwas enlarged to accommodate an audience of 2,000, and by 1882 it wasperforming grand operas in continuous runs, such as 37 performances ofFaust, 32 of R Trovatore, 28 of Der Freischiltz, and 21 of Un Ballo inmaschera. An unheard-of achievement, certainly by today's standards of"opera as popular entertainment." The Tivoli operated as a stock companywith a fine roster of resident performers rather than on a star system,although exceptions did occur. When the gas-lit theater was condemnedas a firetrap in 1903, a new, larger (2,700 seats), more elegant theaterwas ready to open on the corner of Eddy and Mason Streets. It wasthere that Luisa Tetrazzini made her American debut as Gilda in 1905,establishing a tradition for San Francisco which was later upheld by KurtHerbert Adler, who introduced a number of important singers to Americanaudiences there. Another new Tivoli Opera House was opened to replacethe one destroyed by the earthquake and fire, but at that time the movingpictures made their inroads into live entertainment, and in 1913 the Tivoliwas converted into a movie palace. Although the Tivoli was finally demo-lished in 1950, many other such movie palaces have been reclaimed fortheir original purpose of presenting opera, operetta, and musical produc-tions. The Archives' exhibit included photographs, artifacts, documents,programs and press clippings.

The library of the University of Wisconsin in Madison has received theTAMS-WITMARK COLLECTION OF MUSICAL THEATER PERFORMANCEMATERIAL. It will be catalogued according to the Archives and Manu-scripts Control Format, using the OCLC data base, and will be availablethrough the Network Library System. The collection consists of some25,000 American and European printed items from the 19th and early 20thcentury, representing the company's early stock of rental music: piano/vocal and full scores, parts, libretti, prompt books, etc. for grand operafrom Bellini to Wagner and for light opera and operetta from Gilbert andSullivan and Johann Strauss to the early musicals of Jerome Kern. []

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FORECAST

SUMMER '87 SANTA FE OPERA'S schedule continues the company's policy of presentinga varied repertoire, including one opera each by Mozart and Strauss: LeNozze di Figaro, Die schweigsame Frau. Drawing on works from thebaroque, classic and modern periods, the company will also stage Ariodante,Madama Butterfly and Shostakovich's The Nose in English.

Between May 22 and June 5, Charleston, SC, will hear Rameau's Plat6eand Strauss's Salome, produced by the SPOLETO FESTIVAL USA.

The CINCINNATI OPERA summer season will bring back its 1985 productionof Leoncavallo's Zazd. The two other operas to be heard at the MusicHall in the summer will be Madama Butterfly and II Barbiere di Siviglia.Les Contes d'Hoffmann was the company's March production, and Turandotwill be offered in November for two performances plus an abridged studentmatinee.

This year's two Ring cycles at the SEATTLE OPERA have been movedfrom June to August (see "Performance Listing"), thus affording visitorsthe opportunity of a coinciding summer vacation in the Northwest.

Opening its 54th season on July 11, CENTRAL CITY OPERA has announcedtwo operas and one operetta for its '87 program: Madama Butterfly, DonPasquale, and The Vagabond King. — Opera performances at the ASPENMUSIC FESTIVAL will include The Rake's Progress, The Tender Land,and La Cenerentola, to be conducted by Jorge Mester, Murray Sidlin, andClaudio Scimone respectively. — Preceding these performances inColorado is the June program of the FOUR CORNERS OPERA in Durango,this year reduced to one production: Man of La Mancha.

Four productions, representative of different periods, styles, and culturesbut unified by Shakespearean themes, make up the season of the CHAUTAU-QUA OPERA in upstate New York. The young artists at Chautauqua willhave the opportunity to perform in Rom6o et Juliette, A MidsummerNight's Dream, Falstaff, and Kiss Me Kate. All the works will be sungin English.

THE NEWPORT FESTIVAL plans to bring opera back to Rhode Island nextsummer by offering performances of one Handel and one Mozart opera:Agrippina and Die Entflihrung aus dem Serail.

After successfully present ing Lee Hoiby's The Tempest in a world premierelast summer, DES MOINES METRO OPERA in Indianola, Iowa, will againmount an ambitious program in 1987: Der fliegende Hollander, The Turnof the Screw, and La Boheme.

The fort ieth season of the PITTSBURGH CIVIC LIGHT OPERA opens July7 at Heinz Hall, and will include Sweet Charity, Kismet, Peter Pan andth ree other musicals to be announced.

EUROPE The GLYNDEBOURNE FESTIVAL, playing from May 24 to August 22, hasSUMMER '87 been lengthened by one week and has added one more opera to its schedule

—six instead of the previous five. There will be new productions of LaTraviata (conductor Bernard Haitink; director Sir Peter Hall; designerJohn Gunter), and L'Enfant et les sortileges/L'Heure espagnole (SimonRattle; Frank Corsaro; Maurice Sendak), as well as revivals of Carmen,Cosi fan tutte, Capriccio, and Porgy and Bess.

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FORECAST

July 25 through August 28 are the dates of the BAYREUTHER FESTSPIELE,in a summer between Ring productions. The operas scheduled for thisyear are Lohengrin, Parsifal, Tristan und Isolde, Tannhduser, and DieMeistersinger von NUrnberg under the batons of Peter Schneider, DanielBarenboim (two operas), Giuseppe Sinopoli, and Michael Schj6nwandt, andstaged by Werner Herzog, Gotz Friedrich, Jean-Pierre Ponnelle, andWolfgang Wagner (two operas), respectively. A new Ring production,conducted by Daniel Barenboim and directed by Harry Kupfer, will beunveiled in 1988.

The SALZBURGER FESTSPIELE will honor its once rejected native sonwith three operas, Don Giovanni, he Nozze di Figaro, and Die Entfiihrungaus dem Serail. In addition, there will be Monteverdi's II Ritorno d'Ulissein patria, Strauss's Capriccio, and the Salzburg premiere of Schoenberg'sMoses und Aron, the latter staged by Ponnelle and conducted by JamesLevine. — Austria's BREGENZER FESTSPIELE will mount Les Contesd'Hoffmann on its stage on the lake—which will surely make the Venetianact particularly effective—and will bring Ernani to the stage of theFestspielhaus, the latter featuring Aprile Millo, Luis Lima and PaataBurchuladze.

La Traviata, Aida, and Madama Butterfly will fill the ARENA DI VERONAbetween July 4 and August 27. — Aida will also be seen in Finland,where it opens the SAVONLINNA FESTIVAL on July 4. The other operason this year 's program are Die Zauberflbte, Orphee aux enfers, Sallinen'sThe King Goes Forth to France, and The Rape of Lucretia, with a closingdate of August 2. — A performance of Cimarosa's rarely heard LeAstuzie femminili will be the culmination of the one-month study programin July at the FESTA MUSIC ALE STIANA, headed by director Nick Rossi.

Continuing its progress towards a new complete Der Ring des Nibelungen, 1987-88the METROPOLITAN OPERA will add Das Rheingold and Siegfried to the SEASONrepertoire , the former opening in October, the la t ter in February. Thethird new production will bring Sutherland and Pavarotti in II Trovatore.The season will open with Otello (Domingo in the t i t le role), and willinclude three more Verdi operas—La Traviata, Macbeth, and Luisa Miller.Puccini is represented by La Boheme, Tosca, and Turandot with Dimitrova,Donizetti by L'Elisir d'amore, and the Italian Mozart by Cosi fan tutte.German will be heard in such diverse operas as Die Entfiihrung aus demSerail, Lulu, Ariadne auf Naxos, the bilingual Fledermaus, and the returnof the current season's new production of Die Walkiire. The schedule iscompleted by four French operas— Manon, Werther, Pelleas et Melisande,and Les Contes d'Hoffmann— and the Russian Khovanshchina.

It will be the longest season in the history of the LYRIC OPERA OFCHICAGO, opening September 18 and closing on February 6 with an unpre-cedented number of productions and performances—nine operas in 71 show-ings. Le Nozze di Figaro and Die Fledermaus will be new productions,the former staged by Sir Peter Hall, sets by John Bury, and given withEnglish projected captions, the la t ter staged by Giulio Chazalet tes ,designed by Ulisse Santicchi, and sung in an English translation. A firstfor Chicago will be Philip Glass's Satyagraha in a production borrowedfrom the Netherlands Opera, as will be Lulu, sung in German and accompa-nied by English captions in a production imported from Turin and stagedby the controversial Yuri Lyubimov. II Trovatore with Pavarotti willopen the season, which will also include La Forza del destino, Faust, andL'ltaliana in Algeri (the first on loan from San Francisco, the last from

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FORECAST

the Met), and which will close with Tosca as staged by Italo Tajo, follow-ing a growing trend of singers as stage directors. Projected captionswill be supplied for all the foreign language operas. Besides music directorBruno Bartoletti, conductors include Dennis Russell Davies, Andrew Davis,Christopher Keene, Sir John Pritchard, James Conlon, Michael Tilson Tho-mas, Jean Fournet, and Gabriele Ferro. The complete schedule and castswill be published in the next issue.

Seventeen evening-filling productions—or nineteen separate works, count-ing individual operas on double bills—will make up the 1987 season ofthe NEW YORK CITY OPERA. Opening on July 7 with a one-week runof The Student Prince, the company will unveil three new productionsduring its summer season: Cavalleria rusticana &. Pagliacci, Die Zauber-flbte, and The Desert Song. Returning to the repertoire after one ormore seasons' absence are Tosca, La Rondine, and Sweeney Todd, andreturning from last year's program are the classics La Traviata, LaBoheme, Madama Butterfly, Faust, and Le Nozze di Figaro. Continuinginto the fall and until the close of the season on November 15, the CityOpera will mount, for the first time and in new productions, Mozart'sL'Oca del Cairo together with Knussen/Sendak's Where the Wild ThingsAre, and add revivals of Turandot, Casanova, Die Fledermaus and TheRake's Progress. This will be the company's first season under the musicdirection of Sergiu Comissiona.

Two new productions will be unveiled by the SAN FRANCISCO OPERAnext fall— Fidelio and La Traviata. Also on the program are Die Zauber-flb'te, Nabucco, and Madama Butterfly. Later that season the new produc-tion of Traviata will also be presented by the WASHINGTON OPERA,which will open with Romeo et Juliette followed by Madama Butterfly.

Next season will be of special significance to the HOUSTON GRANDOPERA, which will open in the fall at its new home, the Wortham TheatreCenter. As mentioned elsewhere in this issue, the company is changing toa schedule of paired productions with the first two works, one classicalgrand opera, Aida, and one contemporary opera in a world premiere, Nixonin China, playing in October/November. Mirella Freni, Stefania Toczyska,Pl&cido Domingo, and Ingvar Wixell will be heard in the Verdi opera underthe baton of Giuseppe Sinopoli and directed by Pier Luigi Pizzi, while inthe contemporary work John DeMain and Peter Sellars will be in chargeof the pit and stage respectively. The January/February schedule willoffer Cosi fan tutte with Dennis Russell Davies conducting, alternatingwith La Rondine, staged by Lotfi Mansouri. One French and one Germanopera round out the season in April/May. Manon will feature Angela MariaBlasi and Francisco Araiza as the ill-fated lovers, while Tannhauser willpresent Eva Marton as both seductress and virginal heroine opposite KlausKbnig's portrayal of the Minnesinger. Julius Rudel, Otto Schenk andGunther Schneider-Siemssen will watch over musical, dramatic, and scenicmatters. In addition to these six productions at the Wortham Center,the company will give ten performances of The Abduction from the Seraglioat the Cullen Theatre. This will be the only opera to be sung in anEnglish translation; all other foreign language operas will be performedin the original with projected English captions.

The PITTSBURGH OPERA, also moving into a new house—the BenedumCenter—next October, will perform Turandot in its opening week; thenew production features Ghena Dimitrova. Carman, too, will be given in

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FORECAST

a new production with Agnes Baltsa and Jose Carreras, staged by GrischaAsagaroff. — Because of the new Center, the CIVIC LIGHT OPERAhas scheduled one of its productions for November for the first time. Themusical will be Cats.

One French and three Italian operas will make up the 1987 fall seasonof the DALLAS OPERA. Opening with Tosca on November 5, the seasonwill continue with L'ltaliana in Algeri with Marilyn Home as the pertheroine, Werther with Alfredo Kraus as the melancholy hero, and willclose December 19-27 with Turandot, personified by Johanna Meier.

Popular operas by Verdi, Donizetti, and Gounod make up the repertoireof the SAN DIEGO OPERA next season. October-November will bringRigoletto and L'Elisir d'amore, and February-March Faust and II Trovatore.In addition, the company will present solo recitals by Carol Vaness, TatianaTroyanos and Hftkan Hagegard, and close the season on March 9 with theVerdi Requiem.

Next season at the Ordway Theatre in St. Paul, the MINNESOTA OPERAplans four performances each of Die Fledermaus, Rigoletto, Rusalka, anda to-be-announced Rodgers and Hammerstein musical, the latter to beprepared in collaboration with the Ordway Music Theater. — The MINNE-SOTA ORCHESTRA, under its music director Edo de Waart, will join thelocal operatic scene in Minneapolis with Das Rheingold, though in unstagedperformances. Two concerts in April '88 will feature Diane Curry, PeterSehreier, Roger Roloff, Helmut Pampuch, and Julian Patrick.

June '88 will bring a full production of the rarely-staged Oberon by Weberto the stage of the OPERA THEATRE OF SAINT LOUIS. — Rigolettoand The Saint of Bleecker Street are the two operas which will be per-formed in November and February by the MISSISSIPPI OPERA in Jackson,and Don Giovanni will occupy opening night at OPERADELAWARE.

For the first time, the CLEVELAND OPERA will offer five new productionsnext season instead of its usual four, including two of a lighter variety:Carmen, H.M.S. Pinafore, he Nozze di Figaro, Turandot, and West SideStory. — The NATIONAL GRAND OPERA in Greenvale, NY, has announceda performance of Andrea Chenier with Atarah Hazzan and Vasile Moldo-veanu for December '87.

The LYRIC OPERA OF KANSAS CITY will open and close next seasonwith operas by two Strausses. Der Rosenkavalier, together with TheMarriage of Figaro and Madama Butterfly, will play the company's fallseason with the Mozart opera also going on tour. The spring program,as always consisting of two productions, will feature the second stagingof Hoiby's The Tempest and close with Die Fledermaus.

L'OPERA DE MONTREAL'S first production of the 1987-88 season will bea new staging of Otello with Adriana Vanelli and Maurice Stern, AlfredoSilipigni conducting. Also on the program are La Cenerentola, Carmen,and Don Giovanni, one opera less than last year. — The MANITOBAOPERA in Winnipeg has also announced next season's program, which willconsist of three productions: The Merry Widow, II Trovatore featuringLeona Mitchell, and Rom4o et Juliette. []

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ATTENTION COMPOSERS, LIBRETTISTS, DESIGNERS

COMPOSERS AND The International Competition for Opera and Ballet Compositions inLIBRETTISTS Geneva, Switzerland, has as its 1987 subject BALLET FOR LARGE OR-

CHESTRA. As always, the competition carries no restrictions as to thenationality, residency or age of the composer. The work must be unpub-lished and not yet performed. There are no specifications regarding thelength, but it should be scored for large orchestra, and the adjunctionof electronic music or musique concrete is permitted, as is the additionof speakers or singers (up to four soloists) or a mixed chorus. Applicationdeadline is September 30, 1987, and forms may be obtained from ConcoursInternational de Musique de Ballet, Maison de la Radio - Case 233, 66boulevard Carl-Vogt, CH-01211 Geneva 8, Switzerland. The first prizeis 20,000 SFr and a performance; additional prizes may be awarded atthe discretion of the judges.

The eighth NEW MUSIC AMERICA FESTIVAL, the annual conference andperformance festival for composers, will be held in Philadelphia in October1987. Each year it is held in a different location; Los Angeles was itslast site in 1986.

The MINNESOTA OPERA'S former "Opera Tomorrow" program has beendiscontinued in favor of the company's NEW MUSIC-THEATER ENSEMBLE,which will meet for six weeks in March-April '87 to develop new opera/musical theater pieces. — The PENNSYLVANIA OPERA THEATERcontinues its composer/librettist's workshops in three two-week sessions.

OPPORTUNITIES FOR COMPOSERS is a 17-page publication compiled byand available from the American Music Center. Similar to the COSCareer Guide for Young American Singers, the composers' guide is dividedinto different sections: Domestic Competitions and Grants, Foreign Compe-titions, and Artists Colonies and Workshops. It is available for $8 ($5for AMC members) from AMC, 250 West 54th Street, suite 300, NewYork, NY 10019. An updated edition will be published quarterly.

A ten-month advanced training program for composers and librettists/lyricists is offered by the San Francisco Center for Dramatic Arts.Entitled PLAYWORKS, this musical theater program has been designedfor the development of new works, with the composers, librettists/lyricistsand stage directors in residence (see also "Education").

In order to promote and promulgate the music of Czechoslovakia, AlanHoutchens has founded THE CZECH MUSIC SOCIETY, Alan Houtchens,President, 720-C West Victoria Street, Santa Barbara, CA 93101.

DESIGNERS Local 829, the New York chapter of UNITED SCENIC ARTISTS ASSOCIA-TION, has announced the addition of two more dates to its usual oneannual date for membership examination. The Track A exam is for thosealready working professionally, with a minimum of two years of activeemployment; it consists of an interview and a review of the applicant'sportfolio and past activities. The Track B exam is the traditionalexamination for newcomers and students, consisting of an interview, reviewof the portfolio, and a home project.

Track A1/25/87 or 9/20/872/1/87 or 9/27/871/31/87 or 9/26/871/24/87 or 9/19/87 4/25,26 and 5/16,17/87 []

Scenic artistScenic designerCostume designerLighting designer

Track B5/2,3 and 5/30,31/875/16,17/875/9,10/874/25,26 and 5/16,17/87

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EDUCATION

A new model program, ARTISTS AND SCHOLARS IN RESIDENCE, is beingdeveloped by the New York State Council for the Humanities. This dualprogram permits pairing of an artist and an art expert with knowledgeof the art form's history, society and culture. This project, funded bythe New York State Council on the Arts under its Arts in Education pro-gram, calls for the collaboration of the two New York State Councilsand the New York Foundation for the Arts, which maintains an artists-in-resideney program.

Teachers College of Columbia University has established a nine-monthcertificate program for accomplished performing artists who wish tobecome artists-in-residence or otherwise perform in schools. The programoffers seminars and field work sessions, and does not include instructionin the artist's own performance field. A fee of $750 is charged for thecertificate course, which may also be taken for four graduate credits.For further information contact Grace E. Shen, Program Administrator,Department of the Arts in Education, Box 139, Teachers College, ColumbiaUniversity, New York, NY 10027.

In October and November, the Greenwich House Music School was thescene of the first LEONARD WARREN MASTER CLASSES. Three out-standing operatic artists shared in the teaching of bel canto sessions:Martina Arroyo, Carlo Bergonzi, and conductor Eve Queler. At the con-clusion of the classes, a $1,000 prize and participation in a concert wereawarded to the best of the registered students (see "Winners"). Theclasses are planned as an annual event, and auditions are held in earlySeptember for a maximum of twelve places. There is an audition fee of$10. — A ten-session workshop was again offered in October by theFESTIVAL OF LEARNING AND PERFORMING at Loyola Marymount Col-lege in Orange, California. These master classes, organized under directorSusan Brenner, were led, among others, by Henry Holt, Giorgio Tozzi,Martin Bernheimer, and Randal Hoey.

THE CLEVELAND INSTITUTE OF MUSIC joins Lyric Opera Cleveland ina newly created program for singers between the ages of 18 and 26.From June 21 through August 8, the Institute will offer intensive advancedtraining, coordinated with the company's summer performances, where theyoung singers will participate in the chorus, understudy solo roles andpossibly also assume small parts. In this first year, the program will beopen to eight singers who will receive a modest stipend for the sevenweeks. George Vassos, Chairman of the CIM Voice Department, andMichael McConnell, the Lyric's Executive Director, head this new project.

The NATIONAL FOUNDATION FOR ADVANCEMENT IN THE ARTS, whichmakes awards to outstandingly gifted high school juniors and seniors withpromise for a professional career in the arts, has initiated an extensionof its programs which should prove to be of particular significance toyoung singers. Since most voices have not yet matured or fully developedat age 17 or 18, a follow-up on talented vocalists seems especially im-portant. These awardees may now return to the Foundation after 4 or5 years, if they have developed further in their pursuit of a professionalcareer and need cash funds. The Charles Cinnamon Achievement in theArts Award can make available cash amounts under $1,000 for immediateuse by these young artists. Applications submitted in 1987 may come on-ly from artists who won initial prizes before 1984. — Another newNFAA program, this one of interest to instrumentalists, is the New World

ARTISTS-IN-RESIDENCE

MASTERCLASSES/ADVANCEDTRAINING

NFAA

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EDUCATION

Symphony Orchestra, which is being organized for training and perfor-mances to begin with the 1987-88 season.

NEWS FROM The North Dakota State University in Fargo has resumed opera perfor-WORKSHOPS mances with Robert Olson as director of the opera theater. Two perfor-

mances of Cost fan tutte and an evening of scenes were staged lastseason; a musical will be added this year. — The three productionawards given annually to academic opera workshops by the National OperaAssociation went to 1) Marilyn Tyler, director of opera studies at theUniversity of New Mexico in Albuquerque; 2) Sylvia Debenport, directorLyric Opera, Arizona State University in Tempe; and 3) Thomas Machen,director of opera at Memphis State University. These awards were madeon the basis of submitted tapes.

FOR COMPOSERS The CENTER FOR DRAMATIC ARTS, formerly the San Francisco SchoolAND WRITERS of Dramatic Arts, joins various California (and Banff) institutions in

offering training for creators as well as for performers in the theaterarts. The CDA's ten-month Musical Theater Training is oriented towardsdeveloping composers, playwrights/librettists and lyricists. Several shortcourses such as Vocal Production or Musical Auditions, which meet oneevening a week, will be of interest to singers. The Roy Hart TheatreVoice Workshop took place on two days in November, and may becomean annual program. For further information contact the Center at FortMason Center, Bldg. C, San Francisco, CA 94123.

NEW THEATER The two-year-old NATIONAL THEATRE CONSERVATORY is the educa-SCHOOL tional extension of the Denver Center Theatre Company and, as an affiliate

of the American National Theatre and Academy, is also the officially re-cognized national theater school of ANTA. Its three-year training programawards a Master of Fine Arts degree to its graduates. Admission is byauditions, which are held in various major cities; application deadline isFebruary 1. "The program described in this brochure is unreasonable.Its challenges will require a dedicated individual to expand extraordinaryeffort to meet its demands successfully." This opening statement on theconservatory's brochure indicates the demands made on students andobviously serves to discourage all but the extremely gifted and totallydedicated. In addition to the graduate degree program, the school underartistic director Donovan Marley offers evening courses and a summersymposium for students and teachers. Further information may be obtainedfrom NTC, 1245 Champa, Denver, CO 80204.

DOCENT The DAYTON OPERA'S outreach program is staffed by young volunteersTRAINING who accompany the performers to the schools or community centers and

function as lecturers and narrators. These volunteers, named docents,go through a structured training program given by the opera company.Six sessions consist of opera appreciation training and are open to thepublic for a fee; additional lectures and discussions for docents only dealwith specific problems that these volunteers may be encountering.

TEACHING A music teaching device for students with severely limited vision hasDEVICE been developed and tested, although not as yet manufactured. The musicalFOR THE score is projected from slides onto a television-like screen, which isVISION- placed in front of the player or singer on top of the piano or whereverIMPAIRED the music stand would normally be. The device has a fast on/off switch

and a brightness control knob. For more details contact Richard MartinFriedmar, 2426 Drummond Road, Toledo, OH 43606, (419) 473-3333. []

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EDITIONS AND ADAPTATIONS

A new musical edition of NIOBE, REGINA DITEBE (Niobe, Konigin von Theben) (1688) byAbbate Agostino Steffani was prepared byLudger R6my for a performance in Heidelberglast October. — Out of Handel's Italian period(the first decade of the 18th century) cameTIRSI, CLOR1 E FILENO, which was heard ina version completed by Kenneth Cooper andpresented by him with the Bronx Arts Ensemblein what may have been the work's worldpremiere (see also "American Premieres").

Nick Langham Smith is working on a realizationof Debussy's unpublished opera, RODRIGUE ETCHIMENE. Excerpts from the work were pre-sented in Milan in June '86 at the time of thePelleas et Melisande performances at La Scala.

Verdi/Rossini scholar Philip Gossett has collab-orated with David Rosen on a new critical edi-tion of the Verdi Requiem. This will constitutethe third of 37 planned volumes in the newVerdi edition, a joint project of the Universityof Chicago Press and the house of Ricordi,Milan. The first live performance of theRequiem in the critical edition took place inChicago under Claudio Abbado in November,with Margaret Price, Lucia Valentini-Terrani,Taro Ichihara, Gwynn Howell, and the ChicagoSymphony Orchestra and Chorus.

When Strauss's DIE AGYPTISCHE HELENA washeard at the Santa Fe Opera last summer, itwas performed in the revised version firstperformed in Salzburg in 1933.

Two Mozart operas were presented in adapta-tions for children's performances. L'OCA DELCAIRO (The Goose from Cairo) was reducedto 45 minutes and five characters by JohnEdward Niles for the Opera Theater of NorthernVirginia, while The Impresario (Der Schauspiel-direktor) went through a much more extensivemetamorphosis, emerging as THE CHICAGOIMPRESARIO when produced this season by theSierra Chamber Opera in California. Togetherwith a changed text, William Monson providedthe opera with musical additions taken fromother Mozart works, while deleting some partsof the original.

While changes—even totally new texts—forolder works are not uncommon, it does comeas a surprise to find the initially highlysuccessful Cole Porter musical ANYTHINGGOES in need of a new text. Whereas theoriginal was created by P.G. Wodehouse,Howard Lindsay and Russell Crouse, the latter'sson, Timothy Crouse, and John Weidman arefurnishing a new libretto for a premiere at theVivian Beaumont Theatre at Lincoln Center infall '87. []

ARTISTS MANAGEMENT

Marvin Y. Schofer, former Executive Vice Pre-sident at ICM Artists, has founded his ownmanagement firm in New York, CLASSICALARTISTS INTERNATIONAL, located in the for-mer offices of Shaw Concerts, 1995 Broadway,suite 901, New York, NY 10023, (212) 769-0099.Michaela Deren Gold, the widow of SheldonGold who founded and led ICM Artists, joinedMr. Schofer as Director of Artists and Attrac-tions, and Seymour Rosen, former Managing Di-rector of Carnegie Hall and now Dean of theSchool of Performing Arts at the University ofArizona, is the third Director of CAI; his isthe position of consultant. Before his eightyears with ICM, Mr. Schofer was with ColumbiaArtists Management and with Sol Hurok. Thenew firm is affiliated with London's Enter-tainment Corporation.

Harold Shaw, President of SHAW CONCERTS,

now with offices in the ASCAP Building at1900 Broadway, has announced a cash awardof $5,000 to a non-profit arts organization orto an individual presentor of concerts who hasmade a considerable contribution towards thepromotion and popularization of recital pro-grams. The Association of College, Universityand Community Arts Administrators (ACUCAA)will administer the award, select the individualor company, and bestow the prize on the winner.

SPECIAL ARTS ENTERPRISES INC., Steven DelRusso, Executive Director, specializes in repre-senting handicapped performers. Besides manyindividual musicians, he also manages the CARESELVE ENSEMBLE, which can be booked witheither its concert program or any of its sixexisting productions. SAE can be reached at97-07 Horace Harding Boulevard, suite 10F,Elmhurst, L.I., NY 11368; (718) 592-8950. []

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MUSIC PUBLISHERS

BELWIN MILLS PUBLISHING CORP., which wasacquired by Columbia Pictures in 1985, hasnamed THEODORE PRESSER, Inc., Bryn Mawr,PA, the exclusive representative of its musicalrental catalogues (including United ArtistsMusic and Casa Musicale Sonzogno) and agentfor the related performance rights. All ancil-lary licensing, such as film or TV rights, remainswith Belwin Mills. The publishing house alsoannounced that it will continue to acquire newAmerican works. (Please make the necessarynotation in your copy of the Directory of Operasand Publishers.)

CARL FISCHER, Inc., is now the sole U.S. dis-tributor of the Frederick Harris Music cata-logue, containing primarily choral but alsoinstrumental scores, among them works byCanadian composers.

As the American representative of UNIVERSALEDITION, EUROPEAN AMERICAN MUSIC DIS-TRIBUTORS of Valley Forge, PA, is also theexclusive agent in the U.S. of Kurt Weill'scompositions. These include the Lionel SalterEnglish translations of Der Protagonist and DerZar Idsst sich photographieren (erroneously at-tributed to another publisher in our last listingof English translations). The next Weill operato be reprinted by Universal is the one-actRoyal Palace (1925), while EAM is preparing acritical edition of the composer's Happy Endwith the original German text and the Englishtranslation by Michael Feingold, edited andsupplied with critical notes by Gary Fagin andKim Kowalke. The Kurt Weill Foundation inNew York, of which Mr. Kowalke is president,is sponsoring the preparation of a Weill cata-logue, compiled and edited by Mario Mercado,and to be pubished by EAM.

Jeffrey Bishop's children's opera, The DeadMoon, is published by and available fromOXFORD UNIVERSITY PRESS, New York City(not MagnaMusie-Baton—another error thatcrept into the last Bulletin). — MAGNAMUSIC-BATON, St. Louis, is indeed the publisher ofJames Meyer's Rumpelstiltskin as well as ofHarold Blumenfeld's latest work, Fourscore.

ROYCROFT EDITION (487 Ridge Avenue, EastAurora, NY 14052) has begun an ambitiousopera/choral score subscription plan. Eachmonth Roycroft will publish and distribute fac-simile vocal scores of three operas and two orthree nondramatic choral works; ultimately theseries is to encompass 108 operas and 97 choralpieces. The first package, mailed in December,included Fidelio, Madama Butterfly, and Mefis-tofele, as well as Bach's Mass in B Minor andthe Mozart Requiem. The subscription is fora 36-month cycle but can be interrupted ordis-continued at any time; the monthly cost is$14.95 plus sales tax and $3.50 for shippingand handling. — The latest operatic full scorepublished by DOVER PUBLICATIONS is of DasRheingold, available for $12.95.

JOSEPH PATELSON MUSIC HOUSE, whichretains its West 56th Street location oppositethe stage entrance to Carnegie Hall despitethe giant buildings going up all around it, is amusic publisher as well as a music retailer. Ithas published a facsimile of the first editionof the piano/vocal score of Thomas's Hamlet,for sale at $50. Also available in Patelsoneditions are various anthologies of operaticarias, arranged by voice category and pricedat $12.50 each.

The GREATER MIAMI OPERA has a stock ofopera scores and choral and orchestral partswhich it will rent to other companies: AndreaChenier, Un Ballo in maschera, II Barbiere diSiviglia, Carmen, Cosi fan tutte, Die Entfiihrungaus dem Serail, Ernani, Faust, La Fille duregiment, Der fliegende Hollander, La Gioconda,L'ltaliana in Algeri, Lucia di Lammermoor, Mac-beth, Madama Butterfly, Manon Lescaut, Mefis-tofele, Les Pecheurs de perles, Rigoletto,Samson et Dalila, Tosca, La Traviata, and IITrovatore. The HOUSTON GRAND OPERAoffers for rent scores and parts for Don Carlo,L'Elisir d'amore, Fidelio, Die Fledermaus,Otello, Rigoletto, Die Zauberflote; the SANDIEGO OPERA lists Aida, La Cenerentola, IITrovatore; and BALTIMORE OPERA offers LesContes d'Hoffmann and Falstaff. []

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LATEST CAREER GUIDE SUPPLEMENT(lists new information since Addenda in Vol. 27, No. 2)

To be used with Career Guide for Young American Singers (Fifth Edition) published in 1985.Only entries marked "insert" are new and complete listings. All others, marked with pagenumbers only, contain only information which differs from the original entry; those details notamended here remain the same.

Complete Addenda to the 1985 edition of the Career Guide may be ordered for $2.50 prepaid.A copy of the Guide with Addenda is $9.50, postage included.

GRANTS FOR CANADIAN ARTISTS

Vancouver Opera Guild (page 4) — Deadline: 4/30/871684 West 60 Ave., Vancouver, BC V6P 2A6; Mrs. R.M. LePage

REGIONAL, NATIONAL AND INTERNATIONAL COMPETITIONSIN THE UNITED STATES & CANADA

CALIFORNIAHenry Holt Scholarship Auditions (page 5)Deadline: 3/11/87; competition: 3/28/87 at Foothill College, Los Altos Hills

Victor Fuchs Memorial Awards (page 6) — Deadline: 3/20/87

Zachary Society National Opera Awards (page 6)Deadline, New York: 2/13/87; auditions: 3/9-13/87Deadline, Los Angeles: 4/10/87; auditions: 4/27/87; finals (Los Angeles): 5/31/87New York winners receive round trip flight to Los Angeles and 4 days' housing to participate

in finals. — Awards to semifinalists: Audition for German agent in Los Angeles

DISTRICT OF COLUMBIANational Symphony Orchestra Young Soloists' Competition (page 7)Deadline: 2/2/87; competition: 3/7,8/87Application: add — Application must include a self-addressed stamped envelope.Requirements: add — Applicant must provide piano reduction for accompanist and a solo part for

judges. All contestants will work with an accompanist to be furnished by the National Symphony.Required repertoire: add — English and at least one other language required.

ILLINOISIllinois Opera Guild, Auditions of the Air (insert page 8)c/o DePaul University, School of Music, 804 West Belden Ave., Chicago, IL 60614; Adele

Szymanski, Executive Director of AuditionsAge limit: 20-33 as of 5/87; Deadline: 4/1/87; semifinals: 6/18,19/87; finals: 6/20/87Requirements: U.S.-resident citizen, must not have sung a leading role with a major opera

company. Completed application form with tape cassette of at least 3 operatic selectionsin original keys and languages. Birth certificate to be shown at semifinals.

Accompanist furnished on request.Prizes: 1st: $5,000 and appearance at a Chicago Grant Park concert and a WGN special radio

broadcast; 2nd: $2,000; 3rd: $1,000

INDIANAMacAllister Awards for Opera Singers (page 8)Indiana Opera, 7515 East 30 St., Indianapolis, IN 46219Deadline: 2/20/87

MARYLANDRosa Ponselle International Vocal Competition for Aspiring Young Artists (page 9)Rosa Ponselle Foundation, Elayne Duke, Pres., "Villa Pace," Stevenson, MD 21153Age limit: 21-32 as of 11/15/87; Fee $35Deadline for North and South American applicants: 3/15/87; for others: 4/30/87Fourth Competition: Semifinals: 11/16/87; finals: 11/19/87 (both at Tully Hall, New York, NY)Preliminary auditions: 4/6-30/87 in Toronto, Oberlin, Chicago, Bloomington IN, New York

City, San Francisco, Los Angeles, Houston, Washington DC; 6/6/87 in Milan, ItalyPrizes: Eight awards from $1,000 to $15,000 and three medals; also three ROSA study awards.

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NEW YORKArtists International Presentations, Inc. (page 12)Young Musicians Category

Deadline: 3/9/87; competition: 4/87; no feeArtists International Distinguished Artists Award Auditions

Deadline: 3/9/87; competition: 4/87; no fee

The Ferruccio Busoni Society, Inc. (insert page 12)telephone: (212) 757-7876—International Voice Competition in New YorkNext competition: 1986-87; contact Society for dates. Age limit: 17-30

East & West Artists Vocal Competition (page 13) — Deadline 4/1/87; competition 5/87

Harvey Electronics Vocal Competition (insert page 13)23 West 45th St., New York, NY 10036; (212) 575-0527Write for application forms.Age limit: 18-35; Deadline: 4/15/87; competition: 5/26/87; finals at Alice Tully Hall: 5/26/87

(broadcast)Requirements: U.S. citizen; Fee: $25; no reviewed New York City debut.Prizes: 1st: $5,000; 2nd: $3,500; 3rd: $2,000; 4th: $1,000

Carnegie Hall International American Music Competition (page 13) (formerly InternationalCompetitions for Excellence in the Performance of American Music)

Kristin Kuhr, Dir., replaces W. RouderDeadline: 2/16/87; Semifinals: 9/21,22/87; finals: 9/26,27/87Joy in Singing Award (page 13)Joy in Singing, 1 West 72nd St., New York, NY 10023, attn. Secretary; Paul Sperry, DirectorSong literature onlyPrize: New York debut recital.

Metropolitan Opera National Council Auditions (page 14)1986-87 Regional Auditions: add Southwest (San Antonio) 2/22/87

Musicians Emergency Fund (page 15)Annual; Age limit: 24-33; Deadline: 3/20/87; competition: 5/12-22/87Requirements: Must have sung one major role with regional opera company and/or professional

concert performance in the past 24 months; must be resident of New York State or studiedthere for one year immediately prior to '87 auditions.

Prizes: 1st: $10,000 Paul Cravath & Vera Cravath Gibbs Memorial Award; 2nd: $5,000; 3rd: $2,000;additional contractual awards.

OHIOAmerican Opera Auditions (page 17)Deadline: 2/28/87; auditions: Cincinnati, 4/18/87; New York City, 5/11-13/87Requirement: U.S. citizen, or resident or student in U.S.Awards: Operatic debut performance in Italy (L'Azienda Teatrale Alessandrina), role preparation

and round trip paid as well as modest living stipend while in Europe.

