central opera service bulletin cinderella, and the little mermaid are satyrical works for adults,...

CENTRAL OPERA SERVICE BULLETIN

I N D E X

VOLUME 22, NUMBER4

NEW OPERAS AND PREMIERES 1

NEWS FROM OPERA COMPANIES 7

GOVERNMENT PROGRAMS 13

NATIONAL ARTS ORGANIZATIONS/CONFERENCES 15

OPERA FORECAST 17

NEW SERVICES TO CULTURAL ORGANIZATIONS 20

NEW AND RENOVATED THEATRES 21

MUSIC COLLECTIONS AND EXHIBITIONS 22

ACADEMIA 23

NEW ENGLISH TRANSLATIONS & TRANSLITERATIONS 24

SETS AND COSTUMES FOR RENT or SALE

NEW EDITIONS, ORIGINAL VERSIONS

APPOINTMENTS

COS INSIDE INFORMATION

WINNERS

CAREER GUIDE: LATEST ADDITIONS

BOOK CORNER

PERFORMANCE LISTING 1980-81 cont.

2526273032343550

Sponsored by the Metropolitan Opera National Council

CENTRAL OPERA SERVICE COMMITTEE

Founder

MRS. AUGUST BELMONT

(1879-1979)

Honorary National Chairman

ROBERT L. B. TOBIN

National Chairman

ELIHU M. HYNDMAN

National Co-Chairmen

MRS. NORRIS DARRELL

GEORGE HOWERTON

Latett N»wi

Gateway to Opera: The Regional Companies

COS National Conference, St. Louis

(see page 30 for program)

Central Opera Service Bulletin • Vol. 22, No. 4 • Winter/Spring 1981

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

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

Permission to quote is not necessary but kindly note source.

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

Copies this issue: $3.00 ISSN 0008-9508

NEW OPERAS AND PREMIERES

The Greater Miami Opera will mount three American operas during the AMERICANNew World Contemporary Festival of the Arts. Opening night of the OPERASFestival on June 4, 1982 will feature the world premiere of Robert Ward'slatest work, MINUTES TO MIDNIGHT, an opera with libretto andstory by Daniel Lang. The other operas, to be seen during the followingtwo weeks, are Floyd's Of Mice and Men and Argento's The Voyage ofEdgar Allan Poe. Each opera will have three performances.On April 25, the Houston Opera Studio will produce the premiere ofPhilip Glass's avant-garde music theatre piece, THE PANTHER. ManuelLutgenhorst will develop the dramatic structure, based on his interpreta-tion of the musical score; the "wordless script" allows the director/pro-ducer to develop his personal theatrical exposition. The work calls for sixsingers, who provide a texture of random syllables, six mute actors, andone "real or imagined" panther, accompanied by one violin or viola. —The Houston Opera will also share in the Stuttgart Opera's productionof Glass's ECHNATON, to come to Texas in 1983-84 or 1984-85 asOEDIPUS AND AKHENATON.The premiere date of Robert Ward's ABELARD AND HELOISE hasbeen set for February 19, 1982, by the Charlotte Opera in North Caro-lina. A repeat performance is scheduled for February 21. The title roleswill be sung by Nancy Shade and Jerold Norman, with Malcolm Smithand Chester Ludgin included in the cast. Richard Marshall will be theconductor and Rhoda Levine the stage director.William Mayer's A DEATH IN THE FAMILY, after James Agee's book,was chosen for presentation by the Minnesota Opera Ensemble's Com-poser/Librettist workshop this May.On February 21, the Minnesota Opera gave the first performance ofConrad Susa's new and expanded version of BLACK RIVER. The operawas originally performed by the same company in 1975. It now has beenlengthened to three acts and a prologue, and incorporates part of anoperetta by Pauline l'Allemand, Die Kappe des Confucius. While most ofthe opera's characters are fictional, Ms. l'Allemand is a historical figure.She was an opera singer and composer.Henry Humphrey's SEA-THORN is an American version of the classicPhaedra, and is set in 19th century Georgia. The two-act tragedy isscheduled for a premiere by the Center Civic Opera in Covington, KY, onMarch 20, 1981. It will be fully staged with orchestral accompaniment.THE ASPERN PAPERS, by Philip Hageman, is the second recent adap-tation of the Henry James story; the first was by Italian composerSciarrino and premiered in Florence in 1978. Hageman's work is in oneact and had its first performance by the Studio Opera of IndianaUniversity in Bloomington on December 4,1980. Mozart's L'Oca del Cairoshared the double-bill.The summer '80 workshop at Duke University performed the premiereof LEVEES by Michael Ching, a former student of Robert Ward. — InNovember '80, the Cornish Institute in Seattle gave a premiere readingof Lou Harrison's JEPHTA'S DAUGHTER.Although the COS Directories of American Contemporary Operas listsix works by David Ahlstrom, his FOURTH DAY, FIFTH TALE wasnot included. The one-act, one-scene opera for soprano and tenor waspremiered in 1961 by John and Marian Paton, to whom it is dedicated.The original title was Wicked Was He Who Took Away the Flowers, and

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it has now been expanded and orchestrated. The story is based onBoccaccio's The Decameron (Fourth Day, Fifth Tale.)Off-Off Broadway theatres in New York staged first performances ofshort operas this season. They include Robert Starer's ANNA MAR-GARITA'S WILL and William Boswell's UNGUIDED TOUR at the NewWorkshop Theatre (2/6/81).Tom Johnson is currently working on his second full-length opera. THESEASONS will be in four acts; designer Allen Finkel is collaboratingon the work.The American Premiere Stage, Box 3 Essex Station, Boston, MA 02112is looking for a new musical theatre piece not previously performed.

CHILDREN'S Sy Brandon's 45-minute, two-act THE BALLAD OF ROBIN HOOD isOPERAS for middle-school child performers and audiences. It is scored for five

solo voices, a children's chorus, and piano or wind instrument accompani-ment with optional rhythm instruments. Performance material is avail-able from the composer (120 Maple St., Wrightsville, PA 17368).On December 28, 1980, the Allegheny Repertory Theater in Pittsburghmounted the first production of THE ILL-FATED PRINCESS withmusic by Asher Raboy and libretto by Claudia Snow. The one-act operafor children and adults is based on a Greek folk-tale.As a result of his very successful children's operas (Little Red RidingHood, The Toy Shop), Seymour Barab has been commissioned by theMichigan Opera Theatre and the Charlotte Opera to write works suitablefor touring productions to schools. The latter company's touring arm,the North Carolina Opera, has specifically expressed a wish for the storyto be based on a historical event in the American South. The MichiganOpera's touring Opera-in-Residence program will premiere Barab'sFAIR MEANS AND FOUL this spring.Tri-Cities Opera's touring ensemble will give the first U.S. performancesof SID, THE SERPENT WHO WANTED TO SING by Australiancomposer Malcolm Fox (see Foreign Operas).We have just been informed that Harold Johnson's The Barnyard Quar-tette, Cinderella, and The Little Mermaid are satyrical works for adults,not children's operas, as annotated on page 17 of the Directory ofAmerican and Foreign Contemporary Operas 1975-80. The same is trueof Andrew McClenahan's Comedy of Errors, mentioned on page 2 ofVolume 22, Number 3.

CANCELLATION The first performance of Henry Brant's EVERYBODY, INC., plannedby the Santa Fe Opera in summer '81, has been cancelled.

OPERA For the first time, Opera America members and guests were treated to aAMERICA Composer/Librettist Showcase and Seminar during the organization'sSHOWCASE annual meeting in New Orleans last January 6 and 7. Seven different

operas and music theatre pieces were chosen by Showcase coordinatorsWesley Balk and Paulette Haupt-Nolen from a total of 52 submitted bymember companies. Four of the seven works have had some previoushearings. Half-hour excerpts were presented in a semi-staged versionwith piano accompaniment and a narrative filling in the plot. The highcalibre of performers and the excellence of format resulted in theemergence of each work's character, and certainly proved the value ofthis undertaking. The excerpts represented two full-length operas: KirkeMechem's TARTUFFE and Gardner Read's VILLON; two one-actoperas: Stephen Paulus's A VILLAGE SINGER and Jay Pouhe's PAN-TOMIME; two music theatre pieces: Glenn Paxton's THE ADVEN-TURES OF FRIAR TUCK and David Ahlstrom's AMERICA, I LOVEYOU; and one children's opera: Robert Chauls's ALICE IN WONDER-LAND. Librettists for the three works not previously listed by COS areJames Forsythe for Villon, Allan Leicht for The Adventures of FriarTuck, and the writings of e.e. cummings for America, I Love You. As


background material for the Showcase, Opera America published a 144-page Composer/Librettist Showcase book with detailed information onall 52 operas nominated by member companies. In addition to the synop-sis, it includes listings of cast requirements, orchestration, and specialproduction requirements. Copies are available for $15 from OperaAmerica, 1010 Vermont Avenue NW, Washington, DC 20005.

On January 23, 1981, the Comus Music Theatre offered a studio produc-tion of Graham George's A KING FOR CORSICA at Queen's Universityin Kingston. A second performance of the full-length opera was given atthe Great Hall of Hart House in Toronto.Two operas completed in 1979, but not yet performed, have been acceptedinto the music library of the Canadian Music Centre. Bengt Hambraeus'sSAG AN is a radio opera in ten scenes with a libretto by Lars Runstenafter a play by Hjalmar Bergman. Casting requires two sopranos, onemezzo, one tenor, one baritone, and a chorus. — CEYX AND ALCYONEis a one-act chamber opera by Alfred Kunz with text by Laurence Cum-mings.The National Arts Centre in Ottawa was host to performances of STAR-MANIA, a rock opera with music by Jimmy Tanada and text by Berger-Plamondon. Opening night was February 10,1981.Philip Glass's SATYAGRAHA, premiered September 5, 1980 in Rotter-dam, will be brought to the American stage by the Natural HeritageTrust/Artpark in Lewiston, NY, this summer. The opening date isJuly 29. Excerpts of the opera will be presented during the Contempo-rary Music Conference at the Aspen Music Festival in July.The Seattle Opera has obtained the rights to the first American perform-ance of Karl-Birger Blomdahl's space opera ANIARA. First heard inStockholm in 1959 and subsequently performed by the Swedish RoyalOpera in Montreal at Expo '67, the work was to have had an Americanpremiere at Indiana University in 1970. That performance did not takeplace. The Seattle production will be in the 1982-83 season.The story of the Capulets and the Montagues, retold as GIULIETTA EROMEO by Riccardo Zandonai, was premiered in Rome in 1922. The firstAmerican production of the work will be staged next season by theSan Diego Opera.October 30, 1981 has been set as the date of the American premiere ofArman Tigranian's ANOUSH by the Michigan Opera Theatre in Detroit.There will be a total of six performances in English, translated from theoriginal Armenian. The opera's first presentation was in Alexandropolin 1912.The California Institute of the Arts, in collaboration with the Los An-geles County Museum of Art, mounted a Russian, avant-garde, "Cubo-Futurist" opera, VICTORY OVER THE SUN. The occasion was theopening of the Museum's show "The Avant Garde in Russia, 1910-1930:New Perspectives" last September. The opera was chosen as representa-tive of the New Art, combining the talents of the Cubist artist KasimirMalevich, who designed the imaginative costumes and stage setting,composer Mikhail Matiushin, and authors Aleksei Krushenykh andVelimir Khlebnikov. The 46-minute work was performed in an Englishtranslation by Larissa Shmailo with the score edited by Jerry Froh-mader. Presented under the direction of Robert Benedett, it was a re-creation of the original 1913 production. The souvenir program containsbackground articles, art and photo reproductions, and musical examples.The performances were repeated in January 1981 at the NationalMuseum of Natural History Auditorium in Washington, DC, at the timeof the art exhibition's opening at the Hirshhorn Museum.

CANADIANOPERAS

AMERICANPREMIERES


Next season will bring the first English performance of Frangois AdrienBoieldieu's MA XANTE AURORE ou Le Roman impromptu to theUnited States. The Asolo Opera in Sarasota has announced perform-ances for January 1982. The premiere of a three-act version took placeat the Opera Comique in Paris in 1803, after which the composer rewrotethe work into a two-act opera. It is this edition which has survived andwhich was first heard in its American premiere in New Orleans in 1810in French.Carl Zytowski, head of the opera workshop at the University of Cali-fornia at Santa Barbara, chose DAPHNIS ET CHLOE from amongOffenbach's numerous one-act operas for a first American performance.It will be mounted on May 16, together with Poulenc's Les Mamelles deTiresias.

On the occasion of the 300th anniversary of the death of Spanish play-wright Calderon de la Barca, Trinity University in San Antonio gave theAmerican premiere of CELOS AUN DEL AIRE MAT AN (Jealousy,Even of Air, is Deadly). The music is by Juan Hidalgo, edited by J.Subira, who found the incomplete score in the library of the Duke ofAlba in 1933. The premiere of the opera was staged for King Felipe IVon December 5, 1660 in Madrid, with the costume designs based onpaintings by Murillo, Zurbaran, and other Spanish artists of that period.The performance in Texas took place on February 12; Trinity Uni-versity Press is publishing the libretto.When the Hartt Opera Theater of the University of Hartford performsDebussy's LA CHUTE DE LA MAISON USHER in April, it will do soin the Juan Allende-Blin edition. This will be the first American per-formance of this version, which was premiered at the Deutsche OperBerlin in 1979. Previous American performances at Yale University andin New York City used the Carolyn Abbate reconstruction. The per-formance in Connecticut will be sung in a new English translation byEugene Kurtz.

AMERICAN For the first time in its history, the Vienna State Opera presentedOPERAS American works during its regular season. In February 1980, audiencesIN EUROPE heard Bernstein 's MASS, choreographed by Alvin Ailey and conducted

by Maurice Peress ; November-December brought a double-bill of Me-notti's AMAHL AND THE NIGHT VISITORS and HELP, HELP, THEGLOBOLINKS! with such Staatsopern stars as Helga Dernesch, Walde-mar Kmentt, Eberhard Wachter, and Oskar Czerwenka in the former,and Renate Holm alternating with Lotte Rysanek in the latter.This season offers the European premiere of Menotti's LA LOCA toGiessen, Germany, and Floyd's OF MICE AND MEN, with Americantenor Curtis Rayam, to Wexford, Ireland (October 1980), while THETELEPHONE and TROUBLE IN TAHITI (performed under the titleMahlzeit) will be performed in Oberhausen and Mannheim. — The Stutt-gart Opera, under general director Dennis Russell Davies, plans produc-tions of three Philip Glass music-theatre pieces over the next few years.Next season will bring SATYAGRAHA (retitled Ghandi in Sudafrika),1983-84 a newly commissioned work entitled ECHNATON to be co-produced with the Houston Grand Opera, and 1985-86 EINSTEIN ONTHE BEACH.

The Centre Georges Pompidou in Paris produced Robert Ashley's PER-FECT LIVES (PRIVATE PARTS) October 22-25, and La Fenice inVenice Thomson's FOUR SAINTS IN THREE ACTS in April-May,1981. — Early this season, the Theatre des Champs Elysees in Paris, incollaboration with Radio France, offered Barber's ANTONY ANDCLEOPATRA, and Caen, France, Menotti's THE MEDIUM. The greatlypopular PORGY AND BESS is rarely absent from opera programs

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abroad, and in 1980 could be heard in Zurich, Bologna, Detmold, and inIsrael, this in addition to the tour cities visited by the Houston GrandOpera production. A listing of American musicals mounted by Europeanopera houses each season would be quite voluminous.

A new company, the Celtic Music-Theatre, is performing at the GoldenLane Theatre in London. On September 25, the company offered the FOREIGNpremiere of a two-act chamber opera, THE WOMAN ON THE HILL, OPERASbased on a short story by Eleanor Inglefield, with music and libretto byWilliam Lewarne Harris. — Oxford University Music Theatre gave thefirst performance of Dominic Muldowney's THE EARL OF ESSEX'SGALLIARD on July 8, 1980. — THE SNOWMAN OF KASHMIR is anopera for and by children, written by Peter Kay and Stefan Janski,advisors and staff producers for the English National Opera. — TheBritish Arts Council has awarded composer David Bedford a grant towrite an opera based on Kenneth Patchen's novel THE JOURNAL OFALBION MOONLIGHT. Smaller bursaries went to Richard Blackfordfor completion of his full-length opera METAMORPHOSES for thecentenary of London's Royal College of Music, to Michael Nyman for hisopera THE RAFT OF MEDUSA, and to Douglas Young for a chamberopera on ALICE IN WONDERLAND.

Commissioned by the Deutsche Oper, West Berlin, Mauricio Kagel iscompleting AUS DEUTSCHLAND, A Lieder Oper, for a first perform-ance at the Theater des Westen on April 3, 1981. Michael Gielen willconduct and the composer will stage the work. — June 21 has been set asthe premiere date of Antonio Bibalo's three-act opera GESPENSTER,after Ibsen's play Ghosts. It will open in Kiel and, as a joint production,travel to Bremen, Hamburg, Braunschweig, and Hannover. — TheTheater im Marstall, one of the smaller stages of the Bayerische Staats-oper in Munich, premiered Bent Lorentzen's EINE WUNDERSAMELIEBESGESCHICHTE on December 2, 1979. It has a cast of three,soprano, tenor, and baritone. — Two other new studio or chamber operasare Niels Frederic Hoffmann's DAS GROSSE SCHLACHTEN (premiere6/24/80 in Ltibeck) and Austrian composer Otto Zykan's KUNSTKOMMT VON GOENNEN first mounted by the Stuttgart Kammeroper(11/10/80). — SPOT is the title of a one-act opera by Hans-JoachimHespos (music and words), premiered in Hannover June 3, 1980. Itshared the program with John Taverner's The Gentle Spirit, translatedinto German by Raffael Nedomansky and retitled Die Flucht. — VolkerDavid Kirchner is completing his third opera, DAS KALTE HERZ, com-missioned by the opera house in Wiesbaden, with a projected premierelater this season. The story is based on a Hauff fairy tale. — Thepremiere of Hans Werner Henze's DIE ENGLISCHE KATZE has beenpostponed by the Schwetzingen Festival to 1983.

Alexander Zemlinsky (1871-1942) is receiving renewed attention. Histhird opera, DER TRAUMGOERGE written 1904-06, was premiered inNiirnberg on October 11, 1980. Although accepted in 1906 by GustavMahler for production in 1908 at the then Vienna Hofoper, where he wasgeneral director and Zemlinsky one of the conductors, the plans werecancelled by Felix Weingartner, following the resignation of Mahler, andwith him Zemlinsky, in 1907. The musical material was discovered in theStaatsoper's music collection at the Vienna Nationalbibliothek and stillcarries markings and cuts in Mahler's handwriting. Performance rightsrest with the composer's widow who lives in New York. A double-bill ofshort operas by Zemlinsky, DER ZWERG and EINE FLORENTI-NISCHE TRAGOEDIE will open at the Hamburgische Staatsoper onSeptember 20, 1981, with American tenor Kenneth Riegel featured inboth works.


Dmitri Shostakovich's THE PLAYERS, based on Gogol's The Gamblers,will have its world stage premiere in fall '81 in Wuppertal. It wascomposed in the early 40's, but left unfinished. Polish composer KrzysztofMeyer is completing the opera. Mussorgsky's The Marriage will be thesecond work on this Russian double-bill. — The 1981 Salzburg Festivalwill feature the premiere of Friedrich Cerha's BAAL, (8/7) to beconducted by Christoph von Dohnanyi, directed by Otto Schenk, andwith Theo Adam in the leading role. The work joins the illustriouslist of Strauss's Die Liebe der Danae (1952), von Einem's Der Prozess(1953), and Henze's Die Bassariden (1966), all first heard at the Festi-val. September will find Baal in Darmstadt. — Luciano Berio's A KINGLISTENS was commissioned by and will be first performed in Salzburgin 1983. Another new Friedrich Cerha work, this one a musical theatrepiece entitled NETZWERK, is scheduled for premiere on May 31 at theTheater an der Wien during the Wiener Festwochen.

The Piccola Scala in Milan has announced two new works for the cur-rent season: Karlheinz Stockhausen's DONNERSTAG AUS LICHT(3/15/81) and Flavio Testi's IL SOSIA after Dostoevski's The Double(2/3/81). The former will include American tenor Paul Sperry in thecast. In addition, the company presented Sylvano Bussotti's LE RACINE,Pianobar pour Phedre in nine performances, the first on December 9. —Mario Zafred's latest opera, KEAN, will be mounted by the Teatro Mas-simo Bellini in Catania this season. — Aldo dementi's one-act ES willshare a double-bill with Four Saints in Three Acts (see American Operasin Europe) in Venice on April 28. Zoltan Pesko will conduct, MariaFrancesca Siciliani will be the stage director.

Mussorgsky began work on SALAMMBO, based on the Flaubert novel ofthe same title, in 1836. It seems that 30 years later only fragments of thework had been completed, and the composer abandoned the project andused some of the music for Boris Godunov. Conductor Zoltan Pesko foundthree scenes and presented them in concert at the Radio Italiana Sym-phony series in Milan on November 10, 1980.

There are no records of any previous performances, and the February19, 1981 presentation of Marc-Antoine Charpentier's DAVID ETJONATHAS, line tragedie spirituelle in Lyon may indeed be the pre-miere staging of the work. It was composed in 1689. — In contrastingstyle, an avant-garde, music theatre piece by Nguyen Thien Dao,ECOUTER/MOURIR, was premiered February 3 in the same Frenchcity. It was also staged at the Avignon Festival. — The one-actL'ESCALIER DE CHAMBORD by Claude Prey is scheduled for firstperformances in Tours, France, during the current season. Rosenthal'sLa Poule noire will complete the evening. — The premiere of tenorAlain Vanzo's LES CHOUANS, after Balzac, has been scheduled forFebruary 1982 in Avignon. — LES TRAVAUX D'HERCULE byAntoine Duhamel is a children's opera which will be heard for the firsttime in June '81 at the Opera de Lyon. — Last December, L'Opera duRhin in Strasbourg produced a French operetta, LE PETIT CAFE,by Guy Lafarge and Jack Ledru with a libretto by M. Valmy. Thecompany also performed it in Angers and Colmar. — Daniel Lesur iscompleting ONDINE, planned for a first production at the Paris OperaNational in May '82 with Viorica Cortez in the title role.