PENNSYLVANIAOpera Company of Philadelphia/Luciano Pavarotti International Competition (page 17)Next competition tentatively scheduled for 1987-88

The Minna Kaufmann-Ruud Scholarship (insert page 18)Chatham College, Dept. of Music, Pittsburgh, PA 15232— Distinguished Performance AwardAnnually. In 1986, prizewinners were chosen by the Pittsburgh Opera and Pittsburgh Chamber

Opera. No details about competition requirements and deadlines available at press time.

CANADAConcours International de Musique de Montreal (page 19)Next vocal competition: 1989

Edward Johnson Music Foundation National Vocal Competition (page 20)Open to Canadian (not U.S.) singers.Age limit: women born 5/1/57-5/1/67, men born 5/1/54-5/1/67; Competition: 5/1/87

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FOREIGN COMPETITIONS

BELGIUMConcours International de Chant Lyrique de Verviers see International Competition of LyricalSinging (page 21)Deadline: 8/15/87; competition: 9/14-20/87

Concours Musical International Reine Elisabeth de Belgique (insert page 21)Secretariat du Concours Reine Elisabeth, 20, rue aux Laines, B-1000 BruxellesNext voice competition: 5/10-29/88

BULGARIAConcours International de Jeunes Chanteurs d1 Opera (Sofia) (page 22)Deadline: 2/15/88; Competition: 6/17-7/1/88

CZECHOSLOVAKIAPrague Spring International Music Competition (page 22)Last vocal competition: 1986; next vocal competition not yet announced

FRANCEConcours International de Chant de Paris (page 23)Next vocal competition: 1988

Concours International de Chant de la Ville de Toulouse (page 23)Deadline: 9/15/87; Competition: 10/4-10/87. Prizes: 85,000 Fr. total

HUNGARYConcours International de Musique de Budapest (page 25)Next Erkel - Kodaly Singing Competition: 9/7-20/87Age limit: under 35 on 9/7/87; Deadline: 3/31/87Prizes: 1st: 100,000 forints; 2nd: 60,000 fts; 3rd: 30,000 fts; special prizes.

ITALYConcorso Giuseppe Borgatti (page 25)Competition: 9/22-27/87

Concorso Valentino Bucchi per Giovani Musicisti (page 25)Next vocal competition: 1989

Concorso Internazionale "Citta di Ercolano" (page 26)Competition: 4/8-12/87

G.B. Viotti International Music Competition (page 27)Societa del Quartetto, Casella postale 127, 1-13100 VercelliAge limit: 32; Deadline: 9/15/87; Competition: 10/1-24/87

Concorso Internazionale per Voci Verdiane (page 27)Age limit: 35; Deadline: 5/31/87; Competition: 6/10-20/87Prizes now include an operatic performance in Busseto by the finalists, and advanced training

for 12 singers chosen by the jury.

NETHERLANDS's-Hertogenbosch International Singing Competition (page 27)Age limit: born after 12/31/54; Deadline: 7/1/87; Competition: 8/28-9/9/87Prizes: 1st, 5,000 Fl; 2nd, 3,000 Fl; special prizes for opera, song, Dutch and modern

repertoire.

SPAINConcurso Internacional de Ejecucion Musical Maria Canals de Barcelona (page 28)Age limit: 18-35; Deadline: 1/23/87; competition: 3/23-4/7/87SWITZERLANDInternational Competition for Musical Performers (Geneva) (page 28)Age limit: 30 for women, 32 for men; Deadline: 5/31/87; Competition: 8/28-9/16/87Prizes: Cash prizes totaling 130,000 SFr, recordings, broadcasts, and concert engagementsU.S.S.R.International Tchaikovsky Competition (page 28)15 Neglinnaya Street, MoscowAge limit: 18-34; Deadline: 1/15/90; Competition: 6/14-7/10/90

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OPERA/MUSICAL THEATER COMPANIES IN THE UNITED STATES AND CANADA

For current addresses and other information about opera companies across the United Statesand Canada, see the latest edition of the COS publication Opera/Musical Theatre Companiesand Workshops in the United States and Canada, available for $9.25 including postage.

Los Angeles Music Center Opera (insert page 32)135 N. Grand Ave., Los Angeles, CA 90012; (213) 972-7282; Peter Hemmings, Exec.Dir.AGMA contract; season: October-November; productions/performances: 5/15

Marin Civic Light Opera (insert page 32)P.O. Box 4118, San Rafael, CA 94918; (415) 472-2622; M. Rios, Mus.Dir.Honorarium paid; productions/performances: 4/64

Opera Pacific (insert page 32) — Opening 198717712 Mitchell, Irvine, CA 92714; (714) 474-8000; David DiChiera, Gen.Dir.

San Diego Opera (page 33) — Ian D. Campbell, Gen.Dir.—San Diego Opera Ensemble of young singersProgram: 9-12/87; tour of educational, outreach, community programs; includes abridged operas

West Bay Opera (insert page 34)P.O. Box 1714, Palo Alto, CA 94302; (415) 321-3471; Maria Holt, Gen.Dir.Honorarium paid; season: October, February, May; productions/performances: 3/17

COLORADOFour Corners Opera (page 35)Winter address: 11859A Academy Rd., Philadelphia, PA 19154; (215) 632-2070

CONNECTICUTStamford State Opera (page 36) — DELETE ENTRY; merged with Connecticut Grand Opera

FLORIDAOpera-a-la-Carte (page 37) — DELETE ENTRY; company discontinued

Pensacola Chamber Opera (page 38) — DELETE ENTRY

MICHIGANMichigan Opera Theatre (page 43) 6519 Second Ave., Detroit, MI 48202; (313) 874-7850—Masters Residency Program in Classical Vocal Performance: see under OPPORTUNITIES FOR

SINGERS UNDER 21 at end of this listing

NEW YORK

Opera Theatre of Rochester (page 48) — 130 East Main St., Rochester, NY 14604; John W. Clarke

Singers Theatre (Shrub Oak) (page 48) — DELETE ENTRY

OHIOCincinnati Opera (page 53)—Ensemble Company of the Cincinnati Opera (ECCO!)Deadline: 2/15/87; Auditions for 1987-88: New York, early April '87; Cincinnati, late April '87Dayton Opera (page 54)—Dayton Opera Out Reach (DOOR) ProgramAudition: SummerEight-week training and residency program for 5 singers and 1 coach, in February-March. 55

performances in school programs and parts in one of the Company's productions. Weeklystipend of $250.00; transportation and housing provided.

Requirements: Apply for auditions with resume and photograph.Required repertoire: 1 selection in a foreign language, 1 from an American musical

Lyric Opera Cleveland, Al Fresco Festival (insert page 54)P.O. Box 06198, Cleveland, OH 44106; (216) 231-2484; Michael McConnell, Exec. & Art.Dir.Honorarium paid; season: July-August; productions/performances: 2/9

OKLAHOMATulsa Opera (Addenda page 11)—Tulsa Opera Center: Auditions advanced from July to 4/4/87

RHODE ISLANDRhode Island Civic Chorale and Orchestra (page 57) — DELETE ENTRY; no opera performances

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INSTITUTES FOR ADVANCED TRAINING

UNITED STATES & CANADA

COLORADOAspen Opera Theatre Center (page 64) (formerly Aspen Music Festival Opera Theatre Center)winter address: 250 West 54th St., 10th fl. east, New York, NY 10019; (212) 246-5648Write or call in December for application and deadline information.Auditions are held in January in New York City, Rochester NY, Ann Arbor, Chicago, Denver,

Houston, San Francisco, and Los Angeles.

MINNESOTAMinnesota Opera Institute (page 64)Deadline: 5/1/87; tuition $600; $100 early deposit

CANADACanada Opera Piccola/Advanced Training Opera Centre (insert page 65; formerly page 62)3737 Oak St. #103, Vancouver, B.C. V6H 2M4; (604) 736-1916; Pierette Alarie 5c Leopold Simoneau,

Co-Dirs.

L'OpeYa de Montreal/Atelier lyrique (insert page 65)1157 rue Sainte-Catherine Est, Montreal, P.Q., Canada H2L 2G8; (514) 521-5577; Raffi Armenian,

Mus.Dir., Yvonne Goudreau, Dir.Instruction and own productions; also limited participation in performances of main company.

EUROPE

AUSTRIAGraz - American Institute of Musical Studies (AIMS) (page 65)Audition fee: $30; $10 for full-time students of institutions hosting auditions.Auditions: Houston, 11/26/86; Philadelphia, 12/2/86; Dallas, 1/11/87; Atlanta, 1/19; Orlando,

1/23/87; Albuquerque, 1/28; Norman, OK & Seattle, 1/31; San Francisco, 2/1; Los Angeles,2/2; Bloomington, IN, 2/6; Kalamazoo, 2/11; Washington, DC, 2/13; Cincinnati, 2/14; Columbus,2/15; Austin, 2/20; Montreal, 2/24; Boston, 2/25,26; New York City, 2/27-3/1; Winston-Salem,3/4; Minneapolis, 3/7; Boulder, 3/9; Chicago, 3/30

GERMANYDeutsche Oper Berlin (insert page 67)American Berlin Opera Foundation, 666 Fifth Ave., 21 fl., New York, NY 10103; attn. Amy SperlingAge limit: 18-32; Deadline: 2/15/87; auditions: spring '87, place to be announcedRequirements: U.S. citizen or permanent resident; completed vocal schooling, not under

management. Send resume, snapshot and formal photo in costume, repertoire performed andstudied, 2 letters of professional recommendation, $15 fee.

Apprenticeship with Deutsche Oper Berlin, 9/1/87-7/12/88; stipend of $10,000 and round tripflight New York-Berlin.

ITALYAccademia Musicale Chigiana (insert page 68)Via di Citta 89, 53100 Siena; summer courses; write for catalogue

Bel Canto Foundation Seminar (page 68) — No scholarships for 1987

Studio Lirico (page 68)Apply to: Nick Rossi, Adm.Dir., Studio Lirico, Palagio Fiorentino, Stia (AR)Deadline: 2/15/87; Studio: 6/21-7/19/87Program: In conjunction with Festa Musicale Stiana; opera for 1987: Cimarosa's Le Astuzie

femminili.

SWITZERLANDZurich - International Opera Center (page 68) — Zurich Opera, Falkenstr. 1, CH-8001 ZurichAuditions: 5/87 in New York City and Chicago. Tuition: 6,000 SFr. plus living expenses.

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OPERA/MUSIC THEATER APPRENTICE PROGRAMS IN FIELDS OTHER THAN SINGING

UNITED STATES & CANADAMINNESOTAMinnesota Opera (page 70)—Minnesota Opera InstituteDeadline: 5/1/87; tuition $600; $100 early deposit

NEW MEXICOSanta Fe Opera (page 70) — Deadline: 3/2/87For production apprentices. Interviews held in New York City, Evanston IL, Richmond VA andLong Beach CA. Do not submit resume without application form.

NEW YORK CITYCentral Opera Service (insert page 71)Metropolitan Opera, Lincoln Center, New York, NY 10023; (212) 957-9871; Maria F. Rich,

Executive DirectorProgram: 3-month summer and 6-week winter internships for students in arts administration.

Theatre Communications Group, Inc. (insert page 71)355 Lexington Ave., New York, NY 10017; (212) 697-5230—TCG Director FellowsFor continued development of young professionals with early-career status; NEA-supported under

leadership grants; Deadline: 1/30/87Requirements: U.S. citizen or permanent resident; must have directed at least 1 production with

a professional theatreSix fellowships given at $15,000 each; fellows are assigned to a "master director" to further

artistic development; grant period starts 6/1/87.— Alan Schneider Director Assistance ProgramSupported by the Alan Schneider Memorial FundRequirements: Experienced director with little national visibility; by nomination (dates to be

announced)Provides directing opportunities and subsidizes fees for work with non-profit companies

OHIOCincinnati Opera (page 71) — Deadline: 3/1/87

Dayton Opera (insert page 71)125 E. First St., Dayton, OH 45402; (513) 228-0662; Dennis Hanthorn, Managing Director, David

DiChiera, Artistic Director— Dayton Opera OutReach (DOOR) ProgramAudition: SummerEight-week training and residency program for 1 coach/accompanist and 5 singers, February-

March. Weekly stipend of $250.00; transportation and housing provided.Requirement for coach/accompanist: piano sight-reading test.

PENNSYLVANIAPittsburgh Opera Center (page 72) — Young Stage Directors' ProgramProgram no longer connected with Carnegie-Mellon University.Deadline: December; Age limit: 18-33; Requirement: U.S. citizenship.Workshop period: 5/11-6/14/87

Pittsburgh Opera Festival/Opera Workshop (page 72) — DELETE ENTRY; company discontinued

VIRGINIAWolf Trap Opera Company (page 72) — add Francis Rizzo, Art.Dir.; Deadline: 3/31/87Apprenticeships expanded to include stage management and scenery, props, lighting,

wardrobe, and makeup.

EUROPEITALYStudio Lirico (page 68)Apply to: Nick Rossi, Adm.Dir., Studio Lirico, Palagio Fiorentino, Stia (AR)Deadline: 2/15/87; Studio: 6/21-7/19/87Program: Offers full-tuition scholarship to I administrative assistant, 1 assistant stage director,

1 assistant stage manager. Some knowledge of Italian helpful. In conjunction with FestaMusicale Stiana; opera for 1987: Cimarosa's Le Astuzie femminili.

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OPPORTUNITIES FOR SINGERS UNDER 21

CALIFORNIABlanche Thebom Award for the Outstanding Young Singer of the Year (insert after page 72)1216 19th St., San Francisco, CA 94107Age: 15-20; Deadline: 11/1/86; Competition (San Francisco Conservatory): 11/16/86; performance

(Herbst Hall): 11/22/86Requirements: Born in U.S., Bay-area resident for at least 3 years; entry through recommendation

by qualified organizations onlyRequired repertoire: 2 arias from opera and 1 from oratorio in the original languages and keys; 1

selection to be sung in English

DISTRICT OF COLUMBIAThe Itzhak Perlman Scholarship (for voice students with a disability) (insert after page 72)"Very Special Arts," Education Office, Kennedy Center, Washington, DC 20566Age limit: under 21Requirements: Cassette of vocal performance, letter of recommendation from teacher or other

sponsor, and biography.

FLORIDANational Foundation for the Advancement of the Arts (insert after page 72)100 North Biscayne Blvd., Miami, FL 33132; (305) 371-9470National scholarship program for high school students; cash awards; the best are designated as

Presidential Scholars, with a visit to the White House.Age: 17-18

MICHIGANMichigan Opera Theatre (insert after page 72)6519 Second Ave., Detroit, MI 48202; (313) 874-7850—Masters Residency Program in Classical Vocal PerformanceCo-sponsored by Detroit Council for the Arts.Age limit: 16-21Master classes, 7/7-8/14/87. Academic credits for currently enrolled high school students. By

audition only.Fee: Free to Detroit students, $50 for all others

LATE ADDITION

The Royal College of Music in London offers, for the first time, summer courses for Americanstudents, scholars and professional musicians from July 4 to 25. Further information andregistration forms may be obtained from UCLA Extension, UCLA/Royal College of Music Program,Room 414, Box 24901, Los Angeles, CA 90024. []

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WINNERS

SingersAt the third annual Rosa Ponselle InternationalVocal Competition for Aspiring Young Singersin 1986, once again no first prize of $15,000was awarded, and the money was divided be-tween the Lyric Opera of Chicago's Center forAmerican Artists and the Houston Grand OperaStudio. KEVIN SHORT, a 25-year-old bass-baritone from Washington, DC, won the silvermedal and second prize of $10,000; coloraturasoprano CHERYL PARRISH of Texas took thebronze medal and the $8,000 third prize; andCanadian TRACY DAHL, also a coloraturasoprano, received the Maria Jeritza Prize of$4,000. The Elisabeth Rethberg Award of$2,000 went to dramatic coloratura sopranoDeLAINE MORROW of Denver, and the $1,500Tito Gobbi Award to KEVIN MAYNOR, bass ofMt. Vernon, NY. Four other young artists weregiven $2,000 ROSA Study Grants: ANGELIQUEBURZYNSKI of California; HAO JIANG TIANof Beijing, China; JACALYN BOWER of Oregon;and NICHOLAS KAROUSATOS of New YorkCity.

NICHOLAS KAROUSATOS also won the Musi-cians Emergency Fund competition, receivingthe $10,000 Paul Cravath and Vera CravathGibbs Memorial Award and an additional $7,000in performance contracts. JUDY BERRY, so-prano, won the second prize of $5,000, andbass JOSE GARCIA the third prize of $2,000.

Opera Index, Inc./The New York Opera Clubhas announced the winners of its annual compe-tition. First was JOSE GARCIA (see also above)who won the Francis Connolly Memorial Awardof $1,500. The others, each receiving $1,000,were sopranos RUTH GOLDEN and GURCELLHENRY, mezzo MEREDITH PARSONS, tenorRICHARD BURKE, and bass-baritone KURTLINK. $500 study grants were awarded toJEAN GLENNON and AMANDA HALGRIMSON,sopranos, and REBECCA RUSSELL, mezzo-soprano.

Chicago was the scene of the 1986 NationalAssociation of Teachers of Singing ArtistsConvention, and of NATS' annual awardsceremony. The first prize, $5,000 and ascholarship to the American Institute of MusicalStudies in Graz, went to mezzo-soprano DEBRAKAY FITZGIBBON of Ypsilanti. In second placeand winning $2,500 was JAMES DAVID ROBIN-SON, baritone of Fort Worth. The EleanorSteber Music Foundation Award of $2,500 waswon by BARBARA CUSTER, soprano, of Port-land, OR, while soprano CHARLEEN AYERS ofWichita won the $1,500 Mary Wolfman Scho-larship Award. Runners-up were sopranos

DEANNE McBROOM of Charleston, SC, andGALE JOHNSON ODOM of Shreveport.

The Liederkranz Foundation has presented itsScholarship Awards for 1986. In the generalcategory, DeLAINE MORROW won the firstprize, $3,000; JUDY BERRY won $2,500;RICHARD COWAN and DEBORAH PARKER,$2,000 each; SANDRA MOON, $1,500; andVICTORIA LIVENGOOD, MARILYN ALTMAN,STAN BLAIR, SUSAN GONZALEZ, and ROSAVENTO each won $1,000. The special awardsfor Wagnerian voices went to soprano ELAINEBUNSE ($2,750), tenors GEORGE GRAY ($2,200)and EDWARD CROOK ($2,000), and sopranoMELISSA THORBURN ($1,000).

Indiana Opera Theatre has announced thewinners of its 1986 MacAllister Awards forOpera Singers. The first prize of $10,000 wastaken by 34-year-old tenor MICHAEL SYLVES-TER; second was MARK BAKER, tenor, whoreceived $5,000; and JENNIFER LARRIMORE,27-year-old mezzo, won $3,000. Finalistsreceiving $1,000 were KIMBERLY BARBER,JOHN CIMINO, MARK DOSS, RUTH GOLDEN,MARCUS HADDOCK, RAY JACOBS, and LEEVOLTA.

Artists International Presentations has awardedthe 1986 first prize in voice in the YoungMusicians category to soprano ENA FREEMAN.She will be presented in concert at Weill(Carnegie) Recital Hall in March 1987.

The three winners of the Amato Opera Scholar-ship Competition, held by the Amato OperaCircle, were all sopranos: CHRISTINE SPRIN-GER ($500), LUVADA HARRISON-DAVIS ($300),and KATHLEEN CUVELIER ($200).

At its November conference, the National OperaAssociation (NOA) selected its 1986 prize-winners. In the Scholarship category, 24-year-old baritone LEROY VILLANUEVA won the$1,000 Constance Eberhart Memorial Award,and also received partial scholarships to theAmerican Institute of Musical Studies in Graz,Austria, the Banff Centre Music Theatre Studio,and Studio Lirico in Stia, Italy. The secondprize of $500 went to soprano MARY ANNBOZZUTI. The winners in the Artists Divisionwere JEAN LOFTUS, mezzo-soprano from Syra-cuse, who was awarded $1,000 and a $1,500AIMS scholarship, and LaVONNE ALEXANDER,soprano from Sylmar, CA, who came in second.

La Serva padrona was presented last Augustby American Opera Auditions of Cincinnatifeaturing two recent winners of its competition,

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CYNTHIA AARONSON (1985) and ROBERTVIOLETT (1986). Two other winners in 1986,Korean-born New York resident soprano CHUNHEUI-YUNG and baritone VICTOR BARRETT ofWinchester, VA, were assigned leading roles inLucia di Lammermoor, scheduled for Septemberat the Teatro Comunale di Alessandria, Italy.

The San Francisco Opera Center opened its1986-87 series of Schwabacher Debut Recitalson December 7 with a joint program by mezzoKATHRYN COWDRICK and tenor ROBERTSWENSON. Further recitals are to be given bysoprano NIKKI LI HARTLIEP (1/11), baritoneBEN HOLT (2/15), and tenor JOHN DAVIDDeHAAN (3/22). Artists presented in theSchwabacher Recitals are chosen from formerparticipants in some of the Center's programsfor young singers.

Greenwich House Music School chose one winnerfrom each of its three master classes (see"Education"): sopranos SUSAN GONZALEZ andMARGARET LEE, and tenor CRAIG SCHUL-MAN. They will share the $1,000 LeonardWarren Opera Master Class Award.

Santa Fe Opera named its Outstanding Appren-tices at the close of the 1986 season. A jointfirst prize went to soprano MARYTE BIZIN-KAUSKAS, mezzo JULIA DAVIDSON, and bassDONALD SHERILL. Chosen in the next roundwere sopranos JANE MUNSON, LISE SOFFER,and REBECCA KWART, baritone DAVID RICE,and bass HENRY RUNEY. The Judith RaskinMemorial Award was given to sopranoGENEVIEVE WHITE, and that of the NationalFederation of Music Clubs to mezzo CAROLEEVERETT. Two technical apprentices (wigsand make-up) were also singled out: REBECCAWATSON and PAUL TAZEWELL.

ECCO!, the Ensemble Company of the Cincinna-ti Opera, has engaged six new members for its1986-87 program: sopranos MARILYN ALTMANand PAMELA BATHURST, mezzo ANN FOXCONRAD, tenor EDWIN ANDERECK, andbaritones DAVID SMALL and CHRISTOPHERARNESON.

Opera Carolina's resident artists for the 1986-87 season are sopranos KIMBERLY PARSONS,JENNIFER ROBINSON, and BETH SCHWARTZ;mezzos ALICIA MARIA HELM and KARENNESTVOLD; tenors RICHARD FRACKER andJAMES TAYLOR; and baritones DAVID BUD-GELL and GREGG LAUTERBACK.

GREGORY MacLEOD, tenor, has won theVancouver Opera Guild's 1986 Career Develop-ment Grant of $2,500. — Baritone GREGOIRELEGENDRE of L'Opera de Montreal's Atelier

Lyrique received an award of $1,000 from AriaMagazine and the Royal Bank as the Atelier'sbest young singer of 1986. The award wasfirst given in 1985, when the winner was sopra-no YOLANDE PARENT.

At the prestigious International TchaikovskyCompetition in Moscow, New York sopranoBARBARA KILDUFF shared the second prizein voice for women with ANA-FELICIA FILIP,a mezzo from Romania. Each received a silvermedal and $1,400. First prize went to Sovietmezzo NATALIA YERASOVA. All winners inthe men's vocal division were Soviet artists:baritone GRIGORI GRITSYUK (first) and bassesALEXANDER MOROZOV (second) and BARSEGTUMANYAN (third).

In Munich, BARBARA KILDUFF received firstprize in the women's division at the 1986International Music Competition of the BavarianRadio. In the men's division, all three winnersrepresented the U.S.A.: countertenor DEREKRAGIN of Newark, NJ finished first, baritoneJACOB WILL of California was second, andSAMUEL COOK of Houston came in third.

American bass MARK DOSS of Chicago wonfirst prize at the 26th Concorso Internazionaleper Voci Verdiane di Busseto last year. Amonghis prizes are an appearance in a Verdiproduction in Busseto and a possible contractwith the Vienna State Opera through ClaudioAbbado.

Soprano HELEN BICKERS of Georgia was thirdat the Internationaler Belvedere Wettbewerbfur Opernsanger in Vienna. First place wentto soprano YOLANTA WROZYNA of Poland andsecond to bass TEODOR CIURDEA of Romania.

This year no first prize was awarded at the's-Hertogenbosch International Singing Compe-tition, but two Americans, baritone NED BARTHand tenor KURT STREIT, were the winners insecond place, as was the Canadian mezzo SAN-DRA GRAHAM in the women's division. — MissGRAHAM also received third prize at the inter-national singing competition in Toulouse, wheretwo Americans placed first and second in themen's category: DANIEL WASHINGTON and Mr.BARTH.

Of the four awardees selected by the ViottiInternational Music Competition in Vercelli lastyear, one was an American: tenor SAMUELCOOK of Chicago.

At the American Institute of Musical Studies(AIMS) in Graz, Austria, the MeistersingerCompetition sponsored by Mobil Oil Austria waswon by tenor MARK HESTER. Sopranos HELEN

(continued on page 73)

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CENTRAL OPERA SERVICE NATIONAL CONFERENCE

New York City, October 21-24, 1987

OPERA AT THE CROSSROADS

The annual growth of Opera in the United States has been phenomenal; the past sea-son has not been an exception as far as the increase in the number of performancesis concerned.

But—subscriptions have lagged, financial support has diminished.

Are we at the crossroads with decisions to be made regarding

repertoire - marketing - fundraisingthe role of management, the role of the board of directors

opera/musical comedy training of singers

The 1987 Central Opera Service National Conference will seek a variety of creativesuggestions in answer to these current, urgent problems.

As always, COS is gathering the leaders and experts in the field to offer imaginativediscussions on these vital topics, and you, the audience, are invited to ask questions,and to listen and observe how new ideas are born and innovative policies are shaped.

If you have attended previous COS National Conferences, you will remember the ex-citement and stimulation they create—if you have never attended, you will not wantto miss this opportunity.

We promise you an inspiring, informative and entertaining event.

Many leading American opera companies will be represented by their artistic or ge-neral administrators or officers. In addition, we have invited Frank Hodsoll, Chairmanof the National Endowment for the Arts, as well as officers of some national founda-tions and corporations with active grants programs in the arts. And last but certainlynot least, you will meet some of your favorite performers.

Opening Thursday afternoon, October 21, with a reception for COS delegates hostedby the Metropolitan Opera Association, the Conference is scheduled to coincide withnew or particularly interesting productions at the Met and the New York City Opera:

At the Metropolitan Opera: At the New York City Opera:Das Rheingold (new 1987) The Magic Flute (new 1987)Die Walkiire (new 1986) FaustWanon (new 1987) The Rake's Progress (new 1984)Tosca Turandot (new 1985)L'Elisir d'amore Cavalleria rusticana & Pagliacci (new 1987)

As always, a limited number of tickets will be available for Conference registrants.Ticket order forms will be attached to the COS Conference Registration.

Meetings will be held at the Essex House, and rooms have been reserved there andat the nearby Mayflower Hotel for COS Conference delegates at reduced rates.

Conference registration forms and hotel reservation cards will be mailed in thespring. (Nonmembers please request copies.) Meanwhile,

Mark the dates - Reserve the time - Plan to attend!

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COS INSIDE INFORMATION

We are delighted to announce these new dates for the next COS National NATIONALConference, replacing those of June '87 previously published. Unfortu- CONFERENCEnately, the summer program in California had to be abandoned when theSan Francisco Opera cancelled its summer season. We sincerely hopethat we have not inconvenienced our members and other faithful conferencedelegates too much, and that the announcement of the change of dateand place has come in good time for everyone to rearrange their schedules.

We feel that the coming Conference will be of particular importance andlook forward to our members' attendance and participation. Detailed in-formation, accompanied by registration forms, hotel reservation cards andopera ticket order forms, will be sent to all members and the completeCOS mailing list in the spring. Nonmembers are invited to request copies.

A completely new edition of the COS Directory of OPERA/MUSICAL NEW COSTHEATER COMPANIES AND WORKSHOPS IN THE UNITED STATES AND PUBLICATIONSCANADA, 1986-87 has been published and is available for $8.00 plus $1.25for postage and handling. It includes the names of execut ive and a r t i s t i cd i rec tors , information on performance spaces , and adjusted codes ref lect ingthe companies ' budgets according to the la tes t avai lable figures from the1985-86 season (see also "Principal Companies" below).

A new and updated list of all t i t les available for Projection of EnglishCaptions, e i ther on slides or on computer t ape , may be ordered for $5.00.

Also priced a t $5.00 is the complete List of U.S. Repertory, 1985-86. Thisis arranged by the following ca tegor ies :

1. S tandard or classical—282 t i t l e s ; 6,324 performances2. American and foreign contemporary—378 t i t l es ; 4,756 performances3. Musicals at opera companies, and light opera & nonprofit t hea t e r s

—301 t i t l es ; 6,993 performances

ADDENDAS for the following COS Directories have been updated and thenew editions ref lect the la tes t changes, additions and delet ions:

Addenda/Directory of Sets and Costumes (24 pp) $6.00 (orig.w.add. $14.00)Addenda/Directory English Translations (18 pp) $6.00 (orig.w.add. $12.50)Addenda/Career Guide for Young Singers (17 pp) $2.50 (orig.w.add. $ 9.50)

The above prices include postage; for overseas orders please add $2.00.A publication price list is available upon reques t .

With the expansion of the opera t ic universe in the United S ta t e s and the PRINCIPALgrea te r diversif ication of opera companies, we found tha t a more represen- OPERAta t ive classification of opera organizat ions was needed. Many have out- COMPANIESgrown the generally accep ted concept of "regional companies", and a newdesignation for b e t t e r identif icat ion seemed required . In the COS list ingof opera companies all those with budgets over $1 million were designatedas G or Grand opera companies, with the result tha t the four majorhouses a r e sharing this identif icat ion with American companies tha t , a l -though still referred to as regional, do not fit either categorization.

After careful consideration and consultation with various professionals,Central Opera Service has identified and established a new category—thatof the PRINCIPAL OPERA COMPANY. It comprises all professional com-panies with budgets between $1 million and $10 million, budgets that must

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have been at that level for at least two consecutive seasons. Other pre-requisites are an annual minimum of three productions, each in at leastthree performances, and the main auditorium seating at least 1,000. Sub-sidiary companies are not included. Light opera companies with budgetsover $1 million, operating as nonprofit organizations, will be designatedas Principal Light.

Grand Opera Companies (arranged in alphabetical order by state):CA—San Francisco Opera IL—Lyric Opera of ChicagoNY—Metropolitan Opera NY—New York City Opera

Principal Opera Companies:CA—Los Angeles Music Center OperaCO—Opera Colorado, DenverDC—Washington OperaKY—Kentucky Opera, LouisvilleMD—Baltimore OperaMI—Michigan Opera Theater, DetroitMO—Lyric Opera of Kansas CityNC—Opera Carolina, CharlotteOH—Cincinnati OperaOK—Tulsa OperaPA—American Music Theatre Fest.PA—Pittsburgh OperaTX—Houston Grand OperaWA—Seattle OperaALT A—Edmonton OperaONT—Canadian Opera Co., Toronto

CA—San Diego OperaCT—Connecticut Opera, HartfordFL—Greater Miami OperaLA—New Orleans OperaMA—Opera Company of BostonMN—Minnesota Opera, St. PaulMO—Opera Theatre of St. LouisNM—Santa Fe OperaOH—Cleveland OperaOR—Portland OperaPA—Opera Co. of PhiladelphiaTX—Dallas OperaVI—Virginia Opera, NorfolkALTA—Calgary OperaBC—Vancouver OperaPQ—L'Opera de Montreal

Principal Light Opera/Musical Companies (incomplete):CA—Long Beach Civic Light Opera CA—San Diego Civic Light OperaCA—San Jose Civic Light Opera CT—Goodspeed Opera HousePA—Civic Light Opera, Pittsburgh TX—Theater Under the Stars

PUBLICITY With production and publicity costs rising continuously, and with greaterEXCHANGE: demand for more sophisticated public relations, the rental or exchangeA NEW SERVICE of press/publicity material especially prepared for individual operas seems

as viable as it is practical—the same as the exchange and rental of sets,costumes, or projected English captions.

As a result of discussions at the last OPERA America Conference in Jan-uary '87, COS will be collecting information from opera companies ontheir PUBLICITY MATERIAL FOR SPECIFIC OPERAS available for rentor sale. These may be radio or television spots, artwork, press material,posters, banners—any kind of advertising material for individual operaswhere the new company's name can be substituted for your own.

While information on such items will be requested on the next COS ques-tionnaire, we invite companies to send us information on available materialright away. Be sure to include all details you would wish to know ifyou were planning to rent or buy such filmed, taped, written or drawnartwork. We shall compile and publish a listing as soon as sufficientoffers have been received, and make this list available to opera companies.We shall, of course, also be pleased to answer any inquiries, and willupdate our compilation as additional information is received.

-46-


The year 1987 will mark the thirty-fifth anniversary of the METROPO- ANNIVERSARIESLITAN OPERA NATIONAL COUNCIL, the parent organization of CentralOpera Service. The National Council, the Regional Auditions Program,and COS itself (founded two years later) were created by Mrs. AugustBelmont and were her children, whom she watched and nurtured andbrought along until they grew into healthy mature adults. All of us whoknew her and loved her will always remember that no chore was too smallto receive her attention, no accomplishment too insignificant to be noticedand to receive her approval, praise, and thanks. She would be pleasedto see the flourishing of MONC's successful activities and, on this thirty-fifth anniversary, we salute her gratefully for her vision of opera—andalso salute the men and women who have led the Council in variouscapacities and made it the valued and respected organization it is today.

The year 1987 is also an anniversary year for Central Opera Service.Twenty-five years ago Robert L.B. Tobin was named COS National Chair-man (adding "Honorary" to the title twelve years later), and he, in turn,asked Maria F. Rich, a volunteer in 1962, to come on the staff of theorganization, where she continues to serve as Executive Director.

New to the COS staff this winter is JOHN W.N. FRANCIS, who joinedthe organization as Administrative Assistant. His background in music,research, publishing and computerese makes him well suited for the mani-fold activities and demands of the job. We are indeed fortunate to havehim, as we are in Cheryl Kempler, our knowledgeable Assistant to theDirector, head of membership and research for the last three years. Thisintroduction also serves as reminder that any of us will be happy toanswer our members' inquiries.

We must note with great sorrow the passing of our faithful volunteer,Mr. EGON KLEIN. For more than ten years, he could be seen twice aweek arriving early and delving into ever-growing memo books to keepthe COS information on European seasons current. This was his departmentand he developed the books with dedication, diligence and great knowledge,building a reference archive which is much needed and frequently con-sulted. In the little time we would take for private talk he would tell ofthe legendary performances he saw in his native Vienna, performancesfor which he had kept the opera programs but did not need the documentsto remember the "unforgettable Jeritza, or Mayr, or Piccaver." We shallmiss him dearly; the six large and unique books full of information onopera in European centers, information he had gathered and recorded forCOS will be a living testimonial to his work for COS and to his love ofopera. []

NEW STAFFMEMBER

IN MEMORIAM

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CENTRAL OPERA SERVICE ANNUAL U.S. SURVEYSTATISTICS 1985-86

Opera/Musical Theatre Companies and Workshops

PERFORMING CROUPS*

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

Total

NUMBER OF PERFORMANCES

Standard repertoireContemporary foreign repertoireContemporary American repertoire

sub-total

Musicals (exclusive of commercial theatres)Total

NUMBER OF OPERAS PERFORMED

StandardContemporary (foreign)Contemporary (American)

sub-total

Musicals

Tolalt

World Premieres

Premiere Readings (not incl. in World Prems.)

American Premieres

Attendance (in millions)

EXPENSES (in millions)Companies: over $100,000 budgetCompanies: J25.0OO-J99.999 budgetsAll others

Total

84-85 83-84 82-83 10-81 74-75 70-71 64-65 54-55

170602404

168576379

154491406

144488399

127456436

54335418

40269376

27296409

na280167

1,176 1,123 1,051 1.031 1.019 807 685 732 447

6,324 6.502 5.884 5,909 5,475 4,097 3.332 2.643 1.844564 603 621 596 555 677 504 1,533 1,373

4,192 3,537 3,916 4,188 3.653 1,654 1,410 na na11,080 10,642 10,421 10,693 9,683 6,428 5,246 4,176 3,217

6,993 4.983 2,787 2,749 2,25118,073 15,625 13,208 13,442 11,934

na na na

28264

314660

301961

116

58

31

14.4

26153264578

242820

121

39

24

14.1

25461261576

129705

101

27

24

13.04

27864

248590

120

Tio96

16

28

12.7

26362

234559

118677

88

27

25

11.1

20971107387

nana

16

11

8.0

1586799

324

nana

35

11

6.0

167164na

331

nana

na

-

na

na

103107na

210

nana

na

na

ne

$270.3 S256.5 $236.7 $212.4 $161.65.0 4.9 4.7 4.9 4.9

46.1 43.2 38.4 41.6 42.4J32T4 $304.6 $279.8 $258.9 $208.9

•DETAIL OF PERFORMING CROUPS number of companies1985-86 1984-85

number of performances1985-86 1984-85

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

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

sub-total

Orchestra/ Festival/ChorusSmall Companies/Avocational/Clubs, etc.Theatres (non-profit)

sub-total

Total Companies

College/University Workshops

Total Producing Organizations A Performances

39366233

170

484593

186227509

772

404

1.176

306433

168

494897

102194183479

744

379

1.123

8,755

2,842

18,073

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

Gilbert 4 Sullivan (14)Classical operettas (31)Musicals (301)

In addition to regular season:Companies: community/educHtional

service programsAcademia: community/educational programsAcademia: scene programs

Academic - joint programs w. companiesAcademic - Opera/Mus.Th. degree programs

15352

102

57

16673

124

7657

862847

6,9938.702

5.669224258

6.867

2.727

15.625

1.076583

4,9836,642

5,511394383

Projected English Captions 85-86: 290 sets for 105 different operas used by 75 comps (84-85: 181 sets, 53 comps; 83-84: 12 sets).

tAn annual listing of the complete US. Repertory is available from Central Opera Service. It is arranged by standard,contemporary and musical works, showing the number of performances; world premieres, readings and American premieres areespecially indicated. Copies are available at $5.00 including postage.