British composer Oliver Knussen has given the Theatre de la Monnaiein Brussels his second children's opera. WHERE THE WILD THINGSARE, based on the book of the same title, was performed last Novemberwith designs by the original illustrator of the book, Maurice Sendak. —

(continued on page 47)

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NEWS FROM OPERA COMPANIES

Covington, Kentucky, has a young opera company, THE CENTER CIVICOPERA under the direction of Paul Zappa. After offering operatic con-certs, the company staged Amahl and the Night Visitors and Lucia diLammermoor last season. Performances take place at Holmes Audi-torium, and this season's repertoire consists of one musical in the falland a world premiere in March (see New American Operas).The NASHVILLE SYMPHONY, under music director Michael Charry,will mount an opera production for the first time. Madama Butterfly willbe given in three performances in April, featuring Atsuko Azuma, HarryTheyard, and Dominic Cossa, staged by Kabuki master Shozo Sato. (Forother news of orchestras performing opera see Cancellations below.)The ASOLO OPERA in Florida is going from four to five productionsthis season, offering an evening of ballet and modern dance by its own,newly created dance company. The opera company first experimentedwith ballet last season when it presented a double-bill of Britten's LesIlluminations and Berlioz's Les Nuits d'ete. — One production of thisseason honored the late Samuel Barber. Under the title "Quintet", itcombined A Hand of Bridge with Knoxville: Summer of 1915, HermitSongs, Dover Beach, and a string quartet. Rigoletto, Cosi fan tutte, andEl Capitan are the full-length operas which complete the 1981 schedule.Performances are mounted at the Asolo Theatre of the Ringling Museum,but the company has just purchased a 1920 vaudeville/silent film theatrein downtown Sarasota and, as soon as alterations' are complete, will moveinto its new home. It will be the seventh company to own its own building.The MICHIGAN OPERA THEATRE will add a fifth production to itsseason next year. The company will return to a split season, offering threeoperas in the fall and two in the winter (opening January 15).In 1981-82, the SKYLIGHT OPERA in Milwaukee will add a third weekof performances of the four operas it mounts at its own SkylightTheatre, including a matinee with special prices for students and seniorcitizens. The remaining two works of the six-opera season are shown atthe larger Pabst Theatre.L'OPERA DE MONTREAL has announced the formation of a subsidiarygroup, L'Opera de Chambre du Quebec, which will tour the Province.The company, which produced three operas in its first season in 1980-81,has scheduled four productions for next year (see Forecast, Vol. 22,No. 3).Four days of "A Little Love Music" were presented by the CLEVELANDOPERA COMPANY at a shopping mall in suburban Cleveland, with theclosiifrg date coinciding with Valentine's Day., Demonstrations and con-certs were related to the company's forthcoming productions of MadamaButterfly and Naughty Marietta; the performers were members of theArtists-in-Residence program. In addition to solo and ensemble singing,a Japanese Tea Ceremony and oragami instruction conjured up visionsof Japan, while the Herbert work was represented by a puppet show.There were also open "auditions" for seven-year-old children for the roleof Trouble. This program, presenting traditional theatre music in a non-traditional setting, was assisted by grants from NEA, matched by theRouse Company which has been supporting "Arts in the Marketplace"since 1975.The CANADIAN OPERA COMPANY in Toronto will present its 1981-82 program of six productions in three mini-seasons. Two operas will beperformed in repertory in September, January, and April, respectively,thus offering twelve performances in each of these months. Another in-novation will be the inclusion of one performance each of La Traviata,Die Fledermaus, and Lucia di Lammermoor in English, with an alternatecast chosen from the Canadian Opera Company Ensemble.

NEWCOMPANIES

EXPANSIONS

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NEWS FROM COMPANIES

The CINCINNATI OPERA added performances of Carmen and Faustin English, sung by an alternate cast of young American ar t is ts , to i tsseason. This will be the first t ime the company will present an opera inboth the original and an English translation within one season. Whilethe Seattle, Houston, Miami, Michigan, and above mentioned CanadianOpera companies follow this policy, at least with some of their repertory,a s tatement adding the Minnesota Opera to this group (Vol. 22, No. 1)was incorrect. All works performed by the Minnesota Opera a re inEnglish.TRI-CITIES OPERA has been offering a single performance of one ofits repertory operas in the morning since last season. The tickets arepriced a t $3 for school children and senior citizens, and members of theResident Ar t i s t Tra in ing Program part icipate in the performance, whichis sung in English. Last year the opera was II Trovatore, th is yearMadama Butterfly.The VANCOUVER OPERA Guild is sponsoring a program wherein anabridged version of a s tandard opera is offered at elementary schools.Faust has been prepared by the Vancouver Opera Company this season,and about 130 performances will be given.

NEW The 39-year-old company in Hartford is adding a CONNECTICUTRESIDENT OPERA RESIDENT ENSEMBLE for training and performance oppor-ENSSMBU tunities for young singers. The first 32-week season will run from Sep-

tember '81 to May '82. Young singers will receive instructions fromartistic staff members, perform small roles and understudy larger ones,and participate in the chorus of the major company's season. In addition,CORE will tour its own productions to schools and community centers.A monthly honoraria of $500 to $1,000 will be paid the Ensemblemembers.

CANCELLATIONS After mounting the first two of its projected four productions, theINDIANAPOLIS OPERA cancelled Faust, scheduled for March. TheBallad of Baby Doe will only be performed in June if financial difficultiescan be resolved by that time.Due to last minute cancellations of leading singers because of illness,the OPERA ORCHESTRA OF NEW YORK had to call off its per-formance of II Giuramento on March 17. The performance has been re-scheduled for June 13 at Avery Fisher Hall.The COLORADO OPERA FESTIVAL in Colorado Springs had to canceltwo of its announced productions, reducing its 1981 summer season toone opera. Financial problems in the form of accumulated deficits forcedthis move, but the company is confident it will be able to consolidate itsforces and to offer two productions next summer and return to threein 1983.Offenbach's Bluebeard, planned for performances by the LAKE GEORGEOPERA FESTIVAL this summer, has been cancelled. In its stead thecompany will produce Man of La Mancha.Opera performances by the COLUMBUS SYMPHONY ORCHESTRA goback to 1958, and three staged productions have been given on a regularbasis for the past ten years. It is, therefore, with particular regret thatwe learn of the Symphony Society's decision to discontinue its operaticactivities after the current season. Although similar situations occurredin Orlando and Honolulu, opera there was continued under a separateorganization, and it is hoped this may also be the case in Columbus.Meanwhile, this leaves four symphony orchestras which give stagedoperatic productions on a regular basis: San Antonio with three operasin eight performances, Duluth and Wichita each with one opera in twoperformances, and the above mentioned Nashville Symphony with itsfirst operatic production.

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NEWS FROM COMPANIES

The latest edition of the METROPOLITAN OPERA Historic BroadcastRecording Series is Un Ballo in maschera, featuring Zinka Milanov,Bruna Castagna, Jussi Bjorling, and Alexander Sved under the baton ofEttore Panizza. The original broadcast date was December 14, 1940. Thehandsome, commemorative box contains a 28-page, illustrated, docu-mentary brochure and libretto, and three sound-restored, high-fidelityrecords. A $125 donation to the Metropolitan Opera Fund, Box 930, NewYork, NY 10023 will be rewarded with this gift.Robert Jacobson and Gerald Fitzgerald of Opera News are preparing abook, the former the text, the latter the pictures, on the official historyof the MET. It will be published by the Metropolitan Opera Guild in 1983for the Company's centennial.The SEATTLE OPERA is developing a program for the handicappedunder the title Opera Trunk. The company is now investigating existingprojects and, in collaboration with the Seattle Symphony, is conductinga study regarding programs and materials to aid the hearing impaired.The SPRING OPERA THEATER of San Francisco is offering, for thefirst time, subscriptions to its four-production season. — The ENGLISHNATIONAL OPERA in London has also inaugurated a subscriptionseries this year.With the aid of a grant from the Walter B. Chrysler Foundation, theVIRGINIA OPERA is creating a Music Library, part of which will bereserved for the use of students of the University of Virginia and othernearby universities and colleges.High schools throughout California may take advantage of an offer offree educational opera videotapes by KCET and the San Francisco Opera.They pertain to the preparation and performance of last season's LaGioconda by the San Francisco Opera and are available on video cassetteor 16mm film for use in classroom activities. A grant from the Bank ofAmerica is underwriting this project. Requests by teachers in statesecondary schools should be addressed to school superintendents orprincipals.To help secure the financial future of the METROPOLITAN OPERA, amajor national campaign to create a $100 million endowment for theCompany began in May of 1980. The Metropolitan Opera Centennial Fundcampaign is timed to culminate in the Metropolitan's 100th Anniversaryseason in 1983-84. The endowment, which will be permanently investedto generate income, will provide the Metropolitan with the stability itneeds to undertake long-range artistic and financial planning, protect itfrom unforeseen variations in annual income, make necessary capitalimprovements, and enable the company to meet its broadened programsand service responsibilities to its national audiences through televisionand touring activities. Prior to the commencement of the campaign theMetropolitan's endowment was about $2 million, yielding a token amountin income in relation to the company's annual budget, which in fiscal year'80 exceeded $46.5 million. — Endowment funds, which put companies ona more secure financial basis, have also been established by the SANFRANCISCO OPERA (currently at $3.5 million) the GREATERMIAMI OPERA, SAN DIEGO OPERA, BALTIMORE OPERA, SANTAFE OPERA, SEATTLE OPERA, and the VIRGINIA OPERA, TheLYRIC OPERA OF CHICAGO, which had collected about $2 million inits fund, had to draw heavily on this resource for operating expenses.The NEW WORLD CONTEMPORARY FESTIVAL OF THE ARTSwill open in Miami on June 4,1982. It will feature three American operasincluding one world premiere (see Forecast), international visitingorchestras and soloists, ballet companies and major art exhibits.

SPECIALPROJECTS

EDUCATIONALAIDS

ENDOWMENTFUNDS

FESTIVALS

Q

NEWS FROM COMPANIES

A new festival will be initiated this summe"r in Palenville, New York.The PINE ORCHARD ARTISTS FESTIVAL announced six perform-ances of two opera productions for late July and early August: The Con-sul and Cost fan tutte. The Traverse Opera Company, under the artisticdirection of Jay Pouhe (composer of Pantomime) and the general man-agement of Harrison Somers (librettist of Pantomime), will be the pro-ducing organization. A renovated chapel will serve as auditorium, and anumber of non-operatic events will complete the Festival.

This summer, Jackson will host the first MISSISSIPPI OPERA FES-TIVAL OF THE SOUTH, a joint venture of the Mississippi Opera andMillsaps College. A resident orchestra will participate in the presentationof two operas at the college this June, and three productions are pro-jected for 1982. Festival plans also include a training program for youngsingers, to be headed by Met tenor John Alexander; the tuition chargeis $750. There will be chamber music concerts, and a special art exhibitat the Mississippi Museum of Art.

The LYRIC OPERA OF KANSAS CITY has participated in the musicfestival at Boonvjlle, MO, for the past two years. The company chose oneof its own fall productions for an early opening at the festival in August.

The Peterloon Estate on the outskirts of Cincinnati is the home of theOPERA AT PETERLOON FESTIVAL, recently founded by the Ameri-can Opera Auditions, John L. Magro president. Former winners of theauditions program are selected as performers under music directorRobert Feist. The first performance took place on November 30, present-ing the rarely heard Zanetto by Mascagni and operatic scenes, accom-panied by the Cincinnati Chamber Orchestra. Plans for outdoor per-formances in September '81 are under way.

In addition to its usual two-opera season in its home town, the CEN-TRAL CITY OPERA plans a return to Denver with one production thisseason. The first and only time the company performed in the State Capi-tal was in 1978, when it staged Salome as part of the opening festivitiesat Boettcher Hall.

The VIENNESE OPERETTA COMPANY OF NEW YORK (formerlythe Manhattan Opera Singers), under the direction of Lois Albright, ispreparing a Lehar Festival at Alice Tully Hall. Semi-staged productionsin costume with ballet and orchestra are planned, and The Land ofSmiles is to open on June 5.

Knoxville has been chosen as the site of the 1982 WORLD'S FAIR, wherea World Festival is to be mounted. David Haber of Haber Artists Inc. inToronto has been named producer of the art festival.

Preparations are already underway for the inclusion of various culturalevents at the next SUMMER OLYMPICS scheduled for 1984 in LosAngeles. A concert by the Los Angeles Philharmonic at the HollywoodBowl, to be broadcast via satellite to other continents, has been an-nounced.

The CORFU FESTIVAL in Greece, which suspended operations afterthe 1974 season, will be held this year from June 18 to July 5. DinoYannopoulos and the Academy of Vocal Arts in Philadelphia were instru-mental in the reopening of the Festival and will bring two opera pro-ductions from Philadelphia. La Sonnambula will be performed June 19and 21, and The Rape of Lucretia June 20 and 22. International theatreand ballet companies and symphony orchestras will also participate.Greek composer Manos Chatzidakis has been commissioned to write anoratorio based on the Ode of Pindar in memory of Thomas Schippers,who was music director of the Festival in the early Seventies.

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MEWS FROM COMPANIES

A formal affiliation between the MINNESOTA OPERA and the UNI- COMPANIESVERSITY OF MINNESOTA in Minneapolis provides a two-year gradu- ANDate program for singer/actor training. A Master's Degree in Perform- ACADBMIAance is awarded at the completion of the program. The first year providesfor an enrollment of 12 students selected at national auditions. They willparticipate in the Minnesota Opera Studio and take special graduatecourses at the University. Requirements for enrollment are an under-graduate degree or equivalent and admission to the Graduate School ofthe University. Admission forms are available from: Opera TrainingProgram Fall '81, University of Minnesota Graduate School, 307 John-ston Hall, 101 Pleasant Street SE, Minneapolis, MN 55455; a cassettetape with two contrasting arias and a resume must be submitted to theMinnesota Opera, Studio Program, 850 Grand Avenue, St. Paul, MN55105.

The joint program of the SAN DIEGO OPERA and the Music Depart-ment of SAN DIEGO STATE UNIVERSITY, announced at the last COSConference, bore first fruits last December. A coproduction of Salieri'sFalstaff was performed at the University under the artistic supervisionof Tito Capobianco. Now the San Diego Opera Institute has been createdand will begin operations next fall. In addition to the opera/musiccourses at the University, singers will participate in the San Diego OperaCenter which has been extended from six to 13 weeks. Tito Capobiancowill direct the Institute, and Robert Brown, Chairman of the Music De-partment, and Jerry Mandel, Dean of the College of Professional Studiesin Fine Arts, will represent SDSU.

Next fall, the CONNECTICUT OPERA in Hartford will offer profes-sional internships to a few opera students enrolled at OTTERBEINCOLLEGE in Westerville, OH.

(For information on the new program between Mississippi Opera andMillsaps College see Festivals.)

For the first time, the TULSA PERFORMING ARTS CENTER is offer-ing a Performing Arts Management Intern Program open to full-timeundergraduate students enrolled in accredited colleges or universities.Applicants seeking a career in performing arts facility managementmust have completed two years of undergraduate studies, and somebackground in theatre, music, business management, or related fields ispreferred. Interns will be accepted for the term of one semester, with amaximum of 40 academic credits conferred at the completion of the term.Salaried positions, paid on an hourly basis, are offered in house manage-ment, ticket office, accounting, programming, and production. Details areavailable from Terry Schell, Managing Director, Tulsa Performing ArtsCenter, Second and Cincinnati Streets, Tulsa, OK 74103.

When the SEATTLE OPERA unveils its new Tristan und Isolde, audi- PRODUCTIONences will see Austrian designer Siegwulf Turek's sets and projections, TECHNIQUESspecifically his panoramic projections, for the first time in the UnitedStates. The first use of his technique was seen in the Grosse Festspielhausat the Salzburg Festival.

The sharing and exchanging of productions by American and Canadian OVERSEAScompanies has become so f requent an occurrence t h a t ment ion is now TRAVUlimited to the Directory of Sets and Costumes and the PerformanceListing. However, overseas transport of productions is still quite rare,and only Penderecki's Paradise Lost, produced by the Lyric Opera ofChicago and seen at La Scala and various German houses two years ago,comes to mind. Now the VIRGINIA OPERA'S production of Thea Mus-

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NEWS FROM COMPANIES

grave's A Christmas Carol is scheduled to be presented at the RoyalOpera Covent Garden next December. (The company imported the orig-inal costumes executed by the Scottish Opera for the American premiereof the same composer's Mary, Queen of Scots.)

La Donna del lago, in a new production by the HOUSTON GRANDOPERA, will go to the Royal Opera in London in 1983, and the Houstoncompany will also exchange productions with L'Opera du Rhin in Stras-bourg. This will result in Ponnelle's La Boheme coming to Texas nextseason, while Strasbourg receives Ponnelle's La Traviata, originating inHouston. The company further plans to share in Stuttgart Opera's 1983-84 production of a new opera by Philip Glass (see New Operas).

The 1979 production of Massenet's Cendrillon, first mounted by theOTTAWA FESTIVAL OPERA and later shown by the WashingtonOpera, will open at the Theatre Musical de Paris on March 20. It will beperformed with the same cast and under the same director.

The ensemble of Milan's LA SCALA will visit Tokyo and Osaka in Sep-tember of 1981 with productions of Simon Boccanegra, Otello, II Barbieredi Sivilgia, and La Boheme. This appearance follows last year's success-ful Japan tour of the Vienna Staatsoper.

FRIENDS Following the example of London's Royal Opera, the Scottish Opera, andACROSS t h e Aldeburgh Fest ival , all of which have established Amer ican F r i endswe stA of their organizations, Milan's Teatro alia Scala has founded AMICI

DELLA SCALA. The three aforementioned organizations have news-letters and some social activities, but the ambitious program of theAmici is also artist and production oriented. In addition to the usualpromoting of tourism and visits to the opera house, the Italian organiza-tion hopes to effect an exchange program of students and young artists.In recognition of the "high level of instruction at American universitiesand conservatories", the organization hopes to place Italian students inopera, voice, conducting, and instrument playing into American insti-tutions, and in return offer residencies to young American artists inItaly. Various American schools have already expressed interest inaccepting two or three Italian students with special recommendations.Also contemplated is the bringing of American performing ensembles,preferably accomplished student performers offering contemporaryAmerican music (opera, chamber or symphonic music) to Italy. A pos-sible American tour by the ensemble of the Piccola Scala is also beingconsidered. Laurence Lovett is chairman, Friends of La Scala, Box 1437Ansonia Sta., New York, NY 10023; Signor Pachetti, Teatro alia Scala,Via Filodrammatici 2, Milan, Italy, is vice-chairman. (Addresses of theother Friends organizations are: American Friends of Aldeburgh, 415Madison Avenue, New York, NY 10017; American Friends of the Scot-tish Opera, 281 Park Avenue South, New York, NY 10010; AmericanFriends of Covent Garden, Box 596 Radio City Station, New York, NY10019.)

A new composer's society, FRIENDS OF MOZART, was recently estab-lished in New York. Mail may be addressed to Box 24, FDR Station, NewYork, NY 10150.