An analysis of the season may bo found in Vlaria F. Rich's opera survey article in Opera Sews. November '86.

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COS SALUTES...

...DORLE J. (Mrs. Dario) SORIA of the Metropolitan Opera Guild andContributing Editor of Musical America, and CHARLES WADSWORTH,Artistic Director of the Chamber Music Society of Lincoln Center, whoeach received the title of "Chevalier of the Order of Arts and Letters",awarded by the French Ministry of Culture.

...conductor LEONARD SLATKIN, Music Director of the St. Louis Symphonyand of the 4-week Viennese Sommerfest of the Minnesota Orchestra, whoreceived the Austrian Republic's Silver Declaration of Honor, bestowedon him in the form of a silver medallion by the Austrian Ambassador.

...HARVEY LICHTENSTEIN, Executive Director of the Brooklyn Academyof Music, recipient of the West German Government's Officer's Cross ofthe Order of Merit "for his outstanding contribution to cultural relations"between the Federal Republic of Germany and the United States bypresenting German artists to American audiences.

...the musicians among the 25 personalities chosen by the MacArthurFoundation for its "Genius" awards of $200,000-300,000 over a five-yearperiod: composer and educator MILTON BABBITT; composer, author andCUNY's professor emeritus GEORGE PERLE; and composer and teacherCHARLES WUORINEN.

...the following musical artists who were among the 87 distinguishedforeign-born New York residents awarded the Liberty Medal by MayorEdward Koch at the Statue of Liberty ceremonies last July: LICIAALBANESE, ZINKA MILANOV, JARMILA NOVOTNA, ZUBIN MEHTA, GIANCARLO MENOTTI, and FRANCO ZEFFIRELLI.

...the 1986-87 awardees of the New York City Mayor's Award for Artsand Culture, including AT&T Chairman JAMES OLSEN for support toseveral performing arts organizations; LAWRENCE WIEN, benefactor ofLincoln Center; and ROSETTA LeNOIRE, Executive Director of the AMAStheatre company.

...MARILYN HORNE, JON VICKERS, and Maestro JAMES LEVINE, recipi-ents of the 1986 Arturo Toscanini Artistic Achievement Awards.

...composers RICHARD WERNICK and BERNARD RANDS (first prize),JOHN ADAMS (second prize), and JOSEPH SCHWANTNER (third prize),winners of the 1986 Kennedy Center Friedheim Awards.

...composer RADIE BRITAIN, who was named Fellow of the AmericanInstitute of Fine Arts, as well as "Woman of the Year", by the NationalLeague of American Pen Women.

...the selection of the 18th annual Arts Management Awards which weregiven, for the first time, in the same field and for the same type ofposition: THOMAS HALL, Managing Director of San Diego's Old GlobeTheatre, was named Arts Administrator of the Year, and PETER W.CULMAN, Managing Director of Baltimore's Center Stage, was given theCareer Service Award.

...RUTH FELT and her management, SAN FRANCISCO PERFORMANCES,as first recipient of the $5,000 Harold Shaw Award to a performing artspresentor in recognition of support for recital presentations.

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COS SALUTES

...personages and organizations on the occasion of special anniversaries:CHRISTOPHER COLUMBUS (1492-1992), whose quincentenary will spurgreat festivities with some emphasis on the U.S./Spanish heritage. Afive-year celebration in Spain will be inaugurated in September '87 bythe world premiere of Balada's opera, Christopher Columbus (see "NewOperas Abroad").

...playwright and librettist SIR WILLIAM S. GILBERT, on the 150thanniversary of his birth (November 1836), and playwright EUGENE O'NEILL,whose 100th anniversary will be celebrated next year.

...the 100-year-old Teatro alia Scala in Milan, which will celebrate itscentennial with a new production of Otello with PMcido Domingo, eon-ducted by Carlos Kleiber.

...the following composers in special anniversary years during this season:the late HEITOR VILLA-LOBOS (100th birthday), MIRIAM GIDEON andLOUISE TALMA (80th birthdays), LOU HARRISON and GEORGE ROCH-BERG (70th birthdays), IAIN HAMILTON (65th birthday), and HANSWERNER HENZE (60th birthday).

...a half-century of representing, protecting, and negotiating for singers,dancers, stage directors and stage managers by AGMA, the AmericanGuild of Musical Artists, established 50 years ago with Lawrence Tibbettas its founding president, and now with Nedda Casei in that office.

...and a half-century of OPERA NEWS, the leading American publicationon opera, sponsored by the Metropolitan Opera Guild, and a salute to itsthree editors during those 50 years, the late MARY ELLIS PELTZ, FRANKMERKLING, and ROBERT JACOBSON.

...the 50-year-old CARMEL BACH FESTIVAL, the oldest summer musicfestival on the west coast; and the 30-year-old AUSTRALIAN OPERA,sharing the anniversary with its attractive and unusual SIDNEY OPERAHOUSE.

...the 30-year-old HOUSTON GRAND OPERA, which had its birthday par-ty at Jones Hall last summer and will continue the celebration with itsopening production at the new Wortham Performing Arts Center nextOctober. More kudos are in order for the company's videotaped perfor-mance of Treemonisha, an Emmy recipient in the category of OutstandingSpecial Class Programming from the Academy of Television Arts andSciences.

...an unlikely combination of companies at their quarter-century milestones:Ellen Stewart's LaMAMA EXPERIMENTAL THEATER CLUB; DEUTSCHEOPER BERLIN in West Berlin; and the SCOTTISH OPERA in Glasgow.

...two major arts service organizations on their silver anniversaries:AFFILIATE ARTISTS, for its achievements on behalf of young artists andcommunity support, and THEATRE COMMUNICATIONS GROUP (TCG), forits achievements on behalf of American theatre, its creators, producersand performers.

...the OPERA ORCHESTRA OF NEW YORK, celebrating its 15th anniver-sary. []

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APPOINTMENTS AND RESIGNATIONS

Federal/Regional/State AgenciesThe National Assembly of State Arts Agencies(NASAA) elected GARY YOUNG Chairman; heis the Executive Director of the ConnecticutCommission on the Arts. — Arts Midwest, anine-state consortium of agencies formed topromote the arts and local artists, elected theExecutive Director of the Ohio State ArtsCouncil, WAYNE LAWSON, as its Chairman.

The California Confederation for the Arts(CCA) chose ROBERT WALKER, BusinessManager and Director of Planning with the SanFrancisco Opera, as President. CCA's aims in-clude consciousness raising for government andprivate support of the arts in the state, func-tioning as a conduit for information and forarts advocacy, and working towards managerialefficiency of state and private arts agencies.— HOLLY SIDFORD, formerly with the Massa-chussetts Council on the Arts, was named Exe-cutive Director of the New England Foundationfor the Arts.

Among the recent appointees heading state artsagencies are GAETHA PACE, Executive Direc-tor of the Idaho Commission on the Arts, JOHNSHELTON, formerly with the Idaho Commission,now Deputy Director of the Nevada State Coun-cil on the Arts, BARBARA NEAL, Acting Exe-cutive to the Colorado Council on the Arts andthe Humanities following the resignation of Exe-cutive Director ELLEN SOLLOD, and JOSEPHKYLE WALLS and JOANNE CHOW WINSHIPnamed to the posts of Executive Director withthe State Arts Council of North Carolina andthe Vermont Council on the Arts, respectively.

CorrectionNeed we tell COS readers that it is PATRICKSMITH who is Director of the Opera-MusicalTheater Program of the National Endowmentfor the Arts? Indeed not, but we do apologizefor the gaffe. The now famous Miss Benda isProgram Secretary; Janet Brenner is AssistantProgram Director.

Canadian Arts OrganizationsLOUISE LAPLANTE succeeded Franz Kraemer,who retired, as Head of Canada Council's MusicSection. — The Canadian Conference on theArts, another arts organization with CCA asits acronym, has engaged MICHELLE d'AURAYas National Director. She succeeds BrianAnthony, after having served with various cul-tural and government agencies. Her immediatesuperior at CCA is President Claudette Fortier.— Following John Miller's resignation asExecutive Director, the Canadian Music Centerhas chosen SIMONE AUGER as his successor.

National Arts OrganizationsANN SHERIDAN SMITH has joined Opera Ameri-ca as Executive Development Officer. Her pre-vious positions were with the National SymphonyOrchestra and the National Institute for MusicTheater; prior to 1981, she was Chairman ofthe NEA Dance Panel and of the Ohio ArtsCouncil. — After six years as Public Informa-tion Officer of Opera America, ELLEN BLAS-SINGHAM has resigned from that post. — BENKRYWOSZ will also be leaving Opera Americawhere he headed "Opera for the 80's andBeyond" (see below). He will become ArtisticDirector of Minnesota Opera's New MusicTheater Ensemble.

Changes in officers' positions at BroadcastMusic Inc. (BMI) were, in part, prompted bythe resignation of President EDWARD CRAMERafter many years in that office. He has beensucceeded by FRANCES W. PRESTON, but willremain affiliated with the licensing organizationas consultant on legislative matters. Dr. BAR-BARA PETERSON (Mrs. Roger Roloff) has ad-vanced to Assistant Vice President of BMI'sConcert Music Division.

The Association for Classical Music elected asits President CHERYL BELL, Senior Vice Presi-dent of the American Savings Bank, and namedJOHN SANTUCCIO, Manager of the New YorkPhilharmonic, Treasurer. — ARTHUR BAR-TOW, the new Associate Director at TheatreCommunications Group, served with TCG from1976 to 1984, and spent the last two years asArtistic Director of the New Playwright'sTheatre in Washington, DC.

Following the decision of adding a training or-chestra to the activities of the National Foun-dation for Advancement in the Arts, came theannouncement of the appointment of Dr.JEFFREY N. BABCOCK as Vice President forProfessional Activities. He has organized andadministered the summer training institute fororchestral and chamber music of the Los Ange-les Philharmonic, and will also become Execu-tive Director of the newly recruited New WorldSymphony Orchestra, the NFAA's young people'straining and performing ensemble.

HOWARD KLEIN, Director of the RockefellerFoundation's arts support program, which,thanks to his foresight, courage and imagina-tion, has become one of the most important,influential and trend-setting grant makingprojects in the U.S., has announced his earlyretirement. On the Foundation's staff since1967, he has been in charge of the arts programfor the last thirteen years and, quoting from

- 5 1 -

The New York Times, ". . . he has been oneof the most innovative and influential patronsof the contemporary artist." Among the artsprojects supported by Rockefeller grants wereOpera America's "Opera for the 80's and Be-yond", the Meet the Composer program, BAM'sNext Wave Festival, and New World Records.Now that he is no longer with the Foundation,some of his programs will be phased out overthe next two to five years and new guidelinesfor arts programs will be oriented more towardsinternational- and intercultural projects.

Opera Companies: OfficersExcept for the reelection of LAWRENCE KYTE,Jr., as Chairman of the Board, the CincinnatiOpera has elected a new slate of officers:KINGSTON FLETCHER, President; PAULSTUHLREYER, Executive Vice President;HARRY ROSSI, Vice President/Development;STUART FINE, Vice President/Marketing; MRS.THOMAS HOFFMANN, Vice President/ECCO!;JAMES BAIRD, Vice President; and GEORGEKRAL, Treasurer.

JAMES A. NOE, Jr. was elected President ofthe Board of the New Orleans Opera, succeedingthe late H. Lloyd Hawkins, Sr., and DONALDBREMNER became President of the Hawaii Ope-ra Theater. — The Utah Opera has a newChairman of the Board in DAN MARRIOTT, anda new President in W. MACK WATKINS. — TheGreensboro Opera installed DAVID E. BRAY asPresident of the company; he has been on theboard of directors since the company's foundingsix years ago.

In a move to prepare its new president for theresponsibilities of the post, the Calgary Operain Alberta selects its future presidents early,designating them President Elect. DONALD E.DUHOLKE has just assumed the Presidency afterhaving served as President Elect for the lasttwo years; he is replacing Henry Gutman.

Opera Companies: Executive AdministratorsEDWARD PURRINGTON, General Director ofthe Tulsa Opera for the last twelve years and,before that, staff member at the Santa FeOpera for thirteen seasons, was named Adminis-trative Director of the Washington Opera byGeneral Director Martin Feinstein, whom hewill assist in administrative as well as artisticmatters. He will assume his new post in May,succeeding FRANCIS RIZZO, who resigned.

David DiChiera, General Director of Opera Pa-cific, has engaged MARTIN WEIL as ManagingDirector of the new California company, whichwill celebrate its inaugural performances withPorgy and Bess in February. Mr. Weil's imme-diately preceding position was with the Philhar-

monia Baroque Orchestra of San Francisco.

Since the beginning of this season, the ToledoOpera has been under the Artistic Direction ofJAMES MEENA, formerly of the PennsylvaniaOpera Festival in Pittsburgh. Meanwhile, Mr.Meena's predecessor, JOHANN VAN DER MER-WE, moved from Ohio to Arizona as ResidentMusic Director of the Arizona Opera (GlynnRoss, General Director), conducting perfor-mances in Tucson and Phoenix. — The OperaEnsemble of New York, with John Sheehan asExecutive Director, has engaged RICHARDSNYDER, formerly with Opera Theatre of SaintLouis, as Administrative Director. — PATRI-CIA HICKLIN has joined Dawin Emanuel, Gene-ral and Artistic Director of the Springfield (MO)Regional Opera, as the company's Administra-tive Director.

FAYE BAILEY is the new General Manager ofthe Virginia Opera in Norfolk, of which PeterMark is General and Artistic Director, andJOSEPH CONLIN has joined the Palm BeachOpera as General Director, replacing HerbertBenn. — The Tri-Cities Opera in Binghamton,NY, has signed GERALD BLOUNT-BIERLY forthe post of Administrative Director, which heassumed last fall after having been ActingDirector of Operations at the Southern ArtsFederation in Atlanta. — ROBERT DARLINGhas rejoined the Hidden Valley Opera in CarmelValley, California, as Artistic Director, withplans for staging tryouts and workshops for newmusic theater pieces.

Following a reduction in its operation and theresignation of its General Manager JACQUESLANGEVIN, L'Ope"ra de Montreal engaged BER-NARD CREIGHTON as its new General Manager.— In addition to his positions as Music Directorof the Kitchener-Waterloo Symphony and of theorchestra at the Music Conservatory of Mont-real, RAFFI ARMENIAN has become Music Di-rector of L'Atelier lyrique, the young artistsensemble of the Opera de Montreal.

STEPHEN M. SMITH is the new Executive Direc-tor of the San Francisco Opera Guild, succeed-ing the late Allen Hillebrandt. He comes tothis post with experience in fund raising ac-quired while he was Development Director withboth the Chamber Music Society of LincolnCenter and the Spoleto Festival.

Having resigned as General and Artistic Direc-tor of the Syracuse Opera, ROBERT DRIVERwill now fill a comparable position with OperaMemphis, Syracuse's affiliated company. Syra-cuse Opera's Managing Director CHRISTINEDAY has also resigned. — ALAN D. VALEN-TINE succeeds DEAN COREY as General Ma-nager of the Chattanooga Symphony and Opera

-52-

Association. Mr. Corey took over the Jack-sonville Symphony.

Opera Companies: Composers-in-ResidenceFollowing his three-year tenure as Composer-in-Residence with the Chicago Lyric Opera andthe company's Center for American Artists,WILLIAM NEIL concluded his contract with thecompany, which is now looking for its secondcomposer-in-residence. HUGO WEISGALL hasbeen entrusted with heading the search commit-tee, which will evaluate the nominations.— RICHARD WARGO was officially namedcomposer-in-residence by the Greater MiamiOpera, a company that showcased The MusicShop two years ago and has commissioned thecomposer to write his next work for a premierein Florida. He will also supervise the in-schoolopera programs in the Southern Miami District.

Opera Companies: Department HeadsCelebrating twenty-one years with the SeattleOpera where she started as a volunteer, COL-LEEN G. ARMSTRONG was appointed Chief ofStaff, following her previous position of Direc-tor of Administration and Production. — KYLERIDOUT, who was accepted by the KentuckyOpera as a NIMT sponsored administrative in-tern, has become a regular staff member withthe duties and the title of Company Manager.— The Michigan Opera Theater namedPATRICIA M. KIRCHMAN Director of Finance,a post held by Evan Luskin before he becameManaging Director of the Opera Theater ofKansas City (see Vol.27, No.2), and promotedits Press Representative, JOHN P. FINK, toDirector of Press and Public Relations for bothoperations, MOT in Detroit and Opera Pacificin California. — The Opera Company of Phila-delphia has engaged RUTH E. WELLS as PublicRelations Administrator with some additionalduties in marketing supervision. Her previouswork was on behalf of a dance company and acity agency for arts and culture.

WILLIAM J. CONNER became Director of De-velopment for the Greater Miami Opera, andWENDY OEHLERT ADAMS accepted the samejob with the Atlanta Opera. She had been incharge of Special Events for the Atlanta Ballet.— The Syracuse Opera advanced MICHAELCONNER from Assistant in Marketing and Pub-lic Relations to Director of Publicity. — TheMidwest Opera Theater of the Minnesota Operaengaged LAURA JOHNSON for the newly creat-ed post of Education Director, and Opera GrandRapids signed CYNTHIA CLAIR to fill thatsame position with the Michigan company.— TYRONE PATERSON, staff member of theCalgary Opera for the last six years, was namedMusic and Production Manager by the company'sGeneral Manager, Brian Hanson.

Symphony OrchestrasLORIN MAAZEL became the Music Director ofthe Pittsburgh Symphony last fall, a positionfor which he signed a four-year contract. Hiscolorful career has placed him at the head ofmany leading international institutions, amongthem the Vienna State Opera and the DeutscheOper Berlin, L'Orchestre de Paris and theCleveland Orchestra. During the last season,he was music advisor and principal guest con-ductor in Pittsburgh, where he will lead eightto twelve weeks of subscription concerts andat least two weeks of domestic or foreign tours.With this appointment, Mo. Maazel is returningto the city where he spent his youth, studied,and held his first orchestral job—three yearsin the Pittsburgh Symphony's violin section.The orchestra's last Music Director, AndrePrevin, left three years ago.

Currently Music Director of the Flint Symphony,ISAIAH JACKSON will assume his new post asMusic Director of the Dayton Philharmonic infall '87. He is also principal conductor ofLondon's Royal Ballet. — ADRIAN GNAM hasresigned from the Midland Symphony in Michi-gan to devote full time to his Music Directorshipof the Eugene Symphony in Oregon. — TheFlorida Orchestra in Tampa named IRWINHOFFMAN its Music Director Laureate, and theFlorida Symphony Orchestra in Orlando engagedMICHAEL KRAJEWSKI, former intern with theMichigan Opera Theatre and Assistant Conduc-tor of the Detroit Symphony, as Resident Con-ductor.

VICTORIA BOND, Music and Artistic Directorof New York's Bel Canto Opera, was also namedMusic Director and Conductor of the Roanoke(VA) Symphony Orchestra. — The Grand RapidsSymphony has engaged CATHERINE COMET asits Music Director. — PHILIP GREENBERG,Music Director of the Fresno Philharmonic,succeeded Christian Badea—now in Columbus,Ohio—as Music Director of the SavannahSymphony. — MICHAEL PRATT, Music Direc-tor of the June Opera Festival of New Jersey,has also joined the New Jersey SymphonyOrchestra as Assistant Conductor.

RAYMOND LEPPARD, conductor, musicologistand translator, will become Music Director ofthe Indianapolis Symphony next season. — Insummer '86, conductor and scholar CHRISTO-PHER HOGWOOD joined the Handel and HaydnSociety of Boston as its Artistic Director.

Several new appointments in administrativepositions with orchestras can be reported.JOHN SANTUCCIO, former President of G.Schirmer and also President of the Rochester(NY) Philharmonic, has been appointed Orches-

-53-

tra Manager of the New York Philharmonic bythe orchestra's Managing Director and Exe-cutive Vice President, Albert K. Webster. Mr.Santuccio succeeds Jesse Rosen. — The Chi-cago Symphony Orchestra's Executive Directorand Executive Vice President, Henry Fogel,named his former assistant, VANESSA MOSS,as Orchestra Manager. PAUL CHUMMERS, whoheld that position, has joined the Utah Symphonythis season as its Executive Director.

COSTA PILAVACHI became Artistic Adminis-trator of the Boston Symphony Orchestra lastfall, and LOIS FALLIS assumed the same titlewith the Toronto Symphony, also at the startof this season. — CHRISTOPHER DUNWORTHreplaces J. M. MILLS as Executive Director ofthe Denver Symphony, and DEAN P. COREYoccupies that same office at the JacksonvilleSymphony Orchestra, succeeding Susan Stein.He had been Managing Director of the Chatta-nooga Symphony and Opera.

The Springfield Symphony Orchestra in Massa-chusetts lost its Executive Director, WAYNEBROWN, to the Louisville Orchestra in Ken-tucky, and gained ASADOUR SATOURIAN inthe capacity of Orchestra Manager. — MI-CHAEL ALLERTON became General Managerof the San Jose Symphony, and EDWARD OSCA-PELLA moved into the position left vacant,that of Executive Director of the Vancouver(BC) Symphony Orchestra. — MARSHALLTURKIN, Vice President and Managing Directorof the Pittsburgh Symphony, has announced hisretirement for summer '88, at the end of hiscurrent contract.

Festivals, Arts Centers, TheatersThe young Greek-born conductor SPIROSARGIRIS, guest conductor in many major Ger-man and Italian opera houses, is the new MusicDirector of both the Spoleto Festival in Italyand Spoleto Festival U.S.A. He succeeds Chris-tian Badea, who resigned at the end of lastseason. Mr. Menotti, founder and Artistic Di-rector of the festivals, let it be known thathe is looking for a successor to his own position.

ALLAN RUBIN has been named President ofthe Wolf Trap Foundation, succeeding CarolHarford. — STEPHEN LOMBARDI is the newManager of the Great Woods Center for thePerforming Arts in Mansfield, MA. Previouslyhe was Executive Director of the ProvidenceCivic Center.

The Los Angeles Music Center has namedFRANK DALE to the newly created position ofPresident. — The Fulton Opera House inLancaster, PA, has engaged DEIDRE JACOBSONas Executive Director.

BILLIE BRIDGMAN, Artistic Director of ComusTheatre in Toronto, has taken over the ArtisticManagement of the Guelph Spring Festival inOntario, following the retirement of NicholasGolschmidt last summer. — The ChautauquaSummer Festival and Symphony in upstate NewYork signed JOSEPH SILVERSTEIN as MusicDirector, beginning with the 1987 summer sea-son. Former concertmaster (1961-1983) and,after 1971 also assistant conductor of theBoston Symphony, Mr. Silverstein is currentlythe Music Director of the Utah Symphony.

The American National Theater based at theKennedy Center has temporarily suspendedproduction; its Artistic Director, PETERSELLARS, is on a one-year leave of absencefrom the company. — The Long Wharf Theaterin New Haven has appointed DAVID MAYHEWDirector of Communication; M. Edgar Rosen-blum is the theater's Executive Director.— TOM MARKUS was named Artistic Directorof the Theatre by the Sea in Portsmouth, NH.

AcademiaTwo composers became heads of music schoolslast fall. LARRY ALAN SMITH is the newDean at the North Carolina School of the Artsin Winston-Salem, and JOHN REA assumed thesame post at McGill University's School ofMusic in Montreal.

San Francisco Opera's General Director Emeri-tus, KURT HERBERT ADLER, became ArtisticAdvisor and Professor of Inter-Arts at theSchool of Creative Arts of the San FranciscoState University. As part of his assignment hewill hold Master Classes in Arts Management.— Columbia University's Oscar Hammerstein IICenter for Theater Arts offers master classesby the internationally renowned director LIVIUCIULEI, who formerly was in charge of theGuthrie Theatre in Minneapolis. — JOHNHIRSCH, who was Director of the StratfordFestival in Ontario, was named Meadows Distin-guished Professor of Theatre at Southern Me-thodist University in Dallas where he willconduct master classes. — As of January1987, MALCOLM FRASER occupies the RalphCorbett Chair of Opera at the University ofCincinnati College-Conservatory. He is alsoArtistic Director of England's Buxton Festival.

DWIGHT COLE MAN became Director of OperaTheater at the University of Mississippi, withLELAND FOX remaining in the administrativeposition of Acting Dean of the School of Music.— The University of Nebraska at Lincolnappointed ROBERT HANSEN Director of Opera,succeeding Gregg Tallman. Previously, Mr.Hansen was affiliated with Midwestern StateUniversity at Wichita Falls, Texas. — Dr.

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DAVID BRADLEY became Director of the LyricTheater at the University of Nevada in LasVegas. — The Opera Department of the CurtisInstitute of Music, briefly under the directionof Boris Goldovsky and Frederic Popper, is nowheaded by former Metropolitan Opera AssociateConductor IGNACE STRASFOGEL. — TheSaint Louis Conservatory named JAMESATHERTON Artistic Director of its OperaWorkshop.

Soprano LUCY SHELTON joined the voice facul-ty of the Cleveland Institute of Music, wherecoach/rehearsal pianist/assistant conductorLINDA JONES has been engaged for the Operaand Musical Theater Department. Her previouswork was at the Manhattan School of Musicand at LaMaMa ETC in New York.

Dr. CLIFFORD REIMS took early retirementfrom his position as Director of Opera at Roose-velt University in Chicago and, moving to Ala-bama, will give opera courses at the Universityof South Alabama, and function as advisor tothe Mobile Opera. — MICHAEL BAWTREE,founder and Artistic Director of the Banff Cen-ter School's Studio Ensemble, has announcedhis resignation effective at the end of thisschool year. By summer '87, he will have com-pleted his tenth year at Banff.

Conductor OTTO-WERNER MUELLER of YaleUniversity and the Curtis Institute was appoint-ed Director of Orchestral Studies at the Juil-liard School for 1987-88.

Opera & Symphony AbroadTwo American conductors have been placed intoleading posts with major European opera compa-nies. JOHN MAUCERI will become Music Direc-tor of the Scottish Opera in August 1987, suc-ceeding Artistic Director John Cox who re-signed effective last summer but remainedavailable as Artistic Advisor for one year.Maestro Mauceri is also Music Director of theAmerican Symphony Orchestra in New York,and Consultant for Music Theatre to theKennedy Center in Washington. — The otherappointment will bring JOHN CONLON as ChiefConductor to the opera house in Cologne. Hewill begin his four-year contract with the Operder Stadt Koln with the 1989-90 season, whenSir JOHN PRITCHARD's position will change toPrincipal Guest Conductor.

LORD HAREWOOD was elected Chairman ofthe Board of the English National Opera, suc-ceeding Lord Goodman who held that office forthe previous ten years. Lord Harewood wasthe ENO's Managing Director from 1972 to 1985.— Similarly, SIR CLAUS MOSER, who has nowretired from his managerial position with the

Royal Opera Covent Garden, will preside asChairman of the Board of Directors.

JAMES LOCKHART, Generalmusikdirektor inKoblenz, Germany, will become the Director ofthe Opera Department of London's Royal Col-lege of Music. RICHARD VAN ALLAN is thenew Director of the National Opera Studio inLondon, where he succeeded Michael Langdon.— The New Sussex Opera, formerly underArtistic Manager PETER EBERT, has signedDENNIS WICKS as its new Artistic Director.

A further change on London's operatic sceneoccurred in the printed media with the retire-ment of HAROLD ROSENTHAL OBE, Editor for33 years of Opera magazine. It is his knowl-edge, his untiring dedication and unwaveringintegrity that established Opera as the informedand informing, comprehensive and candid inter-national music publication. He made it alwaysattractive and always reliable. While onewishes him well in his retirement, one alsolooks forward to his occasional contributionsin the magazine. RODNEY MILNES, whom heappointed Deputy Editor in 1985, has nowbecome Editor, with MAX LOPPERT AssociateEditor. The editorial offices have moved to1A Mountgrove Road, London N5 2LU, England.

The Netherlands Opera, in its first season inthe new opera house, also has a new administra-tive team: compose1" JAN VAN VLIJMEN, Gener-al Administrator; HARTMUT HAENCHEN, MusicDirector; GUUS MOSTART, Artistic Director;and MATTHEW EPSTEIN, Artistic Advisor.

In Hamburg, ROLF LIEBERMANN continues asIntendant with ROLF MARES as Director ofthe Opera. — Following CLAUS HELMUTDRESE's move from Intendant of the ZurichOpera to General Director of the Vienna StateOpera last fall, it was CHRISTOPH GROSZER,formerly of the opera house in Wiesbaden, whofilled the vacant post in Zurich. In turn, itwas CLAUS LEININGER of the opera in Gelsen-kirehen, who went to Wiesbaden as Groszer'ssuccessor.

L'Ope>a national de Paris is headed by JEAN-LOUIS MARTINOTY, whose title is L'Adminis-trateur ge'ne'ral. L'Ope>a-comique has a newMusic Director in LOTHAR ZAGROSEK.

After six years as General Manager of theAustralian Opera Company in Sydney, PATRICKL. VEITCH resigned from his post, but will beavailable as consultant for an orderly transition.DONALD McDONALD, General Manager of theSydney Theatre Company, succeeded Mr. Veitchas General Manager of the Australian Opera. []

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ADDENDA TO DIRECTORY OF SETS AND COSTUMESVolume 21, Number 2 available for $12.00 including 18-page updated addenda

Eighteen-page updated addenda only: $5.00

The compilation below contains additions, deletions, and other new information obtained sincethe last addenda in Vol. 26, No. 4. For explanations of the abbreviations and other usages inthe following entries, see page 2 of the original Directory.

# indicates that the current entry supersedes an entry in the original Directory.

ANDERSON, LAURIEAlcestis (s,c) American Repertory Theatre, Cambridge, MA (Tamm '86)

BARTOK, BELABluebeard's Castle [A KgksakaUti herceg va>a] (s,c) Chamber Opera of Chicago, IL

(Radziejeski T86) 30x32BELLINI, VINCENZO

Norma (s,c) Stivanello, New York, NY (#)(Sormani '84) 60x40; 1/18'BERNSTEIN, LEONARD

Candide (s) Paper Mill Playhouse, Millburn, NJ ('86) 30x60Mass (s) San Antonio Festival, TX (Lucero '86)West Side Story (s,c) Michigan Opera Theatre, Detroit (O'Hearn/Caine '86)

BIZET, GEORGESCarmen (s,c) Portland Opera, OR 086)

(s,c) Syracuse Opera, NY (Steinberg/Berry '86)(s,c) Tri-Cities Opera, Binghamton, NY (#)(Woodbridge '78/'86) 39x34x32; 1/45'(s) Opera Hamilton, Ont. ('86)(s) Shreveport Opera (Locke '80) 60x50; 1/40 - FOR SALE(s) Texas Opera Theater, Houston (Home '85)delete Cartaya's Theatricals (from prev. addenda)

Le Docteur Miracle delete Spoleto Festival USA (from prev. addenda)Les P6cheurs de perles delete Cartaya's Theatricals (from prev. addenda)

BLITZSTEIN, MARCRegina (s) Baton Rouge Opera, LA (Joy '82)(form. with Chautauqua Opera) - FOR SALE

delete Chautauqua Opera (from prev. addenda)BOCK, JERRY

Fiddler on the Roof (s) Civic Light Opera, Pittsburgh, PA (Morton '86) 56x29BRITTEN, BENJAMIN

Albert Herring delete Ohio State University (from prev. addenda)A Midsummer Night's Dream (s,c) Univ. of Washington Opera Theatre, Seattle 086)

CIMAROSA, DOMENICOn Matrimonio segreto (e) Malabar, Ltd., Toronto, Ont. 080)

(c) Santa Fe Opera, NM (Rubin '84)delete Chicago Opera Repertory Theatre (from prev. addenda)

COHAN, GEORGE M.George M! (s,c) San Diego Civic Light Opera, CA (Holamon '85); 1/40'

COWARD, NOELBitter Sweet (s) Orlando Opera, FL (Beck/Carpenter '86) 50x34; 1/40' - (c) no longer available

DAMASHEK, BARBARAOlympic Games (s,c) American Repertory Theatre, Cambridge, MA (Olcun '86)Quilters (s,c) San Jose Repertory Co., CA (Mesney/Frederick '86)

DONIZETTI, GAETANODon Pasquale (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '85) 60x36; 1/16'

(s) Anchorage Opera, AK 086)(s) Lyric Opera of Dallas, TX 086) 40x25

L'Elisir d'amore (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '79) 60x40; 1/16'(s) Orlando Opera, FL (Romero '83) 50x34; 1/45'(s) Seattle Opera, WA (#)(Sanquirico '85); 1/45'delete Cartaya's Theatricals (from prev. addenda)

La Fille du regiment (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '81) [60x40]; 1/18'(s,c) Washington Opera, DC (Brown '86)(s) San Diego Opera, CA (#)(Montresor '73/'85) [56x59]; 2/24' - suitable for touring

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Lucia di Lammermoor (s,c) Stivanello, New York, NY (Sormani/Stivanello '85) [60x40]; 1/18(s) Atlanta Opera, GA (Deegan/Conly '86) 40x24x30(s) Tri-Cities Opera, Binghamton, NY (#)(Woodbridge '76/'82/'85) 39x34x32delete Cartaya's Theatricals (from prev. addenda)

EATON, JOHNThe Tempest (e) Santa Fe Opera, NM (A. Klein '85)

EDWARDS, SHERMAN1776 (c) Albuquerque Civic Light Opera, NM (McEwan '86)

FALLA, MANUEL DELa Vida breve

restore Santa Fe Opera (c)FINK, MYRON

The Island of Tomorrow (s,c) Golden Fleece Ltd., New York, NY ('86)FLOTOW, FRIEDRICH von

Martha (s,c) Stivanello, New York, NY (#)(Dunkel/Antoine T66/'72); 1/14'(s) Lyric Opera of Kansas City, MO (Bromley '86)

FOSSBURG, DICKWindy City (s) Paper Mill Playhouse, Miltburn, NJ ('86) 30x60

GIORDANO, UMBERTOAndrea Chenier (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '81) 60x40; 1/24'

GLASS, PHILIPThe Juniper Tree (s,c) American Repertory Theatre, Cambridge, MA (Yearga '86)

GLUCK, CHRISTOPH WILLIBALDL'lvrogne corrige' delete Spoleto Festival USA (from prev. addenda)Orfeo ed Euridice (s,c) Concert Royale, New York, NY 086)

GOLDSTAUB, PAULThe Marriage Proposal (s,c) Golden Fleece Ltd., New York, NY ('86)

GOTTLIEB, JACKThe Movie Opera (s,c) Golden Fleece Ltd., New York, NY ('86)

GOUNOD, CHARLESFaust (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '82) [64x44]; 2/24'

(s) Lyric Opera of Kansas City, MO (#)(Brumley '85) 50x35(s) Tri-Cities Opera, Binghamton, NY (Coberg '87); 1/40'(c) Lubo Opera, Guttenberg, NJ(c) Regina Opera, Brooklyn, NY ('84)delete Cartaya's Theatricals (from prev. addenda)

HANDEL, GEORGE FRIDERICAriodante (s,c) Concert Royale, New York, NY 086)Samson delete Dallas [Civic] OperaSaul (s,c) San Antonio Festival, TX (Higgins/Rose '86)

HAYDN, FRANZ JOSEFLa Cantarina delete St. Cecilia Opera Repertory (from prev. addenda)

HENZE, HANS WERNERDie Bassariden (c) Santa Fe Opera, NM (George '68) - partialThe English Cat (c) Santa Fe Opera, NM (Rubin '85)Pollicino (s,c) Monmouth Conservatory of Music, Little Silver, NJ (W.R. Satz School '86)

HERBOLSHEIMER, BERNAria da capo (c) University of Louisville, KY (Paris '85)

HERMAN, JERRYHello, Dolly! (s) Civic Light Opera, Pittsburgh, PA (H. Jones '86) 56x29Mame (s) San Diego Civic Light Opera, CA (Holamon '75); 1/45'

HINDEMITH, PAULHin und zuriick (s) San Francisco Opera Center, CA (Kotcher '86); 1/24'The Long Christmas Dinner (s) San Francisco Opera Center, CA (Kotcher '86); 1/24'

HOLLINGSWORTH, STANLEYThe Mother delete Spoleto Festival USA (from prev. addenda)

HUMPERDINCK, ENGELBERTHansel und Gretel (s) Fort Worth Opera, TX (Barkla '76); 2/48'

JONES, WALTONThe 1940's Radio Hour (s) Paper Mill Playhouse, Millburn, NJ 086) 30x60

KINSEY, RICHARDRobin Hood, The Musical (s,c) Fullerton Civic Light Opera, CA (Varga '86) 42x30;; 1/45'

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LEHAR, FRANZDas Land des Lachelns delete Virginia Light Opera (from prev. addenda)Die lustige Witwe (s) Connecticut Opera, Hartford (Kaseta '85) 47x39; 1/40'

(s) Tacoma-Pierce County Opera, WA (Torrey '85); 1/70'(s) Virginia Opera, Norfolk (Keller '86)delete Cartaya's Theatricals (from prev. addenda)delete Dallas [Civic] Opera

LEONCAVALLO, RUGG1EROPagliacci (s,c) Casa Italiana Opera Theatre, Los Angeles, CA ('86) 70x45

(s,c) Chamber Opera of Chicago, IL (Zissis '86) 30x32(s,c) Portland Opera, OR ('86)(c) Lubo Opera, Guttenberg, NJ ('80)(c) Regina Opera, Brooklyn, NY ('79)delete Cartaya's Theatricals (from prev. addenda)

LOESSER, FRANKGuys and Dolls (s,c) San Diego Civic Light Opera, CA (Holamon '84); 1/45'

(s) Paper Mill Playhouse, Millburn, NJ ('84) 30x60The Most Happy Fella (s,c) Univ. of Kentucky, Lexington 086)Where's Charley? (s) San Diego Civic Light Opera, CA (Holamon '85); 1/45'

LOEWE, FREDERICCamelot (s) Roy King & Assoc, West Islip, NY

(c) Albuquerque Civic Light Opera, NM (McEwan '86)My Fair Lady (c) San Diego Civic Light Opera, CA (Tara '84)

MASCAGNI, P1ETROCavalleria rusticana (s,c) Casa Italiana Opera, Los Angeles, CA 086) 70x45

(c) Lubo Opera, Guttenberg, NJ 082)(c) Regina Opera, Brooklyn, NY 080)delete Cartaya's Theatricals (from prev. addenda)

MASSENET, JULESManon delete Dallas Stage Scenery

MENOTTI, GIAN CARLOAmahl and the Night Visitors delete Virginia Opera (from prev. addenda)The Boy That Grew Too Fast (s) Charleston Opera, SC 085); 1/24'The Consul (s,c) Fargo-Moorhead Civic Opera, West Fargo, ND (Lamey '85)

(s) Connecticut Grand Opera, Stamford (Trevelyan '85)The Hero delete Opera Co. of PhiladelphiaThe Last Savage delete Spoleto Festival USA (from prev. addenda)The Medium delete Spoleto Festival USAThe Saint of Bleecker Street (s,c) Spoleto Festival USA, Charleston, SC (Z. Brown '86)

MONTEMEZZI, ITALOL'Amore de tre re (c) Stivanello, New York, NY (#)(Stivanello '70)

MONTEVERDI, CLAUDIOL'Incoronazione di Poppea (c) Santa Fe Opera, NM (A. Klein '86)L'Orfeo [La Favola d'Orfeo] (c) Skylight Comic Opera, Milwaukee, WI (Jampolis '84)

MOORE, DOUGLASThe Ballad of Baby Doe (s,c) Colorado Opera Festival, Colorado Springs (Beck/Ames '86)

80x60; 1/45'(s) Central City Opera, Denver, CO (#)(Oenslager '76/'8D 25x40x28delete Manhasset Bay Opera (from prev. addenda)

MOZART, WOLFGANG AMADEUSDon Giovanni (s,c) Canadian Opera Co., Toronto, Ont. (#)(Schafer '70) 48x42x31; 2/

(s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '86)(s) San Francisco Opera Center, CA (Kotcher '86); 1/24'

Die Entfuhrung aus dem Serail (s,c) Opera Theatre of St. Louis, MO 086)Idomeneo (s,c) Canadian Opera, Toronto, Ont. (Levine '86) 50x58Le Nozze di Figaro (s,c) Stivanello, New York, NY (#)(Sormani/Dunkel '70); 1/16' - also

furniture(s) Fort Worth Opera, TX (Lane '86); 1/45'(s) Lake George Opera Festival, Glens Falls, NY (#)(Anania '78/'84) [35x30]; 1/45delete Birmingham Civic Opera

L'Oca del Cairo (s,c) Berkshire Opera, Lenox, MA (Rothschild '86) 90x50Der Schauspieldirektor delete St. Cecilia Opera Repertory (from prev. addenda)

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Die Zauberflote (s,c) Florida State Univ., Tallahassee (Claassen '86); 1/(s,c) Memphis State Univ., TN (Knowles '86) 35x29; 1/20'(s,c) Tacoma-Pierce County Opera, WA (McDonald/Neal '86); 2/22'

MUSSORGSKY, MODESTBoris Godunov (s,c) Canadian Opera Co., Toronto, Ont. (W. Skalicki '86) 50x58

NICOLAI, OTTODie lustigen Weiber von Windsor (e) Chicago Opera Theater, IL (#)(Jackson '78) - sets no

longer availableOFFENBACH, JACQUES

Les Bavards (s,c) Florida State Univ., Tallahassee (Lock '86); I/vanLes Contes d'Hoffmann (s,c) Opera Theatre of St. Louis, MO (Conklin '86)

(s) Opera Colorado, Denver (Schneider-Siemssen '84) - partialLe Mariage aux lanternes (s,c) Florida State Univ., Tallahassee (Lock '86)M. Choufleuri restera chez lui [R.S.V.P.] (c) Spoleto Festival USA, Charleston, SC (Santicchi

'80) - sets no longer availableOrphee aux enfers delete Skylight Comic Opera (from prev. addenda)

PENDERECKI, KRZYSZTOFDie Teufel von Loudun restore Santa Fe Opera (c)

PERGOLESI, GIOVANNI BATTISTALa Serva padrona (s,e) Berkshire Opera, Lenox, MA (Rothschild '86) 90x50

PONCHIELLI, AMILCARELa Gioconda (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '81) [60x40]; 1/24'

PORTER, COLEAnything Goes (s,c) Civic Light Opera, Pittsburgh, PA (Morton '86) 56x29Can-Can (s) Civic Light Opera, Pittsburgh, PA (Morton '86) 56x29

PUCCINI, GIACOMOLa Boheme (s,c) Fargo-Moorhead Civic Opera, West Fargo, ND (Lamey '86)

(s,c) Portland Opera, OR (Jenkins/Pace '86)(s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '77/'86) [60x40]; 1/18'(s) Arizona Opera, Tucson (Benois '87)(s) Florida State Univ., Tallahassee (Lock '85); 1/(s) Indiana Set Rental, Ltd., Bloomington (A. Trumpler '81) 40x30x18; 1/45'(s) Lake George Opera Festival, Glens Falls, NY (#)(Anania !77/'84) 36x18x32(s) Opera Memphis, TN (Ostroff '85) 54x25; 1/45'(s) Univ. of Washington, Seattle 086)(c) Lubo Opera, Guttenberg, NJ ('80)(c) Regina Opera, Brooklyn, NY ('85)delete Atlanta Civic Opera (from prev. addenda)

La Fanciulla del West (s) Cincinnati Opera, OH (Depenbrock '86) 50x40; 1/45'delete Spoleto Festival USA (from prev. addenda)

Gianni Schicchi (s,c) Portland Opera, OR (West '85) 50x47; 1/40'Madama Butterfly (s,c) Eugene Opera, OR (Wong '86) 50x26; 1/45'

(s) Calgary Opera, Alta., Canada (Darling '76) 70x42; 1/(s) San Francisco Opera Center, CA (Kotcher '84); 1/24'(c) Regina Opera, Brooklyn, NY 083)delete Dallas [Civic] Operadelete Opera Theatre of Rochesterdelete University of Illinois, Urbana (from prev. addenda)

Manon Lescaut (s) Arizona Opera, Tucson (Naccarato '87)(s) Dallas Stage Scenery, TX (#)(Klein '80); 2/45'

Suor Angelica (s,c) L'Ope>a de Montreal, P.Q. 086) 52x26(c) Regina Opera, Brooklyn, NY 080)

Tosca (s,c) Casa Italiana Opera, Los Angeles, CA 086) 70x45(s,c) Riverside Opera, CA 086)(s) Calgary Opera, Alta. (Cook '86) 70x42; 1/(s) Cincinnati Opera, OH (#)(Darling '81) 50x40; 1/45'(s) Pittsburgh Opera, PA (#)(Struthers '76/'8D 45x30x24; 1/40'(c) Lubo Opera, Guttenberg, NJ 081)(c) Regina Opera, Brooklyn, NY 086)delete Opera Company of Boston 067)

Turandot (s) Opera Colorado, Denver (Schneider-Siemssen '84) - partialdelete Texas Costume (from prev. addenda)

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PURCELL, HENRYDido and Aeneas (s,c) Kentucky Opera, Louisville (Holden '86)

(e) Arizona State Univ. Lyric Opera Theatre, Tempe (Turner '86)delete Birmingham Civic Opera (from prev. addenda)delete Brooklyn Opera Society (from prev. addenda)

RAMEAU, JEAN-PHILIPPELes Fetes d'Hebe (s,c) Concert Royale, New York, NY ('86)

RODGERS, LOUOphelia Songs (s,c) Golden Fleece Ltd., New York, NY ('86)

RODGERS, RICHARDThe Sound of Music (s,c) Fullerton Civic Light Opera, CA (Klopfenstein '86) 42x30; 1/45'

delete Shawnee Playhouse (from prev. addenda)South Pacific (c) Nebraska Wesleyan Univ. Opera Theatre, Lincoln 086)

ROMBERG, SIGMUNDNew Moon (s,c) Fargo-Moorhead Civic Opera, West Fargo, ND (Lamey '86)

ROREM, NEDFables (s,e) Golden Fleece Ltd., New York, NY 086)

ROSSINI, GIOACCHINOn Barbiere di Siviglia (s,c) Lyric Opera of Dallas, TX 086) 40x25

(s) Cheyenne Symphony Orchestra <3c Choral Society, WY (Kauchausky '82) 52x28(s) Eugene Opera, OR 086)(s) Opera Carolina, Charlotte, NC (#X'87)(s) San Francisco Opera Center, CA (Kotcher '86); 1/24'(c) Lubo Opera, Guttenberg, NJ 086)delete Dallas [Civic] Opera

La Cenerentola (s,c) Stivanello, New York, NY (#)(Sormani/Antoine '75) 60x40; 1/24'(s) Chattanooga Opera & Symphony, TN (Higgins '86) 47x26; 1/32'(s) Indiana Set Rental, Ltd., Bloomington (Trumpler, '81) 40x30x18; 1/45'delete Canadian Opera Co. (from prev. addenda)

L'ltaliana in Algeri (s) Tri-Cities Opera, Binghamton, NY (Little '87); 1/40'D Signor Bruschino delete Boston Summer Opera Theatren Turco in Italia (s) San Francisco Opera Center, CA (Kotcher '86); 1/24'D Viaggio a Reims (c) Opera Theatre of St. Louis, MO (Jampolis '86)

SALLINEN, AULISThe King Goes Forth to France (c) Santa Fe Opera, NM (Conklin '86) - partial

SCHWARTZ, STEPHENPippin (c) Arizona State Univ. Lyric Opera Theatre, Tempe (Turner '85)

SHINN, RANDALLWilbur! (c) Arizona State Univ. Lyric Opera Theatre, Tempe (Graves '86)

SHOSTAKOVICH, DMITRILady Macbeth of Mzensk delete Spoleto Festival USA

SONDHEIM, STEPHENA Funny Thing Happened on the Way to the Forum (s) Civic Light Opera, Pittsburgh, PA

(Morton '86) 56x29A Little Night Music (s.c) Opera Carolina, Charlotte, NC 086)Sweeney Todd (s) Lyric Opera of Kansas City, MO (Brumley '86)

STRAUSS, JOHANNDie Fledermaus (s) OperaDelaware, Greenville (Freas '86) 37x30

(s) Texas Opera Theater, Houston (Klein '85) - designed for touring(s) Univ. of Washington Opera Theatre, Seattle 086)(c) Santa Fe Opera, NM (Marlay '86)

STRAUSS, RICHARDDie Agyptische Helena (c) Santa Fe Opera, NM (Yeargan '86)Elektra (c) Ventura Opera, CA (Giamario '86)Intermezzo (c) Santa Fe Opera, NM (Oberle '84)Der Rosenkavalier (s,c) Portland Opera, OR 087)

(s) Cincinnati Opera, OH (Tomero '84) 50x40; 1/45'(c) Santa Fe Opera, NM (Campbell '68) - partialdelete Dallas [Civic] Opera

Salome (s,c) Greater Miami Opera, FL (Klein '86); 4/45'(s,c) Houston Grand Opera, TX (Dine/Horn '86) 60x55; 2/45'(s,c) Los Angeles Music Center Opera, CA (Burry '86); 1/45'

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STRAVINSKY, IGORRenard (s,c) Spoleto Festival USA, Charleston, SC (Montresor '86)Le Rossignol delete Santa Fe Opera (from prev. addenda)

STROUSE, CHARLESAnnie (s,c) San Diego Civic Light Opera, CA (Holamon '83); 1/45'

(c) Albuquerque Civic Light Opera, NM (McEwan '85)STYNE, JULE

Bells are Ringing delete California Civic Light Opera (from prev. addenda)SUCHON, EUGEN

The Whirlpool [Krutnava] (c) Opera Company of Mid-Michigan, Lansing ('79) - (s) no longeravailable

SULLIVAN, ARTHURThe Gondoliers (s,e) California State Univ. [at Fresno] Music Dept. (Sarkisian/Osborne '86)

40x30delete Chicago Gilbert and Sullivan Co.

H.M.S. Pinafore (s.c) Opera North, Norwich, VT ('86)(s) Lyric Opera of Dallas, TX 086) 40x25delete Columbia College Opera Wksp.delete North County Community Theatre

The Mikado (s,c) New York Gilbert & Sullivan Players, NY C77/'85)(s,c) Opera Theatre of Alberta, Edmonton ('85) - suitable for touring(s) Univ. of Washington Opera Theatre, Seattle ('86)delete North County Community Theatre (from prev. addenda)

The Pirates of Penzance (s) Univ. of Washington Opera Theatre, Seattle 086)delete Arkansas Opera Theatre

Trial by Jury (c) Kentucky Opera, Louisville (Smillie '86)The Yeomen of the Guard (s) Eugene Opera, OR (Williams '83); 1/

SUSA, CONRADTransformations (c) Spoleto Festival USA, Charleston, SC (Granata '80) - (s) no longer

availableTCHAIKOVSKY, PETER ILYICH

Eugene Onegin (s,c) Sarasota Opera, FL (Beck '83) 36x30; 1/45'delete Saratoga Opera (from prev. addenda)

The Queen of Spades [Pique Dame] (s) Arizona Opera, Tucson (Hall '86)THOMAS, AMBROISE

Hamlet (s,c) Greater Miami Opera, FL (Toms/Vanarelli '87)Mignon (s.c) Stivanello, New York, NY (#)(Sormani/Zanotti/Diaz '73/'79) 60x40; 1/24' - also

furnitureTHOMSON, VIRGIL

The Mother of Us All (s,c) Cleveland Opera, OH (Nagy '86); 1/40'VAN EATON, SUNNY

Christopher Robin's Dreams (c) Oklahoma State Univ. Opera Theatre, Stillwater 081)VERDI, GIUSEPPE

Aida (s,c) Greater Miami Opera, FL (Skalicki '84); 2/45'(s) Opera Colorado, Denver (O'Hearn '86) - partial(c) Lubo Opera, Guttenberg, NJ 083)

Don Carlo (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '74/'8O) [60x40]; 1/24'delete Canadian Opera Co. (from prev. addenda)

Ernani (s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '82) 60x40; 1/18'Falstaff (s,c) Chamber Opera of Chicago, IL (Blasko '86) 30x32La Forza del destino (s,c) Stivanello, New York, NY (#XSormani/Stivanello '85) 60x40; 1/24'Macbeth (s,c) Canadian Opera Co., Toronto, Ont. (#)(W. & A. Skalicki '86) 50x58Otello (s,c) Casa Italiana Opera, Los Angeles, CA 085) 70x45

(s,c) Dallas Opera, TX (#)(Colonello '62/Hall '69/'85) 40x50; 3/40'(s,c) Los Angeles Music Center Opera, CA (Schneider-Siemssen '86); 3/45'(s,c) Stivanello, New York, NY (#)(Sormani/Stivanello '77/'85) [60x40]; 1/24'(s) Calgary Opera, Alta. (Lovett '80) 70x42; 1/

Rigoletto (c) Lubo Opera, Guttenberg, NJ 080)delete Opera Theatre of Illinois (from prev. addenda)delete Sacramento Opera (from prev. addenda)

La Traviata (s,c) Greater Miami Opera, FL (O'Hearn '82)(s,c) Lubo Opera, Guttenberg, NJ (Cassese '85); 1/18' continued

- 6 1 -

La Traviata continueddelete Dayton Opera (from prev. addenda)delete Greater Miami Opera (Benois/Caine '84)(from prev. addenda)delete Robert Howery Studios (from prev. addenda)

n Trovatore (s,c) Casa Italiana Opera, Los Angeles, CA ('86) 70x45(s,c) Greater Miami Opera, FL (Benois/Caine '84) 50x38(s,c) Lubo Opera, Guttenberg, NJ (Cassese '84)(s) Anchorage Opera, AK ('86)delete San Carlo Opera Guild of Los Angeles

WARGO, RICHARDThe Music Shop (s,c) Midwest Opera Theatre, St. Paul, MN (Buck/Bakkom '85)

WEBBER, ANDREW LLOYDJoseph and the Amazing Technicolor Dreamcoat (c) Albuquerque Civic Light Opera, NM

(McEwan '86)WEBER, CARL MARIA von

Die drei Pintos [completed by Mahler] (s) Opera Theatre of St. Louis, MO (Scheffler/SullivanT79)

Der Freischutz delete Opera Theatre of Illinois (from prev. addenda)WEILL, KURT

Die Dreigroschenoper (s) Opera Theatre of Rochester, NY ('86) 36x15x15; 1/18' - FOR SALEWILLSON, MEREDITH

The Music Man (c) San Diego Civic Light Opera, CA (Tara '86)WRIGHT/FORREST (BORODIN)

Kismet delete Baltimore Opera (from prev. addenda)ZEMLINSKY, ALEXANDER von

Eine florentinische Tragodie (c) Santa Fe Opera, NM (Feldman '84)

NEW AND CHANGED NAMES AND ADDRESSES

Commercial Scenery/Costume Houses

Cartaya's Theatricals: delete all entriesIndiana Set Rental, Ltd., 2423 Rock Creek Dr., Bloomington, IN 47401; (812) 335-3651; Allen

R. WhiteMerrill Stone Associates: some sets now available from various opera companies as shown above

Performing Organizations - Name Changes

Charlotte Opera: now Opera CarolinaEastern Opera Theater: now Baltimore OperaNorth Carolina Opera: now Opera CarolinaOttawa Festival Opera: now National Arts Centre, OttawaPittsburgh Chamber Opera: now Pittsburgh Opera TheaterSouthern Alberta: now Calgary OperaSouthern Opera Theater: now Memphis OperaSouthwestern Opera: now Fort Worth OperaSpring Opera: now San Francisco Opera

For possible rental from the Metropolitan Opera, New York City Opera, or the Lyric Opera ofChicago, write to the companies' artistic departments.

The current addresses of these and other performing organizations may be found in the CentralOpera Service publication Opera/Musical Theatre Companies and Workshops in the United Statesand Canada (New York: November 1986), $8.00. For mail orders add $1.25 for postage and handling.

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Charles Castle has artfully structured his handsome book on the interna-tional stage artist, OLIVER MESSEL, as a series of interviews and dia-logues. Throughout the text, the famed designer's personal reminiscencesare juxtaposed with those of his family, friends and the prominent perfor-mers and directors who worked with him. The words of such luminariesas Dame Anna Neagle, Sir Robert Helpmann and Emlyn Williams resurrectthe vanished world of British and American theater between the wars,while an abundance of fine production photographs document Messel'swork for opera, film, drama and ballet. These vitally enhance the appea-rance of this volume, and help to clarify the course of Messel's stylisticdevelopment. The 264-page, indexed book features an introduction bySir John Gielgud. Published by Thames and Hudson, it is priced at $35.00.

Michael Forsyth has brought his expertise as an architect and designerof concert halls to BUILDINGS FOR MUSIC: THE ARCHITECT, THE MUSI-CIAN AND THE LISTENER FROM THE SEVENTEENTH CENTURY TO THEPRESENT DAY. He documents the fact that the orchestration of musicdetermined the design of concert halls and theaters, and examines thecultural, philosophical and political climate which influenced the relation-ship between architect and musician. In one of several chapters devotedto the development of the opera house, the author contrasts the traditionalconcepts and political symbolism of Garnier's Paris Ope>a with those ofBayreuth, where Wagner and his architects determined that the totalityof the music drama would be the only consideration in their design. Aninvaluable reference work, the attractive 371-page publication is illus-trated with many architectural plans, on-site photos and reproductions ofperiod engravings, and contains an appendix, bibliography, index and notes.Published by The MIT Press, it sells for $32.00.

RUSSIAN MASTERS 1 and 2 are the latest additions to the New Grove COMPOSERS'Series. The first volume, with contributions by David Brown, Gerald BIOGRAPHIESAbraham and David Lloyd-Jones, focuses on the careers and music ofGlijika, Borodin, Balakirev, Mussorgsky and Tchaikovsky, while the second,featuring essays by Mr. Abraham, Geoffrey Norris, Hugh Macdonald, RitaMcAllister and Boris Schwarz, continues the historical narrative into thenext century with entries devoted to Rimsky-Korsakov, Rakhmaninov[Rachmaninoff], Skryabin [Scriabin], Prokoviev, and Shostakovich. Thebooks offer knowledgeable accounts not only of the individual composers'lives and works, but also of the development and interaction among thesemusicians. A definitive work list and bibliography is provided for eachartist. The books, with 260 and 240 pages respectively, are illustratedand indexed, and are each priced at $17.95 cloth-bound, $10.95 in paper.

For those who desire a more detailed work on 19th century Russian music,Alexandra Orlova's MUSORGSKY'S DAYS AND WORKS: A BIOGRAPHYIN DOCUMENTS is an invaluable guide to the tragic life and career ofModest Musorgsky [Mussorgsky]. It also concerns his relationship toRimsky-Korsakov, Borodin and the other members of the famous group ofmusicians known as Moguchaia kuchka. Originally published in Russianin 1961, it brings together a vast range of primary source material in-cluding the composer's journal entries, letters, memoirs, and newspaperarticles, which all contribute to the placement of Mussorgsky's stylisticevolution and influence within the context of musical life in 19th centuryRussia. Roy J. Guenther has recently translated and edited this scholarly697-page work for UMI Research Press. It contains a preface as well as

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an introduction, illustrations, chronology, and an index of names and com-positions. Its price is $74.95.

REMEMBERING FRANZ LISZT, comprising previously published memoirsby two of his pupils, has been issued in softcover by Limelight Editions.In 1911, the Russian virtuoso Alexander Siloti wrote My Memories ofLiszt, a colorful and sentimental account of the years 1883-1886 whichhe spent with the great musician in Weimar. The more detailed Life andLiszt, the second part of the book, is the work of Arthur Friedheim, thepianist recognized as one of the finest interpreters of his teacher's com-positions. Friedheim's philosophical essay What Is Music? is also includedin this volume. The 375-page book contains photographs, a new introduc-tion to the Siloti essay by Mark N. Grant, and Theodore Bullock's originalintroduction to the Friedheim manuscript, which he edited. It sells for$14.95.

Previously reviewed in hardcover, ENCOUNTERS WITH VERDI, the fascina-ting collection of articles written by the composer's contemporaries, hasbeen reissued in paperback by Cornell University Press. Details of hisera come to life in this series of interviews and descriptive accounts ofoperatic premieres, helpfully annotated and edited by Marcello Conati.This edition, translated by Richard Stokes from the original Italian, Germanand French, includes a foreword by Julian Budden, illustrations and anindex. The 417-page text sells for $12.95.

The Early Years and The Crisis Years, David Brown's first two books inhis series on Tchaikovsky, were winners of the British Academy's DerekAllen Prize. The latest volume, TCHAIKOVSKY: THE YEARS OF WANDE-RING 1878-1885, chronicles the composer's emotional struggles in theyears after his brief marriage to Antonia Milyukova. Professor Brown'swell-written text draws on previously suppressed letters; he also providesa detailed musical analysis of the works written during this time, includingthe operas Mazeppa and The Maid of Orleans. The 336-page work,published by W.W. Norton, includes a chapter on literary sources, severalindices and illustrations. It is priced at $24.95.

Not previously reviewed in these pages, Egon Gartenberg's 1974 publicationJOHANN STRAUSS: THE END OF AN ERA sets the evolution and develop-ment of the waltz and its popularization by Lanner, the Strauss familyand their successors against the background of the waning Austrian Empire.Throughout the book, the public's affection for the waltz kings finds aparallel in its adulation of the reigning monarch, the aging Emperor FranzJosef. The 360-page book is most noteworthy for its attention to thedetails of daily life in 19th century Vienna. The author's wistful andpoetic evocation of the time when the waltz was at the center of Vienneselife, is contained in his six-page Vorspiel. The book also features illus-trations, a list of primary sources and an index. Published by PennsylvaniaUniversity Press, it is available for $24.95.

JANACEK AND BROD by Charles Susskind is a fascinating account ofthe relationship between the composer of such operas as Jendfa, K6t'aKabanov6, and The Cunning Little Vixen and his advocate, Max Brod—thewriter and novelist known as a champion of the Czech musical and literaryavant-garde. Drawing on the correspondence of the two men, their friendsand associates including Gustav Mahler and Maria Jeritza, Susskind docu-ments the intellectual life in turn-of-the-century Prague. He deals with

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Brod's role as the German translator of the libretti of Jana"cek's operas,as well as with his efforts to get these works performed in Vienna, thenthe capital of the Hapsburg Empire. This well-written 167-page volume,particularly meaningful for those interested in Slavic culture in the twen-tieth century, contains an introduction by the Jana"cek specialist andconductor Sir Charles Mackerras. It includes illustrations, an appendix,a source list and a name index. Published by Yale University Press, itis priced at $23.00.

In little over a decade, the flowering of interest in and research aboutKurt Weill and his oeuvre have produced fertile results. A much-welcomedsampling can be found in A NEW ORPHEUS: ESSAYS ON KURT WEILL,containing a keynote article by its editor, Kim Kowalke, and contributionsby musicologists, critics and theater historians. Most of the writingswere presented as papers at the first international conference on thecomposer held at Yale University in November 1983. They examine popularand lesser-known works from Weill's German and American periods. Inclu-ded are David Drew's extensive chapter on the little-known operetta, DerKuhhandel, unperformed since its English premiere in 1935, and Guy Stern'sdetailed account of Max Reinhardt's fascinating seven-hour production ofThe Eternal Road, for which Weill wrote the incidental music. An indexand illustrations are included in this 374-page book published by YaleUnversity Press, selling for $35.00.

F.R.C. Clarke's HEALY WILLAN examines the life and works of the notedCanadian composer of liturgical and secular works. Emigrating from hisnative England in 1913, Willan taught at the Toronto Conservatory andthe University of Toronto, where his devotion to his art and his warmpersonality inspired generations of budding musicians. Willan's owncompositions, which were often performed during his 47-year-tenure aschoirmaster at St. Mary Magdalene's, have their sources in the works oflate 19th century German and English composers. Published by the Univer-sity of Toronto Press, the 300-page text contains a foreword by the lateGodfrey Ridout, musical examples, illustrations, source notes and an index.It is priced at $40.00.

The 1975 Black Sparrow Press publication WILLIAM GRANT STILL ANDTHE FUSION OF CULTURES IN AMERICAN MUSIC functions as a virtualhandbook on the eminent black musician who composed over 150 worksincluding Troubled Island and A Bayou Legend. Still's own writings, con-sisting primarily of essays on his stylistic development and theories, touchon the relationship of his ethnicity to his musical works. Edited byRobert Bartlett Haas with contributions by Verna Arvey (Mrs. Still), Louisand Annette Kaufman and Paul Harold Slattery, the book also includesintroductions by Still's friend and colleague Howard Hanson, and byFrederick Hall. Illustrations, a catalogue of works, a discography and abibliography are part of this 201-page paperback, which sells for $7.50.

VIRGIL THOMSON: A BIO-BIBLIOGRAPHY, a comprehensive guide to ar-chival and published materials on works by and about the Americancomposer and critic, is the fourth in the Greenwood Press Bio-Bibliographies in Music series. In addition to a concise biography, it alsoincludes a discography, performance listings, a chronological work list,and a publishers' directory. This 204-page indexed reference work, editedby Michael Meckna, is priced at $29.95.

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The text of ROGER SESSIONS, number 81 in the UMI Studies in Musicologyseries, is based on more than six years of tape-recorded interviews betweenthe composer and Andrea Olmstead, Chairman of the Department of MusicHistory at Boston Conservatory. In this survey of the American composer'sworks, Professor Olmstead discusses Session's stylistic sources and theirinfluence on his development. Chapters are devoted to his relationshipboth to his peers, including Stravinsky and Copland, and to those pupilswhose works he influenced. UMI Research Press has published this 218-page volume, which includes photographs, several appendices, a biblio-graphy, and a work and subject index. It is priced at $39.95.

The Robson Books' Contemporary Composers Series functions as a generalintroduction to the works of living composers; in each case they assistin the preparation of these books. A recent addition to this series,GYORGY LIGETI, opens with an interview by the book's author, PaulGriffiths, with the prominent avant-garde composer of Le grand macabreand Aventures et nouvelles aventures, among others . The second part ofthe book discusses the works written after Ligeti 's emigration from Hungaryin 1956. Priced at $15.00, the 127-page publication, the first to appearin English on Ligeti, contains photographs, a glossary, a bibliography andan index.

HARRISON BIRTWISTLE, another volume in the aforementioned series, isprimarily an analysis of the working methods of the contemporary Englishcomposer. Inspired by a diversity of influences including medieval plainsongand the compositions of such composers as Varese and Satie, Birtwistle 'sgoverning principles are centered on what the author Michael Hall definesas the disruption of established musical order. In its final chapter , thecomposer discusses the use of mathematical principles in his televisionopera Yan Tan Tethera. Priced at $15.00, the 128-page text includesphotographs and a work catalogue, as well as the composer's notes onselected compositions, a bibliography and an index.

MUSICAL True to its t i t le , Hugo Meynell's THE ART OF HANDEL'S OPERAS is aSTUDIES study of the musical and dramatic elements in Handel's works for the

s tage . Advancing the viewpoints of Winton Dean and other musicologists,the author agrees that the best of these operas are viable and excitingmusic-dramas. In these, the Handelian aria becomes a vehicle for expressi-vity, advancing both the narrat ive and the emotional character of thework as a whole. The first in the Edwin Mellon Press series, Studies inHistory and Interpretat ion of Music, the 264-page text contains a chrono-logy, a discography and indices. It is priced at $59.95 for a single volume;$39.95 if the whole series is ordered.

Julian Rushton's CLASSICAL MUSIC: A CONCISE HISTORY FROM GLUCKTO BEETHOVEN surveys the changes in music and musical life in the pe-riod from the mid-eighteenth century through the beginnings of Romanti-cism, and includes four chapters on the development of opera during whatis generally referred to as the Classical era . Part of the Thames andHudson World of Art series, the 192-page softcover t ex t , which includesa select bibliography and an index, is reasonably priced a t $9.95.

Thomas Bauman's NORTH GERMAN OPERA IN THE AGE OF GOETHEsheds light on a period of musical history known to but few. The authorexamines the development of the la te 18th century operat ic form commonlyreferred to as "Singspiel" produced in this region's cit ies and courts . The

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musical and literary values of the composers working in this genre—Weisse,Hiller and others—would, in turn, affect the more lasting works of compo-sers such as Mozart and Weber. Bauman pays particular attention to theopera's place in the German musical and dramatic repertory system, anddocuments its decline in popularity after the influx of more appealingAustrian and Italianate operatic compositions. This 448-page work, pub-lished by Cambridge University Press, includes illustrations, tables andcharts, a work catalogue, a selective bibliography and indices. It sellsfor $54.50.

Another book for both the general reader and the scholar wishing tolearn more about opera during the 18th century, David Charlton's GRETRYAND THE GROWTH OF OPERA-COMIQUE examines the history of Frenchoperas which employ spoken dialogue, and their subsequent influence onnon-French works, including The Magic Flute and Fidelio. The remarkableGre'try, both a philosopher and musician, composed twenty-three music-theater pieces which are studied in detail, while statistical tables measurethe popularity of the ope>a-comique in the country of its origin. Charltondoes not ignore the librettists—dramatists of some note—who were verymuch aware of the political, philosophical and aesthetic considerations oftheir day. Another Cambridge University Press publication, this 443-pagebook contains illustrations, notes, a select bibliography and an index. Itsells for $54.50.

In THE AMERICAN OPERA TO 1790, Patricia H. Virga sets herself theunusual task of preparing a detailed study of repertory composed in thecolonies and Britain in the 18th century, with information on historicalbackground, authors and their literary style, and the music of the period.Through research into contemporary musical sources, the author recon-structs the scores of various ballad operas, whose libretti merely indicatethe names of the popular tunes to be sung. Published by UMI ResearchPress, the 393-page text includes illustrations, a list of airs, appendicesof musical sources, notes, a bibliography and an index. It sells for $49.95.

Nicholas Slonimsky, editor of both Baker's Biographical Dictionary ofMusicians and the four-volume Music Since 1900, has now written theSUPPLEMENT TO MUSIC SINCE 1900. Known for his glib observationsand witty style, as well as for his attention to detail, the author hasarranged his account of musical events from 1970 to 1985 in diary format.The information also includes additions, amplifications and corrections tothe text in the previous four books of Music Since 1900. These ingredientsadd up to a colorful melange in which all musical genres, including jazzand rock next to the so-called serious works, are given equal attention.The 390-page book, published by Charles Scribner's Sons, contains severalessays by Slonimsky including one on new music in Russia, an appendixwhich reproduces previously classified Soviet documents, and an index. Itis priced at $30.00.

Published on the occasion of his 60th birthday, MUSINGS: THE MUSICALWORLDS OF GUNTHER SCHULLER is a collection of essays by this well-known figure of the music world. Writing on jazz, Schuller reflects onits history, aesthetics, and legendary performers in the book's extendedfirst section. He discusses his own opera The Visitation in the middlesection devoted to the problems of the performance of contemporaryworks, and concludes in the last four chapters with his observations onmusic education. Milton Babbitt is responsible for the introduction to

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this 303-page text, published by Oxford University Press, and selling for$22.50.

MONOGRAPHS Cambridge University Press has published some welcome additions to itsOpera Handbook Series. CLAUDIO MONTEVERDI: ORFEO begins withchapters on the libretto's mythic sources, and on the opera's performancehistory. The next section brings the reader to the nineteenth centurywhen the work was rediscovered, and includes Romain Rolland's reviewof its production by Vincent d'Indy. The concluding portion of the booksurveys modern interpretations of the opera. Edited by John Whenham,with contributions by Nigel Fortune, Joseph Kerman and others, the 216-page text includes several appendices, illustrations, musical examples,notes, a bibliography, a discography and an index. It is priced at $34.50clothbound, $11.95 in paperback.

Another new publication in the Cambridge series, RICHARD STRAUSS:DER ROSENKAVALIER, examines the musical and dramatic aspects ofthe opera, exploring the collaboration between the composer and his lib-rettist, von Hofmannsthal. The book, especially helpful in its treatmentof the text's sources in history and literature, also provides informationon the opera's first staging. An interesting chapter on the history offamous stage and screen productions is included. Alan Jefferson's 152-page text features photographs, notes, a bibliography, a discography andan index. The price is $34.50 hardback, $11.95 paperbound.

In the first section of BENJAMIN BRITTEN: THE TURN OF THE SCREW,Myfanwy Piper writes of how she transformed and restructured HenryJames' well-known tale into the libretto for this dramatic and hauntingopera. Subsequent chapters feature John Evans' account of the work'smusical composition, and Christopher Palmer's examination of its orchestra-tion. Patricia Howard has edited and contributed to this 164-page Cam-bridge Handbook, which contains illustrations, notes, a bibliography, adiscography and an index. It is available in a hardcover version for$34.50 and paperbound for $9.95.

When Claude Debussy chose to compose an opera based on the successfulplay by his contemporary Maurice Maeterlinck, he could not have guessedat the arduous task he had set for himself. David A. Grayson's THEGENESIS OF DEBUSSY'S PELLEAS ET MELISANDE, a UMI Research Presspublication, recounts the composer's professional and personal difficultiesduring this period. It also details the history of its first production,when the playwright actually brandished a sword at the composer for notcasting his mistress in the title role, and the audience booed parts ofthis beautiful and sensitive opera as indecent. The second half of thebook is a study of the text and its revisions, and a comparison of publishedversions of the score; a discussion of the opera's relationship to the musicof Wagner is also included. Priced at $49.95, the 342-page book includesmusical examples, notes, a bibliography and an index.

Arnold Schoenberg saw himself as a composer with a mission, a Mosesleading music out of the wilderness. Pamela C. White's SCHOENBERGAND THE GOD-IDEA: THE GENESIS OF MOSES UND ARON discusses whatthe composer called "the holy fire" and its affect on his early works.The book is divided into four main chapters, each dealing with a differentaspect of the opera's creation. Part II, for example, documents the ar-tistic and philosophical influences on the composer's development, including

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his conversion to Lutheranism in 1896, and his early association with theartists of the Blue Rider group. An extensive study of the Schoenberglibrary leads the author to perceptive conclusions regarding the composer'svisionary philosophy. This 339-page text, another in the UMI ResearchPress series of musicological books, contains several appendices, notes, abibliography and an index. It is priced at $44.95.

In HUGO VON HOFMANNSTHAL AND HIS TIME: THE EUROPEAN IMAGINA- STUDIES INTION 1860-1920 the author, cultural historian and philosopher Hermann AESTHETICSBroch equates the character and writings of the Austrian playwright, poetand librettist with the aesthetics and values of fin-de- siecle Europe.Portions of this essay, written between 1947 and 1950 during the lastyears of Broch's life, were edited and published in German by HannahArendt during the 1950's. Now issued for the first time in an Englishedition by Michael P. Steinberg, the book contains his introduction andselective bibliography which help to enlighten the reader on Broch'sphilosophical theories. This 207-page text, published by University ofChicago Press, is $13.95 in paper, $28.00 clothbound.