The BRITISH-AMERICAN ARTS ASSOCIATION (UK) recently cele-brated its first anniversary. Founded by American Ambassador King-man Brewster with financial assistance from the Rockefeller Foundation,BAAA(UK) has functioned as clearing house for arts information,served as consultant to individuals and organizations, and conductedseminars. Its offices are located at 49 Wellington Street, London WC2. •

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GOVERNMENT PROGRAMS

Before adjournment, Congress passed the re-authorization bill for theNATIONAL ENDOWMENT FOR THE ARTS AND FOR THE HU-MANITIES, securing a five-year continuation of the two agencies. (Thisincludes the current year.) A Fiscal Year 1981 budget of $158.5 millionfor NEA was also appropriated, with authorized (i.e. maximum ceiling)figures for the following years set at $174 million for FY '82, and a final$250 million for 1985. The '81 Opera-Musical Theater Program is allotted$6.2 million. President Reagan's new budget outline cuts 50 percent ofthe Arts Endowment's monies, which would set the FY '82 figure atabout $87 million, and the '85 budget would barely exceed $100 million.A number of sub-committee hearings have been held since the announce-ment of the proposed budget, and testimony has been heard to the effectthat a cut in government grants would have a detrimental effect on or-ganizations' fund-raising efforts from private and corporate donors,since many view federal grants as an endorsement of the professionaland artistic qualities of the company. It is feared that fewer governmentgrants will result in less support from other sources rather than more,as anticipated by the administration. Of course, all NEA grants aremade with a "matching grant" provision. — The Institute of MuseumsServices is to be phased out within one year.Some of the earliest and staunchest congressional supporters of the artswere not re-elected, such as John Brademas, .Frank Thompson, ClaibornePell, and Jacob Javits; Robert Byrd relinquished the chairmanship ofthe Senate Sub-Committee in charge of NEA appropriations. Now, how-ever, help may be coming from the newly-formed CONGRESSIONALARTS CAUCUS, spearheaded by Representative Frederick Richmond(D-NY), who is its chairman and who has already enlisted some 140congressmen as members. The Caucus plans to guide arts legislationthrough Congress, protect arts agencies from possible future budgetcuts, introduce new bills affecting the arts, and inform and educate newCongressmen as to the significance of the arts in the United States today.A similar arts action group is being organized in the Senate underSenator Pell.Senator James McClure (R-ID) has been appointed chairman of theSenate Interior Appropriations Sub-Committee, replacing Robert C.Byrd. Representative Sidney Yates (D-IL) is one of the few Congress-men to retain a committee chairmanship, in his case the House InteriorAppropriations Sub-Committee, which has scheduled a hearing regard-ing the Endowment's FY '82 budget for late March. Representative PaulSimon (D-IL) now chairs the Authorizing Sub-Committee on Post-Secondary Education of the House Committee on Education and Labor.Another key position, that of Chairman of the Senate Sub-Committeeon Education, Arts and the Humanities, changed from Claiborne Pellto Robert T. Stafford (R-VT).Meanwhile, the OPERA - MUSICAL THEATER PROGRAM has pub-lished a listing of 123 grants awarded in 1980-81 totalling $4.2 million.Eighty-three opera and musical theater companies received federalmonies; four grants were made under "Services to the Arts", 15 under"New American Works" to producing organizations, 16 under "SpecialProjects" of which two went to individuals, and five for "RegionalTouring".Thirty new panel members will be serving the Opera-Musical TheaterProgram, 15 on the Policy Panel, the other 15 as Grants Panelists re-viewing applications and making recommendations on applicationsreceived. The Policy Panel will be charged with recommendations onlong-range policy and planning issues, including eligibility guidelinesfor applicants and general budget matters. Members of the Policy Panelare Robert Herman, chairman, Michael Bronson, Hazel Bryant, PatriciaCollins, Nash Cox, Robert Darling, Pablo Elvira, Joan Harris, Rhoda

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GOVERNMENT PROGRAMS

Levine, Stuart Ostrow, Maurice Sendak, Beverly Sills, Stanley Silver-man, Stephen Sondheim, and Edward Weston.As we go to press, the following item reaches us through the OperaAmerica Intercompany Announcements. It is reprinted by permissionof Opera America.The National Council on the Arts met February 13-15, 1981 in Washing-ton, D.C. Among the policies and programs discussed at the meetingwere the following:OPERA - MUSICAL THEATER. New guidelines were approved by theCouncil. The major changes reflect a desire on the part of Policy Panel-ists to make the Program more responsive and accessible to the musicaltheatre segment of the Program's spectrum of service. They are:(1) The creation of a new category, called Producers' Grants, for sup-port for ideas for productions generated by individual producers. Sup-port will be available in two phases: for the creation of a single produc-tion (to be used, for example, for the acquisition of rights or for thecommissioning of a composer and/or lyricist); and for the trying-out ofa new work under laboratory-workshop conditions. A third phase, anal-ogous to the rehearsal and production phase of the New American Workscategory, was not included because the panelists felt that a musicaltheater piece would have strong commercial possibilities after it hadcompleted phases one and two of the Producers' Grants category.(2) The modification of eligibility requirements in the ProfessionalCompanies category to allow application by resident theaters that oc-casionally produce a musical, if the resident theater is a grantee of theEndowment Theater Program.(3) The adjustment of some application deadlines, so that musicaltheater applicants will be able to apply at a time nearer their production

(4) The consolidation of all applications relating to touring into theRegional Touring category, which is no longer a pilot. The new Guide-lines will bring touring activities under the scrutiny of one panel at thesame time and will encourage applications for touring (in more thanone state) by any opera or musical theater producing organization,whether created for touring or a resident company, and by sponsor-support groups.(5) A modification of the New American Works category to allow anapplication in each of the three phases by a single applicant in any givenyear. In the past, an applicant in this category could apply for only onephase per year. That limitation seemed to the Policy Panel inconsistentwith the desire to foster the creation of as many excellent new works aspossible. According to the new Guidelines, an applicant will not haveto wait until a New American Works project has completed the re-hearsal/production phase before beginning the creation of another newwork.(6) A stronger emphasis in the Special Opera-Musical Theater Projectscategory on projects that will move the field into the future, that willmake singularly significant contributions to the field, and that can bereplicated.(7) It is recommended that these Guidelines be in effect for two years,so that applicants and potential applicants can know further in advancethe conditions of their requests to the Endowment.INTER ARTS. The FY '82 Arts guidelines were approved by the Council.They are similar to the current guidelines, only reflecting some admin-istrative and language changes. A Pilot Program (cf. Touring andPresenting) was discussed. The Council formally endorsed in theory theconcept of a consolidated application and directed Inter Arts, in consuls

(continued on page 49)

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NATIONAL ARTS ORGANIZATIONS

With the proposed budget cuts threatening to drastically reduce the arts NEWin the United States (see Government Programs), the formation of the COOPERATIVESNATIONAL COALITION FOR THE ARTS may prove an effectiveadvocacy tool in generating support for the arts. The Coalition is com-posed of five major arts service organizations: the American Arts Alli-ance, which includes opera companies, the American Council for the Arts,American Association of Museums, National Assembly of CommunityArts Agencies, and the National Assembly of State Arts Agencies.Through a cooperative effort, the Coalition aims at "developing and pro-moting a united strategy in support of the arts in America". Furtherinformation may be obtained from Patricia W. Fisher (202) 544-3900.

Non-profit subscription theatres formed a new nation-wide cooperative,THE AMERICAN MUSICAL THEATRE GROUP (AMTG). The fol-lowing companies are founder members: California Civic Light OperaAss'n, Kennedy Center, Seattle 5th Avenue Theatre Management Co.,and the St. Louis Municipal Theatre Ass'n. AMTG is under the jointmanagement of Cy Feuer in New York and Ernest Martin in LosAngeles. Its purpose is to arrange a tour circuit of up to six months forcertain shows before or after a New York Broadway run.

The NATIONAL CONFERENCE OF PERFORMING ARTS CENTERMANAGERS joins head administrators of 15 of the largest arts centersin the United States. Thomas Kendrick, director of operations at Ken-nedy Center, is chairman.

The formation of the EASTERN ALLIANCE OF MAJOR ARTS PRE-SENTORS was prompted by the wish to regionally coordinate 1) bookingof international artists and attractions, 2) touring by members, and3) the identification of funding sources. It further hopes to developaudiences and function as a clearing house and advocacy group. TheGrand Opera House (Wilmington), Heinz Hall (Pittsburgh), Pennsyl-vania State University (University Park), Rutgers University (NewBrunswick), State University of New York (Stony Brook), Universityof Maryland (College Park), Annenberg Center at the University ofPennsylvania (Philadelphia), and West Virginia University (Morgan-town) are the charter members. An exploratory meeting was assistedby a grant from the NEA Regional Representative for the Middle-Atlantic States.

At its last national meeting in January, OPERA AMERICA amended OPERAits rules for eligibility for Full Membership, reflecting the growth of AMERICAcompanies and the continually rising cost spiral. The companies mustnow show a minimum annual budget of $350,000, compared to the pre-vious $150,000. Other changes include the requirements of giving atleast two performances each of three staged productions during eachof the three (not two) calendar years immediately preceeding applicationfor membership, and of employing one full-time or seasonal artistic ormusic director in addition to the previously required full-time profes-sional manager. Non-voting Correspondent Members must have a budgetof at least $50,000 (compared to the previous $25,000), but are releasedfrom the requirement of having performed for at least two years orgiven two performances of at least three productions in one year. Per-formance requirements for this group now states "to have produced andperformed before a paying audience more than one performance of oneopera per season". The new rules did not exclude any existing membercompanies, and the Cleveland Opera Company, Chicago Opera Theatre,Spoleto_ Festival USA, Texas Opera Theatre, and the Des Moines MetroOpera joined as new Full Members. — Replacing the singers' auditions,usually held at the annual meeting, was an excellent Composer/LibrettistShowcase (see New American Operas).

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OPERA OPERA FOR YOUTH is planning a Mini-Festival of Children's OperasfOR for next fall. Arrangements have been made with Kennedy Center toYOUTH co-host the Festival, and present it at the Terrace Theatre November

9-14.

NATIONAL May 3-10 has been declared National Music Week by the NATIONALMUSIC FEDERATION OF MUSIC CLUBS. It will be the 58th annual observ-WEEK ance, this year entitled Music — The Magic Key to Daily Living. Further

information and publicity material may be obtained from NFMC, 1336N. Delaware St., Indianapolis, IN 46202.

DEMISE The ASSOCIATION OF AMERICAN DANCE COMPANIES suspendedOF ONE operations as of October 31,1980.

CONFERENCESApril 1-4, 1981 — Cleveland: National Conference, U.S. Institute of Theatre TechnologyApril 22-25, 1981 — Minneapolis: 47th National In-Service Meeting, Music Educators National

ConferenceApril 30-May 2, 1981 — Houston: "The Producer and the Composer: a Mutual Need", National

Opera Institute ColloquiumMay 13-15, 1981 — Charlotte: Annual Meeting, Southern Opera ConferenceMay 26-29, 1981 — Monterey, CA: Meeting, National Assembly of Community Arts AgenciesMay 27-28, 1981—Ithaca, NY: "The Economic Impact of the Arts", Cornell University Grad-

uate School of Business and Public AdministrationJune 7-11, 1981 — New Haven, C'f: National Conference, Volunteers in the Arts and Humani-

ties, at Yale University

June 10-12, 1981 — St. Louis: "Gateway to Opera: The Regional Companies", Central OperaService National Conference (see Inside Information for detailed program)

June 15-19, 1981 — Dallas: National Conference, American Symphony Orchestra LeagueAugust 7-10, 1981 — Aspen: Annual Conference, Chamber Music AmericaSeptember 13-16, 1981—Washington: "American Town Meeting on the Arts", Religious

Communities for the Arts sponsored by Smithsonian Institution, National Council ofChurches, Catholic University of America, Union of American Hebrew Congregations,American Guild of Organists, American Lutheran Church, Episcopal Church Center,United Church Board for Homeland Ministries, and United Presbyterian Church in theUnited States.

October 21-24, 1981—Detroit: National Conference, National Opera Association, Wayne StateUniversity

October 22-24, 1981 — Cleveland: Annual Meeting, National Assembly of State Arts AgenciesDecember 9-13, 1981 — San Francisco: Annual Meeting, Opera AmericaDecember 13-16, 1981—New York City: Annual Conference, International Society of Per-

forming Arts AdministratorsDecember 17-21, 1981 — New York City: National Conference, Association of College, Univer-

sity and Community Arts AdministratorsFebruary 16-19, 1982 — Charlotte: 8th Conference, Opera Guilds InternationalMarch 10-13, 1982 —San Antonio: 48th National Meeting, Music Educators National Confer-

enceJune 3-6, 1982 — Miami: National Conference, Central Opera Service (New World Contempo-

rary Festival of the Arts)January 5-9, 1983: Annual Meeting, Opera America

April 6-9, 1983 — Seattle: 49th National Meeting, Music Educators National ConferenceOctober 1983 — Portland, Ore.: 9th Conference, Opera Guilds InternationalDecember 14-18, 1983: Annual Meeting, Opera America

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OPERA FORECAST

The METROPOLITAN OPERA will open September 21 with Norma 1981-82featuring Renata Scotto, Tatiana Troyanos, Placido Domingo and Bon-aldo Giaiotti, James Levine conducting. The season will bring five newproductions, listed here in order of first performance dates: December 3— a Stravinsky triple-bill of Le Rossignol (in Russian) with GwendolynBradley, Claudia Catania, Lili Chookasian, Philip Creech, Moreley Mere-dith, John Cheek and Ara Berberian, Oedipus Rex with Troyanos,Richard Cassilly, Franz Mazura and John Macurdy, and Le Sacre duprintemps with ballet, conducted by Levine, staged by John Dexterand designed by David Hockney; December 14 — La Bokeme withTeresa Stratas (Mimi), Scotto (Musetta), Jose Carreras, RichardStilwell, Allan Monk and James Morris, conducted by Levine, withFranco Zeffirelli staging and designing the sets and Peter J. Hallthe costumes; January 29 — Cost fan tutte with Kiri Te Kanawa, MariaEwing, Kathleen Battle, David Rendall, James Morris (Guglielmo) andDonald Gramm (Don Alfonso), conducted by Levine, staged by ColinGraham and designed by Hayden Griffen (sets) and Dierdre Clancy(costumes) ; February 15 — II Barbiere di Siviglia with Marilyn Home,Rockwell Blake, Pablo Elvira (Figaro), Enzo Dara (Dr. Bartolo) andAra Berberian (Don Basilio), conducted by Andrew Davis, staged byJohn Cox and designed by Robin Wagner (sets) and Patricia Zipprodt(costumes) ; and March 8 — Les Contes d'Hoffmann with Ruth Welting(Olympia), Christine Eda-Pierre (Antonia), Troyanos (Giulietta), AnneHowells (Nicklausse), Domingo, Michael Devlin (in all four roles asvillain) and Michel Senechal (four character parts), conducted by Ric-cardo Chailly, directed by Otto Schenk, set designs by Gunther Shneider-Siemssen and costumes by Gaby Frey. Lighting for all productions willbe designed by Gil Wechsler.Revivals of works absent for one or more seasons (with first casts) willinclude Die Entfilhrung aus dem Serail (Moser, Battle, Burrows, Creech,Talvela, Klemperer; Levine), Luisa Miller (Ricciarelli, Berini, Pavarotti,Nucci; Santi), Madama Butterfly (Cruz-Romo, Bybee, Moldoveanu,Thompson; Fulton), Parsifal (Dunn, Hofmann, Stewart, Hines; Levine),Rigoletto (Blegen, Manuguerra, Lloveras; Patane"), Tannhduser (Ry-sanek, Dunn, Cassilly, Weikl, Estes; Levine), Tosca (Zylis-Gara, Gia-comini, Quilico; Patane), II Trittico (Scotto for all three operas, Berini,Norden, Moldoyeanu, MacNeil, Bacquier; Levine), II Trovatore (Price,Cortez, Giacomini, Quilico; Conlon), and I Vespri siciliani (Scotto, Och-man, Milnes, Raimondi; Levine). Die Fran ohne Schatten will returnwith Birgit Nilsson as the Dyer's Wife and Leinsdorf conducting. Inaddition, the company will mount two operas of Der Ring des Nibelungenconducted by Erich Leinsdorf, with complete Ring cycles planned for1982-83: Rheingold (E. Shade, Finnilae, Randova, Zednik, Brenneis,Ulfung, Mazura, Nentwig) and Siegfried (Knie, Taillon, Jung, Zednik,Mclntyre, Mazura).

Completing next season's program of 23 operas — 27 counting each one-act work — will be four included in the current schedule: Fidelio (Ver-rett, Blegen, Jerusalem, Roar, Macurdy; Haitink), Hansel and Gretel(Blegen, Troyanos, Elias, Devlin; Woitach), La Traviata (Ricciarelli,Ciannella, Bruson; Rescigno), and Die Zauberflote (Battle, Donat,Kiibler, Allen, Monk, Talvela; Foster). Among the new artists who willbe appearing at the Met for the first time are two conductors, RiccardoChailly and Bernard Haitink, making their local opera debut with Contesd'Hoffmann and Fidelio respectively. — Two special concerts have alsobeen announced, both to be conducted by Mo. Levine. December 4 willfeature Luciano Pavarotti, and the matinee on February 20 will offerthe Verdi Requiem with Leontyne Price, Marilyn Home, Placido Do-mingo and John Cheek.Fall 1981 will bring Luciano Pavarotti to the SAN FRANCISCO OPERA

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FORECAST

to perform his first Radames. He will share the stage with MontserratCabalte as Aida and Marilyn Home as Amneris. Caballe and "Home willalso be featured in S emir amide, Teresa Berganza in Carmen, and JoanSutherland in The Merry Widow in a production first seen in Toronto.One of the highlights of the season will be the rarely heard Le Cid byMassenet, with Placido Domingo in the title role. Further operas willbe announced.The LYRIC OPERA OF CHICAGO season will feature only two Italianoperas out of a seven-opera program: L'Elisir d'amore and Macbeth. Thetwo German operas to be produced are Ariadne auf Naxos and Fidelio,and France will be represented by three: Don Quichotte, Romeo etJuliette and Samson et Dalila, the latter in the San Francisco designs.As always, the NEW YORK CITY OPERA will mount a number of inter-esting operas not frequently performed, made possible thanks to the sharedproduction concept. Thomas's Hamlet and Verdi's / Lombardi will beshown in the San Diego Opera's productions, Montemezzi's L'Amore deitre re in the Washington Opera's designs, Nabucco as seen this year inMiami, and Massenet's Cendrillon in the Festival Ottawa Opera produc-tion. In addition, the company will unveil its own ilew designs for LaTraviata and Der Freischiltz. Future plans include the staging of Puc-cini's La Rondine, Cherubini's Medea, and a festival of baroque operaunder the baton of Raymond Leppard, with possible inclusion of Ra-meau's Dardanus, Gluck's Alceste, and Handel's Alcina.When the HOUSTON GRAND OPERA performs Rossini's La Donna dellago next October, it will be the first U.S. production in well over 100years. Co-produced by the Royal Opera Covent Garden, where it willappear in 1983, the opera will feature Marilyn Home, Frederika vonStade, and Rockwell Blake, with Claudio Scimone conducting, FrankCorsaro staging, and Ming Cho Lee designing sets and Jane Greenwoodthe costumes. La Boheme will open in November in a Ponnelle produc-tion first seen in Strasbourg. The Houston cast will include MirellaFreni, Julia Migenes-Johnson, Luis Lima, and Brent Ellis under thebaton of Gianfranco Massini. The following month, Elisabeth Soder-strom, Jan Curtis, Barry Busse, and Giorgio Tozzi will participate inKatya Kabanova, and January will bring Pique Dame in the Svobodaproduction from Ottawa to Texas, featuring Patricia Wells, MaureenForrester, and Jon Vickers. Both the Czech and Russian operas will besung in English. The star-studded cast of Don Carlo, in the four-actversion, will include Mirella Freni, Grace Bumbry, Vasily Moldoveanu,and Nicolai Ghiaurov. Rounding out the Houston season will be Beni'sEnglish version of The Elixir of Love with Marianna Christos, DanoRaffanti, and Sesto Bruscantini.For its 25th aniversary, the DALLAS CIVIC OPERA has announcedthe following four operas: Romio et Juliette, Madama Butterfly, Ernani,and Die Walkiire. The latter is the first production of a projected com-plete Ring cycle. Linda Esther Gray will sing the role of Sieglinde,Roberta Knie Brunnhilde, and Berislav Klobucar will conduct.In addition to the American premiere of Zandonai's Giulietta e Romeo(see American premieres), the SAN DIEGO OPERA'S 1981-82 programwill present Andrea Chenier, Susannah, Faust, Turandot, and The Bar-ber of Seville.Two of GREATER MIAMI OPERA'S four winter/spring '82 produc-tions will be shared with other companies: Turandot with Houston,Dallas, and San Francisco, and Werther with San Francisco. The com-pany will also present Simon Boccanegra and La Traviata.The New World Contemporary Festival of the Arts and the GREATERMIAMI OPERA will present three contemporary American works duringJune '82: the world premiere of Ward's Minutes to Midnight (see NewAmerican Operas), Carlisle Floyd's Of Mice and Men, and DominicArgento's The Voyage of Edgar Allan Poe.

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FORECAST

The OPERA COMPANY OF PHILADELPHIA will include in its 1981-82 season a production of Rossini's Mose. Although the opera was heardin concert performances in New York in 1966 and 1978, there does notseem to have been a staged production in the U.S. since the 1860's.The MICHIGAN OPERA THEATRE'S three fall productions will beTigranian's Anoush, in its first American performance, Carmen inEnglish, and Tosca sung in both English and Italian. Two more operaswill be announced for the winter season.Four operas in five performances each will comprise the schedule of theVIRGINIA OPERA ASSOCIATION in Norfolk. Opening on October 23with Faust (Michael Myers in the title role), the season will continuewith Cenerentola (Gwendolyn Jones and Bruce Reed), La Traviata(Ashley Putnam), and The Magic Flute. The closing performance will beMarch 28. — The VIRGINIA OPERA THEATER will tour La Traviatanext season, and Musgrave's Christmas Carol in 1982-83.Vn Ballo in maschera with Galina Savova and Carlo Bergonzi is the firstproduction of the NEW ORLEANS OPERA next season. The companywill also offer Lakme with John Brecknock, Samson et Dalila with Rich-ard Cassilly, and Tannhauser. One more opera is to be announced.Gail Robinson, Sherrill Milnes, and Ruben Dominguez will sing the lead-ing roles in Rigoletto at OPERA MEMPHIS, in October. Later produc-tions will include Faust with James Morris as Mephistopheles, TheBarber of Seville with Brenda Boozer, Henry Price and Fred Burchinal,and Nabucco with Jerome Hines. ' )

In addition to the world premiere of Robert Ward's Abelard and Heloiseon February 19, 1982, (see New Operas), the CHARLOTTE OPERAASS'N will present two performances each' of La Boheme and DieFledermaus. The former will feature Maryanne Telese, WilhelmeniaFernandez, John Fowler, and Brian Schexnayder under the baton ofCharles Rosekrans and directed by Richard Getke in October '81; theStrauss opera will be seen in April '82 with Claudia Cummings, Chris-tine Flasch, David Bender, and David Rae Smith in the leading roles.The PITTSBURGH OPERA has published the schedule of its 43rdseason as follows: Cavalleria rusticana and Pagliacci in October, TheTales of Hoffmann in December, La Rondine in January, The MerryWidow in February, Lucia di Lammermoor in March, and Otello inApril. Each production will be performed twice.Aida, Manon Lescaut, and Faust will be offered by the HAWAII OPERATHEATRE in 1982, when the company returns to a three productionseason. In 1981 it performed two operas.The ATLANTA CIVIC OPERA will open with Cenerentola in Beni'sEnglish translation. —The FLORENTINE OPERA OF MILWAUKEE'Sseason will include a production of Falstaff.The three operas to be staged by OPERA/OMAHA next season are TheDaughter of the Regiment (November), Carmen (February), and TheMagic Flute (March). All performances will be sung in English.Milwaukee's SKYLIGHT COMIC OPERA will offer five performanceseach of Offenbach's Bluebeard and Britten's A Midsummer Night'sDream at the 1,400-seat Pabst Theatre, 12 performances each of Candide,Tchaikovsky's lolanthe, and Monteverdi's The Coronation of Poppea, and21 performances of The Yeomen of the Guard at its own 235-seat Sky-light Theatre.Hiram Titus's Rosina, premiered in April '80 by the Minnesota Opera,will receive its second production next season by the OPERA THEATREOF SYRACUSE. La Traviata, The Barber of Seville, and Romeo andJuliet complete the season in upstate New York.Carnegie Hall will be the site of a concert performance of Dukas's