PRO AND CONTRA WAGNER, Thomas Mann's collected writings onRichard Wagner edited and translated by Allan Blunden, reveal his passio-nate but ambivalent love for this composer. Like many others, he haddifficulty in reconciling Wagner's greatness with disdainful aspects of hislife. "The Sorrows and Grandeur of Richard Wagner", the essay whichbrought about Mann's expulsion from Germany in 1933, is the centerpieceof this 229-page volume. Erich Heller's brief but enlightening introductiontouches on Wagner's place in Mann's fiction. Published by the Universityof Chicago Press, the indexed book is priced at $25.00 cloth, $10.95paperback.

From the Eastern liturgy to the Broadway musical, Arnold Perris leavesno stone unturned in his examination of MUSIC AS PROPAGANDA: ARTTO PERSUADE, ART TO CONTROL. He documents the uses and abusesof many musical genres from the Middle Ages to our own day, citing suchfamiliar "political" classics as he Nozze di Figaro, as well as lesser-knownnationalist operas, a medium that continues to be used for political expres-sion. Perris naturally devotes several chapters to popular music and itscapability to both enforce and subvert the status quo. One of the Green-wood Press series on the Contributions to the Study of Music and Dance,the 247-page text, includes a bibliography and an index and sells for $29.00

In GREAT DIRECTORS AT WORK: STANISLAVSKY, BRECHT, KAZAN,BROOK, David Richard Jones selects one landmark production by eachof these influential artists to underscore his definition of director asauteur, or primary interpreter. Beginning with the naturalism of TheSeagull and ending with the hallucinatory stylization of Marat/Sade, hecites the period from 1880 to 1980 as the Third Great Age of Theater.The author, a stage director and English professor, has included notesand an index in this 289-page work, published by the University of Cali-fornia Press. It is priced at $25.00.

First mentioned in Volume 26, Number 3, Herbert Lindenberger's OPERA:THE EXTRAVAGANT ART has now been published in a paperback editionby Cornell University Press. Lindenberger deals with opera as both aunique art form and a manifestation of cultural and social history. This297-page indexed text is priced at $8.95

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In OPERA AND IDEAS FROM MOZART TO STRAUSS, also included inthe aforementioned issue, author Paul Robinson relates vocal works byfive composers, including two song cycles by Schubert, to the intellectualand cultural issues of the times in which they were written. The new279-page Cornell University paperback edition containing a postscript,notes and an index, is priced at $9.95.

NORTON The Norton Critical Scores are designed as detailed and scholarly guidesCRITICAL for the study of individual works. At present, two of these are devotedSCORES to the examination of operatic material, PURCELL: DIDO AND AENEAS

and RICHARD WAGNER: PRELUDE AND TRANSFIGURATION FROMTRISTAN AND ISOLDE. In addition to the full score and libretto, editedand printed from various carefully chosen sources, these books containessays which survey the history and performance of the work and itsoften-changing critical reception. The Purcell volume, edited by CurtisPrice, features contributions by such writers as George Bernard Shaw,Andrew Porter and Edward Dent. The Wagner book, edited by RobertBailey, includes articles by both musicologists and composers, includingErnest Newman and Roger Sessions, Paul Hindemith and others. Thesehardbound books of 277 and 306 pages respectively, are also available inpaperback college text editions. The cost of the Purcell volume is $27.50,while the paperback and hardbound editions of the Wagner book are pricedat $9.95 and $25.00, respectively.

CONDUCTOR'S Robert Vaughan paints a detailed and quite critical portrait of theBIOGRAPHY celebrated conductor in his biography HERBERT VON KARAJAN. The

author, a free-lance writer and yachting expert, held many interviewswith those close to von Karajan, revealing a multi-faceted but stillenigmatic personality, both revered and disdained by his colleagues andassociates. Vaughan also discusses the questions concerning von Karajan'scareer during the Nazi regime. A bibliography and index is included inthis 274-page W.W. Norton publication, which sells for $16.95.

SINGERS' Writing about the life of the renowned mezzo-soprano MARIA MALIBRAN,BIOGRAPHIES Howard Bushnell in his 1979 biography also sheds ample light on the

international opera houses where the singer performed, as well as on thecomposers and history of the bel canto era. The diva, a member of thefamed Garcia family, created the most difficult roles of the works in theBellini, Rossini and Donizetti repertory during her tragically short career.Known for her beauty, technical abilities, and dramatic stage presence,her life off the stage was characterized by its unconventionality and im-pulsiveness. The 264-page text, published by Penn State University Press,includes illustrations, a repertory list, letters and a bibliography. It sellsfor $24.95.

MARIO AND GRISI: A BIOGRAPHY by Elizabeth Forbes deals with twoof Malibran's contemporaries, the husband and wife team of GiovanniMario and Giulia Grisi, whose careers in France, Italy and Englandencompassed both bel canto and Verdian roles. In addition to many fa-miliar sources, Ms. Forbes has consulted a variety of European periodicals,contracts and letters in the archives of the Royal Opera House, CoventGarden. First-hand accounts of the Marios are revealed in the unpublisheddiaries of Queen Victoria and Geraldine Somerset, her lady-in-waiting.In addition to interesting illustrations, including some done by the Queenherself, the 225-page book also contains a bibliography and an index.Published by Victor Gollancz Ltd., it is priced at $26.00.

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Originally published in 1937 by Dial Press, Oscar Thompson's THEAMERICAN SINGER has been reissued by the Johnson Reprint Corporation,a subsidiary of Harcourt Brace Jovanovieh. The author provides chapterson Clara Louise Kellogg, Minnie Hauk and other performers popular inthe last century, as well as Lawrence Tibbett and Rosa Ponselle, whoremain world-renowned. The book is at its most useful when it documentsthe careers of singers such as Suzanne Adams and Ze l̂ie de Lussan, knownprimarily through interesting early recordings. The 426-page volume con-tains 108 photographs, a series of appendices and an index, and sells for$32.00.

The 1984 publication RICHARD TUCKER: A BIOGRAPHY was written byJames A. Drake, who worked closely with the Tucker family in the prepara-tion of the material. It serves as a tribute to a man who overcame manyobstacles to become one of the great singers of his time. The book re-counts his early career as a cantor and gives a detailed account of histhirty years at the Metropolitan Opera. Luciano Pavarotti and GeorgeJellinek have contributed a foreword and afterword to the 304-page E.P.Dutton publication, which also contains photographs, a discography andan index. It is priced at $18.95.

George Jellinek's 1960 biography CALLAS: PORTRAIT OF A PRIMADONNA has been reissued in a Dover paperback with a new preface andepilogue covering the period until her death in 1977. Jellinek has givenus an extremely sympathetic portrait of the singer, whose career was atits height during the time the book was written. He presents her as asensitive and highly intelligent artist who cared, above all else, for hermusic. Sixty-four photographs, a repertoire list and an index are includedin this 355-page book, which sells for $7.95.

Students, young professionals and teachers will benefit from the expertise MUSICALprovided by noted singers in their recent books on singing. Vocal coaches GUIDESin particular will welcome Martial Singher's AN INTERPRETIVE GUIDE FOR SINGERSTO OPERATIC ARIAS: A HANDBOOK FOR SINGERS, COACHES, TEA-CHERS AND STUDENTS, published by Pennsylvania State University Press(hardcover, 350 pages, several musical examples, $27.50). In this importantcontribution, the author conveys his own sensitivity to musical and dramaticcontext based on his experience as performer and teacher. He suppliesvaluable commentary on character delineation, emotional motivation, andmusical analysis of 151 arias for different voice types from 66 Italian,French, Russian, German, and American operas. — Intended for bothprofessional and amateur singers, Evelyn Lear's and Thomas Stewart 'sROMANTIC DUETS represents their felicitous choice of 12 favorite non-operatic selections, reprinted with easy piano accompaniment by G.Schirmer (90 pages, $9.95). Each number is preceded by a translatedtext and a note on interpretive style.

Number 21 in the Greenwood Press Discography Series, JOHN McCOR- SINGER'SMACK: A COMPREHENSIVE DISCOGRAPHY, compiled by Paul W. Worth DISCOGRAPHYand Jim Cartwright, is chronologically arranged in the order of recordingsessions; all titles list composer, lyricist and assisting artists and includematrix, take, and original issue numbers. Five appendices provide materialon the tenor's broadcasts, unpublished recordings, and his film, Song O'My Heart, while several indices are arranged for useful research. Mrs.Gwendolyn McCormack-Pyke, the tenor's daughter, has written the fore-word to the 184-page work, which sells for $45.00.

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ARTS JOBS IN ARTS AND MEDIA MANAGEMENT: WHAT THEY ARE AND HOWADMINISTRA- TO GET ONE! is a s tep-by-s tep guidebook for prospective managers inTION all areas of the a r t s . It gives pointers in educational planning and career

development, including the s tar t ing of one's own organization. A specialsection, "The Career Kit", contains a list of degree and internship pro-grams. Stephen Langley's and James Abruzzo's clear prose, helpful advice,and well-organized chapter headings make this a beneficial tool for thosewho plan to work or are already working in the field. The 232- pagebook, published by Drama Books, is available for $32.50, with a paperbackedition for $19.95.

The Center for Arts Information publishes FOR MORE INFORMATION: AGUIDE TO ARTS MANAGEMENT INFORMATION CENTERS, listing 87 do-mestic and four foreign organizations that re ta in and/or disseminate books,periodicals and other materials of benefit to a r t s administrators . Arrangedalphabetical ly, geographically, and by subject , it also contains th ree appen-dices including a directory of s t a t e a r t s councils and other service organi-za t ions . The 68-page paperback book, compiled by Henry S. Hample, canbe ordered through the Center for $13.95.

Alvin H. Reiss, editor of Arts Management, presents an imaginative arrayof ideas for administrators and board members in his new book CASH IN!FUNDING AND PROMOTING THE ARTS. This detai led, clearly wri t tenguide covers both new and t r ied-and- t rue methods recommended for increa-sing revenue. The 240-page i l lustrated book, available from TCG Publica-tions, is priced a t $12.95 paperback, $24.95 cloth.

The Fund Raising Inst i tute in Ambler, PA, has published THE MEMBERSHIPMYSTIQUE: HOW TO CREATE INCOME AND INFLUENCE WITH MEMBER-SHIP PROGRAMS by Richard P. Trenbeth . This i l lustrated book, designedfor use by a broad range of philanthropic insti tutions, unveils s tep-by-s tep plans for the creat ion and/or improvement of membership programs.The author deals with the particular problems and needs of both largeand small organizat ions. This helpful 280-page paperback guide is pricedat $34.95.

SURVEYING YOUR ARTS AUDIENCE, a publication of the National Endow-ment for the Arts Research Division, is another how-to guide for planning,conducting, processing and interpret ing audience surveys. Deftly illus-t r a t ed with reproductions of engravings by Hogarth, Daumier and others ,this well-organized publication provides an appendix with sample question-naires. The 77-page paperback can be ordered from the Publishing Centerfor Cultural Resources, 625 Broadway, New York, NY 10012 for $9.00plus $1.00 postage.

The 1987 edition of the annual MUSICAL AMERICA INTERNATIONALDIRECTORY OF THE PERFORMING ARTS has again been expanded andis now 672 pages long. This year, its section covering the United Sta tesand Canada includes 18 categories , while eight categories are listed underthe International Section. Available from ABC Consumer Magazines, Inc.,it is priced at $60.00.

The 1987 edition of the DANCE MAGAZINE PERFORMING ARTS DIREC-TORY, edited by Carol E. Svecz, supplies updated information to its l is-tings of music and dance organizat ions, cultural resources, and businessservices to performers. A national and international listing of se lec ted

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opera companies is included in the 484-page paperback publication, whichsells for $30.00.

The 1987 STAGE MANAGERS DIRECTORY, edited by Cathy Blaser andDavid Rodger, publishes the credentials of 267 professionals in resum6format, and also indexes these managers according to their specialties.Published annually by the Broadway Press, the 174-page paperback ispriced at $10.00

If you are looking for light entertainment, David Groover's and C.C.Connor's SKELETONS FROM THE OPERA CLOSET: AN IRREVERENT AP-PRECIATION succeeds nicely. This volume of opera judgments and misjudg-ments by such luminaries as Bizet, Wagner and Cecil B. de Mille is fullof witty banter, interspersed with some pretty rarefied information. This243-page, indexed work from St. Martin's Press is priced at $15.95.

William Brooke's caustic OPERANTICS: FUN AND GAMES FOR THEOPERA BUFF may be intended as a lesson in audience training. Forthose looking for guidance as to when and how to shout bravo, when torun to the bar, and how to rustle candy wrappers for maximum disturbancevalue, this is the book for them. Easy-to-remember plot synopsis andpun-filled aria translations are also provided in this zany opus, completewith Andrej Czeczot's offbeat caricatures. This light-weight 95-pageSpectacle Lane Press paperDack is priced at $7.95. []

HUMOR

Winners (continued from page 43)BICKERS and ANGELA NORTON finished se-cond and third.

The Handel Akademie of Karlsruhe, Germany,grants two music scholarship prizes annually.In 1986, the first prize was awarded to Ameri-can RENE FLEMING of the Juilliard School andthe Frankfurt Musikhochschule.

The first vocal competition in Pretoria awardedAmerican soprano MARILYN MIMS, one of lastyear's winners of the Metropolitan Opera Audi-tions, its second prize. First prize for operawent to South Korean soprano SOO KHONG JO,for concert to South African baritone ANDREHOWARD. American mezzo KATHLEEN CA-SELLO placed third, and KLAUS HAFFKE ofWest Germany fourth. New Zealand sopranoPATRICIA WRIGHT came in fifth, receivingalso a special award for her interpretation ofLieder, while the sixth prize went to ChileanMARCELA HOLZAPFEL.

Baritone DANIEL WASHINGTON, a member ofthe opera ensemble in Lucerne, Switzerland,received first prize at the 1986 voice competi-tion in Toulouse.

Of the nine young singers forming the 1987Emsemble of the Lyric Opera Center for Ameri-can Artists in Chicago, three are newly re-cruited and six are returning for a second year.

Soprano CYNTHIA LAWRENCE of Californiaand recently of Colorado, mezzo CLARAO'BRIEN of Pennsylvania, and bass HENRY RU-NEY of South Carolina are the novices, whilesoprano JOAN GIBBONS, tenors RICHARDDREWS, DONALD KASCH, and JOSEPH WOL-VERTON, and baritones JOHN MURRAY andPATRYK WROBLEWSKI are returning for themid-January opening. In addition, three singershave been accepted as apprentices to the pro-gram. They are soprano VALERIE DeBAR-TOLO, mezzo PAMELA LAURENT, and baritoneCHARLES HUDDLESTON.

Singer Contract SupportThe National Institute for Music Theater (NIMT)has awarded singer contract support grants tothe following opera companies: Central CityOpera, Chautauqua Opera, Chicago Opera Thea-ter, Lake George Opera Festival, Opera Colora-do, Pennsylvania Opera Theater, Spoleto Festi-val USA, and Wolf Trap Opera Company.

ConductorsIn the Arturo Toscanini International Competi-tion for Conductors in Parma, first prize wentto GYORGY RATH GYORINVANY of Hungary.The other winners were DAVID DEL PINOKLINGE of Peru and LESLIE DUNNER of theUnited States. — The Conductors' Competitionof Besancon gave its first prize to the youngQuebecois GILLES AUGER of Charny. []

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IN 1986 OPERA LOST...

Composer HAROLD ARLEN (n6 Hyman Arluck), American, 81 years old,in New York City 4/23/86. His popular, blues-inspired songs and musicalscores were written with many famous collaborators, including Ira Gersh-win, E.Y. Harburg and Johnny Mercer. The son of a cantor, he spenthis childhood in Buffalo, NY, and toured with his own band as a teenager.In the early 1930's, he wrote his first hits "Get Happy" with Ted Koehlerand the sultry "Stormy Weather", popularized by Ethel Waters at the Cot-ton Club. Bloomer Girl (1944) and House of Flowers (1954) are amonghis Broadway musicals. Many of his songs, including those from his Oscar-winning film score, The Wizard of Oz (1939), and Cabin in the Sky (1943),remain in the repertory of today's singers. On the afternoon of November21, the famous stars who often sang Mr. Arlen's music paid tribute tothe composer at an ASCAP-sponsored concert devoted to the composerat the Majestic Theater.

Producer and agent RICHARD ARMITAGE, British, 58 years old, nearLondon 11/17/86. Founder and chairman of Noel Gay Artists Ltd., hewas recently involved in the revival of Me and My Girl, the hit musicalcomposed in 1937 by his father, who wrote under the name of Noel Gay.Both the English and American productions were well-received and wonseveral awards. At the time of his death, he was producing a stage ver-sion of the movie musical, High Society, scheduled to open in London inFebruary.

Conductor ERNESTO BARBINI, Italian, 76 years old, in Toronto 11/17/85.He studied music in his native Italy before coming to the United States asa coach and conductor for the Chicago Lyric Opera in 1938. From 1946to 1952 he was an Assistant Conductor at the Metropolitan Opera, andled performances of Cavalleria rusticana and Pagliacci during the 1951-52 season. In 1953 he moved to Canada, where from 1953-1975 he servedas music director of the Royal Conservatory's opera school. He also con-ducted many Canadian Opera Company productions before retiring in 1983.

Stage designer and teacher HOWARD BAY, American, 74 years old, inNew York 11/21/86. Considered one of America's most important stagedesigners, he did his first work for musicals in 1942. He was active untilhis death, at which time he was preparing a production of The MusicMan for the Peking Opera House. In addition to his work on musicalsincluding One Touch of Venus and Finian's Rainbow, he won DonaldsonAwards for the sets of Carmen Jones and Up in Central Park, and a Tonyfor Man of La Mancha. He served on the faculty of Brandeis Universityfor fourteen years.

Stage director RONALD BENTLEY, American, 48 years old, in New York9/11/86. He began his career as a chorus member with the New YorkCity Opera, and subsequently directed several productions there, includingTosca and The Merry Widow. He also worked with a number of regionalcompanies, as well as the Israel Philharmonic.

Singing actor HERSCHEL BERNARDI, American, 62 years old, in LosAngeles 5/9/86. He was a popular Tevye in numerous revivals of Fiddleron the Roof on Broadway and on tour. He also starred in productionsof Man of La Mancha and Zorba, and toured in his one-man show, AnEvening with Herschel Bernardi. He began his career in the Yiddishtheater during the 1940s, and later appeared in many straight plays onBroadway. Known for his sonorous speaking voice and versatile acting

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style, he created both leading and character parts on stage and in films.On television, he created the lead in Actor, a 1978 musical based on thelife of Paul Muni.

Director and actor GLEN BYAM SHAW, British, 81 years old, in London4/29/86. After a 40-year career in the theater, he turned to opera in1962 when he joined the Sadler's Wells Company (now English NationalOpera) as director of productions. He staged numerous operas with thecompany, including a Ring cyle, Bluebeard's Castle, and Tristan and Isolde.

Singing actor and dancer JAMES CAGNEY, American, 86 years old, inupstate New York 3/30/86. One of the great personalities of the Americancinema of the 1930's and 1940's, he had first appeared as a tap dancerin vaudeville and musicals. He employed this talent on the screen in theclassic "Shanghai Lil" sequence of Footlight Parade (1933), as well as inYankee Doodle Dandy (1942), based on the life of George M. Cohan, themusical film for which he is best remembered.

Conductor CONSTANTINE CALLINICOS, American, 67 years old, in NewYork 1/17/86. He worked at the New York City Opera from 1958 until1969, and made his debut there, conducting Madama Butterfly. He wasalso the music director for several Mario Lanza films, including TheStudent Prince.

Tenor TIMO CALLIO (ne" Mustakallio), Finnish, 55 years old, in Helsinki11/84 (not previously reported). He began his career in Helsinki in 1961and later went on to sing principal roles of the German and Italian reper-tory with major houses in Vienna, Munich, Paris and other cities throughoutEurope. During 1968 he appeared as Canio and Cavaradossi at the NewYork City Opera. He was one of the founders of the Savonlinna Festival.

Baritone and language coach GEORGE CEHANOVSKY, Russian/American,94 years old, in New York 3/25/86. After leaving Russia, he made hisMetropolitan Opera debut in 1926, appearing on stage with his futurewife, the soprano Elizabeth Rethberg. He held the record for number ofappearances with the company, singing 97 roles in 1,076 house performancesplus an additional 677 on tour. He appeared in a vast array of principaland comprimario roles including Schaunard, which he recorded under Tosca-nini, Sharpless, and Fiorello in II Barbiere di Siviglia. He also createdroles in the premieres of several American works by Deems Taylor andWalter Damrosch. Respected and beloved by his colleagues, he returnedto the Metropolitan Opera as a language coach for Russian operas tenyears after he retired from singing in 1966, and he was still active in1985, when he was in charge of diction for the new production ofKhovanshchina.

Stage director and teacher ARTHUR CONRAD, American, 51 years old,in San Francisco 11/25/86. He directed and choreographed over 200 pro-ductions for such prominent California organizations as the Oakland Ballet,Carmel Bach Festival, and the Marin, West Bay, Oakland and Sacramentocompanies. He also taught at the University of California at Berkeley,the Dominican College, and the San Francisco Conservatory. He beganhis career as a director of light opera, and from 1966 was associatedwith the Lamplighters of San Francisco.

Producer and director CHERYL CRAWFORD, American, 84 years old, inNew York 10/7/86. In 1931, together with Harold Clurman and Lee Stras-

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berg, she co-founded the Group Theater, an ensemble whose aestheticswere grounded in the naturalistic tenets of Stanislavsky. In addition toperforming political dramas by Odets and others, the company commissionedand premiered Weill's Johnny Johnson in 1937. Her subsequent musicalproductions included a 1942 revival of Porgy and Bess and the premieresof Lerner and Loewe's Brigadoon (1947) and Weill's Love Life (1948).Legends, now on a national tour with Mary Martin and Carol Channing,was one of her last stage projects.

Bass-baritone WILLIAM DANSBY, American, 44 years old, in New York6/1/86. He studied in Texas and sang with regional companies beforemaking his debut at the New York City Opera in 1983. His numerousleading roles there included Escamillo, Scarpia, Mefistofele and the Judgein Sweeney Todd.

Mezzo-soprano and teacher DORIS DOE, American, 80 years old, in Chatta-nooga, TN, 12/26/85. A student of Louise Homer, she made her debut atthe Metropolitan Opera in 1932 and sang principal and supporting rolesuntil 1947. Later she joined the music faculty of the University ofTennessee, and became an advisor to the Chattanooga Opera.

Conductor and pianist HARRY L. FUCHS, Austrian/American, 58 yearsold, in New York 4/4/86. He began his career performing dual pianoworks with his wife, Lorraine Falberg, and later became a guest conductorwith a number of New York dance companies. Since 1971, he had beenan assistant conductor at the New York City Opera.

Music critic and editor ROLAND GELATT, American, 66 years old, inPhiladelphia 12/3/86. From 1954 to 1968, he worked at High Fidelitymagazine, editing several of the annual Musical America directories.Later he wrote on a variety of arts topics for Saturday Review, wherehe was employed for over a decade. In addition to his 1955 book, TheFabulous Phonograph, revised in 1966 and 1977, he also wrote MusicMakers: Some Outstanding Musical Performers of Our Day (1952).

Soprano and teacher DUSOLINA GIANNINI, American, 84 years old, inZurich 6/29/86. One of the celebrated divas of the 1920's and 1930's,she sang with her father's opera company in Philadelphia while still inher teens. A pupil of Marcella Sembrich, she made a successful CarnegieHall concert debut in 1923, substituting for the indisposed Anna Case.Beginning in the late 1920s, she sang leading dramatic roles at internationalfestivals and opera houses including Zurich, Berlin, Vienna and London(Covent Garden). At the Metropolitan Opera (1936-1940), she appearedin such roles as Santuzza, Aida and Tosca, and also sang Tosca with theNew York City Opera at its very first performance in 1944. She alsoappeared with several other American companies. A sister of the composerVittorio Giannini, she participated in the world premiere of his 1938 work,The Scarlet Letter. After 1962, she ran an opera studio in Zurich and, fora time, taught at the Curtis Institute in Philadelphia.

Playwright, novelist and poet JEAN GENET, French, 75 years old, in Paris4/15/86. Called one of the greatest writers of the century, his artisticvision grew out of his own experience and knowledge of criminal life.Our Lady of the Flowers, a book of poetry written when he was a prisonerduring the German Occupation, was published in 1943. His dramas, influ-enced by the writings of Artaud and the surrealists, have been performed

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and filmed internationally. One of these plays, The Balcony, was the ba-sis of an opera written in 1975 by Robert DiDomenico.

Clarinetist, conductor, composer and arranger BENNY GOODMAN, Ameri-can, 77 years old, in New York 6/13/86. Known as the King of Swing,he developed his style out of the jazz music of the 1920's, and went onto achieve world fame during the Big Band Era. His integrated band, oneof the first in the United States, gave the first jazz concert in CarnegieHall in 1938. In addition to composing and arranging many popular hitsand touring with his orchestra, he played in both films and musicals, in-cluding the 1939 Swingin' the Dream and the 1944 revue, The Seven LivelyArts. A versatile performer, his recordings of the Mozart and Weberclarinet concerti remain in great demand.

Physician EUGEN GRABSCHEID, Austrian/American, 81 years old, in Tena-fly, NJ, 2/3/86. He was educated in Vienna where he received his doctor-ate in ortholaryngology and became assistant to the renowned Prof. Neu-mann. In 1938, he came to the United States where he began his forty-five-year private practice as a specialist in ear, nose and throat ailments.His advice and council was sought by the famous stars, as well as thebudding apprentices of the Metropolitan and New York City Operas andBroadway shows. For twenty-six years he was also chief of ortholaryngol-ogy at Harlem Eye and Ear Hospital. A long list of famous performersoffered their tribute to the doctor in a three-hour memorial concert atNew York's Town Hall.

Tenor and teacher DONALD GROBE, American, 56 years old, in Berlin4/1/86. A native of Illinois, he studied at Mannes College, and made hisdebut in Chicago in 1952. Beginning in 1956, he made his career in Eu-rope, singing with the Bavarian State Opera, the Salzburg Festival, andCovent Garden. A "Kammersanger" of the Deutsche Oper Berlin, he regu-larly appeared there from 1961 until a few weeks before his death. Hesang Froh during the 1968-69 season at the Metropolitan Opera. In addi-tion to numerous roles from the standard repertory, he performed andrecorded many works by contemporary composers.

Soprano and teacher ELISABETH GRUMMER, German, 75 years old, inBerlin 11/6/86. In 1940, Herbert von Karajan invited her to sing at theopera in Aachen, where her husband was a conductor. From 1946 until1972, she was a member of the Berlin Municipal Opera (later DeutscheOper Berlin), performing a wide range of principal soprano roles. Admiredfor both her dramatic and musical abilities, she made numerous guestappearances at most major opera houses and festivals throughout Europe,including La Scala, Covent Garden, the Vienna State Opera and Bayreuth.Following her 1965 New York City Opera debut as the Marschallin, shesang Elsa at the Metropolitan Opera during the 1966-67 season. Shereceived the title of Kammersangerin in 1963 and also taught in Berlin.

Conductor and organist GUY F. HARRISON, British/American, 91 yearsold, in San Miguel de Allende, Mexico, 2/20/86. He received his trainingat the Royal College of Music in London and moved to the United Statesin 1920. He was based in Rochester, NY where he served on the facultyof the Eastman School of Music and later became the music director ofthat city's Civic Orchestra, and the associate director of its' Philharmonic.He also conducted with the Rochester Grand Opera. For twenty years,he led the May Music Festival in Ohio, and in 1951 was named musicdirector of the Oklahoma Symphony, where he remained for 21 years.

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Director, singer and teacher DAVID HICKS, American, 48 years old, inNew York 3/14/86. He began his career as a baritone with the New YorkCity Opera, and, at the suggestion of Julius Rudel, turned to directingin 1970. He staged over 35 works for the company. In 1977 he becameartistic advisor of the Florentine Opera, where he directed one productiona year until his illness in 1983. He worked for many regional opera com-panies, including Palm Beach, New Orleans and others, and taught at boththe Juilliard School and the Academy of Vocal Arts in Philadelphia.

Arts patron HILLDUR HOLLANDER, American, 78 years old, in Wayzata,MN, 2/17/86. A graduate of the University of Minnesota and a memberof Sigma Alpha Iota, she was a supporter of many local music organizations,including the Minnesota Orchestra, North Star Opera and University ofMinnesota Opera Theater. An active member of the Metropolitan OperaNational Council, she was the MONC Auditions director for the UpperMidwest Region. As a dedicated regional director of Central OperaService, she organized conferences in her area annually. Her cheerfulcountenance and untiring devotion to opera in general, and the Met andCOS in particular, will always be gratefully and fondly remembered.

Arts patron HINDA HONIGMAN, American, 82 years old, in Greenville,SC, 4/25/86. Former president of the National Federation of Music Clubs,she served on the boards of the American Symphony Orchestra League,the Greenville Symphony and the Brevard Music Center. She also helpeddevelop the ASOL Helen M. Thompson Award for music directors and ad-ministrators, and had been chairman of the awards committee since itsinception four years ago.

Director and administrator WOLFRAM HUMPERDINCK, German, 92 yearsold, in Frankfurt, Germany, 4/16/85. The son of the composer EngelbertHumperdinck was chief director at the Leipzig Opera until 1941, and sub-sequently held artistic and administrative positions at the Kiel Opera andDetmold Landestheater, where he worked from 1952-1959. He also stagedoperas in Paris, New York and Japan. In 1965, he wrote a biography ofhis father; he also revised and directed his opera Die Heirat wider Willenin 1935.

Writer and translator CHRISTOPHER ISHERWOOD, British/American, 81years old, in Santa Barbara 1/4/86. His most popular works, the semi-autobiographical novel Goodbye to Berlin and The Berlin Stories depictthe decadent ambience of the Weimar Republic. John van Druten utilizedmaterial from both books for his play I Am a Camera, which subsequentlybecame the basis for Kander and Ebb's highly successful musical Cabaret.

Baritone WILLIAM JUSTUS, American, 60 years old, in Miami 4/1/86. A1963 winner of the American Opera Auditions, he continued his careerin Europe, becoming a member of the Zurich Opera and singing in Germanand Italian houses. Escamillo, Figaro, and Malatesta were among theroles he performed with major American companies including Houston,Cincinnati, Miami, Fort Worth and the New York City Opera, where heappeared from 1974-78 and again in 1981.

Soprano and teacher MARGARET KRAUSS, Czech/British, 90 years old,in Sydney, Australia, 2/2/86. She had performed in Munich, Vienna andthe Salzburg Festival from the mid-1920's until the time of her marriage,when she moved to London and began to teach. Later she went to Aus-

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tralia and was a member of the faculty of the Sydney Conservatory from1959-1969. Her pupils included Kiri Te Kanawa and Martti Talvela.

Lyricist and playwright ALAN JAY LERNER, American, 67 years old, inNew York 6/14/86. After graduating from Harvard, he wrote radio scriptsand lyrics for revues until his meeting with Frederick Loewe. Four yearsafter their first collaboration in 1943, they produced their first hit, Bri-gadoon, followed by Camelot, My Fair Lady and Gigi, all noted for theirelegant lyrics and many memorable songs. Among his other credits arethe screenplay for the Vincent Minelli film An American in Paris and thelyrics for Weill's Love Life and Burton Lane's On a Clear Day You CanSee Forever.

Dancer, choreographer and writer SERGE LIFAR, Russian/French, 81 yearsold, in Lausanne, Switzerland, 12/15/86. He was one of the most acclaimedstars of Diaghilev's Ballets Russes, dancing in works by Massine and theyoung Balanchine as well as choreographing Renard for the company be-fore it disbanded in 1929. From 1929 to 1949 and from 1947-1958, hewas the Ballet Master of the Paris Opera, often dancing the principalroles in his innovative versions of Romeo and Juliet, Phedre and otherworks. Politically controversial and boycotted in the United States afterthe war as a collaborator, he was defended by Georges Hirsch, then direc-tor of the Paris Ope'ra. The author of over 25 books on dance historyand theory, he founded the Paris Institute Chore'ographique in 1947 andthe Universite de la Danse in 1957.

Writer BERNARD MALAMUD, American, 71 years old, in Vermont 3/18/86.His novels and short stories were mainly concerned with struggles anddreams of first and second generation Jews in the United States. Histexts have been used by several American composers as the basis foroperas. In 1974, the double bill "Tales from Malamud", comprised ofLeonard Lehrman's Karla (1974) and Idiots First, begun by Marc Blitzsteinand completed by Mr. Lehrman, was premiered in Ithaca, NY. ElieSiegmeister's double bill, Angel Levine and Lady of the Lake, was presentedlast year at the 92nd Street YMHA in NYC.

Tenor GALLIANO MASINI, Italian, 84 years old, in Livorno, Italy, 2/15/86.He sang leading roles at the Teatro Reale dell'Opera, Rome, from the1930's to the 1950's. At La Scala, he sang Turiddu in a fiftieth anniversaryperformance of Cavalleria rusticana, conducted by the composer in 1940.During this time, he also appeared with the Lyric Opera of Chicago andthe Metropolitan Opera, where he performed Edgardo, Cavaradossi andRadames during the 1938-39 season. He continued to sing at majorhouses in Europe, North and South America until his retirement in 1957.

Conductor THOMAS MICHALAK, Polish/American, 45 years old, in NewYork 7/10/86. A virtuoso violinist at the age of 16, he made his conductingdebut in 1964 with the Ballets Russes de Monte Carlo. He taught atIthaca College and conducted the Canton, OH, Symphony before his ap-pointment as music director of the New Jersey Symphony, a post he heldfrom 1977 to 1983. More recently, he was the founder and conductor ofthe choir of the Newark Cathedral of the Sacred Heart. He made frequentguest appearances with orchestras and regional opera companies.

Composer, conductor and teacher FRANCISCO MIGNONE, 89 years old,in Rio de Janeiro 2/18/86. He began his musical education in Sao Paolo,

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and spent several years in Italy studying at the Milan Conservatory. InBrazil, he taught at the National School of Music in Rio de Janeiro inaddition to enjoying national recognition as a composer of modern, oftendissonant, works based on native folk melodies. His operas O Contractadordos diamantes (1924), O inocente (1928), and O Chalaea (1972) as well ashis operetta Mizu were all premiered in Rio de Janeiro.

Mezzo-soprano GEORGINE VON MILINKOVIC, Czech, 72 years old, inPrague 2/26/86. After beginning her career in Zurich, she was engagedat the Bavarian State Opera by Clemens Krauss in 1940, where she sangboth principal and supporting roles in German and Italian repertory until1965. She also appeared with other European companies, including Vienna,Bayreuth, London's Covent Garden and the National Theater in Prague,where she was a member of the company from 1945-48. At Salzburg,she created the role of Alkmene in the 1952 premiere of Strauss's DieLiebe der Danae.

Music educator, composer, and administrator DR. MERLE MONTGOMERY,American, 82 years old, in Chantilly, VA, 8/25/86. She obtained hergraduate degree from the University of Rochester and later studied inParis with Nadia Boulanger. A specialist in music education, she publishedfour sets of Music Theory Papers, numerous articles and thirty-six musicalcompositions. She held leading positions with numerous organizations,including the Musicians Club, ASCAP, the National Federation of MusicClubs, Music Education for the Handicapped and the New York City OperaGuild. As a former president and board member of the National MusicCouncil, she initiated the National Black Music Colloquium and Competitionand the American Eagle Awards Luncheon. She was responsible for orga-nizing the Bicentennial Parade of American Music at the Kennedy Centerin 1976. She also represented the U.S. at various international symposiaand conferences including those of the International Music Council, andassisted numerous young performers who later developed major careers.Her dedication to music and American musicians was an inspiration toeveryone whose life she touched. Her friends and colleagues came fromacross the country for a special memorial tribute at Lincoln CenterLibrary on October 1, 1986.

Soprano NINA MORGANA, American, 94 years old, in Ithaca, NY, 7/8/86.Billed as "Baby Patti", she made her debut as a child at the Pan-AmericanExposition in 1900. As a professional musician, she later toured throughoutthe United States in recital with Enrico Caruso. She married his businessmanager, Bruno Zirato, who later became the manager of the New YorkPhilharmonic. The singer was a member of the Metropolitan Opera from1919 to 1935, where her repertory included Inez in L'Africaine, Adina,Musetta, Gilda, and Micaela.

Singing actress GRETA MOSHEIM, German/American, 81 years old, inNew York 12/29/86. She had been a professional actress since the 1920's,when she appeared in many Max Reinhardt productions. She left Germanysome years before the war, and acted in London and New York. Beforereturning to Europe in 1955, she succeeded Lotte Lenya in the long-running revival of Die Dreigroschenoper at New York's Theater de Lys.

Arts administrator MICHAEL NEWTON, British/American, 53 years old, inLos Angeles 10/21/86. President of the Performing Arts Council of theLos Angeles Music Center since 1979, he organized and developed its

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successful fund-raising programs. A strong advocate of an interdisciplinaryapproach to arts education, he also created the Center's schools programs.He was instrumental in obtaining the Joffrey Ballet as the Center's resi-dent dance company, and was involved in the efforts to organize the LosAngeles Music Center Opera. He headed the Arts and Education Councilin St. Louis from 1966 to 1972 and the American Council for the Artsfrom 1972 to 1978. A founder of the Coalition of National VoluntaryOrganizations, he also served on the advisory committees of both theFiler Commission on Private Philanthropies and the Corporation for PublicBroadcasting.

Tenor WILHELM OTTO, German, 78 years old, in Cologne, Germany,6/23/85. As a singer with the Cologne Opera from 1945 to 1959, hecreated roles in the premieres of Hartmann's Simplicius Simplicissimus andFortner's Bluthochzeit. He also sang the Male Chorus in the first Germanperformance of The Rape of Lucretia in 1948 and Bizet's Ivan the Terrible(1952). He specialized in the dramatic tenor roles in the operas of Straussand Wagner.

Contralto and teacher LOUISE PARKER, American, 60 years old, in Phila-delphia 9/15/86. The first black graduate of the Curtis Institute, sheappeared with the New York City Opera in Regina in 1958 and Henze'sThe Young Lord in 1973 and 1974. She also performed in the world pre-miere of Joplin's Treemonisha and sang at Stokowski's last New Yorkperformance of Mahler's Symphony No. 2 in 1971. She recorded Hindemith'sWhen Lilacs Last in the Doorway Bloomed under the composer's direction.

Producer, director and actor OTTO PREMINGER, Austrian/American, 80years old, in New York 4/23/86. He began his long and distinguishedcareer at the age of 17, acting in the Max Reinhardt production of AMidsummer Night's Dream, and later became a well-known theater managerin Europe. After emigrating to America in 1935, he concentrated mainlyon the production and direction of films, many of which were known fortheir daring subject matter and language. Two of these were musicals,Carmen Jones (1954), in which Marilyn Home provided the voice-over forDorothy Dandridge, and Porgy and Bess (1959). He made his last film in1980.

Tenor SIR PETER PEARS, British, 75 years old, in Aldeburgh, England,4/3/86. Beginning with his first series of recitals in 1938 and the premiereof Peter Grimes in 1942, he was identified chiefly with the music writtenfor him by his collaborator and companion, Benjamin Britten. One of theforemost advocates and performers of contemporary British music, hisunique vocal and dramatic abilities also lent themselves to expressiveinterpretations of liturgical works by Bach and Schutz, lieder and artsongs and standard operatic roles. His song recitals, with Britten asaccompanist, were always in demand. Until his death, he was the directorof the Aldeburgh Festival, which he helped to initiate in 1948, and ofthe Britten-Pears School for Advanced Musical Studies. After 1950, hiswork in opera centered chiefly on the Britten roles, which he sang inopera houses throughout the world. At the Metropolitan Opera, he sangthe leading roles of von Aschenbach in Death in Venice during 1974-75and Captain Vere in Billy Budd in 1979-80.

Composer HERMANN REUTTER, German, 85 years old, in Stuttgart 1/1/85(not previously reported). This prominent composer, whose neo-classical

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works are grounded in traditional folk melodies of his country, began hiscareer as an accompanist, touring extensively with Sigrid Onegin andother singers. He joined the faculty of the Stuttgart Conservatory in1932, and served as director from 1956 to 1966. He also lectured inScandinavia, Japan and the United States. He was a prolific composerof more than fifteen operas including Don Juan und Faust (1950), TheBridge of San Luis Rey (1954), and Die Witwe des Ephesus (1954), whichreceived its United States premiere in 1967.

Composer LODOVICO ROCCA, Italian, 90 years old, in Turin 6/25/86.He was the composer of the operas In Terra di leggenda (1933), II Dibuc(1934), La Morte di Frine (1937), Monte Ivnor (1939), and L'Uragano (1952),and was also director of the Conservatory of Turin from 1940-1966.

Composer and conductor HILDING ROSENBERG, Swedish, 93 years old, inStockholm 5/19/85 (not previously reported). His musical compositions,rooted in traditional Scandinavian sources, also contain polyphonicelements. He was an assistant conductor of the Stockholm Opera from1932-34 and later visited the United States, leading the first Americanperformances of his Fourth Symphony in 1948. He was the composer ofResan till Amerika (1932), Marionetter (1937), De 2 Konungadbttrarna(1940), Lycksalighetens b (1945), Raspers fettisdag (1953), the radio operaPortrattet (1955), the lyric comedy Hus med dubbel ingang (1970) and theopera-oratorio Josef och hans brbder (1945). A teacher of composition,his pupils included Karl-Birger Blomdahl and Ingvar Lindholm.

Soprano LOUISE ROY, Canadian, 60 years old, in Canada 10/17/85. Shestudied at the Toronto Conservatory and became a leading member ofthe Canadian Opera Company. She also sang principal dramatic roles withother companies throughout Canada.

Composer EDMUND RUBBRA, British, 85 years old, 2/86. The composerof the opera Bee-Bee-Bei (1933) and other works elaborated and developedhis own style from those of his teachers, Gustav Hoist and Ralph VaughanWilliams. He taught at Oxford University from 1947 to 1968, and at theGuildhall School of Music after 1961.

Administrator, director, conductor and singing actor GILBERT RUSSAK,American, 55 years old, in San Francisco 7/14/86. After moving to SanFrancisco from his native Cincinnati, he joined the Lamplighter Troupein 1955, and became the company's principal comic singer before servingas its artistic director, administrator and conductor. At the time of hisdeath, he was also conductor of the San Francisco Children's Opera andmade guest appearances with the Vancouver Symphony.

Musicologist and educator FELIX SALZER, Austrian/American, 82 yearsold, in New York 8/10/86. He developed and expanded the theories ofhis teacher Heinrich Schenker in influential journals, books, and also inlectures at the Mannes College of Music and other academic institutionsfrom 1940 until 1981. As a Mannes faculty member, he taught both inthe Theory and Techniques, and in the Music Departments. From 1963through the mid-1970's he was also on the faculty of Queens College.A founder of the series The Music Forum in 1967, he helped to edit allfive of the issued volumes; the sixth is forthcoming.

Critic, music historian and translator WINTHROP SARGEANT, American,82 years old, in Salisbury, CT, 8/15/86. A leading and influential critic

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at The New Yorker for over 30 years, his tastes were weighted to tradi-tional composition and performance practices. He began his career asthe youngest violinist of the San Francisco Symphony, and later playedin New York under Toscanini. After 1930, he wrote articles for severalNew York dailies and also for Musical America and Life magazine beforejoining the The New Yorker in 1949. His books on music include Jazz:Hot and Hybrid (1938), Listening to Music (1958), and Divas: Impressionsof Today's Sopranos (1973).

Tenor RUDOLF SCHOCK, German, 71 years old, 11/13/86. A popularperformer on both the stage and screen, he began singing in major Germanhouses after the war. During the 1950's, as a member of the ViennaState Opera, he was particularly known for his Mozart roles, but he alsoappeared in Italian and German repertory at Covent Garden and Edinburgh,and sang Walther von Stolzing at Bayreuth. In Salzburg, he participatedin the premiere of Liebermann's Penelope in 1954. He also appeared inlighter repertoire, including several popular German musical films such asDu bist die Welt filr mich, when he portrayed Richard Tauber.

Bass-baritone KENNETH SCHON, American, 75 years old, in Lake Worth,FL, 1/24/86. He had performed on radio before his Metropolitan Operadebut as Pizarro under Bruno Walter during the 1944-45 season. Schoncontinued to sing supporting roles there until 1950 and also appeared atCovent Garden, singing such roles as Wotan and Amonasro, and Jupiterin the premiere of Bliss' The Olympians during 1949-50.

Conductor and composer DANILO SCIOTTI, American, 86 years old, inProvidence, RI, 5/17/86. A native of Providence, he organized in 1930the New England Opera Company, later renamed the Rhode Island OperaGuild, and he ran the company until his retirement in 1974. As a composer,he wrote songs and operas, including Sirinetta, a work based on The LittleMermaid.

Adminstrator and soprano AMELIA SMITH, American, 72 years old, inJacksonville, FL, 11/3/85. She started her first opera company, the MusicTheatre Group, in Greensboro in the late 1930's. After moving to Florida,she developed the Opera Repertory Group, engaging many young unknownsingers, some of whom later built successful careers. In 1979 she addeda touring ensemble, Opera-a-la-Carte, which later became the main com-pany and which she still headed at the time of her death.

Singer KATE SMITH, American, 79 years old, in Raleigh, NC, 6/17/86.The popular recording artist performed in musical comedy revues duringthe 1920's, and rose to stardom after she was given her own radio showin 1931. During one of her broadcasts in 1938, she introduced IrvingBerlin's "God Bless America", the song with which she was identified forthe rest of her life. After the demise of her television series in themid-1950's, she continued to make guest appearances through the nextdecade.

Writer, broadcaster and administrator MARTIN SOKOL, American, 56 yearsold, in New York 12/18/86. The author of the 1981 publication The NewYork City Opera: An American Adventure, and editor of the company'smagazine, Spotlight, he wrote and lectured on many aspects of operaticand recording history. He hosted a weekly opera program on WBAI inNew York for twelve years. Some months prior to his death, he hadbeen appointed general director of the New York-based Bel Canto Opera.

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Composer, administrator and teacher LESTER TRIMBLE, American, 63years old, in New York 12/31/86. A well-known musician who receivedmany commissions and awards, he composed symphonies, art songs, and"panels"—works written for diverse instrumental ensembles—which havebeen played at Tanglewood, New York's Town Hall, and by the New YorkPhilharmonic. His 1962 opera, Boccaccio's Nightingale, has not yet beenperformed. A student of Milhaud and Honegger in Paris, he settled inNew York in 1952, where he became a music critic for several periodicalsand served as executive director of the American Music Center. A formerfaculty member at the University of Maryland and the Juilliard School,he also taught privately.

Tenor DIMITER UZUNOV, Bulgarian, 63 years old, in Vienna, Austria,12/11/85. A member of the Vienna State Opera from 1962 to 1969, healso sang principal roles with major European houses and festivals includingLa Scala, the Paris Ope>a, Arena di Verona, and Covent Garden. Hesang Don Jos6, Radames and Otello at the Metropolitan Opera during1959-60 and again in 1964. In recent years, he had taken on administrativeduties while continuing to sing comprimario roles. He also recorded fre-quently.

Singer RUDY VALLEE, American, 85 years old, in Hollywood Hills, CA,7/3/86. The famed radio crooner and band leader of the 1920's alsoappeared in musicals and movies in the 1930's and 1940's. Thirty yearslater, in the stage and film versions of the Pulitzer Prize winning musicalHow to Succeed in Business Without Really Trying, he received criticalacclaim for his portrayal of the pompous tycoon—a role based on hisunique but dated persona.

Attorney and philanthropist LOWELL C. WADMOND, American, 90 yearsold, in West Palm Beach, FL, 9/25/86. A prominent member of the firmof White & Case, he was a friend to many New York music organizations.He gave strong guidance and support during his terms as president of theMetropolitan Opera Association from 1951-1966 and as a member of theboard of Directors of Lincoln Center from 1970-1975. He was a formerpresident of the Bagby Music Lovers Foundation, an organization whichsupports needy musicians, and was also a trustee of the Sullivan Foundationand the Storm King Art Center.

Chorus master and conductor LLOYD WALSER, American, 49 years old,in New York 10/3/86. A member of the music staff of the New YorkCity Opera for 13 years, he became assistant chorus master at the Metro-politan Opera in 1984. Following his studies in Italy under Luigi Ricci,he had worked with many American regional companies and festivals in-cluding the Central City Opera, Opera St. Paul, and the Kennedy Center.He was a private vocal coach to many New York singers.

Soprano CLAIRE WATSON, American, 62 years old, in Utting, WestGermany, 7/16/86. An internationally renowned singer, she built hercareer in Europe where she made her permanent home. Specializing inthe music of Wagner and Strauss, she sang principal roles in major operahouses of Europe. After studying at the Eastman School in Rochester andwith Elizabeth Schumann in New York, she made her debut in Graz andlater sang at Frankfurt under Solti. She performed at the Bavarian StateOpera from 1958 to 1976, where she sang Eva on the night of the com-pany's first performance in the rebuilt National Theater in 1958. In the

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1960's, she appeared in Wieland Wagner's Vienna production of Lohengrin,and also made frequent guest appearances at Covent Garden, Hamburgand Brussels. Although she did sing in Boston, Chicago and with the SanFrancisco Opera, she never appeared with the Metropolitan Opera. Sheretired in 1976.

Administrator and producer PETER WEINBERG, American, 38 years old,in New York 8/9/86. The Director of Music Programming for WNET, heproduced the nationally televised Gala of Stars series as well as theoperatic and musical programs in the Great Performances series, includingthe 1983 Boulez/Chereau/Bayreuth Ring des Sibelungen. Before workingfor Educational Television, he had been responsible for two award-winningseries for WABC.

Soprano and teacher PATRICIA WELTING, American, 47 years old, inFresno, CA, 6/23/86. A 1962 Metropolitan Opera National Council Audi-tions finalist, she sang with the Metropolitan and the Met Opera Studiofrom 1966 to 1969. She taught voice at Tulane University in New Orleans,and before her death had resigned her position at the University ofCalifornia. She was a sister of the soprano Ruth Welting.

Patron of the arts MAE LEVY WIEN, American, 76 years old, in NewYork 6/23/86. She was a patron of Lincoln Center, of which her husband,the attorney Lawrence A. Wien, was Vice-Chairman and Director Emeritus.The New York City Opera and Ballet, Columbia University, and CarnegieHall were among the many charitable and arts organizations which sheactively supported. The Wiens were also the primary donors to the NewYork City Opera, facilitating the company's new spring season of one ormore musicals. []

LATEST ADDITIONS, ENGLISH OPERA TRANSLATIONS

The following compilation contains additions and other new information obtained since publicationof Vol. 27, No. 2. For items marked * see under "New and Changed Addresses" below.

BELLINI: Norma Donald Pippin (Pocket Opera, San Francisco, CA)BERLIOZ: Les Troyens—La Prise de Troie Hugh Macdonald (Opera North, Leeds, England)BIZET: Carmen Anthony Burgess (English National Opera, London, England)CAVALIER!: Rappresentazione di anima, e di corpo Arthur Jacobs*MOZART: Cos! fan tutte Ann Ridler (Opera Factory/London Sinfonietta, England)

Die Zauberflote Stefan Kozinski <Jc Nicholas Muni*OFFENBACH: Barbe-bleue Richard Traubner

La Belle Helene Richard Traubner*Orph6e aux enfers Richard Traubner*La Perichole Stefan Kozinski*La Vie parisienne Richard Traubner*

PUCCINI: La Boheme Anthony & Amanda Holden (Opera North, Leeds, England)Madama Butterfly Stefan Kozinski & Epke*

WEILL: Happy End Michael Feingold (EAM)

New and Changed AddressesGeoffrey Dunn (estate): contact G. Ressell, Assistant Secretary, Society of Friends, 173 Euston

Rd., London NW1 2BJ, EnglandMark N. Herman (for Herman & Apter), 906 South Kinney Ave., Mt. Pleasant, MI 48858Arthur Jacobs, 10 Oldbury Close, Sevenoaks TN15 9DJ, Kent, EnglandCharles Kondek, 149 Carol St., Lakewood, NJ 08721Stefan Kozinski, South 2369 Southeast Blvd., Spokane WA 99203Dr. Clifford Reims, P.O. Box 466, Fairhope, AL 36533Richard Traubner, 140 East 46th St., New York, NY 10017 []

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PERFORMANCE LISTING, 1986-87 SEASON (com.)All performances are staged unless marked "cone, pf." (concert performance) and are given withan orchestra unless marked "w.p." (with piano). An * following a title indicates a new production;a t indicates that projected English captions are used. A single date appearing for a listingof several performances indicates the opening night. Performances and news items listed in anissue of the Bulletin are not repeated in later issues.

ALABAMAHuntington College, J.E. Shaffer, Dir., Montgomery

11/20-23/86 The Old Maid and the Thief 6c Barmettler/Shaffer's The End of the Lineprem.

4/9-12/87 Finian's RainbowHuntsville Opera Theatre, H. Bargetzi, Art.Dir., Huntsville

12/4,5,6/86 Rigolettot3/19,20,21,22/87 Un Ballo in mascherat

Samford University Opera Workshop, G.W. Bugg, Dir., Birmingham9/13/86 Bugg's Bartolo11/20,21,22/86 The Pirates of Penzance

Troy State University, Opera Workshop, P. Keliey, Dir., Troy5/15,16/87 1776

University of Alabama Opera Theater, E. White, Dir., Tuscaloosa11/23/86 Scenes4/3-5/87 Carmen

University of Montevallo Lyric Theatre, B. Middaugh, Dir., Montevallo9/29,30/86 A Harold Arlen Revue11/17,18/86 Scenes4/14-16/87 A Funny Thing Happened on the Way to the Forum

ALASKAPerseverance Theatre, Anchorage (see also Vol.27, No.2)

5/15-9/15/87 Chapman/Duffey's Lady Lou RevueUniversity of Alaska Opera Workshop, J. Hopkins, Dir., Fairbanks

10/31/86 Dido and Aeneas4/9-11/87 The Old Maid and the Thief

ARIZONAArizona State University Lyric Opera Theatre, K. Seipp, Dir., Tempe

10/3,4,5,8,10,11,12/86 Cohan's Little Johnny Jones11/14,15,19,21,22/86 Tartuffe2/20,21,22,25,27,28 3/1/87 Iolanthe4/24,25,29 5/1,2/87 Carmen

Grand Canyon College Opera Workshop, E. Logan, Dir., Phoenix12/4,5,6,11,12,13/86 The Barber of Seville2/87 The Pirates of Penzance

University of Arizona Opera Theater, L. Day, Dir., Tucson11/7,8,9/86 L'Elisir d'amore Eng. Martin

ARKANSASArkansas Opera Theatre, Murray's Dinner Playhouse, Little Rock (see also Vol.27, No.2)

10/13/86 Cole Cafe (form. Red, Hot and Cole)3/20/87 "An Evening with Sharon Douglas," revue

Arkansas Repertory Theatre, S. Caffery, Gen.Mgr., Little Rock11/2 0-12/14/86 Silver/Boyd's A...My Name is Alice revue6/4-28/87 110 in the Shade

CALIFORNIAAmerican Conservatory Theatre, San Francisco

9/30-11/1/86 Sondheim's Sunday in the Park with George4/15-5/16/87 Ma Rainey's Black Bottom

American Musical Theatre Festival/Frohman Academy for Musical Theatre Education,Car m el11/86 Appelman's Heyday workshop prem.

Bakersfield Civic Light Opera, R. Garrison, Gen.Dir., Bakersfield10/3,4,10,11/86 Evita

Bilingual Foundation of the Arts, Los Angeles12/86 Scarlata's/Zapata's Rainbow Red; also tour to schools 10/6-11/24/866-7/87 Krouse/Lorca's Lorca, Child of the Moon company-developed

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California Music Theater, Pasadena2/19-3/1/87 The Most Happy Fella5/7-17/87 Call Me Madam

California State University, Opera Workshop, Chico10/16,17,18,19m/86 The Magic Flute Eng. Porter; c: Curatiloll/12m/86 Chauls1 The Magic Rhyme excpts. at NOA Convention, Los Angeles

California State University at Fresno, Theatre Three, Fresno10/10,11,21,22,24,25/86 Cosft fan tutte

California State University Opera Theatre, M. Kurkjian, Dir., Fullerton11/21,22 12/3,10/86 Scenes4/3-5,8-12/87 La Cenerentola

California State University Music Theatre, R. Cordova, Dir., Long Beach2/20-22,24-28/87 The Mother of Us All

California State University Opera Theatre, H. Blankenburg, Dir., Los Angeles11/7,8,9m/86 II Barbiere di Siviglia c: Jackson; d: Blankenburg

California State University Opera Theatre, D. Scott, Dir., Northridge10/9-11,16-18,23-25/86 Side by Side by Sondheim11/7,8,11,12,14,15/86 The Crucible3/87 La Boheme 6 pfs.

California State University Opera Theater, L. Stradley, Dir., Sacramento4/24,26 5/1,3/87 Albert Herring 11/25/86 Scenes

Cinnabar Opera Theater, M. Klebe, Art.Dir., Petaluma (see also Vol.27, No.2)12/13m,14m,20m,21m/86 DeFranceseo's A Christmas Wish3/20,21 4/3,4/87 Rodriguez' Tango <5c dance pieces; M. Klebe; c: N. Shuman (replaces

Krapp's Last Tape & A Country Doctor)Claremont College, Dept. of Music, Claremont

10/24/86 On the Twentieth CenturyContra Costa Productions, Walnut Creek

3/13-19 4/3,13/87 Sweeney ToddDell'Arte Players Company, Blue Lake

9/12,13/86 Heimer/Heimer/Schirle's The Road Not Taken: A Scar Tissue Mystery inNevada City, CA

Dominican College Opera Workshop, M.Frick, Dir., San Rafael11/86 McFarland's The Donner Party excerpts; part of American Music Week

Downey Civic Light Opera, Downey10/9-26/86 Brigadoon

Dupree Studio Theatre, Los Angeles12/12/86-1/28/87 Sondheim's Anyone Can Whistle

Early Music Ensemble, Los Angeles2/14/87 Purcell's Masque in Timon of Athens Am, stg. prem.; and other selections

Rawcliffe; Knight; Los Angeles Baroque Orchestra; c: CansinoEast West Players, Mako, Art.Dir., Los Angeles

3/25-5/3/87 The MediumTBA: Boyd/Isaac's Pinoys in Space

Fullerton Civic Light Opera, J. Duncan, Art.Dir., Fullerton10/86 A Chorus Line 11 pfs. 2/87 The Music Man 11 pfs.1/87 Jesus Christ Superstar 11 pfs. 5/87 The Student Prince 11 pfs.

Gilbert and Sullivan Society of San Jose, M. Handloff, Pres.10/24,25,26,31 11/1,2/86 The Gondoliers

Grove Theatre Company, Garden Grove10/3-11/1/86 Quilters

Guild Opera, Los Angeles3/3-4/9/87 Hansel and Gretel Eng.; c: Holt; d: Tozzi

Hollywood Opera Ensemble, A. Monte, Gen.Dir., West Hollywood9/28m/86 The Telephone & Pagliacci1/18/87 Carmen2/22m/87 The Barber of Seville

La Mirada Civic Theater, La Mirada10/19m, 19/86 Cinderella (children's musical)12/5,6,7m, 12,13,14m, 14/86 Scrooge

Lamb's Players Theatre, R. Smyth, Art.Dir., San Diego7/9-8/8/87 Dames at Sea

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Long Beach Civic Light Opera, L. Hansen, Mng.Dir., Long Beach9/20,21/86 Mantell's Intimate Strangers stgd. rdg.9/22-26/86 Scenes, tour to schools10/16-11/2/86 Sondheim's Sunday in the Park with George Myers; Yacko12/19/86 "Hallelujah Holidays" revue2/26-3/15/87 New Moon Blyth; Evanko5/7-24/87 Cabaret7/23-9/9/87 Anything Goes Morrow; Gorshin

Long Beach Opera, M. Milenski, Gen.Die, Long Beach (see also Vol.27, No.2)3/lm,4,6,8m/87 Ariadne auf Naxos (replaces King Roger)5/8,10,13,15,17/87 The Ballad of Baby Doe 6/13-28/87 Die Dreigroschenoper

Los Angeles Music Theatre Company, Caldwell Hall Theatre, Los Angeles11/7,8,12,14,15,19,21,22/86 The Medium & The Telephone White, Stein & Hibler-Kerr;

Tremblay; c: Nixon; d: WhiteLos Angeles Philharmonic, A. Previn, Mus.Dir., Los Angeles

12/18-21/86 Previn/Stoppard's Every Good Boy Deserves Favour c: PrevinLos Angeles Pierce College Music Dept., J. Warren, Prod., Woodland Hills

ll/13m/86 The Telephone & The Most Happy Fella abrgd.; c: Simon; d: WyantLos Angeles Theatre Center, Bradley Theater

1/14-2/28/87 Happy End c: Myrow; d: WingeLos Angeles Theatre Works, Venice

3/19-4/26/87 Preston's Reevaluates the Origin of the SpeciesMalibran Society, C.R. Law, Exec.Die, Los Angeles

11/1/86 Meyerbeer's n Crociato in EgittoMarin Civic Light Opera, M. Rios, Mus.Dir., Marin

9/26-10/19/86 Hello Dolly!12/19/86-1/14/87 Annie12/31/86 1/9-2/1/87 Die Fledermaus2/27-3/22/87 Man of La Mancha

Modesto Junior College Opera Theater, L. Woodward, Dir., Modesto5/1,2,8,9/87 Die Fledermaus

Morgan-Wixson Theater, Santa Monica10/31-12/13/86 The Pajama Game

Mother Lode Musical Theatre, San Rafael11/14,15/86 Kanouse/Swall's Gambling Jones

Music in the Mountains & Foothill Theatre Company, Nevada City12/4,5,6,7,11,12,13/86 Amahl and the Night Visitors & A Boy with a Cart

North Bay Opera, Novato10/3,4,10,11/86 La Perichole

Occidental College, Music Dept., Los Angeles11/21,22/86 I Do! I Do!

Odyssey Theatre Ensemble, R. Sossi, Art.Dir., Los Angeles9-11/86 We ill's Johnny Johnson

Old Globe Theatre, J. O'Brien, Art.Dir., San Diego12/4/86-1/11/87 Sondheim/Lapine's Into the Woods prem.; d: Lapine; ds: Straiges/Hould-

Ward/ZipprodtOne Act Theatre Company, S. Levy, Dir., San Francisco

10/16-11/23/86 Mellon's The Dreamer and the RunnerOnyx Opera, Japan America Theater, Los Angeles

9/14m/86 La Forza del destino c: Unterberg2/20,21,22m,27,28 3/lm/87 Cavalleria rusticana <5c Pagliacci c: Unterberg k Lessing

Opera a la Carte, R. Sheldon, Dir., Los Angeles9/20 11/8/86 H.M.S. Pinafore at Citrus College, Glendora and Fullerton10/1-5/86 Scenes, concert in Pasadena; 10/25 in Brea12/5/86 The Mikado at Orange Coast College, Costa Mesa5/16,17m/87 Trial by Jury <5c The Zoo

Opera San Jose, I. Dalis, Gen.Dir., Outreach Program, San Jose1986-87 La Serva padrona; The Telephone; The Face on the Barroom Floor tour to

abt. 70 schoolsOpera Theater of the Inland Empire, F. Fetta, Art.Dir., Upland

11/20,22/86 Lucia di Lammermoor Eng.4/23,25/87 Die Fledermaus Eng.

1986-87 SEASON

Orange County Opera, C. Webb, Art.Dir., tour to schools, Sunset Beach10/86-6/87 tour Les Contes d'Hoffmann Act 1, Eng. Webb & Perlee, abt. 250 pfs.

Pacific Chamber Opera, G. Hildenbrand, Mng.Dir., La Jolla10/30 ll/l,2m,6,8m/86 L'Elisir d'amore12/11,13,14m,18,21m/86 Amahl and the Night Visitors3/19,21,22/87 The Gypsy Baron Eng.4/2,4,5,9,11/87 Haydn's The Apothecary & Weber's Abu Hassan Eng.6/87 La Finta Giardiniera Eng.

Palm Springs Opera Guild/Riverside Opera, P. Symons, Pres., Palm Springs2/2/87 Tosca Scotto; Polosov, A. Smith; c: Sullivan; d: Gratale

PCPA Theaterfest, V. Dowling, Art.Dir., at Marian Theater, Solvang/Santa MariaIn repertory through 9/13/86: They're Playing Our Song; Funny Girl; Annie Get Your

Gun; Delinger/Fletcher's Two Dopes on a Rope12/1-21/86 Rodgers/Hammerstein's Cinderella at Marian Theater

Pepperdine University Seaver College Opera Wksp., V. Mesrop-McMahon, Dir., Malibu11/10-16/86 Man of La Mancha

Pocket Opera, D. Pippin, Art.Dir., Holiday Fare at the Cannery, San Francisco12/4,14,20/86 1/3/87 The Merry War, an operatic revue12/4,11,19,27/86 1/4/87 Gershwin's Oh, Kay!12/6,12,21,26,28/86 Jacques Be Nimble! "An Offenbach/Pippin revue"12/7,11,18/86 1/2/87 Mozart con Amaretto

Pocket Opera, D. Pippin, Art.Dir., Moraga/Saratoga/San Francisco1/31 4/25 5/7/87 L'ltaliana in Algeri Eng. Pippin2/7 5/16 6/4/87 Norma Eng. Pippin (set in Aztec Mexico)2/21/ 6/13,21/87 Don Pasquale Eng. Pippin2/27,28 4/4,12/87 Offenbach's La Princesse de Tr6bizonde Eng. Pippin3/7,14 5/10,21/87 The Merry Wives of Windsor Eng. Pippin3/14 4/18,26,30/87 Yanked from the Harem (abrdg. version of The Abduction from the

Seraglio) Eng. Pippin3/22m/87 Pocket Opera a la Mode children's performance4/9/87 Ariodante Eng. Pippin5/17/87 Semele Eng. Pippin5/30 6/18/87 La Belle Helene Eng. Pippin6/7/87 Verdi's Stiffelio Eng. Pippin

Sacramento Theatre Company, D. Bigelow, Dir., Sacramento10-11/1/86 Sondheim/Lucas/Rene's Marry Me a Little on Stage Two4/14-5/9/87 Little Shop of Horrors on Mainstage

San Bernardino Civic Light Opera, C. Jenks, Gen.Mgr., San Bernardino11/14,15,17-22/86 The King and I

San Carlo Opera of Los Angeles, M. Leonetti, Dir., Los Angeles10/26m/86 Aida11/30/86 La Traviata2/1/87 La Boheme6/7/87 Faust

San Diego Civic Light Opera, L. Drew, Gen.Mgr., Starlight Bowl, San Diego9/11-21/86 Evita12/11-25/86 Annie

San Diego Repertory Theatre, S. Woodhouse, Prod.Dir., San Diego9/1-6/86 Little Shop of Horrors

San Francisco Concert Opera, San Francisco (see also Vol.27, No.2)2/12/87 Giovanna d'Arco (replaces I Lombardi) cone, pf.; Maliponte; Bergonzi, A. Smith;

c: CathcartSan Francisco Conservatory of Music Opera Theater, S. Webb, Dir., San Francisco

1/23,24/87 Hindemith's Hin und zuriick & Pasatieri's The Trial of Mary LincolnSan Francisco Mime Troupe, D. Chumley & J. Holden, Co-Dirs., San Francisco

11/86 Barthol/Holden's Hotel Universe tour to Central America2/10-3/8/87 Barthol/O'Neal/Holden's The Mozangola Caper at Theater Artaud & tour

San Jose Civic Light Opera, San Jose11/7-16/86 Oliver1/30-2/8/87 Sondheim's Follies c: Mollicone; d: Schulster

San Jose Repertory Company, J. Reber, Exec.Dir., San Jose11/6-12/7/86 Godspell 5/23-6/28/87 Candide

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1986-87 SEASON

Santa Barbara Civic Light Opera, Santa Barbara10/3-12/86 The Music Man12/19,20/86 Amahl and the Night Visitors12/31/86 Die Fledermaus gala

Santa Monica Civic Opera, Santa Monica1/10,1 lm/87 Rigoletto c: Lanza; d: Taylor

Sonoma State University Opera Wksp., P. Donovan-Jeffrey, Dir., Sonomall/lm,7/86 Feldman's The Computer Kid's Magic Night prem.; 11/12 excpts. at NOA

Convention, Los AngelesSouth Coast Repertory, Costa Mesa

1/6-2/8/87 Carnelia/Lucas' Three PostcardsStanford Savoyards, R. Taylor, Dir., Stanford

11/7,8,9m,14,15/86 The SorcererTownsend Opera Players, E. Townsend, Art.Dir., Modesto

11/14,15,21,22/86 Pagliacci Eng. Townsend12/7/86 Messiah1/23,24,25/87 Amahl and the Night Visitors3/20,21,27,28/87 L'Elisir d'amore Eng. Townsend

Universal Opera/Karlsrud Concerts, DeAnza College, Cupertino11/8/86 Le Nozze di Figaro & tour; Eng. adapt.

University of California at Irvine Music Dept., P. Odegard, Chrm., Irvine11/7-22/86 A Chorus Line1/23,24/87 Scenes

University of California Opera Theater, S. Krachmalnick, Mus.Dir., Los Angeles2/19,20,21,22/87 Cost fan tutte Eng.; c: Krachmalnick

University of California at Santa Barbara, Music Dept., Santa Barbara11/8/86 Paulus' The Village Singer c: Applebaum; 11/13 in Los Angeles

University of Santa Clara, J. Drweski, Dir., Santa Clara11/86 The Threepenny Opera c: Mollicone

University of Southern California Opera Theater, N. Limonick, Dir., Los Angeles12/5,6,7m,7/86 Albert Herring c: Duerr; d: BoerlageSpring '87 Don Giovanni c: Duerr

Valley Opera, Inc., R. Chauls, Art.Dir., Van Nuys11/13/86 Chauls' Alice in Wonderland in Los Angeles & tour

Voices S/F & Bay Area Youth Opera, D. Ahlstrom, Art.Dir./M. Shahani, Mus.Dir., SanFrancisco11-12/86 Ahlstrom's The Secret Box with the Big Brass Combination Lock tour;

ll/12m excpts. in Los AngelesWest Coast Opera, D.Lane, Art.Dir., Palm Desert

ll/2m,8,15/86 The Chocolate Soldier also at Desert Sands12/3,14,18/86 Amahl and the Night Visitors3/0,7,8/87 n Trovatore

Western Opera Theater, D. Girard, Co.Mgr., San Francisco1986-87 tour La Boheme

Westminster Arts Council, San Juan Capistrano & Orange County Historical Societies,Westminster10/10,11/86 Siposs' Modesta Avila prem.; St. James; c: Johnson

Whittier-La Mirada Civic Light Opera, Whittier10/3-18/86 Show Boat

Zephyr Theatre, San Francisco10/7/86 Berlin to Broadway with Kurt Weill c: Elton; d: Hough; open run

COLORADOArvada Center for the Arts and Humanities, Arvada

9/17-21/86 Previn/Stoppard's Every Good Boy Deserves FavourCentral City Opera, J. Moriarty, Art.Dir., Central City

7/11/87 Madama Butterfly; 13 pfs.7/18/87 Don Pasquale ds: Romero; 9 pfs.7/25/87 Friml's The Vagabond King; 7 pfs.

Denver Center Theatre Company, D. Marley, Art.Dir., Denver11/3-12/20/87 South Pacific4/13-5/23/87 Hank Williams compiled by Myler & Harelik

-90-

1986-87 SEASON

Four Corners Opera, R. Gregori & J. Turano, Gen.Dirs., Durango6/19,20/87 Man of La Mancha

Loretto Heights College, Music & Theatre Depts., Denver11/14-23/86 The Threepenny Opera

Opera Colorado, N. Merrill, Gen. & Art. Dir., Denver (see also Vol.27, No.2)9/19/86 Plficido Domingo in Concert, Mexican Relief Benefit12/6,7,8/86 Amahl and the Night Visitors at Trinity Church6/6/87 Porgy and Bess (shared prod.) 15 pfs.

Snowmass Repertory Theatre, Snowmass Village2/2-28/87 in repertory: Tintypes; Little Shop of Horrors

University of Colorado Opera Theatre, D. Jackson, Dir., Boulder11/21,22/86 Hansel and Gretel Eng. Kelly3/13,14/87 Die Zauberflote Eng.4/23,24,25,26/87 Man of La Mancha

University of Northern Colorado, Opera Theatre, C. Gerbrandt, Dir., Greeley10/30,31 11/1/86 The Impresario Eng. adapt. Gerbrandt & "Kurt Weill Revue"11/24/86 Scenes2/27,28 3/5,6,7/87 A Little Night Music5/21,22/87 La Traviata7/16,17/87 opera TBA 7/31 8/1,6,7/87 musical TBA

CONNECTICUTGoodspeed Opera House at Chester, M. Price, Exec.Dir., East Haddam/Chester

10/14-11/9/86 Peretti/Creatore/Weiss1 Jokers wksp. pfs.; Hunter; Graham; c: Trueblood;at Norma Terris Theater

Hartman Theatre, M. Booker, Art.Dir., Stamford5/28-6/12/87 Sondheim/Lucas/Rene's Marry Me a Little

Hartt School of Music Opera/Music Theater, A. Bishop, Art.Dir., West Hartford11/20-23/86 Manon c: Hess; d: Bishop2/5-8/87 Coward's Tonight at 8:30 c: Ashens; d: McClure, at Lincoln Theater4/9-12/87 Susannah c: Hess; d: Floyd

Long Wharf Theatre, A. Brown, Art.Dir., New Haven4/24-6/7/87 Copland's The Tender Land c: M. Sidlin; d: A. Brown

New Britain Opera, New Britain11/9/86 La Traviata d: Luchsinger

St. Joseph's College, Music Dept., West Hartford11/22,23/86 Hansel and Gretel Eng. Bache

DISTRICT OF COLUMBIACatholic University of America Opera Wksp., M. Cordovana, Dir., Washington

10/1-13/86 Happy End in coop, with Theater Dept.2/20,21,22m,22/87 Le Nozze di Figaro Eng. Martin

Ford's Theatre, D. Bell, Art.Dir., Washington9/15-10/26/86 Carnella's Is There Life After High School?3-6/87 Lebowsky/Tobias' Gantry prem.