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FORECAST

7982-83

Ariane et Barbe-Bleue featuring Grace Bumbry, Maureen Forrester andMarc Vento, presented by the FRIENDS OF FRENCH OPERA on May20,1982.September, January, and April are the opera months in Toronto, andthe CANADIAN OPERA COMPANY will perform two operas in reper-tory in each period. The fall season will open with Vn Ballo in mascherawith Martina Arroyo, Michail Svetlev, and Louis Quilico, conducted byStewart Kellogg, and staged by Lotfi Mansouri, alternating perform-ances with Les Contes d'Hoffmann in the Oeser edition and Miami pro-duction with Neil Shikoff and Allan Monk, conducted by Reynold Gio-vaninetti. The new year will bring Die Fledermaus in English and Luciadi Lammermoor, the former with Carol Gutknecht, Alan Titus, and con-ductor Erich Kunzel, the latter with Gianna Rolandi, Barry McCauley,Pierre Charbonneau, conductor Paolo Peloso, and director John Copley.Jenufa in English, featuring Patricia Wells and William Neill, con-ducted by Mario Bernardi and staged by Lotfi Mansouri, will alternatewith La Traviata with Mariana Niculescu, John Brecknock, and Cor-nelius Opthof, as staged by Fabrizio Melano, in April.The season of the EDMONTON OPERA will open in October withTurandot with Galina Savova as the Chinese princess in a productionshared with Vancouver (see Vol. 22, No. 1). The season will also includeperformances of Carmen.The SAN DIEGO OPERA is planning a new production of Lohengrinfor 1983, commemorating the 100th anniversary of the composer's death.Wozzeck and The Bartered Bride will be two of the six operas to bemounted by the HOUSTON GRAND OPERA.A three-year plan by the EDMONTON OPERA provides for productionof the three "queen" operas by Donizetti. Anna Bolena will be staged in1982-83, with Maria Stuarda and Roberto Devereux in the following twoseasons. •

NEW SERVICES TO CULTURAL ORGANIZATIONSLouise W. Wiener, former special assistantfor cultural resources with the EconomicDevelopment Administration, has openedher own office. CULTURAL SERVICES,INC., 2000 "L" Street NW, Washington,DC, 20036, offers marketing and consultingservices to the cultural and travel indus-tries, two areas in which Ms. Wiener's pre-vious affiliations make her an invaluableexpert.The Association of College, University, andCommunity Arts Administrators has ini-tiated a pilot program of consultancies topresenting organizations to improve theirefficiency. Consultants will be available insuch areas as marketing, fund-raising, com-munication, facility operations, artists resi-dencies, and planning of new facilities. Ap-plicants must have at least two years ofpresenting experience, offer yearly or sea-sonal programs of five or more professionaltouring presentations, and employ at leastone full-time administrator. The program ispartially funded by the National Endow-ment for the Arts, and the costs must beshared by the applying organization. Fordetails write ACUCAA, Box 2137, Madison,WI 53701.The INTERNATIONAL DATACENTER,Box 1718, Poughkeepsie, NY 12601, offers atime-sharing computer service to arts or-

ganizations. It can be used for all aspects ofaccounting and payroll, ticket printing andaccounting, mailing lists, and solicitationsand subscription records. Steve Dunwell,president of DataCenter, is a retired IBMFellow, and former volunteer manager ofthe historic Bardavon 1896 Opera House,where he developed a computer service fornon-profit arts organizations.Charles Ziff of the FORD FOUNDATIONis developing a computer program for artsorganizations, designed to be used with eachcompany's own computer hardware. Costestimates for the hardware is anywherebetween $40,000 and $80,000, or an annuallease of between $5,000 and $8,000. TheFord Foundation is designing and packag-ing the system software (programs), fol-lowing a study involving representativesfrom various arts institutions, which wasco-sponsored by Theatre CommunicationsGroup (see Vol. 22, No. 1). Later programswill be designed for smaller operations re-quiring computers in the $15,000 to $25,000range. Mr. Ziff is also holding workshopseminars on marketing, and, through theoffices of the Ford Foundation, serves asconsultant to arts organizations. Institu-tions requesting his services should addressletters to him at the Ford Foundation, 320East 43 Street, New York, NY 10017. •

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NEW AND RENOVATED THEATRES

Houston is planning a LYRIC THEATRE COMPLEX in the two-blockarea of the Civic Center across from Jones Hall, which was completed in1966 and which serves as the performing facility for the Houston GrandOpera and the Houston Ballet. The new complex will house a 2,200-seattheatre with a large stage area and wing space, an orchestra pit accom-modating 105 musicians, and a special removable ballet floor. It will alsocontain a smaller theatre with a seating capacity of 800-1,000, with anorchestra pit and video equipment. Rehearsal and office space for theHouston Grand Opera and Houston Ballet companies will also be pro-vided, as will special rehearsal rooms for recording, radio, and television.Work is to begin next year, and completion, at an estimated cost of $40million, is projected for 1984. The largest contributor thus far is ShellOil, which has pledged $1 million. Morris/Aubry Associates is the archi-tect, with Jean Rosenthal Associates and Jaffe Acoustics Inc. as con-sultants.The NEW YORK STATE THEATRE at Lincoln Center, home of theNew York City Opera and Ballet companies since February 1966, isslated for an acoustical renovation in 1982. There are no structuralchanges projected, and the original architect, Philip Johnson, will workin cooperation with Cyril Harris, who is planning the improvements.The acoustician in charge of the original design was Vilhelm L. Jordan.The cost of the renovation is estimated at $5 to $6 million, exclusive ofthe continuing expenses of the house for the period of renovation. Someof the problem areas which were identified as in need of overhauling area false ceiling which loses sound, an orchestra pit too small and toodeep, the shape of the proscenium, and an echo which makes sound seemto come from areas other than pit or stage.This spring, the Metropolitan Opera will perform at the newly refurb-ished METROPOLITAN CENTER while on tour in Boston. The ornate,4,000-seat theatre dates back to the 1920's, when it was used as a vaude-ville and movie house.The New Orleans Philharmonic will have a new home when renovationsare completed on the ORPHEUM THEATRE, which was recently de-clared a historic landmark. The orchestra and the New Orleans Operaare currently performing in the Concert Hall/Theatre of the PerformingArts Center, which was completed in 1972. The State of Louisiana hasagreed to defray most of the costs of the Orpheum renovation.WOLF TRAP FARM PARK in Virginia will have an indoor perform-ance facility for the first time next summer. Two historic barns werepurchased by Mrs. Jouette Shouse, who will also pay for their main-tenance. They will be brought to Wolf Trap and converted into onetheatre, which will make year-round performances before smaller audi-ences possible.The abandoned First Baptist Church in Charlotte, NC, has been trans-formed into a performing arts center. A National Endowment ChallengeGrant and local donations covered the costs, with the largest single giftcoming from the North Carolina National Bank. As a result, the newcenter, which opened last fall, is called THE NCNB PERFORMINGPLACE. It stands on newly christened Spirit Square. The CharlotteOpera uses the new 600-seat hall, fitted with a thrust stage, for chamberopera productions.The new RALPH BAILEY CONCERT HALL and Music Building atBroward Community College in Ft. Lauderdale features a 1,200-seattheatre suitable for orchestra concerts, opera, musicals, theatre perform-ances, and recitals. Its stage measures 50 by 80 feet, with a grid heightof 104 feet. A state grant, which offset part of the $5.6 million cost, stip-ulated the facility be used equally for community and educationalservices.

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THEATRES

The former Huntington Hartford Museum on Columbus Circle, whichwas purchased by the Gulf and Western Foundation and donated to theCity of New York, is now the home of the New York City Departmentof Cultural Affairs, the New York City Convention and Visitors Bureau,and the office of the regional representative of the National Endowmentfor the Arts. It opened as a museum in 1964, became part of FairleighDickinson University in 1969, and was used as a cultural center of theUniversity until-1975. This included performances in its 100-seat theatre.Both the small au'ditorium and a top floor lounge are now available forrent.

FOREIGN The refurbished Theatre Chatelet opened in Paris last October under theTHEATRES new name THEATRE MUSICAL DE PARIS. The first production was

La Vie parisienne, which played three months and was followed by suchoperas as Louise, Cen&rillon, and Le Cid. Symphony concerts and recitalswill also take place there. It is part of the City of Paris opera/theatrecomplex, to which the L'Opera National de Paris at the Palais Gamier,the Theatre des Champs-Elysees, the Salle Favart t (formerly OperaComique), and the Palais des Congres also belong. The Theatre Musicalde Paris promises to include in its casts some international opera starssuch as Domingo, Home, and Crespin, but to hold its tickets at popularprices.

The major renovations at Prague's NATIONAL THEATRE, begun in1977, will be completed in another two years. The opening date has beenset for November 18, 1983, when directors Zdenek Kosler and Jiri Pauerplan a major Smetana Festival.In May '81, the new STATE THEATRE in Pretoria, South Africa, willopen with a gala concert. The largest of the four theatres in the artcenter can accommodate an audience of 1,300, and the orchestra pit over100 musicians.

MUSIC COLLECTIONS AND EXHIBITIONSDuring the last ten years, the Music Libraryof the UNIVERSITY OF WESTERN ON-TARIO in London, Canada, acquired twomajor collections of opera editions andmanuscripts. Opera 1600-1750 in Contempo-rary Editions and Manuscripts is very ex-tensive; somewhat smaller is the collectioncovering the years 1750-1800. Special pur-chases have further expanded these hold-ings. Thus, the Library emerges today as aprime reference and archival source, par-ticularly on 17th century opera. An excel-lent catalogue, illustrated and indexed, hasbeen published in four paperback volumesby the University's Department of MusicHistory as part of its Study in Music series.It was prepared under the guidance ofeditor Don J. Neville.J & J LUBRANO, P.O. Box 47, Main Street,South Lee, MA 01260, has purchased thecomplete stock of rare and old music books,prints and musical autographs from theestate of the late Samuel Orlinick, who wasthe owner of Scientific Library Service. Acatalogue is available upon request.The British Library has received 40 manu-script scores from SIR MICHAEL TIP-PETT, including those of his operas TheKnot Garden and The Ice Break. Previous

donations by the composer to these nationalarchives include full scores of The Mid-summer Marriage and King Priam. The col-lection will be available for reference toperforming groups.The New York Public Library of the Per-forming Arts at Lincoln Center is currentlyhosting THE MAGIC OF MONTRESOR,an exhibit of costume and set designs byBeni Montresor. The show encompasses 20years of the artist's designs, including suchdiverse repertoire as the Met's La Gioconda,The Last Savage, and Manon Lescaut, NewYork City Opera's The Magic Flute andCenerentola, the Houston Grand Opera's LaFille du regiment, Washington Opera'sL'Amore de tre re, and San Franciso Opera'sEsclarmonde and Lohengrin.L'Opera National in Paris has assembledspecial exhibits celebrating some of its newproductions. Coinciding with the company'sproduction of Jenufa, November and Decem-ber featured a collection of JANACEKscores and memorabilia in collaboration withthe Czech Ministry of Culture. Januarybrought to the Paris Opera the largestBENJAMIN BRITTEN exhibit ever to beshown, in honor of the Paris Opera's firstproduction of Peter Girmes on January 26.

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ACADEMIA

The various ensembles of the INDIANA UNIVERSITY School of Musicwill perform in New York in April. The Opera Theatre will bring itsproduction of Martinu's The Greek Passion to the Metropolitan OperaHouse (see Performance Listing), and the I.U. Philharmonia Orchestra,Chamber Ensemble, Chamber Choir, and New Music Ensemble will per-form in different New York halls during the same week.

Last fall, Thomas Martin, formerly of the New York City Opera, estab- NEWlished the NEW YORK UNIVERSITY OPERA STUDIO. Its first per- PROGRAMSformance was Barthelson's Lysistrata, scheduled to coincide with theFirst National Congress on Women in Music. A double-bill of Prima lamusica, poi le parole and Little Stories in Tomorroiv's Paper will bestaged in May.

"The Business of Music: Anatomy of a Career" is a new course whichwill be offered to performing arts students at the MANHATTANSCHOOL OF MUSIC beginning with the spring semester. RichardAdams, director of placement services and career counseling at theSchool, will head the course, which will present guest lecturers from theprofessional field such as artists managers, press representatives, operaand symphony managers, recording executives, and accountants.

The stage department at THE JUILLIARD SCHOOL will offer Produc- PRODUCTIONtion Intern Fellowships to students of stage technique. An $80 weekly INTERNSstipend will be paid the participants; academic credit can be arrangedthrough the candidates' local school, as Juilliard does not have a creditprogram in this field.

A number of schools are combining music education and performance NEWunder one degree program. The School of Music at ITHACA COLLEGE DEGREESnow offers Bachelor of Music and Master of Music degrees in Music IN OPERAEducation and Performance, and also a Bachelor of Music with a non-music minor. Also within the School of Music, students may enroll inBachelor of Arts or Bachelor of Fine Arts programs which offer optionsfor a variety of additional courses in the arts.

The BERKLEE COLLEGE OF MUSIC in Boston offers a five-year de-gree program in standard music education and performance, arranging,composing, film scoring, electronic music, and audio recording.

PENNSYLVANIA STATE UNIVERSITY at University Park mergedits music and music education departments into a new School of Music,of which Maureen Carr was named director. The program allows special-ization in performance, music education, or history/theory/composition.

The Conservatory of Music at the UNIVERSITY OF MISSOURI ATKANSAS CITY offers a newly structured music degree (BFA) whichincludes training in other areas. Credit courses may be included intheatre, communication, English and journalism, business administra-tion, or general studies.

Both the MANNES COLLEGE OF MUSIC in New York and the ST.LOUIS CONSERVATORY have expanded their programs from Bachelorof Music degrees to graduate courses culminating, after two years, in aMaster of Music degree. The Mannes MM is awarded in voice, orchestraland choral conducting, piano, organ, and harpsichord, and guitar. TheSt. Louis degree is a Master of Music in Performance.

Stressing the importance of dramatics instruction for the performing DEGREESartist, ILLINOIS WESLEYAN UNIVERSITY in Bloomington offers, IN MUSICfor the first time, a Bachelor of Arts in Music Theatre degree. The pro- THEATREgram is under the joint jurisdiction of the School of Music and theSchool of Drama.

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ACADEMIA

The UNIVERSITY OF MICHIGAN in Ann Arbor has also added aBachelor of Fine Arts in Musical Theatre degree program. This one isadministered by the School of Music.A Master of Fine Arts in Musical Theatre will be conferred on studentscompleting the new two-year graduate program at NEW YORK UNI-VERSITY'S School of the Arts.

MUSIC The College of Fine Arts and the Department of Business Adminis-* ARTS tration have created an interdisciplinary Bachelor of Arts in ArtsADMINISTRATION Management program at ILLINOIS WESLEYAN UNIVERSITY in

Bloomington.An internship is a requirement in the new Bachelor of Arts in ArtsAdministration degree at the COLLEGE OF SANTA FE in NewMexico. Students may take the two-semester courses at the College inconjunction with either music or theater instruction.

DEGREES FONTBONNE COLLEGE in St. Louis is now offering a music businessIN MUSIC major as part of its Bachelor of Arts degree. The curriculum requiresMERCHANDISING a music business internship.

A degree program in Music Merchandising has been added by theDepartment of Music at MANSFIELD STATE COLLEGE in Pennsyl-vania. Courses in music and business are augmented by a prescribedperiod of internship.The UNIVERSITY OF OREGON in Eugene also offers degrees in MusicMerchandising, here administered jointly by the School of Music andthe College of Business. Students are trained for management positionsin the music industry.SHENANDOAH COLLEGE CONSERVATORY OF MUSIC in Win-chester, VA, has named Herbert Cole as head of its new Music Manage-ment program.(See News from Companies regarding joint programs between operacompanies and academic institutions.) •

NEW ENGLISH OPERA TRANSLATIONS

New translations are listed in almost every issue of the COS Bulletin, and a compendium ofall listings which have appeared subsequent to the 1974 and 1979 Directories is kept currentand is available for $2.50.

DEBUSSY: La Chute de la maison Usher (Allende-Blin edition), Eugene Kurtz, Hartt Collegeof Music, Hartford, CT

DVORAK: The Peasant Rogue (Selma sedlak), Arthur Lief, 44 West 77 St., New York, NY10024

GOUNOD: Philemon et Baucis, Marcie Stapp, Brown Bag Opera/San Francisco OperaGRETRY: Zemir et Azor, Rodney Blumer & Jeremy Sams, Phoenix Opera, Camden Festival,

LondonJANACEK: The Cunning Little Vixen, Yveta Synek Graff & Robert Jones, New York City

Opera; Souvenir Book Publishers (based on original Czech text, not in Germanversion)

MATIUSHIN: Victory Over the Sun, Larissa Shmailo, California Institute of the ArtsMOZART: Le Nozze di Figaro, Joan Bernick, 795 Vernon Ave., Glencoe, IL 60022

Za'ide (Italo Calvino edition), William Weaver, LondonOFFENBACH: La Chatte metamorphosee en femme, Arthur Roberts, New York Light OperaSTRAUSS, J.: One Night in Venice (Roger Sullivan adapt.) Colin Cabot, Skylight Comic

OperaWiener Blut, Charles Kondek, Belwin Mills, publisher

STRAUSS, R.: Le Bourgeois gentilhomme, Richard Wilbur, Los Angeles Chamber OrchestraTIGRANIAN: Anoush, Michigan Opera TheatreVERDI: La Traviata, Mark Herman & Ronnie Apter, 13 Woodside Rd., Madison, NJ 07940

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TRANSLITERATIONS OF SLAVIC AND OTHER OPERASWith this modest listing, COS hopes to start building a reference guide to available trans-literations of foreign operas in languages other than Italian, French, and German. For thebenefit of producers and performers alike, we urge directors of opera companies and work-shops to inform us of any available transliterations they have in their libraries or on commis-sion. Transliterations of works in Slavic languages, Hungarian, or Scandinavian languages areparticularly sought.JANACEK: Jenufa, Yveta Synek Graff, 1120 Park Ave., New York, NY 10028 (used by San

Francisco Opera)MUSSORGSKY: Boris Godunov, George Chehanovsky, Metropolitan OperaTCHAIKOVSKY: Eugene Onegin, George Chehanovsky, Metropolitan Opera

Pique Dame, George Chehanovsky, Metropolitan OperaSTRAVINSKY: Le Rossignol, George Chehanovsky, Metropolitan Opera

SETS AND COSTUMES FOR RENT OR SALEA compendium of all listings of Sets and Costumes for Rent, as published in the COS Bulletinsubsequent to the 1979 Directory, is now available for $2.50.

Eaves Costume Company has purchased all assets of the Brooks-Van Horn Costume Com-pany. All costumes listed in the Directory as Brooks-Van Horn may now be ordered fromEAVES-BROOKS COSTUME COMPANY, 423 West 5 5Street, New York, NY 10019, (212) 757-3730. The change became effective in February '81.For RentThe following sets have been recently announced as available for rent:

BARAB: The Toy Shop Mobile Opera ('79) — designed for touringBERLIN: Annie Get Your Gun San Diego Civic Light Opera (West '78) — drops from GroschDE PAUL: Li'l Abner San Diego Civic Light Opera (Hubert '80) — incompleteDONIZETTI: La Fille du regiment Augusta Opera ('80); also suitable for touringFRIML: The Vagabond King San Diego Civic Light Opera ('81)HERMAN: Hello Dolly San Diego Civic Light Opera (Anheier '75)HUMPERDINCK: Hansel and Gretel Mississippi Opera ('80)LEONCAVALLO: Pagliacci Augusta Opera ('80)LOEWE: Brigadoon San Diego Civic Light Opera (West '75)

Paint Your Wagon San Diego Civic Light Opera (Anheier '75)— drops from GroschMOZART: Cosi fan tutte Charlotte Opera (Beck '81)PASATIERI: The Goose Girl Fort Worth Opera ('80) — designed for touringPUCCINI: Tosca Pittsburgh Opera (Struthers '81; replaces '76) 50 x 28 x 30; 1/45'RODGERS: Carousel San Diego Civic Light Opera (West '76)

Oklahoma! San Diego Civic Light Opera (Peter Wolf)South Pacific San Diego Civic Light Opera (Peter Wolf)

ROMBERG: The Desert Song San Diego Civic Light Opera (West '77)SULLIVAN: The Pirates of Penzance San Diego Civic Light Opera ('81)VERDI: II Trovatore New Jersey State Opera & Connecticut Opera (Tschetter '79) 60 x 40;

1/40'WILLSON: The Unsinkable Molly Brown San Diego Civic Light Opera (West '80)WRIGHT: Kismet San Diego Civic Light Opera (Howery '78)for Sola

The following sets have been offered for sale by the Dallas Civic Opera. They are for a stagesize 50 x 40 with a 25' trim. For details address Charlotte Schumacher, Dallas Civic Opera,3000 Turtle Creek Plaza #100, Dallas, TX 75219; (214) 528-9850.DONIZETTI: Anna Bolena (Peter Hall '69, refurbished '75)

La Favorita (Dario Dalla Corte '72)Lucrezia Borgia (Henry Bardon '74)

LEHAR: The Merry Widow (Peter Hall '70)PUCCINI: Madama Butterfly (Dario Dalla Corte '70, refurbished '75)PURCELL: Dido and Aeneas (Renato Lafranchi '72)RIMSKY-KORSAKOV: Le Coq d'or (Ming Cho Lee '73)Also available for sale, this from Indiana University Opera Theatre in Bloomington, stagesize 60 x 60:PROKOFIEV: The Love for Three Oranges (Rothlisberger '75, refurbished '80)The Brooklyn Philharmonia, 30 Lafayette Ave., Brooklyn, NY 11217, offers for sale the orig-inal Byzantine costumes for:MENOTTI: The Egg designed for '76 premiere production at Washington Cathedral

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NEW EDITIONS, ORIGINAL VERSIONSRichard Bonynge and Douglas Gamley havemade a new arrangement of Gay/Pepusch'sBEGGAR'S OPERA (1728). It was heardin Sydney on February 7, 1981, for the firsttime, in a production by Anthony Besch andJohn Stoddart.

Rameau'siDARDANUS (1737) is being per-formed in two different realizations inEurope this year. Raymond Leppard is re-sponsible for the version used by the OperaNational in Paris, and Alan Curtis did anew edition for the Teatro La Fenice inVenice.

A new performing edition of Handel'sIMENEO (1740), reconstructed by AnthonyLewis, is now available from Oxford Uni-versity Press. The full score and orchestraparts are for rent, the vocal score for sale.

Last summer, the opera house in Karlsruhepresented Handel's SEMELE (1744) in anadaptation by E. Groninger and J. Mar-tinoty.

In June, the Theatre de Montpellier willgive the first performance of Jean-JosephCassanea de Mondonville's DAPHNIS ETALCIMADURE as realized by JacquesBioules. The premiere of the original worktook place at Fontainebleau in 1754.