Washington Concert Opera, S. Crout, Pres./Art.Dir., Lisner Auditorium, Washington5/3m/87 Les Pecheurs de perlest cone, pf.; Hong; Hadley, Laperriere, G. Hawkins; c:

CroutWashington Opera on Tour, F. Rizzo, Art.Dir., Washington (see also Vol.27, No.2)

9/16,18,20,23,25/86 The Medium & The Telephone at Spoleto Melbourne, Australia;Evans, Pelle, Hocher; F. Menotti, J. Fiorito & S. Woods; Turnage; c: Argiris; d:Menotti; ds: Brown; 3/86 tour to China

FLORIDAAsolo State Theater, J. Ulmer, Art.Dir., Sarasota

4/17-5/15/87 Goggin's NunsenseCaldwell Theatre Company, M. Hall, Boca Raton

11/4-12/14/86 CarouselCoconut Grove Playhouse, A. Mittelman, Art.Dir., Miami (revised schedule)

Fall '86 A Latin Celebration10/10/86 On the Twentieth Century Kaye, Coca; Gorshin, Donovan; benefit pf.11/5/86 Brown/Davison & Brown's Coconuts Revue; open run12/5-21/86 Goggin's Nunsense2/27-3/15/87 Side by Side by Sondheim5/15-31/87 Bagneris' One Mo' Time

- 9 1 -

1986-87 SEASON

College of Fine Arts, Music & Theater Depts., Jacksonville10/2-5/86 Knickerbocker Holiday e: McNeiland; d: Phillips

Florida Repertory Theatre, West Palm Beach1986-87 Oliver!; 1776

Florida State University, Opera Program, L. Clark, Dir., Tallahassee11/6,7,8/86 n Barbiere di Siviglia2/19,20,21,22/87 Madama Butterfly

Florida Studio Theatre, Sarasota1-5/87 Little Shop of Horrors in repertory

Gold Coast Opera, T. Cavendish, Gen.Mgr., Pompano Beach12/5/86 Die Fledermaus Thomas, Cavendish, Wright, Hensel, Craft; c: T. Cavendish; d:

Ewers2/27/87 La Boheme Myers, Capone; Kunde, Otey; c: T. Cavendish; d: Beck

Greater Miami Opera Association, W. Waters, Art.Dir., Miami (see also Vol.27, No.2)1986-87 Wargo's The Music Shop tour to schools

Hippodrome State Theater, Gainesville9/5-28/86 A Chorus Line9-10/20/86 Ain't Misbehavin1 tour through FL

North Miami Beach Opera, L. Siegel, Mus.Dir., N. Miami Beach3/1/87 Don Giovanni

Pensacola Junior College Opera Wksp., S. Kennedy, Dir., Pensacola10/17-19,23-26/86 Wilson's The Boyfriend

Sarasota Opera, D.C. Allyn, Exec.Dir., Sarasota (see also Vol.27, No.2)12/13,14m,16,17m,19m/86 Hansel and Gretel Eng.; Marrazzo, Bunnell, R.Freni;

Brandstetter; c: DeRenziSpanish Lyric Theatre, R. Gonzalez, Art.Dir., Tampa

9/12,13 10/4/86 Scenes, cone. pfs.11/13-16/86 Oklahoma! Spanish3/14,15/87 The Merry Widow Spanish5/15,16/87 zarzuela TBA

Stetson University, Opera Wksp., C. Maddox, Dir., Deland9/30/86 The Telephone & The Medium1/30/87 Benefit Concert4/17,18/87 Down in the Valley

Treasure Coast Opera, C. Barrena, Gen.Dir., Ft. Pierce1/24/87 Andrea Chenier2/28/87 Die Fledermaus Eng. Martin3/28/87 Rigoletto

GEORGIAAthens Creative Theater, Athens

2/12-14/87 Sweeney ToddAtlanta Opera, W. Kennedy, Gen.Mgr., Atlanta

6/18,20,22/87 Cosi fan tutte Eng.; d: Lesenger7/30 8/1,3/87 La Boheme Eng.; d: W. Lloyd8/20,22,24/87 Rigoletto* d: Kneuss; ds: Deegan/Conly

Atlanta Opera Studio, W. Scott, Art.Adv., Atlanta9/25/86-5/87 La Serva padrona Eng. Furgiuele; tour to schools, abt. 100 pfs. w. 2 ps.,

e: Scott; d: LesengerClayton State College Opera Wksp, L. Corse, Dir., Morrow

3/4-8/87 Annie Get Your Gun5/27-30/87 Ruddigore

DeKalb College Music Theatre, J. Bradford, Dir., Clarkston1/10-17/87 Sweeney Todd

University of Georgia, Opera Wksp., D. Stoffel, Dir., Athens2/13-16/87 Sweeney Todd

IDAHOBoise Opera, V. Garets, Gen.Dir., Boise

10/23,24,25/86 Don Pasquale Eng. Mead1/31/87 La Traviata Eng. Martin; 3 pfs.

Boise State University, Music Dept., Morrison Center for the Arts, Boise10/31-11/8/86 Camelot

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1986-87 SEASON

Idaho Falls Opera Theatre, R. Farnam, Art.Dir., Idaho Falls11/20,22,24/86 Die Fledermaus Tallman, Dornfeld, Newton; Willard, Farnam; c: Harker;

d: Messervey5/9,11/87 Madama Butterfly

Ricks College, Music & Drama Depts., I. Johnson, Dir., Rexburg11/22/86 Scenes3/10-14,17-21/87 Camelot

ILLINOISChamber Opera of Chicago, C. Ratner, Art.Dir., Chicago

4/87 Rigoletto 8 pfs.5/87 Don Giovanni 8 pfs.8/87 Falstaff 8 pfs.

Columbia College Musical Theater Workshop, Chicago9/30-10/19/86 LaZebnik/Day's State Street; Post's The Real Life Story of Johnny De

Facto prems.DuPage College Opera Theatre, H. Bauer, Art.Dir., Glen Ellyn

2/28 3/1/87 The Telephone <5c The Medium7/87 La Boheme Eng. Bauer

Free Street Theater, P. Henry, Art.Dir., Chicago9/86-5/87 Lofstrom/Alexander's Project! tour through Chicago area11/86-4/87 Lofstrom/Henry's Take the Chance tour through US

Goodman Theater, R. Schulfer, Prod., Chicago2/27-4/4/87 She Always Said, Pablo adapt, by Galati from Stravinsky/Thomson/Stein; d:

Galati6/5-7/11/87 Sondheim's Sunday in the Park with George d: Maggio

Illinois Theater Center, Park Forest11/28-12/21/86 Man of La Mancha2/13-3/1/87 Crystal/Sandrow's Kuni-Leml

Illinois Wesleyan University Opera Theatre, L. Snyder, Dir., Bloomington10/16-18,23-25/86 The Pirates of Penzance w.o.11/23/86 Scenes2/20,21/87 Operetta Scenes

Lincoln Opera, N. Williams, Gen.Mgr., Chicago10/18,19,25,26 11/1 12/3/86 La Boheme1/24,25 2/14,21,22/87 La Traviata4/21,26/87 Die Fledermaus5/16,17,23,24,30/87 Faust

Millikin University Opera Theatre, S. Fiol, Dir., Decatur10/3,4,5/86 Camelot2/27,28 3/1/87 A Chorus Line5/1-3/87 The Mikado

Northwestern University, Mason & Ragland Opera Theater, R. Alderson, Chmn., Evanston10/24/86 Hasse's L'Artigiano gentiluomo11/4/86 3/12/87 Scenes11/20-23/86 Riders to the Sea 3c Die Kluge Eng. Ockwell; 4 pfs.2/19-22/87 Dialogues des Carmelites Eng. Maehlis5/5/87 Chabrier's Une Education manquee Eng. Gay & Barab's A Game of Chance &

Katz's Light of the Eye excpts.; d: Alderson/KnightPeoria Civic Opera, D. Chapman, Gen.Dir., Peoria

9/5,6/86 Fiddler on the Roof co-prod. Bradley University11/8/86 La Fille du regiment Eng. Martin4/11/87 Tosca Eng. Gutman

Southern Illinois University Opera Workshop, S. Turner, Dir., Edwardsville1/9-11/87 The Medium

INDIANABall State University, Opera/Music Theatre Wksp., P. Ewart, Dir., Muncie

12/4,5,6,7,10,11,12,13/86 Jacques Brel is Alive and Well and Living in Paris3/25,26,27,28,29/87 My Fair Lady

Fort Wayne Philharmonic, R. Ondrejka, Mus.Dir., Fort Wayne10/4,5/86 Previn/Stoppard's Every Good Boy Deserves Favour Mermaid Theatre version;

c: Ondrejka

-93 -

1986-87 SEASON

Indiana Repertory Theatre, T. Haas, Art.Dir., Indianapolis9-10/18/86 "The Music of Rogers and Hart" revue, ed: Haas10/22-11/29/86 "Berlin on Broadway" revue, ed: Moser1/14-2/7/87 Arlen's Come Rain or Come Shine revue3/11-4/11/87 "Swing Era" revue

Indiana State University Opera Wksp., R. Hounchell, Dir., Terre Haute2/17-22/87 Shire's Starting Here, Starting Now

Teatro Antico, T. Binkley, Dir., Bloomington10/26/86 de la Halle's Le Jeu de Robin et Marion arr. var.

Whitewater Opera Company, C. Combopiano, Gen.Mgr./Art.Dir., Richmond (see also Vol.27,No.2)12/5,12,13/86 Amahl and the Night Visitors tour5/2,3 6/13/87 La Traviata tour to IN & OH

IOWACoe College Opera Workshop, A. Keller, Dir., Cedar Rapids

4/23-26/87 CarouselCornell College, Opera Workshop, M. Lee, Dir., Mt. Vernon

1/25,26/87 The Pirates of PenzanceSimpson College, Opera Workshop, R. Larsen, Dir., Indianola

10/17-19/86 Berkeley's A Dinner Engagement <5c Scenes2/6-8/87 Gianni Schicchi & TBA

University of Iowa, Opera Theater, B. Glass, Dir., Iowa City10/31 11/1/86 The Telephone5/1,3/87 Don Giovanni Eng.7/23,25/87 La Traviata Eng.

KANSASEmporia State University Opera Theatre, Emporia

11/6/86 "Popcorn Opera" wksp., various works by American composersKansas State University Opera Theatre, J. Langenkamp, Dir., Manhattan

10/4/86 Scenes10/23,24,25/86 Oklahoma!3/5,6,7/87 Die lustigen Weiber von Windsor Eng.

Wichita State University Opera Theatre, G. Gibson, Dir., Wichita10/28,30,31 11/1/86 Dialogues des Carmelites Eng. Machlis2/7,8/87 Help, Help, the Globolinks!4/2-5/87 The Pirates of Penzance

KENTUCKYActors Theater of Louisville, Louisville

9-10/86 "Romantic Festival" incl. Kentucky Opera's prod, of II Trovatore1/28-2/21/87 Quilters5/6-31/87 Little Shop of Horrors

Blue Apple Players, P. Lenzi/G. Snyder, Co-Dirs., Louisville10/6/86 The Melting Pot3/1/87 The Three Pigs

Kentucky Opera's Opera-Go-Round, touring ensemble, Louisville11/1-12/19/86 Arias and Scenes2/2-5/1/87 The Telephone

Roadside Theater, D. Cocke, Mng.Dir., Whitesburg/Norton9/5,6,8,28 12/5/86 Short's South of the Mountain tour though KY9/19,20 10/9-12 11/6-8,18/86 Brother Jack tour through KY & NC10/6,7 10/14 11/18/86 Baker/Short's Pretty Polly tour through VA, AL <5c NC10/17,24 11/13/86 Mountain Tales & Music company dev.; tour through KY & VA

Southern Baptist Theological Seminary, Workshop in Church Music Drama, M. Sherman, Dir.,Louisville11/86 The Play of Herod Eng. adapt. Smolden

Stage One: Louisville Children's Theatre (see also Vol.27, No.2)9-10/19/86 Palas/Goldberg's Rumpelstiltskin10/26-11/22/86 Carlson/Gaines's The Legend of Sleepy Hollow

University of Kentucky, Opera Theater, P. Miller, Dir., Lexington1/21,22,25/87 Cos! fan tutte4/27,28/87 Suor Angelica & Gianni Schicchi7/87 The Threepenny Opera

-94-

1986-87 SEASON

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

10/9-18/86 Brigadoon 1986-87 Scenes11/1,2/86 La Cenerentola3/27,28,29/87 Falstaff

Lyric Opera Theatre of Baton Rouge, L. Banks, Art.Dir., Baton Rouge1/9-11/87 Tartuffe

University of New Orleans Opera Theater, R. Cortina, Dir., New Orleans4/24-26/87 Martha

MAINESurry Opera, W. Nowick, Art.Dir., Surry

11/86 Boris Godunov & concerts; on tour to Tbilisi and Leningrad, U.S.S.R.University of Maine Opera Theatre, L. Hallman, Art.Dir., Orono

2/14,15/87 The Merry Widow d: HallmanMARYLAND

Annapolis Opera, K. Dornheim, Prod.Mgr., Robert Pascal Theater, Annapolis12/19,20,21/86 Amahl and the Night Visitors

Center Stage, S. Wojewodski, Art.Dir., Baltimore12/12/86-1/18/87 B<5caud/More's Roza prem.; d: Prince

Peabody Conservatory Opera Theatre, R. Brunyate, Dir., Baltimore11/21,22/86 L'Enfant et les sortileges & Le Rossignol Eng.3/20,21/87 Cavalli's La Calisto Eng.

Prince George's Civic Opera, D. Biondi, Art.Dir., Largo10/24,26m/86 Tosca Eng.; M. Williams; Mcllvaine, Stith; c: Abell3/20,22m/87 Susannah

MASSACHUSSETTSBerkshire Opera Company, G. Glaze, Art.Dir., Lenox

6-7/87 Albert Herring; CoSi fan tutte Eng.Boston Lyric Opera, J. Balme, Mus.Dir., Northeastern Univ. Audit., Boston

10/17,19m/86 Rigoletto Eng.; Saffer; Crouse, Wilber; c: Balme; d: Ewersl/23,25m/87 The Rake's Progress West, Walters; Jackson, Kleyla; c: Balme; d: Haber

Boston Symphony Orchestra, S. Ozawa, Mus.Dir., Boston4/17/87 Wozzeck Behrens; Luxon, Trussel; 4 conc.pfs.

Great Woods Performing Arts Center, Pittsburgh Symphony in Residence, Mansfield7/87 La Boheme Polosov

Longwood Opera, J. Balme, Gen.Dir., Brookline/Newton Highlands11/13,15/86 La Boheme Eng.; Wolfe, Wilmore; Kolb, Lauriat, St. Laurent; c: Balme; d:

BrumitOpera Company of Boston, S. Caldwell, Art.Dir., Boston

11/12,16m,21,23m/86 Candide e/d: Caldwell1/21,25m,30 2/lm/87 II Trovatore Evstatieva, Toczyska; Rawnsley; c/d: Caldwell; ds:

Senn/Pond2/13,15m,19,22m/87 Handel's Giulio Cesare Larson, Hunt, Westbrook-Geha; Gall,

Maddelena; e: C. Smith; d: Sellars; ds: Spatz-Rabinowitz6/4,7m,10,12m/87 Madama Butterfly c/d: Caldwell

Project Opera, R. Rescia, Art.Dir., Northampton10/21,23/86 Gianni Schicchi 4c The Impresario12/31/86 1/4,12/87 Amahl and the Night Visitors5/1,3/87 La Traviata Eng.

StageWest, G. Boyd, Art.Dir., Springfield11/12-12/21/86 Guys and Dolls3/1-4/2/87 Shire/Maltby's Starting Here, Starting Now

MICHIGANAttic Theatre, H. Ferrer, Mng.Dir., Detroit

1/7-2/8/87 Ma Rainey's Black Bottom6/24-7/26/87 Sondheim's Pacific Overtures

Michigan State University, Opera Theater, H. Jennings, Dir., East Lansing4/18,19/87 Le Nozze di Figaro 1/17,18/87 Scenes

Midland Center for the Arts Music Society, G.R. Ryan, Art.Dir., Midland10/17-19,24-26/86 Fiddler on the Roof2/20-22/87 Broadway Revue4/24,25,26,27,30/87 A Chorus Line

-95-

1986-87 SEASON

Oakland University, Music Theater Workshop, J. White/T. Aston, Co-Dirs., Rochester6/11-13/87 Hollingsworth's The Mother <5c The Selfish Giant & Harrison Loved His

Umbrella 3 pfs.Piccolo Opera, M. Gordon, Exec.Dir., Detroit

Winter '87 Little Red Riding Hood in Ft. Lauderdale, FLUniversity of Michigan Opera/Musical Theatre, G. Meier, Mus.Dir., Ann Arbor

11/20-23/86 The Magic Flute4/16-19/87 Weill's Love Life

Wayne State University Musical Theater, Detroit10/25-11/2/86 Guys and Dolls 7 pfs.

MINNESOTAChildren's Theatre Company, Minneapolis

10-11/16/86 Carlson/Wilder's Little House on the Prairie; Shorter/dePaola's Strega Nona11/26-12/28/86 Ruth/Olson's Beatrix Potter's Christmas1/9-2/28/87 Carlson/Olson's Hansel and Gretei; also 10-11/86 Midwest tour1/17-2/28/87 Carlson/Mason's African Tales3/13-4/12/87 musical TBA4/24-6/14/87 Titus' Alice in Wonderland adapt. Holland

College of St. Benedict, Opera Theatre, P. Welter, Dir., St. Joseph12/6-8/86 Sandow's A Christmas Carol

Guthrie Theatre, D. Sehoenbaum, Mng.Dir., Minneapolis2/27-3/22/87 Telson's The Gospel at Colonus d: Breuer

Midwest Opera Theater, P. Myers, Mng.Dir., touring/ed. co. of Minnesota Opera, St. Paul1/29-2/20/87 Minnesota Arts Experience - MAX on Tour; 20 pfs.3/87 MeKeel's Jargonauts, Ahoy! tour to schools

Minnesota Opera, K. Smith, Gen.Dir., St Paul (see also Vol.27, No.2)7/87 South Pacific 3-wk run, prod. w. Ordway Music Theatre

North Star Opera, L. Eugster, Gen.Mgr., St. Paul12/6,7,13,14/86 Amahl and the Night Visitors2/27,28 3/1/87 La Boheme Eng. David Martin; c: MartinSummer '87 Don Pasquale Eng.; 3 pfs.

St. Olaf College, Opera Workshop, P. Quade, Dir., Northfield4/2,3,4/87 Coii fan tutte Eng. Martin

University of Minnesota/Minnesota Orchestral Association, Minneapolis1986-87 Porgy and Bess (shared prod.)

MISSISSIPPIMississippi College Opera Workshop, G. Claxton, Dir., Clinton

12/1/86 Sclater's A Christmas GiftNew Stage Theatre, Jackson

11/12-29/86 The FantasticksUniversity of Mississippi Opera Theatre, W.D. Coleman, Assoc. Dir., University

4/9-11/87 Dialogues des CarmelitesUniversity of Southern Mississippi Opera Theatre, D. Holley, Dir., Hattiesburg

12/4,5/86 The Telephone & Little Red Riding Hood also tour to schools 6 pfs.2/20,21/87 The Italian Lesson <5c Something New for the Zoo; also Lee Hoiby opera

symposium4/6,7,9,10/87 Hansel and Gretel Eng.

MISSOURIRepertory Theater of St. Louis, St. Louis

1/7-2/6/87 Ma Rainey's Black BottomSouthwest Baptist University Opera Workshop, L. Snook, Dir., Bolivar

11/12-14/86 You're a Good Man, Charlie Brown 4/9-11/87 lolantheNEBRASKA

Nebraska Theatre Caravan, C. Jones, Dir., Omaha10/30-11/16/86 The 1940's Radio Hour1/17-2/7/87 Man of La Mancha4/17-5/9/87 Paint Your Wagon4/30-5/17/87 Quilters

Omaha Magic Theatre, J. Schmidman, Dir., Omaha9/5-15/86 Budenholzer/Sheehan/Schmidman's Sea of Forms prem.10/11/86-1/2/87 Budenholzer/Schmidman's Astro*Bride; Budenholzer/Schmidman/Terry's

Sea of Forms tour of NE and Midwest continued

-96-

1986-87 SEASON

Omaha Magic Theatre cont.11/7-16/86 Budenholzer/Sheehan/Schmidman's Family Talk 12 pfs., also tour12/19/86-1/5/87 Budenholzer/Sheehan/Terry Sleazing Toward Athens; also tour1/30-3/9/87 Budenholzer/Terry's Disko Ranch3/20-4/27/87 Budenholzer/Schmidman's 1 Bear - 1 Vote

University of Nebraska Opera Theatre, R. Hansen, Dir., Lincoln10/25,26/86 "Some Enchanted Evening" revue12/86 4/87 Scenes2/6-8/87 Susannah

NEW HAMPSHIRELebanon Opera House, Lebanon

9/6,7/86 Le Nozze di FigaroTheatre by the Sea, T. Celli, Art.Dir., Portsmouth

10/2-11/1/86 Cole12/86 Harnick/Bock's The Diary of Adam and Eve (Part I of The Apple Tree)

NEW JERSEYFamily Opera, H. Schlisserman, Mus.Dir., North Bergen

10/5/86 Rigoletto 2/1/87 The Merry Widow11/2/86 Hansel and Gretel 3/1/87 Carmen12/7/86 La Boheme 4/5/87 Die Fledermaus1/4/87 La Traviata 5/3/87 Madama Butterfly

George Street Playhouse, E. Krebs, Art.Dir., New Brunswick2/20-3/15/87 Woldin/L. Hughes' Little Ham prem.; 2/18,19 previews4/24-5/17/86 Man of La Mancha

Hollybush Opera Theatre/Festival 1987, V. Zuponcic, Exec.Dir., Glassboro12/13,16,20,21/86 Amahl and the Night Visitors5/8,9,12m/87 Susannah5/29,30,31m/87 The Love for Three Orangest

Lubo Opera, J. Lasky, Art.Dir., Guttenberg10/18,26/86 n Barbiere di Siviglia3/87 Adriana Lecouvreur5/87 The Student Prince

Mainstage Productions, Williams Center for the Arts, Rutherford11/9/86 Yankee Doodle Dandy

McCarter Theater, Princeton9/25-28/86 H.M.S. Pinafore

Metro Lyric Opera, Asbury Parkll/9m/86 Rigoletto Brodin, Hazel; Dean, Spinetti; c: Ferrari

Monmouth Conservatory Opera Society, F. Molzer, Dir., Little Silver3/15/87 J.S. Bach's Phoebus and Pan stgd.

New Jersey Symphony Orchestra, H. Wolff, M us.Dir., Newark5/8/87 Fidelio Kelm; Lakes; c: Wolff; 3 cone. pfs.

Opera at Rutgers, V. Goodall, Dir., Rutgers, The State University, New Brunswick10/30,31 11/1,2/86 Street Scene c: Goodall3/29 4/5m,5/87 Opera Scenes, w.p.

Opera Classics, G. Consiglio, Art.Dir., Hackensack10/25/86 Lucia di Lammermoor1/31/87 Madama Butterfly Rajewska, Lanzilotti; Consiglio, Cossa; c: Coppola3/14/87 Le Nozze di Figaro4/25/87 La Boheme5/9/87 Gala

Paper Mill Playhouse, R. Johanson, Art.Dir., Milburn9/17-10/26/86 Damn Yankees 48 pfs.11/5-12/14/86 Barnum 48 pfs.5/20-6/28/87 Naughty Marietta 48 pfs.

Paper Mill Playhouse Children's Series, Milburnl/Um,12m/86 Hansel and Gretel & Goldilocks Yates Musical Theatre10/25m,26m/86 Little Red Riding Hood & The Three Pigs Gingerbread Players and

Jackll/15m,16m/86 The Frog Prince Gingerbread Players and Jackll/28m/86 Babes in Toyland 2 pfs.; Theatreworks USA12/13m,14m/86 A Christmas Carol Yates Musical Theatre

-97-

1986-87 SEASON

NEW MEXICOAlbuquerque Civic Light Opera, B. Diltelsky, Exec.Dir., Albuquerque

9/6-21/86 Shenandoah 8 pfs.12/25/86-1/3/87 Oliver 10 pfs.

Santa Fe Opera, J. Crosby, Gen.Dir., Santa Fe7/1,4,10,15,24 8/3,6,10,13,18,25,29/87 Madama Butterfly7/3,8,11,17 8/4,11,19,26,28/87 Le Nozze di Figaro7/18,22,31 8/8,12,21/87 Handel's Ariodante7/25,29 8/7,15,20,27/87 Strauss's Die schweigsame Frau8/1,5,14,22/87 Shostakovich's The Nose Eng. Puffer

NEW YORKChautauqua Opera Company, C. Auerbach, Art.Dir., Chautauqua

7/10,13/87 Romeo et Juliette Eng.7/17,20/87 A Midsummer Night's Dream7/24,27 8/7,10/87 Kiss Me, Kate8/14,17/87 Falstaff Eng.

Empire State Performing Arts Center, P. Snyder, Prod.Dir., Albany5/15-30/87 Buck/Ruthman's Aladdin

GeVa Theatre, Rochester9/86 Pump Boys and Dinettes

Glimmerglass Opera Theatre, P. Kellogg, Gen.Mgr., Cooperstown6/27/87 Gala Opening Concert of Alice Busch Opera Theater; von Stade; Titus, etc.6/28,30 7/2,5,7,10,12/87 Eugene Onegin Eng.7/23,25,27,28,31 8/2,4,6/87 The Pirates of Penzance8/21,23,25,27,30 9/1/87 Britten's A Midsummer Night's Dream

Heritage Artists Ltd., Cohoes11/86 Strider11/27-12/21/86 Little Shop of Horrors1/15-2/8/87 I'm Getting My Act Together and Taking It on the Road

Ithaca College, Opera/Music Theater Wksp., R. Montgomery, Cond., Ithaca11/20/86 Scenes2/10-14/87 Cosi fan tutte Eng. Martin4/21-25/87 S. Wilson's The Boy Friend

Ithaca Opera, G. Race, Art.Dir., Ithaca10/17,18,25,26m,26/86 A Little Night Music12/86 Hansel and Gretel Eng. Race; tour5/1,2/87 Die lustigen Weiber von Windsor Eng. Blatt

Shattuck/Nye Productions, Civic Center, Syracuse11/24,25/86 Joseph and the Amazing Technicolor Dreamcoat

Studio Arena Theatre, Buffalo12/12/86-1/11/87 Quilters2/25-3/28/87 A Little Night Music

SUNY-Potsdam, Crane Opera/Music Theatre, L. Vaccariello, Coord., PotsdamFall '86 Scenes3/19-22/87 Guys and Dolls

Syracuse Opera, R. Driver, Gen. & Art.Dir. (see also Vol.27, No.2)4/10,12m/87 Ariadne auf Naxos E. Davis, Nail; Sylvester, Orth; c: Caraher; d: Driver

Syracuse Stage, Syracuse10/7-11/2/86 Little Shop of Horrors

Syracuse Talent Company, Civic Theater, Syracuse10/17,18,23,24,25/86 A Funny Thing Happened on the Way to the Forum

NEW YORK CITYAfter Dinner Opera, R. Flusser, Dir., Bruno Walter Audit., Lincoln Center

ll/2m,3m/86 Wigglesworth/Gorey's The Willowdale Handcar & Ching's Leo & Barab'sThe Ruined Maid c: Strasser; ds: Gorey

12/lm/86 Barab's Father of the Child c: Strasserl/13m,14m/87 Fair Means or Foul at BAM1/20-30/87 Scenes, tour to 8 schools2/7m/87 Rorem's War Scenes & Bingham's Gift of the Magi & Haufrecht's A Pot of

Broth at Queensborough Community College; 2/9m at Lincoln Center2/10/87 Haufrecht's Soup to Nuts at Lehman College2/14/87 Barab's Predators in New Brunswick, NJ

-98-

1986-87 SEASON

AMAS Repertory Theatre, R. LeNoire, Art.Dir.10/23-11/16/86 Goldstein/Baker/Stein's Hot Sake...with a Pinch of Salt prem.1/17,18 6/28,28/87 Eubie Blake Children's Theatre productions TBA2/12-3/5/87 Mark/Simon's Dazy4/9-5/3/87 Brandon/Shiomi's Prime Time6/9/87 Workshop TBA

American Jewish Theatre, 92nd Street YMHA5/9-6/21/87 Seltzer/Darion's The Megillah

American Place & New Federal Theatres, W. Handman/W. King, Prods., American PlaceTheatre10-11/86 Smith's Williams and Walker tour to NY, NJ, PA

Anonym us, C. Bernatchez, Dir., Greenwich House11/14/86 de la Halle's Robin et Marion adapt. P. Echols; c: Bernatches; d: Couture/Dube

Apollo Opera Inc., N. Moraitis, Pres., Turtle Bay Music School2/lm/87 The Phantom of the Opera adapt. V. Herbert songs; prem.

Bel Canto Opera, Marymount College/St. Bartholomew Church*10/10,ll,17*,18*,19*/86 Massenet's Le Jongleur de Notre Dame, 10/5 in concert,

Greenwich House benefit1/31 2/8m/87 Fry's Leonora Bird/Steinberg; Christman, Stephens/Halev; c: M. Waldman;

d: S. Heyman; at Fashion Institute Theater6/20,21/87 Schumann's Genoveva Am. prem.

Black Music Associates, Afro-American Museum11/9/86 Paul Wilson's Hear I Stand prem.; 2-act opera

Blue Hill Troupe, TOMI, W. 73 Street11/19-22,23m,23,24m/86 Vitzhum/Sechrist's A Slice of Life prem.

Bronx Arts Ensemble, K. Cooper, Mus. Dir., Riverdale YM-YWHA12/7/86 Handel's Tirsi, Clori e Fileno Am prem.; cone, pf.; Mongiardo, Bonazzi;

Pincus; c: CooperBrooklyn College Opera Theater, R. Barrett, Art.Dir., Levinson Recital Hall, Brooklyn

11/6/86 Street Scene d: Barrettl/9,10,llm/87 La Cambiale di matrimonio & D. Signor Bruschino w.o., d: Barrett

Carnegie Hall12/15/86 Gala Reopening Concert, Home, Minelli, Valente; Horowitz, Sinatra, Stern;

New York Philharmonic, c: Mehta/BernsteinCathedral of St. John the Divine, 112th Street

11/4/86 Blau/Weiss' Dori prem.; narr: Fairbanks12/13-21/86 Carmine's Christmas Rappings

Center Stage Community Playhouse, Bronx11/1-22/86 The Best Little Whorehouse in Texas 8 pfs.

Concert Royal & Baroque Dance Co., J. Richman, Art.Dir., Hunter College Playhouse9/11,13,14/86 Rameau's Les F8tes d'H6b6 Monoyios, Bourdy; Crook, Thomas, Bleeke,

Pauley, Wilson; c: Richman; d: Jullien; ds: Schneider/Chiment9/25,27,28/86 Handel's Ariodante Baird, Monoyios, Malafronte, Miller; J. Thomas,

Pauley; c: Richman; d/chor: Turocy; ds: Schneider/Chiment/RosenCooper Opera Works, E. Clark &: P. Stephen, Co-Dirs., Arden Auditorium

10/30 11/1,6,8/86 The Impresario & Haydn's La CantarinaCreative Time, Brooklyn Bridge Anchorage

9-10/86 Ricci/Maguire's The Memory Theater of Giulio CamilloDowntown Chamber & Opera Players, M. Stern-Wolfe, Dir., Midtown Y

ll/9m/86 American Composers Salute Children incl. Kleinsinger/Tripp's Tubby the Tubaat the Circus narr: Clemmons & Scarim's The Owl and the Pussycat prem.; Deak'sHeidi

4/25,26/87 "Notes from the Underground" incl. Facade <5c Finkelstein's Self-ReferenceEnsemble for Early Music, F. Renz, Dir., Cathedral of St. John the Divine

11/8/86 Daniel and the LionsEquity Library Theatre, G. Wojtasik, Mng. & Art.Dir., 103rd St. & Riverside Dr.

11/1-23/86 The Pajama Game1/8-2/1/87 Take Me Along

Friends of Mozart, Bruno Walter Audit., Lincoln Center10/9/86 Bastien und Bastienne Eng., conc.pf.

Guggenheim Museum, Fifth Avenue at 89th St.11/2,3/86 Adams' Nixon in China exepts., demo/lecture

-99-

1986-37 SEASON

Heights Players, Brooklyn9/27,28 10/10-12,17-19/86 D.J. Bernstein's Aladdin and Company prem.11/7-23/86 Bells Are Ringing

International Production Associates, R. LoBianco & J. Wheeler, Prods., Tully Hall9/19 10/5,14-19,24,25,28,31 11/1,7,8,13-16,19-22 12/2,3,6/86 Wilson/Byrne's the CIVIL

warS: The Knee Plays d: Wilson; tour to Cambridge, Los Angeles, Berkeley, Boulder,Albuquerque, Iowa City, Detroit, Washington, New York City, Burlington VT

International Young People's Series, Davis Hall, 134th St.1/17,22,23,24,30,31/87 Thomas' Brown Alice prem.; 8 pfs.

Jesse Isador Strauss School, West 70th St.12/4,7m,10*/86 Belich's Laius and Chrysippus prem. Bush/Schafer*, Shoenfeld/Hirsh*;

Hartness/Ohlsen*, Adams/Rawlings*, Barnum, Hiley; c/d: Belich; ds: Tasso/Wrightcone. pfs.

Jewish Repertory Theatre, R. Avni, Art.Dir., 14th Street YMHAFall '87 Gross' Rainbow prem.

Juilliard American Opera Center, D. Lloyd, Dir.12/10,12,14m/86 Le Nozze di Figaro Eng. Martin; c: Charry; d: R. Levine; ds: Conklin2/18,20,22m/87 Albert Herring c: Delfs; d: Auerbach; ds: Colavecchia/Gleason4/24/87 Amelia al ballo Eng. Mead & Tamu Tamu 3 pfs.

La MaMa ETC, E. Stewart, Exec.Prod., 74A East 4th St.10/1/86 Johnson/Leach's Carmilla, a Vampire Tale at Opera Shop annex11/15-12/14/86 Hoffman's Etiquette revue; at Opera Shop annex1/5-3/5/87 Swados/Serban's Trilogy adapt. Euripides

Light Opera of Manhattan, Cherry Lane Theatre/* East Side Playhouse9/86 Herbert's The Fortune Teller10/1-12/86 The Vagabond King11/28/86-1/12/87 Babes in Toyland*

Lincoln Center Theater Company, G. Mosher, Dir., Newhouse Theater10/14-11/2/86 Taymore/Goldfarb/Goldenthal's The Transposed Heads Puri, Borges;

Burkholder, Utley; d: Taymor; chor: Sappington; ds: Okun/Oditz/Collins/Bertolotto;American Music Theater Festival prod.

Little Orchestra Society, Dino Anagnost, Mus.Dir., Fisher Hall12/13/86 Amahl and the Night Visitors 2 pfs.

Lyritas, Trinity School, West 91st St.11/2/86 Madama Butterfly cone. pf.

Manhattan Opera Association, J. Shannon, Mus.Dir., West 70th St.12/11/86 Carmen

Manhattan Opera Theatre, A. Charlet, Art.Dir., CAMI Hall10/23/86 Bizet's Djamileh

Manhattan Opera Workshop, Norman Thomas High School12/4,6/86 La Boheme

Mannes Camerata, Christ Church, Park & 60th St.1/2-11/87 Anon. Herod & Slaughter of the Innocents stgd.; 7 pfs.

Mannes College of Music Opera Workshop12/16/86 Amahl and the Night Visitors cone. pf. 12/18,19,20/86 Opera Scenes

MAP Players, Madison Ave. at 74th St.11/8-16/86 Anything Goes

Masur Theater, East 90th St.11/86 Levi/Greenwood's Swan Song prem.; d: T. Tanner

Medicine Show Theatre Ensemble, J. Barbosa & B. Vann, Co-Dirs., West 18th St.10/9/86 Lobell's Chrysallis: A Streetwise Purgatorio11/22/86-1/3/87 Porter's Leave It to Me

Michael's Pub, East 55th St.11/15/86 All Hart revue, open run

Minetta Lane Theater, Bleecker & 4th Sts.9/7/86 Henry's Angry Housewives open run

E. & D. Mirvish/Brian Macdonald Productions, Inc., New York City Center1/13-18/87 The Mikado Stratford (Ont.) Festival prod., also tour to Boston, Baltimore,

Detroit and MilwaukeeMonteverdi Opera Guild, Damrosch Park, Lincoln Center

9/14,28m/86 Tosca12/14m/86 H Barbiere di Siviglia Blessed Sacrament Church

-100-

1986-87 SEASON

Music Theatre Group/Lenox Art Center, L. Austin, Prod.Dir., St. Clement's Church10/23-11/8/86 Silverman/Foreman's Africanus Instructus tour to Madrid & Paris11/28/86-1/11/87 Shostakovich/Silverman/Schmidt's Black Sea Follies at Playwrights

Horizons2/6-4/4/87 Peaslee/Clarke's The Hunger Artist prem.; ds: Israel6/9-20/87 van Tigen/Rice's The Vendler Television Playhouse prem.

Musica Sacra, R. Westenburg, Mus.Dir., Avery Fisher Hall2/7/87 Carmina burana & Persichetti Mass at Central Presbyterian Church

Musical Theatre Works, A. Stimac, Exec.Dir.9/15-10/3/86 Clifton/Treyz's Romantic Detachment prem.11/10-12/6/86 Siegal/Joseph's 212

Negro Ensemble Company1986-87 Hemphill/Harrison's Anchor Man prem.