Mozart's ZAIDE, written in 1779 but leftunfinished, was completed by Anton Andre1

and Karl Gollmick for the first performancein Frankfurt in 1866. Italo Calvino pre-pared a new version which will be performedat the 1981 Batignano Festival in Italy.William Weaver has translated the text tothis version into English.

The Luneburger Stadttheater announced thefirst recent performance of Donizetti'sL'ELISIR D'AMORE in its Urfassung, in-cluding an additional aria for Adina dis-covered by music director Klaus Straube.

When the Metropolitan Opera revived itsproduction of Rossini's L'lTALIANA INALGERI this season, it marked the firstAmerican performance of the recently com-pleted critical edition by Azio Corghi. Com-missioned and published by the Fondazione

Rossini in Pesaro and supervised by its twogeneral editors, Philip Gossett and AlbertoZedda, L'ltaliana is part of a series of newFondazione critical editions. La Gazza ladraand Tancredi have also been released. Musi-cal material is available through G. Schir-mer in the United States.

Philip Gossett has also prepared a criticaledition of Rossini's LA DONNA DELLAGO, which will have its first performancein Houston next October. The same com-pany premiered Gossett's realization ofTancredi in 1977.

Among the various adaptations of baroqueand bel canto operas made by musicologistAlberto Zedda is one of IL BARBIERE DISIVIGLIA, which was used by the Washing-ton Opera some years ago.

A reduced orchestration of THE BARBEROF SEVILLE has been commissioned by theCleveland Opera Theatre and is availablefrom that organization at 11300 JuniperRd., University Circle, Cleveland, OH44106. It is scored as follows: cl, bsn, hn, pc,p, str. quartet, and 2nd vln.

David Lawton's edition of Verdi's MAC-BETH, based on the original 1847 version,was performed last November at the StateUniversity of New York at Stony Brook.

Albert Lortzing's REGINA was left unfin-ished by the composer. It was revised andcompleted by Richard Kleinmichel and A.L' Arronge and thus premiered posthum-ously in Berlin in 1899. Now Frieder Rein-inghaus has prepared a new edition basedon the original material by Lortzing. It willhave its first performance in Oberhausen,Germany with the orchestra of the City ofRemscheid in May '81.

A TANNHAEUSER parody by JohannNepomuk Nestroy, with music arranged byCarl Binder, was reconstructed from amanuscript by Hans Gabor. It was per-formed by the Vienna Kammeroper in itshome city and in Bayreuth in August '80.Mo. Gabor is the music director of thechamber group.

PUBLISHER'S RETAIL DIVISIONSSCHIRMER MUSIC, with stores at 586Fifth Avenue and 40 West 62 Street in NewYork is no longer affiliated with BrentanoBooks. The accounting department is nowlocated at 866 Third Avenue, the same ad-dress as G. Schirmer, Inc.

EUROPEAN AMERICAN RETAIL MU-SIC INC., the retail division of EuropeanAmerican Music Distributors, has an ad-dress of Box 850, Valley Forge, PA 19482.The rental division continues in Clifton, NJ.

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APPOINTMENTS

fEDERALl STATE PROGRAMS

AMRAM BAKSHIAN has been appointedSpecial Assistant to the President with re-sponsibility in areas of the arts, humanities,and academia as they relate to the WhiteHouse. He will be part of the Public Liaisonsection.TERREL H. BELL, U.S. Commissioner ofEducation under President Ford, has beenappointed Secretary of Education, succeed-ing Shirley M. Hufstedler, who was thefirst to be named to that new post. Mr. Bellis also a former trustee of the KennedyCenter where the educational programswere his special interest.The National Endowment's Opera — Musi-cal Theater Program has engaged VERITYBOSTICK as Assistant Director. She is thefounder and former Director of Intermoun-tain Opera in Bozeman, Montana, whereshe was also Assistant Professor at MontanaState University. Edward Corn is the Di-rector of the federal program.ROMALYN TILGHMAN was named NEARegional Representative for the NorthPlains States with offices in Omaha. Theregion comprises Iowa, Minnesota, Ne-braska, and North and South Dakota.The Pennsylvania Council on the Arts hassigned JUNE AREY as its new ExecutiveDirector. She was an independent consultantto non-profit organizations, and her previouspositions included that of Director of theNEA Dance Program. — JOHN BLAINE,formerly with the Seattle Arts Commissionand the Houston Arts Council, has acceptedthe position of Director of the Alaska StateArts Council.JEAN-CLAUDE L'ESPERANCE is thenew General Manager of the Canada Coun-cil, and HUGH DAVIDSON is GeneralManager of the Council's Touring Office.The latter is a composer who previouslyheld administrative positions with CBC,BBC, and the Canada Council's Music Sec-tion, and who subsequently was Counsellorin Cultural Affaires to the Canadian HighCommission in London.


Opera Guilds International elected Mrs. ED-WARD (LOUISE) GAYLORD, of Hous-ton, President; she succeeds Nancy Hibbardwho held this office for three years. —Other new officers, presented at OGI's gen-eral meeting in San Francisco last Novem-ber, are MRS. THOMAS (CARLA) FAW-CETT of San Francisco — First VicePresident, MRS. J. BROOKS (PENNY)WALTERS of Dayton — Second VicePresident, MRS. JOHN (GERI) WEIDE-MULLER of Baltimore — Recording Secre-tary, MRS. GRANT (JODY) HEIKEN ofSanta Fe — Corresponding Secretary, andMRS. J. LINDSAY (VIRGINIA) STACY

of Charlotte — Treasurer. Carla Fawcett isalso in charge of Educational Programs andthe OGI Archives.RUSSELL P. GETZ was chosen President-Elect of the Music Educators National Con-ference. He will serve in this capacity fortwo years, at which time he will succeedMary E. Hoffman as President of MENC.He is Professor of Music at GettysburgCollege in Pennsylvania.Former Performing Arts Director of theNew York State Council on the Arts, JOHNBOS, has joined National Public Radio asDirector of Arts and Performance Pro-gramming. — PETER WEINBERG, whohas been with WNET/Thirteen for the lastthree years, succeeded David Griffiths ashead of the television station's Music Per-formance Program. Before joining ChannelThirteen he was with ABC News for tenyears.Opera America has added two staff mem-bers. ELLEN BLASSINGHAM is the newPublic Information Officer; she joins OperaAmerica after 12 years with the SeattleOpera, the last seven as Public RelationsDirector. MARTHALIE FURBER is incharge of the Education Department, a jobshe held at the Kennedy Center.GEORGE LAVEROCK is the new Presi-dent of the Canadian Music Council.

ARTS CENTERS & FOUNDATIONS

The Lincoln Center board elected MARTINE. SEGAL Chairman to succeed AmyasAmes who will retire on June 1, after 11years in this position. Ames was namedHonorary Chairman of Lincoln Center andwill continue as Chairman of the New YorkPhilharmonic. Mr. Segal has a distinguishedrecord in New York's artistic community.He was the first Chairman of the New YorkCity Commission for Cultural Affairs (1975-77) and first Chairman of the Lincoln Cen-ter Film Society. He is currently ViceChairman of the Lincoln Center Board ofDirectors, and Chairman of the LincolnCenter Fund. When interviewed by TheNew York Times, Mr. Sigel discussed plansfor an International Festival of the Artsinvolving all Lincoln Center constituentsand other New York organizations, possiblyfor spring or summer 1983. He also hopesto expand Lincoln Center's television pro-gramming. — The organization also con-firmed three Vice Chairman: FRANK E.TAPLIN, President of the MetropolitanOpera Association, FRANCIS KEPPEL,*nd LAWRENCE A. WIEN. John Mazzolacontinues as Lincoln Center's President.The Chautauqua Institution has engagedVARUJIAN KOJIAN as its Music Direc-tor, a post he now holds with the Utah Sym-phony. His predecessors at the upstate NewYork festival include Franco Autori andWalter Hendl.

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RICHARD W. LYMAN, former Presidentof Stanford University, accepted the presi-dency of the Rockefeller Foundation, wherehe succeeds the late John Knowles. — TheFord Foundation has engaged SUSAN V.BERRESFORD as its new Chief ProgramOfficer.The Performing Arts Foundation of KansasCity named ROBERT DUSTMAN Director.His experience as Executive Director of theWilmington Grand Opera House will be ofgreat value in supervising the restorationof the 1900 Folly Theatre, turning it into anarts center.

OPERA COMPANIES

At a recent Board of Director's meeting atthe Metrpolitan Opera, ANTHONY A.BLISS, formerly Executive Director, wasgiven the title General Manager. JamesLevine remains Music Director and JohnDexter was named to the new position ofProduction Advisor. Other changes in theCompany's administration represent ad-vancements of staff and administrationmembers. Henceforth, there will be threeAssistant Managers. They are JOAN ING-PEN, former Artistic Administration Di-rector, MARILYN SHAPIRO, former De-velopment Director, and JOSEPH VOLPE,former Operations Director. Furthermore,JOSEPH CLARK was advanced to Techni-cal Director, NANCY HUGGIN to Develop-ment and Public Affairs Director, andMARCIA LAZER to Marketing Director,following the resignation of Patrick Veitch(see Appointments, Foreign Companies).Miss Lazer was on the COS staff from 1972to 1974 and, for the past two years was theMet's Assistant Marketing Director. Twoother new positions were filled by PHEBEBERKOWITZ — Executive Stage Director,and RICHARD WOITACH — Head ofMusic Staff.

In a surprise move, Carol Fox announcedher early retirement due to ill health, effec-tive immediately. The Board of Directors ofthe Lyric Opera of Chicago gave its vote ofconfidence to former Artistic Administratorand Assistant Secretary of the BoardARDIS KRAINICK. naming her GeneralManager to succeed Miss Fox effectiveJanuary '81. Ms. Krainick, who has beenwith the Company since its founding1 in1954, is also a member of the Chicago Coun-cil on Fine Arts and serves on the Women'sBoard of Northwestern University. She be-gan her opera career as a singer.The Kentucky Opera announced the appoint-ment of THOMSON SMILLIE to GeneralDirector, a post he will assume in June '81,when Moritz Bomhard's retirement becomeseffective. Mr. Smillie was Director of theScottish Opera and Ireland's Wexford Fes-tival, and more recently Manager of theOnera Company of Boston.Wishing to engage a full-time General Di-rector, the Lake George Opera Festival hassigned Maestra PAULETTE HAUPT-

NOLEN to that position. David Lloyd, whohas been General Director of the festi-val since 1965, is Chairman of the OperaDivision at the University of Illinois atUrbana during the academic year. Ms.Haupt-Nolen was Artistic Administrator ofthe Opera Company of Philadelphia, MusicDirector of the O'Neill Theatre Center Com-poser/Librettist Conference, and was andwill continue as Artistic Advisor of OperaOmaha. She began her conducting career asan Exxon/Affiliate Artist conductor withthe San Francisco Opera; she made herdebut with the Lake George Opera in 1973in The Barber of Seville with a cast whichincluded her husband, baritone TimothyNolen.ANN FARRIS DARLING, former Execu-tive Director of Opera America, is the newManaging Director of the Central CityOpera House Association, suceeding PeterKellogg. Before joining Opera America shewas on the staff of the San Francisco Operaand the Vancouver Festival. Her husband,Robert Darling, is Artistic Director of theColorado company.Following the retirement of Leonard Treashas Artistic Director of the ChautauquaOpera at the end of last summer, the Insti-tution appointed CYNTHIA AUERBACHhis successor. A faculty member of the Man-hattan School of Music, Ms. Auerbach hasstaged opera with many American compa-nies, notably a number of productions forthe New York City Opera.ROBERT PATTERSON replaced StephenFoster as Executive Director of the Colo-rado Opera Festival in Colorado Springs.He was Chairman of the Music Departmentat Fountain Valley School in the same city.Opera Memphis announced the appoint-ment of ANNE ATHERTON RANDOLPHas its new General Manager. In this postshe succeeds Kenneth Caswell; CharlesChappell functioned as general director dur-ing the current season. Ms. Randolph's ex-perience includes affiliation with the EnglishNational Opera, the Minnesota Opera, andthe Central City Opera.In addition to being Artistic Director of theChattanooga Opera, ROBERT C. AUSTINhas accepted the same position with theBirmingham Civic Opera.The Mobile Opera Company (formerly Mo-bile Opera Guild) has engaged its firstMusic Director. He is Maestro BENTONHESS of New York.

ANTON GUADAGNO has signed a two-year contract (1980-82) as Principal Con-ductor of the Vancouver Opera in Canada.The Opera Ensemble of New York appointedits first permanent Administrative Director,SCOTT CLUGSTONE. His previous affilia-tions were with the Chicago Opera Theatreand the Adirondack Regional Arts Council.Ruth Bierhoff and John Sheehan are theArtistic Directors of the Ensemble which,this year, performs at the 450-seat LillieBlake School Theatre.

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The Washington Opera's new Director ofDevelopment is HARRIET M. IVEY, whoheld the same position with the San Fran-cisco Opera. — DONALD HASSARD wasnamed Music Administrator for the NewYork City Opera, following the retirementof Thomas Martin (see Academic Appoint-ments). HENSON MARKHAM's appoint-ment to Financial Administrator of theNew York City Opera has not previouslybeen announced.The Opera Apprentice Program of the DesMoines Metro Opera in Indianola, underthe direction of Robert Larsen, will havetwo Co-Directors this summer. They areSTEWART ROBERTSON of Glasgow,Scotland, and more recently of the HiddenValley Music Seminar Chamber Orchestra,and VICTOR DE RENZI of the New YorkCity Opera/National Opera Touring Com-pany. They will work with 36 scholarshipsingers for six and one-half weeks.Ms. BILLIE BRIDGMAN is the new Pro-gram Director for Comus, Music Theatre ofCanada in Toronto. General Manager ClaireHopkinson was invited to join the TorontoTheatre Alliance Board of Directors.

PUBLISHERS & ARTISTS MANAGERS

The American Music Publishers Associationelected the following officers: ARNOLDBROIDO of Theodore Presser as President,STUART POPE of Boosey and Hawkes asFirst Vice President, DEAN BURTCH ofJ. W. Pepper & Son as Second Vice Presi-dent, ARNOLD ROSEN of Warner Bros,as Secretary, and DANIEL GENDASONof Belwin Mills as Treasurer.G. Schirmer, Inc. engaged L. BRUCE Mac-COMBIE, formerly with Yale UniversitySchool of Music and of Freiburg, Germany,as Director of Publications for G. Schirmerand Associated Music Publishers. —NANCY SHEAR is the new Manager ofthe Performance Department at EuropeanAmerican Music Distributors.Artists representative ELIZABETH CRIT-TENDEN, who managed singers forKazuko Hillyer International, has joinedColumbia Artists Management, Inc. PAULG. COTE, formerly with Ludwig Lustig &Florian, is now with Ms. Hillyer's office.Also new with CAMI is JOEL BLOCH,previously with Shaw Concerts.

SYMPHONY ORCHESTRAS

CLAUDIO ABBADO has signed a three-year contract covering the period from1982 to 1985 as Principal Guest Conductorof the Chicago Symphony. Sir Georg Soltiwill continue as Music Director of the or-chestra throughout that time. — Pianist/conductor PHILIPPE ENTREMONT, for-merly Music Advisor of the New OrleansPhilharmonic, was named its Music Direc-tor. — Israeli-born conductor GARY BER-TINI, Principal Conductor of the Jerusa-lem Symphony and Music Director of the

Scottish National Orchestra, will be MusicAdvisor of the Detroit Symphony Orchestra.He will assume his duties in June '81,when Maestro Dorati's resignation as MusicDirector becomes effective. — Last fall, theSan Diego Symphony began performingunder the baton of its new Music Director,DAVID ATHERTON. — RICHARD WIL-LIAMS, former conductor of the CedarRapids Symphony, succeeded Russell Stan-ger as Music Director of the Virginia Phil-harmonic. — LAWRENCE L. SMITH,Music Director of the San Antonio Sym-phony, also accepted an invitation to becomeMusic Advisor and Principal Conductor ofthe North Carolina Symphony for 1980-81.— The current season also finds YUVALZALIOUK as new Music Director of theToledo Symphony Orchestra. — JENS NY-GAARD, Music Director of the JupiterSymphony Orchestra in New York which hefounded, also holds the same title with theNaumburg Concerts which are given free-of-charge in New York City parks duringthe summer. — RICHARD WESTEN-BURG, former Music Director of the Col-legiate Chorale, now fulfills the same func-tion with the Basically Bach Festival inNew York.

The 1981-82 season will bring Austrian con-ductor ALEXIS HAUSER to London, On-tario, as Music Director of the Symphony.He will succeed the late Clifford Evens, whoheaded the orchestra for 10 years. — Alsonext season. GEORGE TRAUTWEIN, Con-ductor of the Tucson Symphony, will takeover the Piedmont Chamber Orchestra inWinston-Salem, where he will be MusicDirector.LARRY NEWLAND, a violist with theNew York Philharmonic since 1960 and whofunctioned as Assistant Conductor on somespecial occasions during the past five years,has now been officiallv named AssistantConductor. He is also Music Director of theHarrisburg (PA) Symphony and has con-ducted onera performances in New York. —GEORGE MANAHAN has been AssistantConductor and Chorus Master with theSanta Fe Opera. He has now joined theNew Jersev Symphony as Exxon/AffiliateArtist/NEA Conductor. — Last fall, YOELLEVI became Conductor-in-Residence withthe Cleveland Orchestra, PETER LEON-ARD assumed the same position with theLouisville Orchestra, and MYUNG-WHUNCHUNG joined the Los Angeles Philhar-monic as Associate Conductor.At the end of last season, MAURICEPERESS resigned the post of Music Direc-tor of the Kansas City Philharmonic. Dueto a musicians' strike, the orchestra can-celled the 1980-81 season. Mo. Peress is cur-rently conducting- Bernstein's Mass at theVienna State Opera. THOMAS MICH-ALAK, Music Director of the New JerseySymnhony, was appointed Music Advisor ofthe Kansas City Philharmonic for 1981-8?,

(continued on page 4ft)

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COS INSIDE INFORMATIONCentral Opera Service National Conference — June 10-12, 1981, St. Louis

Gateway to Opera: The Regional Companies

PROGRAM

Wednesday, June 103:00-5:00 PM6:00-8:00 PM8:00 PM

Thursday, June 118:30-9:00 AM9:00-10:00 AM

10:00-12:30 PM

12:30 PM

2:30-4:30 PM

7:00 PM8:00 PM

Friday, June 129:30-11:00 AM

11:15-1:15 PM

1:30 PM

4:00 PM

Chase-Park Plaza HotelREGISTRATIONRECEPTION (invitations will be extended to all participants)THE MARRIAGE OF FIGARO Opera Theatre Loretto-Hilton Theatre

of Saint Louis

Chase-Park Plaza HotelREGISTRATION (Coffee & Danish)WELCOME

Laurance L. Browning, Jr., Chairman, Opera Theatre of Saint LouisMrs. Gilbert W. Humphrey, President, Metropolitan Opera National

CouncilElihu M. Hyndman. National Chairman, Central Opera Service

THE CHANGING SCENERobert Jacobson, Editor, Opera News, moderatorBruce Chalmers, Managing Director, Portland Opera AssociationDavid Di Chiera, General Director, Michigan Opera Theatre;

President, Opera AmericaRichard Gaddes, General Director, Opera Theatre of Saint LouisPlato Karayanis, General Director, Dallas Civic OperaRussell Patterson, General & Artistic Director, Lyric Opera of

Kansas CityLUNCHEON

Leigh Gerdine, President, Webster College — IntroductionJonathan Miller, MD, author, producer, stage director; English

National Opera, BBC-TV Shakespeare series — Guest SpeakerMANAGEMENT STRUCTURE

Robert Herman, General Manager, Greater Miami Opera Association,moderator

Charles Fullmer, General Manager, Minnesota Opera Company;Chairman, Opera America Management Committee

John Gage, General Manager, Florentine Opera of MilwaukeeJay Holbrook, General Manager, Baltimore Opera CompanyEdward Purrington, General Director, Tulsa Opera Inc.Glynn Ross, General Director, Seattle Opera Association

Buses leave for theatreAN ACTOR'S REVENGE (by Minoru Miki), Loretto-Hilton Theatre

American premiere, Opera Theatre of Saint Louis

Chase-Park Plaza HotelTHE CIVIC COMPANIES

Thomas Rimer, Professor, Washington University; Music Critic;moderator

Edward Bradberry, Artistic Director, Augusta Opera AssociationRobert Gregori, General Director, Four Corners Opera AssociationBarbara Silverstein, Artistic Director, Pennsylvania Opera TheaterKatherine Willson, General Manager, Mobile Opera Company

BOARD MEMBERS GET INVOLVEDRobert L. B. Tobin, Honorary National Chairman, Central Opera

Service; Board of Managing Directors, Metropolitan Operamoderator

Lee Gillespie, Member of the Board, Opera Company of BostonJoan Harris, President, Chicago Opera TheaterThe Hon. Edythe C. Harrison, President, Virginia Opera AssociationDavid Klein, MD, President, Cleveland Opera Company

LUNCHEONRobert Jacobson, Editor, Opera News — Summation

Buses leave for theatre

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4:30-6:00 PM ON STAGE AND BACKSTAGE Loretto-Hilton TheatreRichard Gaddes, General Director, Opera Theatre of Saint LouisLeigh Gerdine, President, Waster CollegeMax DeVoider, Technical Director, Opera Theatre of Saint LouisColin Graham, Associate Artistic Director, Opera Theatre of

Saint LouisWe wish to gratefully acknowledge the assistance of Webster College

in this presentation.CLOSING REMARKS

Laurance L. Browning, Jr., Chairman, Opera Theatre of Saint Louis6:30 PM AL FRESCO PICNIC DINNER hosted by

Mr. and Mrs. Laurance L. Browning, Jr.8:00 PM FENNIMORE AND GERDA (by Frederick Delius), American

premiere, & THE SECRET OF SUSANNA(by Ermanno Wolf-Ferrari), Opera Theatre of Saint Louis

Saturday, June 13 Loretto-Hilton Theatre2:00 PM RIGOLETTO, Opera Theatre of Saint Louis

Registration and ticket order forms as well as hotel reservation cards are available from theCOS office. Please note ticket orders must be received before May 18.

The annual UPPER-MID WEST REGIONAL COS CONFERENCE is REGIONALagain scheduled to coincide with the Met's visit to Minneapolis. Meetings MEETINGwill be held on the afternoon of Friday, May 22 and the morning ofSaturday, May 23. Further information is available from the COSRegional Director, Mrs. Roy Hollander, 250 County Road 6, Wayzata,MN 55391.Not previously listed was the appointment of MARGARET GENOVESE NEWas COS Regional Director for the Great Lakes Region. Formerly with REGIONALthe Houston Grand Opera, Ms. Genovese has been on the administrative DIRECTORstaff of the Canadian Opera Company for the past two years and func-tioned as coordinator of the COS National Conference in Toronto in1979. She was named by Mrs. M. H. Dunlap, MONC Regional Chairman,to succeed Mrs. Peter Knowles.Two separate addenda to the 1974 and 1979 DIRECTORY OF ENGLISH DIRECTORIES'TRANSLATIONS and the 1979 DIRECTORY OF SETS AND COS- ADDENDATUMES are now available for $2.50 each. They include all listings whichhave appeared in various issues of the COS Bulletin since the publica-tion of the original directories. The Sets and Costumes Addendum alsoidentifies properties previously listed but no longer available.In response to demands for transliterations of foreign operas, COS isTRANSWERATiONScollecting information on the availability of scores so annotated. Specialemphasis will be placed on works with an original text in Russian, Czech,Polish, Hungarian, and Scandinavian languages, and COS solicits repliesfrom opera producers, singers, and music librarians who own such trans-literations. The first short listing of such works may be found on page 25.

COS SALUTES. . . the SAN FRANCISCO OPERA and KCET-CHANNEL 28 in LosAngeles, who received eleven Daytime Emmy Awards for their jointproduction of the La Gioconda television series.. . . the AMERICAN COUNCIL OF THE ARTS on the occasion of its20th anniversary, celebrated in November 1980 at a Carnegie Hall con-cert where its nine former directors were honored (Anne Bartley, RalphBurgard, R. Philip Hanes, Jr., Nancy Hanks, John Hightower, GeorgeIrwin, John MacFadyen, Michael Newton, and David Rockefeller, J r . ) .Its current president, Edward M. Block, presented a silver baton toWILLIAM SCHUMAN in honor of the composer's 70th birthday.. . . soprano ELEANOR STEBER who made her Metropoltian Operadebut 40 years ago as Sophie in Der Rosenkavalier.... bass JEROME HINES celebrating 35 years with the MetropolitanOpera, and soprano ROBERTA PETERS on her 30th anniversary withthe company.

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. . . Dr. DAVID DI CHIERA, general director of the Michigan OperaTheatre and president of Opera America, on being named Cavaliere ofthe Order of Merit to the Republic by the President of Italy.

. . . JOSEPH MACHLIS, musicologist, translator, author, and teacher,who was honored by the American Composers Alliance as recipient of its1980 Laurel Leaf Award. ACA's executive director, JOHN DUFFY, wascited for his distinguished achievements through his "Meet the Com-posers" program.

. . . W. McNEIL LOWRY, Ford Foundation Executive for the Arts from1953 to 1975, on receiving the first John F. Wharton Theatre Awardfrom the Theatre Development Fund.. . . the following recipients of the National Opera Institute Awards forService to American Opera: KIRK BROWNING, recognizing his achieve-ment in effectively bringing opera via television to millions of Americanhomes; J. WILLIAM FISHER, recognizing his inventive and generousphilanthropy; SHERRILL MILNES, recognizing his support of Ameri-can singers through Affiliate Artists Inc.; the NEW YORK CITYOPERA, for pioneering in the presentation of works by American com-posers ; and MARY ELLIS PELTZ, recognizing a long career of serviceto the art form. — In adition, NOI bestowed special Trustee Awardson VIVIAN O'GARA WEYERHAEUSER in recognition of her serviceto American singers as founder of the Metropolitan Opera NationalCouncil Auditions and the F. K. Weyerhaeuser scholarships; on ROBERTJOY COLLINGE (posthumously) in recognition of his key role in bring-ing America's opera companies together through Opera America; andFRANCIS ROBINSON and DARIO SORIA (both posthumously), recog-nizing their roles in making opera attractive and accessible to millionsvia touring performances, television broadcasts, and phonograph record-ings.

WINNERS

SINGERS

The eleven finalists in the MetropolitanOpera National Council auditions will beheard in concert from the stage of the Met onthe afternoon of April 5. Rise Stevens, exec-utive director of the Regional Auditions, willspeak, and each finalist will be awardeda $3,000 study grant. The winners are:sopranos SUSAN DUNN (Urbana, IL),GAIL DOBISH (New York, NY), JOYCEGUYER-HILLER (New York, NY), VAL-ERIE YOVA (Boston, MA), and RE-BECCA COOK (San Francisco, CA), mez-zos LAURA RICE (Marietta, GA), GAILDUBINBAUM (Northridge, CA), andDIANE KESLING (Houston, TX), tenorLAWRENCE BAKST (New York, NY),baritone THOMAS HAMPSON (Los An-geles, CA), and bass LAURENCE ALBERT(Memphis, TN). — In addition, semi-final-ists, chosen from among some 1,500 singersfrom the United States, Canada, and Aus-tralia, included: sopranos RUTH ANNSWENSON (Philadelphia, PA), FRANCESGINZER (Toronto, Ont.), ELISE KAUF-MAN DE CABALLERO (Hyattsville, MD),MEREDITH MIZELL (Oklahoma City,OK), CYNDIA SIEDENTOP (Seattle, WA),

JEAN MARIE GLENNON (Denver, CO),and SOO JUNG BAE (Louisville, KY),mezzos PENNY HAUS GALLAGHER(Chariton, IA) and JOLANTA NAGAJEK(Bassendean, Australia), tenor RUBENBROITMAN (Rio Piedras, Puerto Rico),and baritone MARK RUCKER (Des Moines,IA).In its second year, the Eleanor Steber Foun-dation awarded $2,500 to each of its fourcompetition winners. Sopranos SHIRLEYWILLIS JARON of Philadelphia, LANIKAREN NORSKOG of Plattsburg, NY, andbaritones ROBERT GALBRAITH andNICHOLAS KAROUSATOS, both of NewYork, were presented in a Town Hall con-cert last December. On this occasion, Mme.Steber was also feted, commemorating the40th anniversary of her Metropolitan Operadebut as Sophie in Der Rosenkavalier.Ten young American singers received theNational Opera Institute's 1981 CareerGrants, ranging from $2,000 to $5,000. Inaddition, they were presented in a concertat the Terrace Theatre of the KennedyCenter on January 30. The participants

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were sopranos MARGARITA CASTRO-ALBERT Y from Puerto Rico, EVANGE-LINA COLON also from Puerto Rico,CHARLOTTE ELLSAESSER from Derid-der, LA, LINDA KELM from Salt LakeCity, KAREN RAMBO from Dayton, JOYSIMPSON from Northfork, WV, andDEBRA VANDERLINDE from Rochester,NY; countertenor MELVIN EARL-BROWNfrom Oakland, CA; tenor CARROLL FREE-MAN from Hattiesburg, MS; and baritoneJ. PATRICK RAFTERY from Silver Spring,MD.

The following 11 young singers are partici-pating in this year's San Diego Opera Cen-ter program: sopranos MARCIA COPE,VICKIE FISK, STEFANIE PEARCE, andNANCY ZEFF; mezzos SUZANNE LO-DATO, CYNTHIA MILLER, and NANCYCAROL MOORE; tenors DAVID BATESand WILLIAM EICHORN; and baritonesENRIQUE BAQUERIZO and STEVENSAVINO.

The Houston Opera Studio has signed ninesingers, five of whom are new to theStudio this year. These are soprano MARI-LYN HOWELL, mezzo ALTEOUISE DE-VAUGHN, tenor BRUCE FORD, baritoneROBERT GALBRAITH, and bass GREERGRIMSLEY. Continuing from the previousseason are soprano CAROLYN FINLEY,mezzo DIANE KESLING, tenor DAVIDARLEN BANKSTON, and baritone LOUISOTLEY.

Six singers and two pianists from theCleveland area make up the first AssociateArtists of Greater Cleveland, the educa-tional and touring arm of the ClevelandOpera Co. Year-round contracts were givensopranos AIJA JIRGENSON and BRENDARUCKER SMITH, mezzo GAIL FRANK-LIN, tenors JAMES SHRADER andROBERT WILBER, baritone FREDERICKREEDER, and pianists MARGE ADLERand SUSAN BENNINGFIELD. The pro-gram is under the direction of JUDITHRYDER.

The first season of the Canadian Opera Com-pany Ensemble began last July. The En-semble is comprised of: sopranos SHAWNAFARRELL, ROXOLANA ROSLAK, andCARALYN TOMLIN, mezzos ELEANORJAMES. DEBORAH MILSOM, CLAUD-ETTE ROY. and JANET STUBBS. tenorsROGER OHLSEN. MICHAEL SCHUST,and BARRY STILWELL, and baritonesTHEODORE BAERG. MARK PEDROTTIand GUILLERMO SILVA-MARIN. DerekBate will be the first resident conductor.

Results of international vocal competitionsyielded some American winners. SopranoPAMELA MANN of New York took firstprize in the women's division of the G. B.Viotti Competition in Vercelli, where KATH-LEEN McCALLA shared second place witha singer from Israel. — PATRICIASCHRADEN, a soprano from the U.S., re-ceived second prize at the 1980 Voci Ver-diane contest in Busseto and Milan; firstplace winner was Polish soprano BARBARAMADRA, third place Italian baritone AR-MANDO ARIOSTINI.

Two American bass-baritones, THOMASWILCOX and THOMAS HAMPSON, re-ceived first and second prize, respectively,at the s'Hertogenbosch International Sing-ing Competition in Holland. — Munich'sBayerische Rundfunk selected PAMELACOBURN of New York to receive thirdprize in the women's division, where Ca-nadian EDITH WIENS was second placewinner and Japanese YOSHIE TANAKAtook first prize. — Three American singersreceived top honors at the Councours Inter-national de Chant de Paris. The Grand Prixwent to soprano JO ANN PICKENS, firstprize to MARVIS MARTIN from New York,and second prize to soprano FAITHESHAM, also of New York. — The 1980Richard Tauber Memorial Prize was sharedby 23-year-old soprano GABRIELE PIET-SCHNIGG from Innsbruck, Austria, and19-year-old tenor MALDWYN DAVIESfrom Wales.

The Pavarotti International Voice Competi-tion announced ten foreign finalists who willbe brought to the U.S. with all expenses paidto compete with the American finalists onMay 17 in Philadelphia. A total of over 70singers were heard in 20 foreign countries,with the best competing at auditions inFebruary in Modena. The winners of thisround were: from Bulgaria baritone IVANKONSULOV, from Hungary soprano JULIAKUKELY and tenor DENES GULYAS,from Italy tenor GIUSEPPE MORINO,baritone FRANCO SIOLI, and bass AR-MANDO CAFORIO, from Japan sopranoKYOKO TSUKADA, from Korea sopranoSONG KWANG SUN and baritone KIMKWAN-DONG, and from Romania mezzoCORINA CIRCA.

CONDUCTORSThe 30th Besangon Competition for YoungConductors awarded its first prize to 25-year-old Briton JONATHAN SEERS, cur-rently conducting opera in Freiburg. ROB-ERT HOULIAN from Ireland and KASPERDE ROO from the Netherlands receivedhonorable mention.

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CAREER GUIDE: LATEST ADDITIONS & CHANGES

Copies of the latest Amendment to the 1978COS Career Guide are dated April '81,and are available free of charge from Cen-tral Opera Service, Metropolitan Opera,Lincoln Center, New York, NY 10023. Aself-addressed double-stamped, number 10envelope must be enclosed with the request.

SINGERSThe BEL CANTO FOUNDATION, 3935West Devon Avenue, Chicago, IL 60659,offers cash awards and scholarships to thesummer institute at the Villa Schifanoia inFlorence, Italy. Annual auditions are heldin late winter and are open to young Ameri-can artists. The program is administered inthe U.S. by Rosary College in River Forest,IL.The LOREN ZACHARY SOCIETY in Bev-erly Hills has extended the age limit forcontestants from 33 to 35. This year's dead-line for application is April 25. Cash prizesand/or a round-trip flight to Germany foraudition nurposes are awarded the winners(see Career Guide page 6.)The INTERNATIONAL COMPETITIONFOR EXCELLENCE IN THE PERFORM-ANCE OF AMERICAN MUSIC, co-spon-sored by the Rockefeller Foundation, hasmoved from the Kennedy Center to NewYork's Carnegie Hall. In 1982 it will againbe open to singers. Applications should beaddressed before February 2, 1982 to Inter-national American Music Competition,Carnegie Hall, 881 Seventh Avenue, NewYork, NY 10019. The first prize consists of$15,000 cash and $35,000 in concert and re-cording contracts, second prize is $5,000cash, and third prize is $3,000. The firstsinger to win the Competition was baritoneWilliam Parker in 1979. 1981 was for pian-ists. (For requirements see Career GuideAddenda page 2.)The application deadline for the BALTI-MORE OPERA NATIONAL VOCAL COM-PETITION (see Career Guide page 9) hasbeen advanced to April 27. Additionalawards this year will include $150 to eachsemi-finalist who does not advance to thefinals.The CONCERT ARTISTS GUILD in NewYork has added the Amcon Award for anexchange program of young American andBritish artists. Three winners chosen atconcert auditions in London's Wigmore Hallwill receive an all-expense paid trip to NewYork to participate in CAG's finals. (Seealso Career Guide page 11.)A new international voice competition issDonsored by the Cassa di Risoarmio deCento, Via Matteotti 8b, 44042 Cento (Fer-rara). Italy. The GIUSEPPE BARGATTIPRIZE has set an age limit of 30 forwomen's voices and tenors, and 32 for bari-tones and basses. Application deadline isJuly 31, with the competition scheduled forlate September.The following opera/musical theatre com-panies have received grants from the Na-

tional Endowment for the Arts to engageresident artists or offer advanced trainingprograms: the SKYLIGHT COMIC OPERAwill engage a tenor and a mezzo as residentsingers; AUGUSTA OPERA will continueits resident artists ensemble; and the LIGHTOPERA OF MANHATTAN offers advancedtraining in light opera and operetta to eightsingers.The OPERA THEATRE OF SYRACUSEhas discontinued its training/apprentice pro-gram (please delete from your Career Guidepage 31). The company continues its PocketOpera as an outreach program with residentartists.

PRODUCTION, DESIGN, COACHING

The CINCINNATI OPERA is offering in-ternships for production assistants, accom-panists, and designers for the duration ofits summer season (June to mid-August).The following requirements have been es-tablished: for production assistants —theatrical skills, musical training, and for-eign language ability, for designers (includ-ing sets, lights, make-up) — design talentand practical ability; for accompanists/coaches — skilled piano playing, familiaritywith operatic repertoire, and proficiency inforeign languages. Applicants should contactLenore Rosenberg. Production Manager,Cincinnati Opera, 1241 Elm St., Cincinnati,OH 45210.

CONDUCTORS

The Young American Opera Conductors Pro-gram of the SAN DIEGO OPERA will be inits second year, scheduled for May 25 toJune 19, 1981. Open to American citizensbetween the ages of 20 and 32, it offers itsparticiDants the opuortunity to lead re-hearsals during the San Diego Verdi Festi-val, and selects one to conduct the final per-formance of Ndbucco. Maurizio Arena willbe musical director, Tito Capobianco isdramatic director. — Andrew Litton, theyoungest of the six conductor trainees lastseason, is currently an intern at La Scala,Milan, where he conducted several perform-ances at the Piccola Scala. He is slated tomake his American opera conducting debutat the San Diego Opera in October 1982.The VANCOUVER OPERA has announcedplans for Master Classes for Conductors tobegin next season.

COMPOSERS, LIBRETTISTS, CONDUCTORS

For the first time, the HOUSTON OPERASTUDIO has accepted a composer, a libret-tist, and a conductor/pianist into its pro-gram. Composer/pianist Michael Ching andlibrettist Kate Pogue have become Na-tional Opera Institute apprentices to mastercomposer/librettist Carlisle Floyd. Conduc-tor/pianist Hal France is the third appren-tice. While taking courses with the Studio,all three will also be professionally involvedwith the activities of the Texas OperaTheatre and the Houston Grand Opera.

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BOOK CORNER

In anticipation of the Met's Centennial, the late Francis Robinson gaveus CELEBRATION, THE METROPOLITAN OPERA. Lovingly writtenand beautifully illustrated, the book recounts the history of the companyfrom its beginning in 1883 through its move to Lincoln Center, and rightup to the 1979 season. Rather than working in chronological order, Mr.Robinson arranged the book in categories, following the developmentsand growth department by department. An abundance of attractive colorand black and white photographs, selected by picture editor Gerald Fitz-gerald, further enhance the book, which is published by Doubleday & Co.Inc. in collaboration with the Metropolitan Opera Association and theMetropolitan Opera Guild. The 287 pages include an index, and the priceis $30.

Two other major opera companies are featured in large, commemorativevolumes. The first, LA SCALA, From Backstage to Performance — TheLife of the Most Famous Opera House in the World, is published byWilliam Morrow & Co. The 239-page book presents its story primarilyin fine pictures, many of them in color; Giorgio Lotti and Paul Radicewere responsible for their selection and for the text. The $35 volumeelegantly celebrates the company's two hundredth anniversary.

The second book was also published on the occasion of a two hundredthanniversary. THE BOLSHOI, Opera and Ballet at the Greatest Theatrein Russia devotes 204 of its 235 pages to high quality, color photographsof 21 opera and 18 ballet productions mounted by the Moscow company.The volume was compiled and edited by Boris A. Prokovsky and Yuri N.Grigorovich, and contains an opening essay on the company's historywritten by Alexander I. Gusev, the Bolshoi's assistant director general.Also published by William Morrow & Co., this book is available for$29.95.

An Abrams book usually guarantees fine quality, and Martin Gottfried'sBROADWAY MUSICALS is no exception. Lavishly appointed, it tracesthe history of the American musical in words and pictures, and examinesthe different components, from writer, composer, director, designer, andchoreographer, to famous performers. Most importantly, its 400 illustra-tions convey the joys of the Broadway musical, enhanced by an interest-ing text. Indexed for reference, it is available for $45.Another music book published by Harry N. Abrams, Inc., is THE MUSICMASTER, priced at $35. Beautifully designed and illustrated, its 264pages form a glorified dictionary of musicians, arranged in chronologicalorder beginning with the year 1,000 and continuing to the present. Inter-spersed are feature articles on the development of music and instrumentsfrom the Stone Age through the "electronic revolution". The book'sunusual size is that of an LP record album, and the cover design supportsthat format. An index assists in finding the composer or performerwhose birthdate is not readily known to the reader. Victor Stevenson waseditorial director, Clive Unger-Hamilton the editor, and the Earl ofHarewood provided the Foreword.

Two large-format, handsome, and informative opera guide books, eachcommendable in its own right, have been published recently. AbarisBooks, New York, gave us Quaintance Eaton's OPERA, A Pictorial Guidein 527 pages for $35, and Simon and Schuster, New York, THE SIMONAND SCHUSTER BOOK OF THE OPERA, A Complete ReferenceGuide —1597 to the Present in 512 pages for $29.95. The latter originallyappeared in Italian, and was first published in 1977 with Riccardo Mez-zanote, editor-in-chief, and lists numerous contributors and translators.As both volumes are similar in concept and each has its own merits, acomparison may be the most helpful description. The Eaton book is

FOR THECOFFEE

TABU

OPERAGUIDES

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VARIOUSOPERABOOKS

arranged in alphabetical order by composer, includes a short biographywith special attention to his operatic output, and features his most im-portant operas: cast (name — type of voice), world premiere date andplace, synopsis, mention of a recent American performance, specificallydifficult roles for singers, in some instances titles of famous arias, andin many cases comments which sometimes include special historic facts.Mention of recent American performances is one feature not included inthe Simon and Schuster book. This is arranged in chronological orderbeginning with Peri's La Dafne (1597) and concluding with Rota'sNapoli milionaria (1977). Thus, operas by one composer do not followeach other, although a composer's index provides this grouping. Thenumber of acts and scenes is followed by information on world/French/British/American premiere place and date and, in many cases, the namesof singers in the original cast even dating back to the late 17th century.A history of the work and a synopsis of the plot complete each entry.The Simon and Schuster Book of the Opera features over 800 operas,Opera, A Pictorial Guide about 150. Both books are illustrated, however,the Eaton book's black and white photos are of inferior quality whencompared to the black and white and color illustrations in the Simon andSchuster guide. Both books contain indices, however, here the Eatonbook has the advantage by including the names of performing artists,and titles of arias mentioned. An interesting note: American composersFloyd and Pasatieri appear only in the Eaton book, Lucas Foss only inSimon and Schuster.Harold Rosenthal and John Warrack's THE CONCISE OXFORD DIC-TIONARY OF OPERA is available now in an expanded and updatedsecond edition. It has grown from 446 pages to 561, with such additionsas Bernd-Alois Zimmermann, Placido Domingo, Sylvia Sass, Fredericavon Stade, and the Santa Fe and Canadian Opera companies, and updatedentries on such operas as Die drei Pintos, Lulu, and The Devils of Lou-dun. However, Aribert Reimann and Thomas Pasatieri will have to waitfor the third edition. The Dictionary is published by Oxford UniversityPress in hard-cover, and is available for $15.95.John D. Drummond's OPERA IN PERSPECTIVE is a thought-provok-ing, scholarly work, tracing the history of the music drama from primi-tive tribal music and dance, through Greek drama and medieval mysteryplays, to the operatic form of the 17th and 18th centuries. With a basicconcept rooted in anthropology and ethnomusicology, the author proceedsto analyze a selection of major operas from Monteverdi to Britten. Pub-lished by the University of Minnesota Press, Minneapolis, the 383-pagebook includes musical examples, a bibliography, and an index, and maybe ordered for $25.THE SPLENDID ART OF OPERA is Ethan Mordden's fifth book, andhis second on opera. Whereas the first dealt with contemporary works,the new volume is a historic review of the art form, often relating pastmasterworks — and others not quite so masterful — to more recentoperas, the latest inclusion Sweeney Todd. An expert on the subject, theauthor has much to offer in authentic material and personal views. How-ever, one wishes he had exercised some restraint in the use of colloquial-isms, obviously interjected for the purpose of making the book more"popular". Published by Methuen, Inc., New York, the 413-page book isillustrated with many production photos, contains a glossary and index,and sells for $19.95.Writing for the general public, but lacking professional expertise, under-standing, and love for opera seem poor qualities indeed for an authorattempting ENJOYING THE ARTS/OPERA. When Peter Kline writes"the incompatability between music and drama makes it difficult to writea successful opera", or "the composer, in playing with sounds, begins todiscover a theme", one wonders how much this book can contribute to thenovice's enjoyment of opera. The price $7.97; 178 pages; Richards RosenPress, New York, publisher.