New Community Players, Municipal Hospital Theater, Bronx10/31-11/15/86 Promises, Promises 8 pfs.11/8-21/86 The Best Little Whorehouse in Texas

New York Choral Society, R. DeCormier, Dir., Carnegie Hall2/28/87 Concert incl. Carmina burana

New York City Opera, Musical Comedy Season, B. Sills, Gen.Oir., Lincoln Center2/27-4/26/87 South Pacific* 68 pfs., Bigelow/Mitzman, Costa-Greenspon/Saviola;

White/Groenendaal, Roberts, Diaz/Wexler; c: Gemignani; d: Freedman; ds: HeeleyNew York Gilbert & Sullivan Players, A. Bergeret, Art.Dir. <5c Gen.Mgr., Symphony Space

12/26,27m,27,28m,29,30,31m/86 l/2,3m,3,4m/87 Patience d: Reed; 1/10 at Palace Theater,Stamford, CT

1/17/87 Ruddigore cone. pf. at CAMI Hall1/27/87 Gala Benefit Concert4/3-12/87 The Sorcerer & Trial by Jury 4/25 at Palace Theater, CT4/87 Ruddigore, 4/25 at Palace Theater, Stamford, CT6/87 H.M.S. Pinafore, 6/13 at Palace Theater, Stamford, CT

New York New Music Ensemble, Columbia University Chapel11/21/86 Concert incl. Davies' Le Jongleur de Notre Dame Horace Mann School

Orchestra; c: Bloch; d: OstwaldNew York Opera Repertory Theater, N. Rhodes, Art.Dir., Merkin Concert Hall

9/21/86 Scenes from The Mother of Us All at Virgil Thomson's Birthday Concert10/1/86 Masteroff/Thomas' Desire Under the Elms & Overmeyer/Trefousse's The

Heliotrope Bouquet wksp. pfs.New York Shakespeare Festival, J. Papp, Dir., Astor Place

2/12/87 Bicat/Rose-Price/Hare's The Knife prem.; Mastrantonio; Patinkin; open runNew York University, Music Theatre Program

11/7-27/86 PippinNew York University Reimann Opera Studio, S. Palestrant, Admin.

6/87 Barab's A Piece of StringOpera at the Academy/New York Shakespeare Festival, E. Fraad/J. Papp, Dirs., 425

Lafayette St.1/5,6,15,17/87 Die Zauberflote* Eng. Fraad/Schorske; c: O'Riley; d: Fraad; scored for

electronic instrumentsOpera Ebony/New York, B. Matthews, Art.Dir., Davis Hall, 134th St., CCNY

ll/9m/86 "Heritage: Heroes and Heroines" concert for American Music Week. incl.exepts. from Moore's Frederick Douglass, Capers' In Praise of Freedom, Edwards'Harriet Tubman, Still's Troubled Island, Fax's 'Til Victory is Won, Coleridge-Taylor'sHiawatha's Wedding Feast

Opera Ensemble of New York, J. Sheehan, Exec.Dir., Lillie Blake School11/12,14,16m,19,21,23m,26,28,30m/86 Four Saints in Three Acts c: Dunkel; d: Sheehan;

ds: Ter Arutunian; chor: Tello3/4,6,8,11,13,15/87 Offenbach/White's Christopher Columbus; 1/25 preview

Opera Stage, Holy Name School, Amsterdam Ave. & 96th St.9/14,18,21m,25,28m 10/2/86 Faust

Opera Uptown, R. Rubinson, Dir., Minor Latham Playhouse, Columbia University11/2-9/86 Weidberg/Nier's The Muse of Eloquence <5c Valinsky/Sehubert/Bauer's Skit Night

on Mt.Fuji prems., 2 cone. pfs.Pace Productions & Adonai Arts Foundation, St. Stephens Church, West 69th St.

9/29-10/11/86 Tierney/Drachman's Narnia, the Musical Am. prem.

-101-

1986-87 SEASON

Pavilion Opera, London group's tour NY & CT10/17,18,20,21,23,24/86 Co& fan tutte; Don Pasquale

Piccolo Teatro delTOpera, B. Elliott, Gen. Dir., Brooklyn12/10m,llm,12m/86 Amahl and the Night Visitors Brooklyn Philharmonic; e: Leon; 8 pfs.

Regina Opera, A. Polakoff, Art.Consult., Brooklyn9/28 11/2/86 4/5 5/3/87 Concerts11/29,30m 12/6,7m/86 n Barbiere di Sivigilia c: Guzman; d: Cantoni3/7,8,14,15/87 L'Elisir d'amore6/6,7,13,14/87 Manon Lescaut

Repertorio Espaftol, R. Buch, Exec.Dir., Gramercy Arts Theatre9/18,24,25,27,28m 10/12m,18,25 ll/8,23m/86 Habana: A Musical Anthology9/21m/86 Torroba's Luisa Fernanda

Richmond Theater Collection, Staten Islandll/2m,7,8,9m/86 Princess Ida

Riverwest, Bank Street10/30-11/23/86 Evans/Russell/Kelly's Pageant

Roundabout Theater, E. 17 St.11/6/86 Larson/Rubins' Brownstone

Rutgers Church/Broadway Tomorrow, West 73rd St.4/26/87 Mulhare's O.T. cone, pf.; Levine; Honnick, Bettelheim; c: Mulhare

Second Avenue Theater, 189 Second Avenue11/86 Gallagher's Have I Got a Girl for You (The Frankenstein Musical)

Singers Forum Foundation, A. Anselmo & J. Harris, Dirs., 137 Fifth Ave.9/21/86 Scenes12/12-14,19,20/86 Barab's I Can't Stand Wagner prem.; Bosco; Harris, Murphy; c:

Besser; d: BarabStudio 608, East 14th St.

9-10/26/86 Porter's Easy to LoveTheatreworks/USA, C. Hill, Mgr., Promenade Theater

10/18-11/9/86 When the Cookie Crumbles You Can Still Pick Up the Pieces, tour10/86-5/87

12/6-14/86 Allen's Lady Liberty Raposo12/21-31/86 Flaherty/Ahren's Emperor's New Clothes1/10-18/87 Strouse/Lee's Martin Luther King Jr.1/24-2/1/87 Cummins/Woodward's Sherlock Holmes and the Red-Headed League2/14-22/87 Cummins/Forster's Right In Your Own Back YardSpring '87 Lebeaux/Sumlyan's Louis Braille1986-87 tour Babes in Toyland

Turtle Bay Music School, P. Heuermann & R. Wallace, Dirs.1/87 Barber's A Hand of Bridge & The Old Maid and the ThiefSpring '87 The Magic Flute

Village Light Opera Group, R.W. Noll, Mus.Dir., Fashion Institute Theater12/6,7m,ll,12,13,14m/86 The Pirates of Penzance4/18,19m,23,24,25,26m/87 The Music Man

Vineyard Theatre, J. LoSchiavo, Dir. of Opera, B. Zinn Krieger, Dir. of Music Theater,West 26th St.12/86 The Magic Flute abrgd.3/87 Sarti's I Due Litiganti Am. prem.5/87 Penn/Hilton's Songs on a Shipwrecked Sofa prem.

Washington Music Ensemble, A. Mandel, Art.Dir., for International Year of Canadian Music,Merkin Hall

10/6/86 Concert incl. Schafer's La Testa d'Ariane KirkpatrickWestside Arts Center, Susan Bloch Theater, W. 26 St.

10/5/86 Sereda/Weiss' Sex Tips for Modern Girls Am.prem., open runWhitney Museum at Philip Morris, Park Avenue

11/12/86 Carlo/Butler's It's Still LifeWNET, New York, Local telecast

12/15/36 Benjamin Britten—A Time There Was12/29/86 Curlew River Southwestern University Chorale prod., taped 2/20/85

WNET/PBS, Live from Lincoln Center, National telecast11/12/86 Candide Mills, Golden, Costa-Greenspon; Eisler, Lankston, Billings; c:

Bergeson; d: Prince; ds: Dunham/Dolan; New York City Opera prod.

-102-

1986-87 SEASON

WNET/PBS, Great Performances, National telecast11/21/86 Gian Carlo Menotti: The Musical Magician11/28/86 Menotti's Goya Huffstodt, Vergara; Domingo; c: Friihbeck de Burgos; d:

Menotti; ds: Grossi; Washington Opera prod., taped 11/8612/26,28/86 Hansel und Gretel Gruberova\ Fassbander, Dernesch, Jurinac; Prey; Vienna

Philharmonic, e: Solti; d: Everding; Unitel prod. (1981)1/23/87 Otello Freni; Vickers, Glossop; c/d: von Karajan; Berlin Philharmonic/Salzburg

prod. (1974 film)WNET/PBS, Live from the Met, National telecast

12/31/86 Die Fledermaus Te Kanawa, Blegen, Troyanos; Rendell, H&gegard, Mazura; c:Tate; d: Schenk; ds: Sehneider-Siemssen/Hall

4/1/87 Carmen Baltsa, Befia5kov6; Carreras, Ramey; c: Levine; d: Hall; ds: Bury(to be taped 2/24,28)

5/6/87 Dialogues des Carmelites Ewing, Norman, Crespin, Norden, Quivar; Kuebler,Courtney; c: Rosenthal; d: Dexter; ds: Reppa/Greenwood (to be taped 3/27/87)

TBA Gala (Lucia di Lammermoor, scenes; Rigoletto, Act 3; La Traviata, Act 3)Sutherland; Pavarotti, Nucci; c: Bonynge (taped 1/11)

"Y" Chamber Symphony and Chorale, A.Kaiser, Art.Dir.11/29/86 Purcell's The Faery Queen cone, pf.; Eriekson, Jones; Gall, Britton, Parce; Y

Chamber Chorale; c: SchwarzYork Theatre Company, J. Walker, Prod./Art.Dir., Church of the Heavenly Rest/Murphy

Center1/16-2/7/87 Sondheim's Marry Me a Little3/20/87 Jones' Philemon5/21/87 Dixon's Shylock prem.

NORTH CAROLINAEast Carolina University Opera Theater, C. Hiss, Dir., Greenville

10/17,18/86 Scenes2/20-23/87 Le Nozze di Figaro

University of North Carolina Opera Theater, A. Knutsen, Dir., Greensboro10/86 A Chorus Line10/31/86 Gluck's Le Cinesi Eng. Knutsen11/18/86 Scenes4/3,4,5/87 TBA

NORTH DAKOTANorth Dakota State University Opera Theatre, R. Olson, Dir., Fargo

10/86 Cabaret11/86 Scenes4/87 The Medium

OHIOBaldwin-Wallace College Conservatory, S. Ginn-Paster, Dir.Opera, Berea

2/87 The Threepenny OperaCincinnati May Festival, Cincinnati

5/87 Otello cone, pf.; McCracken; c: ConlonCincinnati Opera's ECCO!, S. Rapp, Coord., educational tour

10/86-5/87 Little Red Riding Hood; The Telephone; Opera Scenes; Concerts12/86-1/87 Hansel and Gretel; 12/13m,14m in Cincinnati; 12/15m signed pf. at St. Rita's

School1-5/87 Slow Dusk1/87 3-5/87 The Barber of Seville Eng. abrdg.2-4/87 Madama Butterfly Eng.

Cincinnati Playhouse in the Park, Cincinnati11/9-12/14/86 Little Shop of Horrors

Cleveland Institute of Music Opera Theater, A. Foldi, Dir., Cleveland11/22,23m/86 Scenes12/14m/86 Concert incl. The Tender Land exepts.4/8,10,12m/87 Falstaff c: Topilow; d: Foldi

Cleveland Institute of Music Symphony Orchestra, C. Topilow, Mus.Dir., Cleveland10/22/86 Concert incl. Porgy and Bess exepts.; Jackson; Henry

Cleveland Play House, A. Milano, Mng.Dir., Cleveland1/6-2/8/87 The 1940's Radio Hour3/17-4/24/87 Chapin/Key & Treyz's Cotton Patch Gospel

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1986-87 SEASON

Dana School of Music Opera Workshop, D. Vogel, Dir., Youngstown State University,Youngstown5/21-24/87 The Mikado

Findlay College Musical Theatre, M. Anders, Dir., Findlay2/18-22/87 The King and I

Lyric Opera Cleveland, Al Fresco Festival, M. McConnell, Exec. & Art.Dir., Cleveland7/9,11,16,18/87 Cos"l fan tutte Eng. Martin7/30 8/1,6,8/87 Baker's Haydn's Head prem. & The Medium

Ohio State University Opera/Music Theater, R. Stephens, Dir., Columbus10/23-26/86 Oklahoma!1/29,31/87 The Consul2/87 Scenes5/7,9/87 Cosi fan tutte Eng. Martin

Ohio University Opera Theater, E. Payne, Dir., Athens1/23,24/87 Carmen Eng. Martin

Opera/Columbus, M. Harrison, Gen.Dir., Columbus (see also Vol.27, No.2)12/15111,1701,1801,18,19111,19,20111,20,21/86 Babes in Toyland

Otterbein College Opera Theatre, M. Achter, Art.Dir., Westerville2/26-28/87 La Serva padrona & The Telephone & La Traviata Act I

Players Theatre, Columbus12/11-13,18-21/86 Rowe/Graczyk's A Country Christmas Carol2/5-8,12-15,19-22,26-28/87 Harrigan 'n Hart

Pro Musica Chamber Orchestra, Columbus3/24/87 Orfeo ed Euridice Mills; conc.pf.

University of Akron Opera Theatre, A. Anderson, Dir., Akron10/29,30 11/1/86 The Bartered Bride11/10-20/86 4/10,11/87 Scenes3/10,12,13/87 L'Elisir d'amore

University of Toledo Opera Theater, T. East, Dir., Toledo11/8/86 Burnham's Nitecap

OKLAHOMAAmerican Theatre Company, K. Roberts, Art.Dir., Tulsa

10/3-18/86 Little Shop of Horrors1/5-27/87 The 1940's Radio Hour

CAVU Music Theatre Presentations, Gestalt productions, Phoenix Theater, Tulsa11/7,8/86 Rebel in the Soul w. Aurora Ensemble

Oklahoma Christian College Opera Workshop, W.S. Smith, Dir., Oklahoma City4/3,4/87 Suor Angelica <5c Gianni Schicchi

Oklahoma City University Opera & Music Theatre Company, C. Osterhaus, Dir.10/10-12/86 Dido and Aeneas & The Secret of Susanna11/21-23/86 Little Shop of Horrors2/13-15/87 Manon Eng.4/10-12/87 Annie Get Your Gun

Oklahoma State University Opera Theatre, S. van Eaton, Dir., Stillwater10/30/86 flutter's The Reluctant Dragon & Smith's The Shepherdess and the Chimney

SweepSouthwestern Oklahoma State University Department of Music & Drama, C. Chapman, Dir.,

Weatherford4/87 Le Nozze di Figaro

Tulsa Philharmonic, B. Rubenstein, Mus.Dir., Tulsa11/20/86 Previn/Stoppard's Every Good Boy Deserves Favour Mermaid Theatre version;

c: RubensteinUniversity of Tulsa Theater Department, Tulsa

2/13-21/87 Sweeney ToddOREGON

Musical Theatre Company, PortlandFall '86 The Fantasticks4/17-5/14/87 The Mikado Hager/Rocha-Kaufman/Baumgarten/Wong prod.

Oregon Shakespeare Festival, Ashland9/4-10/30/86 The Threepenny Opera

Portland Opera, R. Bailey, Gen.Dir., Portland (see also Vol.27, No.2)4/15-19/87 Porgy and Bess shared prod.; 6 pfs. (replaces The Magic Flute)

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1986-87 SEASON

Rogue Valley Opera, P. Bayles, Gen./Mus.Dir., Ashland9/19,20,21,27/86 Carmen12/15-19/86 Hansel and Gretel

PENNSYLVANIAAcademy of Vocal Arts Opera Theater, D. Yannopoulos, Dir., Philadelphia

ll/16m,28,19,22/86 II Barbiere di Siviglia c: Macatsoris; d: Kugler12/6m,13m,20/86 The Toy Shop 6 pfs.2/3,4,6,7/87 Die Dreigroschenoper c: Macatsoris; d: Yannopoulos3/17,18,20,21/87 Don Pasquale d: Yannopoulos5/2,4/87 Don Giovanni c: Macatsoris; d: Yannopoulos; at Walnut St. Theater

American Music Theatre Festival, M. Samoff, Prod.Dir., Prince Theater, Philadelphia (seealso Vol.27, No.2)10/2,3,4m,4,5/86 Akalaitis/Gibson's Voyage of the Beagle 10/1 preview10/10,llm,ll,12m/86 Salzman/Sahl's Stauf 10/8,9 previews

Berks Grand Opera, A. Jurkiewicz, Art.Dir., Reading11/8/86 La Traviata Broido; Nelson, Ottey; c: Jurkiewicz; d: Guido4/25/87 Die Fledermaus Eng.; c: Jurkiewicz; d: Guido

Bloomsburg University Music Theatre Productions, W. Decker & C. Reifspeck, Dirs.,Bloomsburg2/18,19,20,21/87 A Funny Thing Happened on the Way to the Forum7/29-8/1/87 TBA

Curtis Institute of Music, Opera Dept., I. Strasfogel, Mus.Dir., Philadelphia1986-87 The Magic Flute; L'Elisir d'amore; The Rake's Progress

Fulton Opera House, K. Collins, Art.Dir., LancasterSummer '87 Guys and Dolls

Independent Eye, C. Bishop, Art.Dir., Lancaster11/6-30/86 Jacques Brel is Alive and Well and Living in Paris

Lafayette College, Music & Theater Depts., Easton11/5/86 The Threepenny Opera c: Melin; d: Mrochinski

Muhlenberg College Opera Wksp., J. Slavin, Art.Dir., Allentown12/18-21/86 Amahl and the Night Visitors Lehigh Valley Chamber Orch.

Opera Company of Philadelphia, M.A. Everitt, Gen.Dir., Philadelphia (see also Vol.27, No.2)4/27 5/1/87 Romeo et Juliette Soviero, Velta; Kraus, Mattsey, Rouleau, Corbeil; c:

Baudo; d: Uzan (replaces Mefistofele—postponed to 1987-88 season)Opera North (form. Opera Ebony/Philadelphia), M. Poindexter, Mgr., Philadelphia

6/4,6/87 Aida Eng.; J. Simpson, Mayes; G. Hopkins, Arnold, Gooding; c: E. Lee; atAcademy of Music

10/19/86 The Impresario11/9 12/12m/86 Concerts

Pennsylvania Stage Company, D. Fallon, Gen.Mgr., Allentown11/19-12/14/86 Dames at Sea

People's Light and Theatre Company, G. Rowe, Gen.Mgr., Malvern10/30-11/21/86 Eckman/Adam's Bad Cats tour to schools

Philadelphia Orchestra, R. Muti, Mus.Dir., Philadelphia10/8,9,11,14/86 Der fliegende Hollander Hass; Lakes, Welker, Haugland, M. Myers;

Westminster Choir; c: Muti; cone.pfs.Pittsburgh Public Theater, L. Arrick, Art.Dir., Pittsburgh

11/11-12/21/86 She Loves MePittsburgh Symphony Orchestra, L. Maazel, M us.Dir., Pittsburgh

11/86 La Damnation de Faust Kath. Ciesinski; Hadley, Kavrakos; c: Dutoit; theMendelssohn Choir of Pittsburgh; also in Dallas & 11/23 in Fisher Hall, NYC

Society Hill Playhouse, J. <5c D. Kogan, Dirs., Philadelphia10-12/86 Goggin's. Nunsense4/7-6/20/87 Crystal/Sandrow's Kuni-Leml

University of Pittsburgh Opera Workshop, C. Pinza, Dir., Pittsburgh1/30 2/1/87 Don Giovanni Eng. Porter

Villanova University, Music & Theatre Depts., Philadelphia4/1-26/87 Sweeney Todd

Walnut Street Theatre Company, B. Havard, Exec.Dir., Philadelphia12/12/86-1/4/87 A Little Night Music3/7-4/4/87 Tintypes

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1986-87 SEASON

RHODE ISLANDOpera Rhode Island, M. Robbins, Gen.Mgr., Providence

10/2,5/86 Cosft fan tutte Eng. Robbins12/21/86 Amahl and the Night Visitors <5c The Unicorn in the Garden 2 pfs.Spring '87 TBA

SOUTH CAROLINABob Jones University Opera Theater, D. Gustafson, Mus.Dir., Greenville

3/24,26,28/87 AidaCamden Community Theatre, Camden

2/12-15/87 Godspell4/22,24,26/87 Man of La Mancha

Easley Community Theatre, Foothills Mall, Greenville4/30 5/1-3,7-10,14-17/87 Godspell

Greenville Savoyards, Greenville11/1,6,7/86 The Sorcerer3/20,21,27,28/87 Herbert's The Fortune Teller

Spoleto Festival USA, G.C. Menotti, Art.Dir., Charleston (5/22-6/7/87)5/22,25,29 6/4/87 Salome Ikonomou, M.Dunn; c: Argiris; at Gaillard Municipal Aud.5/24,27,30 6/1,3,5/87 Rameau's Platee Am. prof, prem.; d/ds: Pascoe; at Dock Street

TheatreUniversity of South Carolina Opera Theater, D. Gray, Dir., Columbia

10/23,24,26/86 La Boheme Eng.1/29,30,31/87 The Gondoliers

SOUTH DAKOTANorthern State College Opera Workshop, D. Yoss, Aberdeen

11/5-8/86 Grease at Johnson Fine Arts Center 2/1/87 ScenesTENNESSEE

Memphis State University Opera Theatre, T. Machen, Dir., Memphis11/23,25,26/86 Cosi fan tutte Eng. Porter

Memphis State University Theater & Music Depts., R. Cannon, Dir., Memphis10/16,17/86 Previn/Stoppard's Every Good Boy Deserves Favour Mermaid Theatre

versionMiddle Tennessee State University Opera Wksp., C. Isley, Dir., Murfreesboro

11/86 Scenes2/20/87 The Impresario Eng. D. Previn4/24/87 n Tabarro

Nashville Opera, M. Ragland, Pres., Nashville4/23,24m*,25,27m*,27,28m,29m*/87 La Boheme *student pfs.; c: R. Buckley

Playhouse on the Square/Circuit Playhouse*, J. Nichols, Exec.Prod., Memphis8/14-9/14/86 Chapin's Cotton Patch Gospel*9/5-10/11/86 A Chorus Line11/21-12/28/86 Charlap/Leigh's Peter Pan2/19-3/22/87 Quilters*4/17-5/17/87 Nine

Southern Opera Theater, R. Driver, Gen. & Art.Dir., Memphis1986-87 tour: "A Tale of Two Figaros" (Rossini & Mozart)

University of Tennessee Opera Theatre, D. Pennebaker, Dir., Chattanooga11/25/86 Le Nozze di Figaro excpts.1/28,29,30/87 The Toy Shop

TEXASBaylor University Opera Theater, D. Scott, Dir., Waco

10/30,31/86 Dido and Aeneas2/26,27,28 3/1/87 La Boheme4/23/87 Scenes

Dallas Opera Puppet Theater, Dallas1/26/87 Rodriguez's Monkey See, Monkey Do prem.

Hardin Simmons University Opera Theatre, J. Middleton, Dir., Abilene12/86 The Gondoliers4/87 Die Zauberflote Eng. Martin

Houston Baptist University Opera Theatre, R. Collins, Dir., Houston11/7,8/86 Benjamin's The Devil Take Her; also tour4/24,25/87 Le Nozze di Figaro

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1986-87 SEASON

Lamar University Opera Theater, J. Truncale, Dir., Beaumont3/87 La Boheme

Lyric Opera of Dallas, J. Burrows, Art.Dir., Dallas10/10,11/86 Rodriguez's The Ransom of Red Chief prem.; d: Luchsinger6-7/87 Carmen; Orpheus in the Underworld Eng. Dunne; The Pirates of Penzance

McLennan Community College Opera Workshop, L. Uhl, Dir., Waco4/87 Trial by Jury

New Arts Theatre, Dallas3/5-4/5/87 El Grande de Coca Cola

North Texas State University Opera Theatre, D. Wakeling, Dir., Denton11/6,8,9/86 Orpheus in the Underworld

Southern Methodist University Opera Theatre, S. Sargon, Dir., Dallas11/21,22/86 Albert Herring 4/30/87 Scenes

Stage West, Fort Worth12/30/86-1/31/87 Perfectly Frank revue w. Loesser's music8/19-9/19/87 Cabaret

Stages Repertory Theater, T. Swindley, Art.Dir., Houston3/28/87 Hair5/23/87 Sondheim/Lueas/Rene's Marry Me a Little8/29/87 Sondheim's Merrily We Roll Along

Texas Panhandle Heritage Foundation, Palo Duro Canyon/Canyon6/10-8/22/87 Texas A Musical Drama, daily except Sunday

Theatre Three, N. Young, Art.Dir., Dallas10/25-11/29/86 A Little Night Music1/24-3/7/87 Peaslee/Hall's Animal Farm

Theatre Under the Stars, V. Flynn, Gen.Mgr., Houston10/14-26/86 The Desert Song12/14-28/86 Peter Pan2/17-3/1/87 My Fair Lady3/31-4/12/87 Sondheim's Follies5/12-24/87 Evita7/87 TBA

UTAHBrigham Young University Opera, C. Robison, Art.Dir., Provo

11/6,7,8/86 Albert Herring2/19,21,24,26,28/87 La Boheme Eng. Pearlman6/17,18,19,20/87 H.M.S. Pinafore

Pioneer Memorial Theatre, C. Morey, Art.Dir., Salt Lake City9/24-10/11/86 Kiss Me, Kate

VERMONTBrattleboro Music Center Opera Theatre, C. Stockman, Admin.Dir., Brattleboro

12/31/86 1/1,2/87 Die Fledermaus5/16,17/87 Handel opera excpts.

Friends of Music at Guilford, River Valley Playhouse, Putney11/6,7,8,13,14,15/86 Weill's Johnny Johnson

Lamoille County Players, Hyde Park9/25/86 The Sound of Music

Opera North, L. Burkot, Art.Dir., Norwich9/6,7,9,12/86 Le Nozze di Figaro Eng. Martin1/3,4,5/87 Amahl and the Night Visitors6/87 Brigadoon

Vermont Opera Theater, Barre9/26,27 10/3,4/86 The Barber of Seville Eng. Martin

VIRGINIAJames Madison University Opera Theatre, J. Little, Dir., Harrisonburg

11/7,8/86 Cavalleria rusticana Eng. Dole/Little & Offenbach's Le Manage auxlanternes Eng. Reed

2/13,14/87 TBAOpera Theatre of Northern Virginia, J. Niles, Art.Dir., Arlington

12/6/86 Mozart's L'Oca del Cairo Eng. adapt. Niles3/lm/87 Herbert's Sweethearts cone. pf.4/10,12m/87 The Consul

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1986-87 SEASON

Theatre IV, B. Miller, Art.Dir., Richmond10-11/86 tour: Skloff/Krane/Kauffman's Rapunzel; Gierseh/Bliss/Miller's Runners10/16-11/16/86 Giersch/Miller's Young Tom Jefferson12/1-21/86 Giersch/Miller's 'Twas the Night Before Christmas1/15-3/8/87 Barnett/Jones' Puss 'n Boots1/30-5/10/87 Giersch/Bliss/Miller's Hugs and Kisses3/19-5/10/87 Giersch/Flannagan's The Little Red Hen4/24-5/17/87 Where's Charley?

Theatre Virginia, T. Burgler, Art.Dir., Richmond9/24-10/18/86 West Side Story

WASHINGTONA Contemporary Theatre, G.A. Falls, Prod.Dir., Seattle

9/22,29 10/6/86 Carlson/Sander's Duffy Bishop and the Rhythm Dogs10/19-23/86 Little Shop of Horrors12/2-28/86 MacDougall/Fall's A Christmas Carol

Group Theatre Company, R. Sierra, Art.Dir., Seattle10/6-11/2/86 Swados/Trudeau's Rap Master Ronnie

Seattle Opera, S. Jenkins, Gen.Dir., Seattle (see also Vol.27, No.2)8/2-7,10-15/87 Der Ring des Nibelungenf c: Michael; d: Rochaix; ds: Israel8/2,10/87 Das Rheingoldt A. Hughes; Belcourt, Roloff, Patrick8/3,11/87 Die Walkiiret Plech, Kelm, A. Hughes; Busse, Roloff, Andrasy8/5,13/87 Siegfriedt Kelm; T. Kramer, Delamboye, Roloff8/7,15/87 Gotterdammerungt Kelm, Kesling, Curry; T. Kramer, Del Carlo, Andrasy8/14/87 Thomas Stewart in Recital at Wright Theater

Spokane Symphony Orchestra, B. Ferden, Mus.Dir., Spokane11/7/86 Faust c: Ferden; d: Tavernia

Tacoma-Pierce County Opera, H. Wolf, Art.Dir., Tacoma3/27 4/5/87 The Bartered Bride Eng.

University of Washington Opera Theatre, R. Feist, Mus.Dir., Seattle11/13-16/86 A Midsummer Night's Dream 4 pfs.12/15/86 3/16 5/9/87 Scenes2/24-3/14/87 The Pirates of Penzance 17 pfs.5/14-17/87 Die Fledermaus Eng. Csonka/Theslof 4 pfs.

Uptown Opera Company of Spokane, M. Halvorson, Art.Dir., Spokane11/13,14,15,16 12/29,30/86 Bach's The Coffee Cantata & Tanner's The Kona Coffee

Cantata; c: Miyamota; d: Halvorson/OgdonWEST VIRGINIA

Lilliput Orchestra, Inc., D. Riggio, Gen.Mgr., Charleston11/8,10,17,25/86 Coi& fan tutte Eng.1/26/87 TBA

Old Opera House, H. Rolling, Mng.Dir., Charles Town10/2-5/86 Fiddler on the Roof12/5-7,12,13/86 A Christmas Carol

Parkersburg Actors Guild, Parkersburg11/21-23 12/5-7,12,13/86 The King and I

West Virginia University Theatre Division & Music Dept., Morgantown10/30,31 11/1,4-8/86 Bodoni County Songbook Anthology prem.12/14/86 Amahl and the Night Visitors

West Virginia University Music Theater, Morgantown10/13/86 Jesus Christ Superstar

WISCONSINLawrence University Opera Theatre, J. Koopman, Dir., Appleton

4/23,24,25/87 Dido and AeneasPamiro Opera Company, M. Pansky, Art. & Mus.Dir., Green Bay

6/5,6/87 L'Elisir d'amoreTheatre X, J. Schneider & F. Coker, Art.Dirs., Milwaukee

10/2-11/2/86 Savick's My Werewolf; also tour 1-3/87University of Wisconsin Opera Wksp., D. Van Abbema, Dir., Eau Claire

10/13/86 4/27/87 Scenes12/3,4,5/86 Britten's Paul Bunyan2/20,21,23,24,26,27/87 The Ballad of Baby Doe

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1986-87 SEASON

University of Wisconsin Opera Theatre, K. Moser, Dir., Madison11/14,15,21,23/86 Dido and Aeneas & The Medium12/3/86 4/28/87 Scenes2/6,7,13,15/87 Eugene Onegin Eng. Lloyd-Jones3/26,28 4/2,4/87 "Bernstein Bash" revue

WYOMINGUniversity of Wyoming Opera Theater, F. Gersten, Dir., Laramie

1986-87 A Game of Chance tour3/87 Scenes

CANADAAlberta Theater Project, Calgary, Alta.

5/17-6/1/87 Sweeney ToddBanff Centre School of the Arts, Opera Ensemble, M. Bawtree, Art.Dir., Banff, Alta.

1986-87 McNeff/Jones' Killing Time; Hodkinson/Devlin's St. Carmen de la Main prem.Banff Summer Opera Festival, Banff Centre, Banff, Alta.

7/6-8/14/87 L'Ormindo Eng. Dunn; 4 pfs.; Postcard from Morocco; 3 pfs.Brandon University Opera Workshop, S. Richardson, Dir., Brandon, Man.

Fall '86 La Voix humaine1/87 n Segreto di Susanna <5c La Serva padrona

Canada Opera Piccola, P. Alarie & L. Simoneau, Art.Dirs., Vancouver, B.C.9/3,5,6,8/86 Le Nozze di Figaro c: Vernon; d: Alarie; for Expo '86 Festival

Canadian Opera Ensemble, L. Mansouri, Gen.Dir., Toronto, Ont.Fall '86 La Cenerentola tour12/22-28/86 Amahl and the Night Visitors Prata; Canad. Children's Opera Chorus; 10 pfs.

Choeur les Rhapsodes, Sainte-Foy, P.Q.4/10,11,14/87 Orfeo ed Euridice Savoie, Martel, Dumont; c: Guay; d: Boisvert/Rochette

Les Evenements du neuf, Nouveau Theatre d'Outrement, Montreal, P.Q.12/9-12/86 Vivier's Kopernikus Vaillancourt, Parent, Coutu; Doane, Ducharme; c:

Vaillancourt; d: ForgetGrant MacEwan College, W. Shookoff, Dir., Edmonton, Alta.

11/86 Chicago12/86 The Seven Deadly Sins

Lyric Art Theater, Laval, Terrebonne, P.Q.9/13,14/86 The Count of Luxembourg

McGill University Opera Studio, E. Delia Pergola, Dir., Montreal, P.Q.12/2/86 Mahagonny Songspiel12/14/86 1/15/87 Scenes1/23,24,25/87 n Mondo della luna c: Lawton

Metropolitan Orchestra, Montreal, P.Q.11/24/86 Concert incl. La Voix humaine P. Vaillancourt; c: J. Vaillancourt

Les Nouvelles Varietes lyriques, Montreal, P.Q.12/3-6,7m,9-13,14m/86 Orph6e aux enfers Dussault/Toulon, Boky, Beaupr6; Cantin,

LaPlante, Charbonneau; c: Auger *L'Ope'ra de Montreal/Atelier lyrique, R. Armenian, Mus.Dir., Montreal, P.Q. (see also Vol.

27, No. 2)10/16 11/21/86 Die Zauberflote10/24 11/6,7/86 2/27 3/13,27/87 Scenes Programs12/5/86 Hansel and Gretel d: Uzan3/87 Le Nozze di Figaro Salle Maison-neuve4/10/87 Dialogues des Carmelites1986-87 Lunchtime concerts, Piano Nobile-Place des Arts

Opera de Quebec, G. Belanger, Mus.Dir., Quebec, P.Q.10/25,28,30 11/1/86 La Fille du regiment Lesperance; Pelletier, Charbonneau; c:

Belanger; d: AlarieOpera Lyra, National Arts Centre Theatre, Ottawa, Ont.

9/11,13,16,18,20/86 n Barbiere di Siviglia Fraser; Spencer, Massel, Dodington; c:Hlavacek; d: Major; ds: Girard

5/15,16/87 Werther Graham; Evans, Korjus; c: Hamilton; Opera-in-Concert prod.,Ottawa Tech H.S.

Opera Theater of Alberta, N. Korris, Adm., Palliser Hotel, Edmonton, Alta.11/86 Die Fledermaus3/87 L'Elisir d'amore

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1986-87 SEASON

Operetta House, Montreal, P.Q.11-12/86 Orph6e aux enfers Beaupre; d: Laplante

Pacific Opera Victoria, T. Vernon, Art.Dir., Victoria, B.C.9/25,27,29 10/2,4/86 II Trovatore Thomson, Glass; Paglialunga, Opthof; c: Vernon; d:

Carsen; ds: Fellows2/12,14,16/87 The Magic Flute Eng.; Bogle, Wolf; Serbo, Dodington; c: Vernon; d: Wylde;

ds: SabistonProCoro Canada, Edmonton, Alta.

2/87 Handel's Giulio Cesare Robbin; Fast; c: GervaisQuebec University Opera Studio, G. B61anger, Dir., Montreal, P.Q.

2/16,17,18,19,20,21,22/87 Dialogues des CarmelitesShaw Festival, C. Newton, Art.Dir., Niagara-on-the-Lake, Ont.

9/1-10/12/86 Girl CrazyTheatre d'art lyrique, Laval, P.Q.

4/4,5,11,12/87 Carmen Saint-Jean, Aubin; Langlois, Fournier; Laval SymphonyOrchestra; c: Patenaude; d: Vallee

Theatre lyrique, Hull, P.Q.2/1,2/87 Offenbach's Un mari a la porte <5c Croquefer c: Lecuyer; d: Richard

Toronto Mendelssohn Choir, E. Iseler, Mus.Dir., Toronto, Ont.2/27/87 Handel's Solomon Martin, Blaser, Graham; Titus; c: Iseler; The Roy Thomson

Hall Orchestra; semi-stagedToronto Operetta Theater, G. Silva-Marin, Art.Dir., MacMillan Theatre, Toronto, Ont.

9-10/86 Countess Maritza1/11/87 Scenes in Concert

Toronto Symphony, A. Davies, M us.Dir., Toronto, Ont.10/86 Acis and Galatea Collins; Crook; c: Davies; cone. pfs.

University Laval, Music Conservatory, Laval, P.Q.1/25,27,29,31/87 Don Giovanni Opera Studio1/31 2/2/87 La Voix humaine & L'Heure espagnole

University of British Columbia Opera Theatre, F. Tickner, Dir., Vancouver, B.C.3/87 The Rake's Progress d: Tickner

University of Manitoba, K. Jensen, Dir., Winnipeg2/14,15/87 Kalmanoff's Lizzie Strotter & Trial by Jury

University of Toronto, International Conference & Theater Festival, Toronto10/21-26/86 "Brecht, 30 Years After", symposium incl. Die Dreigroschenoper Berliner

Ensemble; Mahagonny Songspiel Canadian Opera Co. []

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CENTRAL OPERA SERVICE BULLETIN - CPANDA · CENTRAL OPERA SERVICE BULLETIN VOLUME 27, NUMBER 3 ... Chicago Ensemble, ... The libretto is made up of news clippings,