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Gloria Flaherty, an associate professor of German at Bryn Mawr, hasproduced a philosophical and sociological study in OPERA IN THEDEVELOPMENT OF GERMAN CRITICAL THOUGHT. In examiningthe widely fluctuating aesthetic approaches and criticism of opera byGerman scholars, clergymen, authors, and philosophers, she documentsthe eventual triumph of opera, as well as theatre and all the performingarts, over initial puritanical objections, and the nourishing of all thearts as a natural result. Published by Princeton University Press in382 pages, including a bibliography and index, the book is priced at $21.FOLIES DE PARIS, The Rise and Fall of French Operetta, gives alively account of the ninety years (1830-1920) when French operetta wascreated and nourished. Of course, Offenbach is a central figure of thestory, but we also find a long list of successes by composers ReynaldoHahn, Herve, Alexandre Lecocq, and Andre Messager mentioned byJames Harding, the author. We meet many legendary entertainers ofthe period set against the background of Gay Paree during some ofthe city's most turbulent years. Unfortunately, a wonderful opportunityfor inclusion of attractive illustrations was missed, and the scant num-ber in the book do not do justice to the subject. Published by HamishHamilton, London (U.S. address North Pomfret, VT), the 183-page,indexed book is priced at $22.PERFORMANCE, Live Art 1909 to the Present by RoseLee Goldbergfollows the "avant garde" movement through its Russian, French, andGerman development to today's mixed-media experimental theatre,incorporating music, dance, drama, and the visual arts. The interestingtext is interspersed with an abundance of wonderful black and whitephotos of many original surrealist, Bauhaus, and Dada productions(including the Russian Victory Over the Sun, see American Premieres),as well as of contemporary American works, e.g. Einstein on the Beach.Published by Harry N. Abrams, the imaginative, 128-page book is avail-able in hardcover for $12.50, or in paperback for $6.95.Karen Monson has given us a well-written and sensitive insight into thelife of ALBAN BERG, in her biography of that title. Available for $15,the 396-page, illustrated and indexed book is published by HoughtonMiffllin Co. In addition to seeing Berg's close association with Schoen-berg and Webern, we meet many famous personalities who crossed hispath in Vienna from the turn of the century into the Thirties. Mostimportantly, this book makes us understand Berg's character and moti-vations and, through this, his compositions, particularly his operasWozzeck and Lulu. It also includes the story of his recently discoveredliaison with Hanna Fuchs, sister of Frank Werfel. In view of the mysteryand controversy which, in recent years, shrouded the completion of Lulu,it is interesting to note Monson's account of what happened immediatelyfollowing Berg's death. Arnold Schoenberg wrote Helene Berg, the com-poser's widow, offering to complete the opera, whereupon the publisher,with Helene's consent, sent him the sketches to Hollywood. Schoenbergultimately refused the work and returned the manuscript, supposedlybecause of anti-semitic overtones revealed in the new character of TheBanker. A later letter from Helene Berg to the publisher is quotedwherein she urges completion of the opera, and a number of famous com-posers are mentioned as expressing interest in the job. Yet it was onlyafter Helene's death that the third act could be examined, completed, andfinally reached the stage.

Volume One of THE OPERAS OF ALBAN BERG/WOZZECK has beenpublished by the University of California Press, Berkeley. Written byGeorge Perle, Professor of Music at Queens College, New York, a Berg,Schoenberg, and Webern scholar with credits for articles and books onthose subjects, this volume offers a detailed and knowledgeable study ofWozzeck. The 231 pages feature numerous musical examples; Appendix I

MIXEDMEDIA

COMPOSERS:BIOGRAPHIESAND WORKS

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deals with "The Preparation and Staging of Wozzeck", Appendix II con-tains an analysis of "The Landau Edition". A bibliography and indexclose the illustrated study, priced at $20.With Bohuslav Martinu's last composition, The Greek Passion, havinghad its American premiere this season at Indiana University, a. produc-tion which will be shown at the Metropolitan Opera House this spring,interest may be particularly high in Brian Large's biography, MAR-TINU. It is the first English book on the life and works of the Czechcomposer, and has been written with both affection and thorough knowl-edge of Martinu's musical style. Born in rural Bohemia, he moved toPrague when he was 17 to study at the conservatory, and later joined theCzech Philharmonic as a violinist. 1931-40 found him in Paris, where hemingled with many world renowned musicians. After the outbreak ofthe war he fled to the U.S., living in New York from 1941 to 1953. Hereturned to Paris, then moved to Switzerland where he died at the ageof 69. His first extant composition dates back to his twelfth year, and hisprolific output encompasses some 400 works in all genres and instru-mental and vocal combinations. The illustrated, 197-page book contains acritical analysis of his music, an index, and a list of works including 16operas, of which two, Comedy on the Bridge and What Men Live By,have enjoyed some popularity in the U.S., particularly in workshop pro-ductions. This volume is the British author's second critical biography ofa Czech composer (his first was on Smetana), and is published by Holmes& Meier Publishers, New York, selling for $27.50.The same publisher has just released MOZART — HIS MUSIC IN HISLIFE by Ivor Keys, a professor of music at the University of Birming-ham. The author's musical knowledge and understanding is reflected inhis comments on Mozart's music; the way he relates compositions to theinfluences of a particular time, place, and/or person in Mozart's life isinteresting conjecture. The book is written in a fluent style, and the treat-ment of Mozart the man is less romantic and florid than is found in manyother volumes. The 239-page book is illustrated and indexed and pricedat $24.50.The Musical Newsletter has published a 39-page pamphlet, THE MUSICOF MUSSORGSKY, A Guide to the Editions, available for $3.75. It is arevised and enlarged edition of Edward R. Reilly's article originallywritten for the periodical in 1974. Few composers have elicited theamount of controversy regarding their orchestration of stage works ashas Mussorgsky, and in this monograph we find detailed discussion ofthat subject. Special chapters are devoted to Boris Godunov, The Fair ofSorochinsk, Salammbo, choral and orchestral works, and songs.In celebration of the centennial of the composer's birth, Charles Scrib-ner's Sons has published JACQUES OFFENBACH by Alexander Faris.Through its well-documented 275 pages we relive a turbulent era ofpolitical upheaval in France and Austria, and follow the rising star ofthe creator of the French operetta. Within this framework, the author,a composer and conductor, discusses Offenbach works, offering manymusical examples to illustrate the text. The final chapter is devoted toLes Contes d'Hoffmann and the recently discovered original material asused in the Fritz Oeser edition and also the additional music found byAntonio de Almeida. (This version was first performed in the U.S. inMiami last year.) A catalogue of works, testifying to the composer'senormous productivity, and an index clcse the illustrated, $25 book.PUCCINI, by Howard Greenfeld, is the latest biography of the Italiancomposer. Many excerpts of letters to and from Puccini are integratedinto this story, and add a special personal aura to the book. Containingillustrations, index, and bibliography, the 299-page book, priced at$16.95, is published by G. P. Putnam's Sons, New York.

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ALESSANDEO SCAELATTI, An Introduction to His Operas, publishedby the University of California Press, is the work of renowned musi-cologist and author Donald Jay Grout, and is based on his lectures ashonorary Ernest Bloch Professor at the University of California inBerkeley. Discussing the music, texts, and productions in the context ofa Scarlatti biography, the author opens new vistas on the development ofItalian opera as experienced in Eome and Naples in the late 17th andearly 18th centuries. Musical examples include six complete Scarlattiarias; illustrations and an index are included in the 154 pages. Theprice is $11.95. The author is also general editor of a complete editionof the operas of Alessandro Scarlatti to be published by Harvard Uni-versity Press.TESTIMONY, The Memoirs of Dmitri Shostakovich as Related to andEdited by Solomon Volkov is the composer's indictment not only of theStalin era, but of Soviet bureaucracy as a whole. The book is said torepresent interviews and discussions Volkov had with Shostakovich overa period of some ten years, conducted with the consent of the composerfor publication after his death. Volkov states in the Introduction that hesubmitted chapter after chapter to Shostakovich, who authenticated thematerial with his signature. After the composer's death, the manuscriptwas smuggled out of Eussia, and Mr. Volkov, a Soviet music journalist,came to New York the following year. The book was published by Harperand Eow in a colloquial — at times even slangy — English translation byAntonina W. Bouis and immediately stirred a controversy — yet unre-solved — as to the authenticity of the material. Despite the many Soviethonors awarded Shostakovich in his later years, the composer emergesas a gallant, though depressed and embittered man, a mood reflected in hislate compositions. While little of his private life is discussed, the inter-views shed much light on circumstances surrounding his compositions,including, of course, the controversial Lady Macbeth, and his relation-ships with and feelings about contemporary Eussian artists and theUSSE Composers Association. But the unequivocal plight of the artistand intellectual under totalitarian rule is the dominant theme of thebook. Illustrated, indexed, and containing a list of Shostakovich's majorworks, the 330-page book is priced at $15.On the occasion of his 75th birthday, Faber and Faber Publishers, Lon-don, presented to the British composer a biography by David Matthewsentitled MICHAEL TIPPETT, An Introductory Study. Available cloth-bound ($16.95) or paperback ($7.95), the 112-page book is illustratedwith photographs and musical examples and includes treatises on thefour major operas by Tippett: The Midsummer Marriage, King Priam,The Knot Garden, and The Ice Break. This is the first book on the com-poser and his operas and will be of particular interest to aficionados ofcontemporary music and of the British musical scene. The book is avail-able in the U.S. through Merrimack Book Service, Salem, NH.A list of distinguished authors and scholars contributed articles whichmake up THE VEEDI COMPANION, edited by William Weaver andMartin Chusid, the former a well-known author and expert on Verdi, thelatter head of the U.S. Institute of Verdi Studies. Among the other writ-ers we find Isaiah Berlin ("The Naivete of Verdi"), George Martin("Verdi and the Eisorgimento"), Bruno Cagli ("Verdi and the Businessof Writing Operas"), Luigi Dallapiccola ("Words and Music in ItalianNineteenth-Century Opera"), and Andrew Porter ("A Selected Biblio-graphy"). In addition, the 365-page Verdi study includes a ChronologicalTimetable of Verdi's Life and Works, a list and description of PeopleAssociated with Verdi During his Lifetime, an Index of Verdi's Works,and a General Index. Priced at $19.95, the illustrated book is publishedby W. W. Norton and Company.

THE WAGNEE COMPANION, published by Cambridge UniversityPress, New York, in both hardcover ($35) and paperback ($9.95), is acollection of specially commissioned essays by experts in the field, edited

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COMPOSERS.*DIARY ANDlimits

by Peter Burbridge and Richard Sutton. The book aims, in one 462-pagevolume, to "discuss the cultural, social, and national factors which influ-enced the composer, together with assessments of the various sides ofhis genius", with an attempt not to duplicate books already available. Wedo find here fresh approaches to Wagner and his music, and the bookwill be of interest to those familiar with earlier writings as well as tonovices on this subject. It is illustrated with musical examples and con-tains a bibliography and an index.

Also from Cambridge University Press comes Carl Dahlhaus's studyRICHARD WAGNER'S MUSIC DRAMAS, originally published in Ger-man in 1971 and here translated by Mary Whittall. It covers the tenoperas from Der fliegende Hollander to Parsifal expertly in 161 pages,includes several musical examples, and is available for $12.95.

Two recent books on Kurt Weill are well timed considering the currentpopularity of this German composer. They are the first extensive biogra-phies and could not be more different in approach and content. One mightlook at them as complementing each other, although ideally, a healthy mixwould offer the most satisfactory results. The first to appear was THEDAYS GROW SHORT, The Life and Music of Kurt Weill, by RonaldSaunders, published by Holt, Rinehart and Winston, which sells for$16.95. This volume offers a straightforward, popular, biographical syn-opsis of the composer's life, friends, and milieu, but too little attention ispaid to his motivations or the variance and evolution of his styles ofmusic. The 469 pages do offer a chronological tale of his life, which, inthe absence of other biographies, is welcome. An index and some photo-graphs add to the interest. Contrarily, KURT WEILL IN EUROPE, byKim H. Kowalke, is clearly a scholarly treatise, the result of a doctoraldissertation. Of the book's 589 pages, only 300 are the biography, whichis threaded with references and quotations; the remaining pages arecomprised of an introduction, notes, appendices, bibliography and index.Here the author is a musicologist, but he denies us the pleasure of fluencyand comprehension by his overenthusiasm for documentation. Priced at$34.50, the book is published by UMI (University Microfilms Interna-tional) Research and is number 14 in its "Studies in Musicology" series.A sequel, dealing with Weill in America, is in preparation by the authorand will be published by Yale University Press.

Almost 50 years of songwriting is covered in JULE, The Story of Com-poser Jule Styne, written by Theodore Taylor and published by RandomHouse. The composer of innumerable hit tunes also wrote the music forsuch Broadway shows as High Button Shoes, Funny Girl, GentlemenPrefer Blondes, The Bells are Ringing, and Gypsy, and the biographyoffers glimpses into the New York Broadway scene and its luminaries.Included in the 293 pages are illustrations and an index; the book ispriced at $10.95. (For stories on other popular composers see BroadwayMusicals under "For the Coffee Table".)

The much awaited second volume of COSIMA WAGNER'S DIARIES1878-1883 has been published by Harcourt Brace Jovanovich, New York,in English, translated and with an Introduction, Postscript and addi-tional Notes by Geoffrey Skelton. Following the format and style ofVolume One, which covered the years from 1869 to 1877, Volume Twoends in Venice on the day preceding the composer's death on February3, 1883. The book again amazes with the great wealth of interestingdetails — albeit some trivial — recounted in the 1,200 pages which re-flect the recognition, honors, and success of those years. They also reflectthe disillusionment with the German Empire which both Wagners experi-enced during those years. One notes Cosima's entries became longer,more descriptive, and less hurried — but no less prejudicial. At the

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center of this second volume is the creation and first production ofParsifal, and the Diaries add much insight and documentation to thework in progress. We read of Cosima's concern for Wagner's slowlydeteriorating physical condition and of his growing irritability. Indexedand illustrated, the book is available for $35, a reasonable price consider-ing its size and the almost double amount asked for the original Germanpublication.SELECTED LETTERS OF GUSTAV MAHLER represents the firstEnglish edition of any Mahler letters. The selection consists of the 420letters chosen by Alma Mahler for publication in the original Germanvolume in 1924, plus another 23 letters selected by Knud Martner, editorof the English book. Eithne Wilkins and Ernst Kaiser are the translators.Indices on Mahler's Composition and Names and Places, as well as aList of Biographical Addresses are included in these interesting 488pages, published by Farrar, Straus, and Giroux. Illustrated, the book ispriced at $30.Greek-born, Cambridge educated author Arianna Stassinopoulos has siNGfRSgiven us MARIA CALLAS, The Woman Behind the Legend. This is a BIOGRAPHIEScompassionately written biography which not only reveals new facts ofher unique life, but also successfully looks beyond into her motivationsand psychological conflicts. The study is based on heretofore unpublishedletters, transcripts of Callas's conversations with friends, autobiograph-ical tapes recorded in the latter years of her life; the author has alsointerviewed the singer's friends and drawn from various books andperiodicals. Documentation of all sources is provided. The 383-page,illustrated and indexed book is published by Simon and Schuster andpriced at $15.95.MARIA CALLAS, A Tribute, by Pierre-Jean Remy, will please the so-prano's fans. Attractively appointed and generously illustrated, this 192-page biography pays tribute to Callas's artistry, and is written by a con-noisseur of voice and opera. Lord Harewood provided the Foreword.Published by St. Martin's Press, the $12.95 book includes a list of thesoprano's roles with dates, places and other principals in the cast, and adiscography. (For an analysis of her recordings, see John Ardoin'sThe Callas Legacy.)TITO GOBBI, MY LIFE is a warm and fluently written autobiog-raphy. In addition to telling his private life story, the baritone treatsus to his profound thoughts on the interpretation of major roles in hisrepertory- Both singers and stage directors will do well to read hisanalyses of such roles as Scarpia, Rigoletto, Iago, Don Giovanni, andWozzeck. The illustrated and indexed 229 pages also include a discography.The work is published by Doubleday & Company and priced at $14.95.Elisabeth Soderstrom's autobiography, IN MY OWN KEY, will interesther friends and devotees. The candid account of her career includes manyuneasy moments and frustrations, but her courage and successes will bean inspiration to the budding young vocalist. Joan Tate translated the102 pages from the original Swedish; Hamish Hamilton, London, is thepublisher, and the book may be ordered from the U.S. branch at NorthPomfret, VT, for $16.95.A thoughtful, eminently readable study of a singer is offered in THEPURSUIT OF PERFECTION, A Life of Maggie Teyte. The biographeris Garry O'Connor, grand-nephew of the soprano, and, in addition torecounting her professional career, he offers the reader an insight intoher character and dedicated committments. Published by Atheneum, the327-page, illustrated volume includes the singer's "Loose Leaves withHints for Vocal Students", a list of her roles 1907-1951 with premieredates and places, her "Most Important Engagements in North America1912-13", a discography, and an index. The price is $15.95.

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CONDUCTORS:BIOGRAPHIES& WRITINGS

DIRECTORS:BIOGRAPHY

THELIGHTERSIDE

Abram Chasins' LEOPOLD STOKOWSKI, A Profile would have pleasedthe Maestro. It is a lively, although somewhat superficial, "account of aflamboyant life, written by one of Stokowski's oldest friends, a musicianand author in his own right. In addition to introducing the many pro-fessional and society personalities whose paths crossed that of the con-ductor, tribute is paid to Stokowski's inquisitive and adventurous spiritwhich led him to introduce many contemporary works and explore thepossibilities of film and other technical innovations in the service of clas-sical music. Published by Hawthorn Books, the illustrated and indexed330-page book is available for $14.95.

CONDUCTORS ON CONDUCTING, by Bernard Jacobson, representsthe author's conversations with eight leading maestri, each talking abouthis approach to and interpretation of one particular composer. While thebook is a must for young conductors, other musicians as well as musiclovers will find it quite fascinating. In spite of the fully professional andoften technical discussions, the style is lively and lucid, and the laymancan easily follow and enjoy it. It features James Levine on Verdi andMozart, Colin Davis on Berlioz, Bernard Haitink on, Mahler, Sir AdrianBoult on Elgar, Nikolaus Harnoncourt on Bach, Sif Charles Mackerrason Handel, Jose Serebrier on Ives, and Carlo Maria Giulini on Brahms.Its 237 pages are illustrated and indexed. Priced at $16.95, it has beenpublished by Columbia Publishing Co., Frenchtown, NJ.

Eight must be this year's lucky number for conductors. Philip Hart,former manager of some major orchestras in the United States andaffiliated with the Juilliard School administration, selected eight leadingconductors for profiles and analysis in his latest book, CONDUCTORS,A New Generation. His list is comprised of some of the most successful30- and 40-year-old maestri active today: Claudio Abbado, Andrew Davis,James Levine, Zubin Mehta, Riccardo Muti, Seiji Ozawa, and Edo deWaart. While in the aforementioned book each artist speaks in his ownwords, this volume consists of biographical articles concentrating oneach subject's professional career. Having observed rehearsals and per-formances in preparation for the book, the author can report first handon attitudes and mannerisms. The 302-page volume includes quotes fromcritiques and articles, and listings of recordings for each conductor. Pub-lished by Charles Scribner's Sons, it is illustrated and sells for $14.95.

Michael Gray has compiled BEECHAM, A Centenary Discography, pub-lished by Holmes & Meier Publishers, New York. The 129-page bookmay be ordered for $29.50.

Gottfried Reinhardt's biography of his father, THE GENIUS, A Memoirof Max Reinhardt, offers a touching and vivid description of one of themost prominent theatrical personalities of our time. In a highly personalaccount, sparked by the son's diary entries made during the last weeksof his father's life, we relive his great triumphs, Berlin, Salzburg, etc.,and his frustrations during his years in exile in the United States. Theundercurrent to his international acclaim is provided by the account ofthe young son's resentment of his famous father, and the slowly growinglove and understanding between the two. Priced at $16.95, the 400 pagesare illustrated and indexed. Originally published in German as Der Lieb-haber: Erinnerungen seines Sohnes Gottfried Reinhardt an Max Rein-hardt, the author's own English version was published by Alfred A.Knopf, Inc.

Chuckles and laughs with GREAT OPERATIC DISASTERS, by HughVickers with an introduction by Peter Ustinov, may be purchased for$7.95. Delightfully illustrated by Michael ffolkes, each story is identifiedwith the date and place of the disaster. Devotees of opera stories willmeet some old acquaintances, but there is a bagful of unknown mishaps,

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such as the director's fateful instruction to the supers forming the firingsquad in Tosca: "Exit with the principals." St. Martin's Press is thepublisher of the 80-page, hardcover booklet.

Oxford University Press and musicologist Gerald Abraham offer us THE GENERAICONCISE OXFORD HISTORY OF MUSIC. Confining himself to one MUSIC968-page volume priced at $39.95, the author covers his subject from pre- BOOKShistoric times to post-war opera and Stravinsky's last years, writing inan eminently scholarly but equally readable style. Forty-one chapters arechronologically organized and indexed, and numerous illustrations includemusical examples. The Concise Oxford History of Music is neither a sum-mary nor part of the New Oxford History of Music series, which devotesone similarly sized volume to each historic period.

MUSIC AFTER MODERNISM represents the musings of music criticand pianist Samuel Lipman. Various chapters on composers and perform-ers are brought together in the final summing up, in which Lipman con-tends that while composers prosper financially and socially today as neverbefore, "the canon of great music was closed at least forty years ago".Although he will find a concurring readership among some audiences, theattitude seems particularly regrettable since he is both a teacher and aperformer, two areas where some magnanimity could do a great deal forthe proliferation of at least selected contemporary music. Other generali-zations include his condemnation of contests, which he views as vehiclesfor the sole glorification of the sponsor. Basic Books Inc. is the publisherof the 256-page, indexed book, priced at $11.95.

A collection of short pieces on a wide range of musical subjects, writtenby musicologist and author Mosco Carner, has resulted in the 267-pageMAJOR AND MINOR, published by Holmes & Meier Publishers to sellfor $41.50. Of particular interest to the operaphiles will be the chapterson Fidelio, Mayr's L'Amor conjugate, "The Two 'Manons'", "Debussyand Puccini", and "Pfitzner versus Berg". The book is indexed and eluci-dated by many musical examples.

MUSIC CRITICISM, An Annotated Guide to the Literature by Harold J.Diamond will aid the music student and serious music amateur, seekinganalytic material on compositions. Published by Searecrow Press, Metu-chen, NJ, the 326 pages are arranged by musical form (solo works,operas, vocal music, orchestral music, concertos, chamber music, andsymphonies) and, within each category, in alphabetical order, by composerand his works. References to books or articles include a brief descriptionof the contents. A bibliography, composer index, and title index completethe $17.50 book.

Greenwood Press, Westport, CT, has published WOMEN IN AMERICANMUSIC: A Bibliography of Music and Literature compiled and edited byAdrienne Fried Block and Carole Neuls-Bates. The 302,pages includeabout 5,000 entries: 3,200 refer to individual musical works by women,arranged in chronological order including performance and recording in-formation and cross-referenced in the index; 1,800 entries relate toreference books and other literary material. Each entry includes a briefoutline of the subject matter. Included are not only composers and libret-tists, but also women performers. Three indices list 1) subjects andauthors, 2) composers and librettists, and 3) recordings. The periodcovered by the $29.95 book extends from Colonial times to the present.

Little gremlins seem to have gotten into our last "Book Corner" (Vol. 21, ERRATANo. 3) and scrambled some lines under Reference Books in German. The600-page encyclopedia by Horst Seeger is the OPERA LEXICON, whichin the meantime has been reissued by Heinrichshofen Verlag in WestGermany both in paperback and cloth cover. It is available in the U.S.from C. F. Peters for $35 and $45, respectively.

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FOROPERAWORKSHOPDIRECTORS

FORSINGERS

FORACCOMPANISTS

FORADMINISTRATORS

OPERA SCENES FOR CLASS AND STAGE by Mary Elaine Wallaceand Robert Wallace will be of inestimable value to directors of operaworkshops, heads of academic voice departments, and will also assistyoung singers. This unique, 260-page book, published by Southern Illi-nois University Press, Carbondale, is based on Ms. Wallace's years ofexperience as head of the opera department at SUNY-Fredonia and theMarjorie Lawrence Opera Theatre in Illinois. Her son, coach/accompan-ist with some of the major American opera companies, collaborated onthe volume. The book lists over 700 operatic excerpts, indicating voicecategories (major character(s), supporting or optional voices), pageand bar numbers of where to start/cut/end the excerpt, and which vocalscore was used, language (s) in that score, performance time, a shortdescription of the scene, and specific vocal difficulties within a given role.This main section is arranged in alphabetical order by title. Cross-refer-ences include a list of possible voice combinations, from one major char-acter with optional supporting singers to ensembles with eight roles.Indices by composer and by opera (including translated titles), and a listof over 350 major operatic arias from the standard repertory with initiallyric line complete the $17.50 book.NINETEENTH-CENTURY FRENCH SONG by Barbara Meister fills400 pages with texts of 200 songs by Faure, Chausson, Duparc, andDebussy. Following the original French text, Ms. Meister offers theEnglish translation interspersed with comments on interpretation andstyle. Published by Indiana University Press, Bloomington, with theassistance of a grant from the Andrew Mellon Foundation, the bookis available for $25.Shirlee Emmons and Stanley Sonntag have collaborated on THE ARTOF THE SONG RECITAL. The 570-page, softcover book is a practical,meticulously detailed guide for singers contemplating or preparing reci-tal programs. The authors discuss training, the many approaches to pro-gramming, the stage presence of the "singing actor", problem areas forand with accompanists, and "new music". A great variety of programpossibilities are sampled, and appendices offer extensive lists of repertorysuggestions organized by category (solo voice, ensembles, song cycles,etc.), indicating instrumental accompaniment and publisher. The price is$12.95, the publisher Schirmer Books.THE PIANO HANDBOOK, by Ian McCombie, offers many practicalhints regarding the choice, purchase, and maintenance of pianos. Pub-lished in hardcover by Charles Scribner's Sons, the illustrated, 176-pagebook is priced at $12.50.Two books by a most distinguished accompanist, Gerald Moore, are nowavailable from Hamish Hamilton, North Pomfret, VT. Moore's memoirs,AM I TOO LOUD, is priced at $22; THE SCHUBERT SONG CYCLESWith Thoughts on Performance is priced at $19.The 286 pages of MARKETING THE ARTS, edited by Michael P.Mokwa, William M. Dawson, and E. Arthur Prieve, with Steven E.Permut as general editor, is the direct result of a 1978 symposium heldin Wayzata, MN. The book offers a thorough study, analyzing the socio-philosophical climate in which the arts operate, the financial problems,and ultimate solutions through different approaches. Graphs and chartsare used to illustrate the text, which was provided by a number of con-tributors. Prager Publishers have released the hardcover volume, pricedat $22.95.The second edition of THE ARTS AND THE WORLD OF BUSINESS,by Charlotte Georgi, has been published by Scarecrow Press. This ex-tensive 188-page bibliography is arranged by subject matter and includesa listing of associations, publisher's addresses, and an author/title index;it may be ordered for $8.

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Lawyers for the Creative Arts, Chicago, has published LAW AND THEARTS — ART AND THE LAW, a source book for artists, arts adminis-trators, and arts attorneys. It contains much useful information contri-buted by various experts and edited by Tern Horwitz, author of ArtsAdministration. Chapters on Performing Arts and the Law, FinancialManagement, and Setting Up and Maintaining Tax Exempt Corporationswill be of particular interest in this 228-page paperback, distributed byChicago Review Press and priced at $6.95.The Association Division of the U.S. Chamber of Commerce, 1615 "H"Street NW, Washington, DC 20062, has published Associations and theLaw Series and a number of books on Associations and GovernmentAgencies. The latest is devoted to ASSOCIATIONS AND LOBBYINGREGULATIONS: A GUIDE FOR NON-PROFIT ORGANIZATIONS,priced at $9. A free catalogue of publications is available.On the last mentioned subject, E. P. Dutton, New York, has publishedHOW YOU CAN INFLUENCE CONGRESS, A Complete Handbook forthe Citizen Lobbyist in cloth cover ($15.95) and in paperback ($9.95).The 360 pages include an index and offer advice and guidelines on letterwriting and campaigning for issues on short and long term projects. Italso deals with the variety of responses that may be expected, and withpossible alternate actions.The Practicing Law Institute, 810 Seventh Avenue, New York, NY10019, has published a number of volumes on the arts and the law; themajority serve as guidebooks to lawyers representing or counselingartists or arts organizations.The publications catalogue of the American Council on the Arts containsa total of 35 titles. Among the recent additions is a 1979-80 SURVEY OFARTS ADMINISTRATION TRAINING IN THE U.S. AND CANADA($6.95) and LOCAL GOVERNMENT AND THE ARTS, a study of civicor municipally supported arts programs across the country. The freecatalogue may be obtained from ACA, 570 Seventh Avenue, New York,NY 10019.Opportunity Resources for the Performing Arts has prepared WRITINGA RESUME, which will prove helpful not only to administrators but alsoto artists. The 22-page brochure may be obtained for $3.50 from Oppor-tunity Resources, 1501 Broadway, New York, NY 10036.GRANTS FOR THE ARTS, by Virginia P. White, is a well organized, FUNDINGbasic handbook of information on grant applications, possible sources, * SUPPORTand programs. It is illustrated with sample applications and forms, andincludes various address lists and an index. Plenum Press, New York,published the 360-page, hardcover volume to sell for $19.50. Anotherrecent publication by Plenum Press is Frank Koch's THE NEW COR- .PORATE PHILANTHROPY, available for $18.50.The Washington International Arts Letter has announced fourth editionsof two of its useful directories on funding, part of its "Arts PatronageSeries". The NATIONAL DIRECTORY OF ARTS SUPPORT BY PRI-VATE FOUNDATIONS contains about 1,300 listings ($65), and theNATIONAL DIRECTORY OF GRANTS AND AID TO INDIVIDUALSIN THE ARTS about 2,000 listings for all arts disciplines ($15.95). TheDirectory of Support by Business Corporations is also available, pricedat $65.The seventh edition of THE FOUNDATION DIRECTORY has been pub-lished by the Foundation Center for distribution by Columbia UniversityPress. Pages: 594; price: $40 plus $1.50 for postage and handling.The Federal Council on the Arts and the Humanities has published theCULTURAL DIRECTORY II: Federal Funds and Services for the Artsand Humanities. In addition to descriptions of NEA and NEH programs,the study lists programs by numerous other government agencies thataffect and assist the arts. The work is extremely useful, however, in view

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of all the proposed government cutbacks, many of the listings may soonbecome obsolete. The 265-page indexed paperback may be ordered fromThe Smithsonian Institution Press, Box 1579, Washington, DC 20013,for $8.60 including postage.Other arts-related government publications include FUNDINGSOURCES FOR CULTURAL FACILITIES: Private and Federal Sup-port for Capital Projects, compiled by Linda C. Coe, published by theOregon Arts Commission and the National Endowment for the Arts;ECONOMIC IMPACTS OF ARTS AND CULTURAL INSTITUTIONS:A Model for Assessment and a Case Study in Baltimore (1977), publishedby the National Endowment for the Arts and Johns Hopkins Universityin Baltimore.; and THE CHALLENGE GRANT EXPERIENCE, pre-pared by Diane J. Gingold of the National Endowment for the Arts. Thelatter is available free of charge from NEA, Room 725W, 2401 "E" StreetNW, Washington, DC 20506.

GUIDE TO RESOURCES: For Program Developers in the Field of Artsand the Disabled Person is published by the National Committee on Artsfor the Handicapped, Room 418,1825 Connecticut Avenue NW, Washing-ton, DC 20009, and priced at $5.MONEY FOR ARTISTS is a helpful guide for New York State residentartists seeking grants, awards, and fellowships; JOBS IN THE ARTSlists national sources for career counseling, job placement and referralservices, and arts newsletters carrying employment notices. Both arepublished by the New York Center for Arts Information, 625 Broadway,New York, NY 10012 in the form of four-page pamphlets, each priced at$1. The same organization has recently compiled a booklet, INTER-NATIONAL CULTURAL EXCHANGE, describing 45 organizationsthat facilitate or fund such programs. Its price is $2. Last but not leastis the 52-page survey, MANAGEMENT ASSISTANCE FOR THEARTS, describing 29 national service organizations that offer consultantservices, training sessions, on-the-job training, and management relatedpublications to non-profit arts organizations. The price is $4. A list of allNYCAI publications is available upon request.

FOR Arts Education and Americans, at 10 Rockefeller Plaza, New York, NYACADEMIC 10020, has published a number of monographs, each priced at $2. "YourADMINISTRATORS School District and the Arts", "Local School Boards and the Arts, a Call

for Leadership", "Ideas and Money for Expanding School Arts Pro-grams", etc.The ACADEMIC MEDIA SERIES, published by Marquis Who's Who,includes the Annual Register of Grant Support. The 1979-80 edition isavailable for $57.50 plus $2.50 for postage and handling.THE STATE OF THE ARTS AT STATE UNIVERSITIES ANDLAND-GRANT COLLEGES represents a study of 106 campuses withan enrollment of 135,500 students in 23 arts disciplines. About 15,500degrees are awarded annually by these institutions, including 421 inperformance of music. Copies of the illustrated, 69-page study areavailable from the National Association of State Universities andLand-Grant Colleges, One Dupont Circle NW, Suite 710, Washington,DC 20036.

MISCELLANEOUS Theatre Communications Group, Inc., has published THEATRE PRO-D/RECTOR/ES FILES 4. Based on the 1979 TCG survey, the excellent resource book

contains profiles on some 170 non-profit theatre companies. Each entryincludes the group's history, some statistics, programs and services, therepertoire of the last two seasons (the last for 1978-79), and some pro-duction photos. Appendices include listings of dramatists, directors anddesigners for each production, theatres on tour, a graph of programsand services, and a general index. This is the fourth edition of Theatre

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Profiles and is available for $12.95 from TCG, 355 Lexington Avenue,New York, NY 10017. A free listing of all TCG publications may berequested.An indispensable reference source of artists and administrators is theannual INTERNATIONAL DIRECTORY OF THE PERFORMINGARTS published by Musical America/ABC Leisure Magazines. The 1981issue contains 624 pages and sells for $25.Three different publications have appeared listing arts festivals, two deal-ing exclusively with music festivals. THE INTERNATIONAL GUIDETO MUSIC FESTIVALS, published by Quick Fox, New York, devotes152 of its 245 pages to the United States and Canada. The entries arearranged by category (classical, jazz, folk, and miscellaneous). Informa-tion on ticket prices and hotel accommodations is included in this photo-illustrated and indexed book priced at $6.95. Douglas Smith and NancyBarton are editors; Sir Rudolf Bing wrote the Foreword. A foreign cur-rency conversion table is also included, but fluctuations in exchange ratesmust be considered. — The Berkshire Traveller Press, Stockbridge, MA,has released A GUIDE TO MUSIC FESTIVALS IN AMERICA, editedby Carol Price Rabin. The book is arranged in the same manner as theabovementioned guide, but here each entry commands a descriptive essayin addition to practical information. A special section is devoted to opera.Illustrated with drawings, the 200-page paperback sells for $4.95. — Thethird festival guide is published by the International Theatre Instituteof the United States/Greenwood Press under the title INTERNA-TIONAL DIRECTORY OF THEATRE, DANCE, AND FOLKLOREFESTIVALS. This book does not include music festivals and has no list-ing for the United States, although it covers 56 other countries. The 490-page paperback is priced at $10, and contains one feature we wish hadbeen incorporated into the above Music Festival Guides: a calendar ofevents cross-referencing festivals by date.The Touring Office of the Canada Council has released a 542-page,bi-lingual TOURING ARTISTS' DIRECTORY OF THE PERFORMINGARTS IN CANADA, 1980-81. It includes individual artists as well astouring ensembles with background information, booking contact, andtechnical information. A photograph is supplied with each entry. Copiesmay be requested from the Canada Council, Box 1047, Ottawa, Ont.,Canada KIP 5V8. •

New Operas and Premisrei(continued from page 6)

On October 10, the Op6ra Royal de Wallonie in Liege presented anassemblage of little-known pieces by Andre Gr6try under the titleMONSIEUR GRETRY OV LES MEMOIRES D'UN SOLITAIRE. BertheDi Vito-Delvaux and Marcelle Dambremont adapted the pieces to formone cohesive work.In fall '79, the Finnish radio gave the first performance of Tauno Mart-tinen's MEEDIO (The Medium), a 25-minute opera with soloists,chorus, and piano accompaniment. — Yet another CYRANO DE BER-GERAC, this one by composer Eino Tamberg, was premiered by theEstonian State Opera during the 1979-80 season.World premieres in Czechoslovakia this season include Stepanek's BIB-LICAL PANOPTICUM in Pilsen and Jirovec's THE OPTICIAN at theChamber Opera Studio of the Janacek Academy in Brno. — Not previ-ously reported are the fairy tale operas by Pavel Blatny: THE LITTLEHOUSE (1959) and FAIRY TALES FROM THE WOODS (1976).News of another new children's opera comes from Australia. SID, THESERPENT WHO WANTED TO SING was written by Malcolm Fox,dean of the music faculty at the University of Adelaide, where it wasfirst performed. •

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Appointment!(continued from page 29)

with full authority of a Music Director forthis one season.MARTIN PEINSTEIN resigned as Presi-dent and Chief Operating Officer of the Na-tional Symphony Orchestra to devote hisfull time to the Washington Opera. ROBERTJ. NOERR was appointed General Managerof the orchestra.Changes in managerial positions this seasoninclude: MARTHA BLAINE, from Assis-tant Manager of the Louisville Orchestra toManager of the Dallas Symphony; ROBERTC. JONES to General Manager of the Min-nesota Orchestral Association succeedingRichard Bass; NANCY SIES from the FortWorth Symphony to Manager of the TulsaPhilharmonic; ROBERT S. GROSS fromManager of the Colorado Philharmonic tothe same position with the Florida Sym-phony; DONALD ROTH from GeneralManager of the Austin Symphony to Man-aging Director of the Hartford SymphonyOrchestra.

ACADIMIAEx-Representative JOHN BRADEMAS,who had been Majority Whip in the Houseof Representatives and who was one of thegreatest arts advocates in Washington, hasaccepted the Presidency of New York Uni-versity. He will assume his new office atthe country's largest private university inthe summer of '81. ,JULIUS ERLENBACH was appointedDean of the College of Fine Arts at DrakeUniversity in Des Moines, after holding thesame position at the University of Wiscon-sin at Stevens Point. — From Florida StateUniversity comes CARL NOSSE, the newDean of the Conservatory of Music at theUniversity of the Pacific in Stockton, CA.— Louisiana State University has engagedLYLE C. MERRIMAN as Dean of itsSchool of Music. — Last fall, ABRAHAMSCHWADRON assumed the duties of Chair-man of the Music Department at the Uni-versity of California at Los Angeles, andDAVID L. KUEHN those at CaliforniaState University in Long Beach. — TheUniversity of Wisconsin in Whitewatersigned HOWARD G. INGLEFIELD asChairman of the Music Department. —The same title was bestowed on JAMESMcCRAY by Colorado State University inFort Collins, and on DANIEL PATRYLAK,formerly with the University of Texas atAustin, by the University of Connecticut atStorrs. — FIORA CONTINO resigned herMusic Department Chairmanship at theUniversity of Texas at Austin, but will re-main on the faculty. — WILLIAM THOM-SON, who was Chairman of the Music De-parment of the State University of NewYork in Buffalo, has joined the Universityof Southern California as Director of itsSchool of Music. — Moorhead State Uni-versity has engaged ROBERT PATTEN-

GALE to head its Music Department. — InCanada, the University of Western Ontariohas named JACK BEHRENS Dean of theDepartment of Music, and the University ofQuebec in Montreal signed composer/con-ductor JACQUES HETU as Director of theMusic Department.THEO ALCANTARA, Conductor of thePhoenix Symphony, is the new Artistic Di-rector of the Music Academy of the West inSanta Barbara. — Metropolitan Opera bassANDREW FOLDI will become Chairmanof the Opera Department of the ClevelandInstitute of Music in September '81. He isalso the first holder of the Institute's newlyendowed Ralph Schmitt Chair in Opera. —Other changes and new appointments toDirectorships of Opera Workshops effectivethis season include: BLANCHE THEBOM,from the University of Arkansas in LittleRock to San Francisco State University;FRANKLIN EUGENE DYBDAHL fromBowling Green State University to FloridaState University in Tallahassee; WILLIAMTAYLOR succeeding him as Director of theOpera Theatre in Bowling Green; andWILLIAM GRAHAM to the University ofMissouri at Kansas City. — THOMASMARTIN, formerly with the New YorkCity Opera, has joined New York Universityto head its new Opera Studio. — PETERHERMAN ADLER has retired as Directorof the Juilliard American Opera Center.A number of famous opera singers turnedvoice teachers, and Indiana University inBloomington announced that soprano VIR-GINIA ZEANI and her husband, bassNICOLA ROSSI-LEMENI, joined the voicefaculty. — Mezzo-soprano NANCY WIL-LIAMS and bass EZIO FLAGELLO arenow on the faculty of the Academy of VocalArts in Philadelphia.Other appointments include MYRON MY-ERS to Northern Illinois University inDeKalb. STEPHANIE HANSEN to Milli-kin University in Decatur, THOMASFARACCO to the University of Wisconsinin Madison, and NORMA WILLIAMS toDePaul University in Chicago. — Americanvoice teacher and conductor CLARA BURL-ING ROESCH just returned to the U.S.from a six-month assignment at CentralOpera Theatre in Peking, where she taughtvocal technique, Western music literature,and also conducted opera performances.FOREIGN OPERA COMPANIES

PATRICK L. VEITCH, Director of Mar-keting with the Metropolitan Opera since1975, was appointed General Manager ofthe Australian Opera Company in Sydney,effective April '81. He had been with theMet for the past eight years and, for thelast two years, was also consultant to theAustralian Opera. Richard Bonynge is thecompany's Artistic Director. — Australian-born DENIS VAUGHAN, who recentlyconducted in Munich, is the new Music Di-rector of the State Opera of South Aus-tralia, succeeding Myer Fredman. — The

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Victoria State Opera in Australia electedLORD HAREWOOD President of its com-pany; he is Managing Director of the Eng-lish National Opera. — Baritone RONALDMACONAGHIE of New Zealand assumedthe duties of Artistic Director of the Can-berra Opera, succeeding Ken Healey. Amember of the Australian Opera, the singeralso lectures at the Canberra School ofMusic.

BRIAN DICKIE, who joined the Glynde-bourne Festival administration in 1962, willbecome the company's General Administra-tor in fall '81. He will be the third man tooccupy this office, currently filled by MoranCaplat who succeeded Rudolf Bing, founderand first director, in 1949. Mr. Dickie's cur-rent duties as Opera Manager of the Festi-val and Administrator of the GlyndebourneTouring Company will be assumed byANTHONY WHITWORTH-JONES. Hecomes to the company from the London Sin-fonietta, where he was Administrative Di-rector. — Following the resignation ofMartti Talvela as Artistic Director of theSavonlinna Opera Festival in Finland, thecompany appointed TIMO MUSTAKALLIOto the post. — JOHN MODENOS is the newArtistic Director of the National Opera ofGreece in Athens. — Austrian conductorWOLFGANG SCHEIDT will join the Operaof Istanbul in Turkey as its General MusicDirector.

Following a guest engagement conductingMadama Butterfly in January '81, Ameri-can JUDITH SOMOGI was offered a con-tract as First Conductor by the Frank-furter Oper. She will start in this new posi-tion in fall '82, conducting some 40-60 per-formances annually, working under Gen-eral Music Director Michael Gielen. Ma.Somogi has been conducting at the NewYork City Opera since 1974; she also ledthe New York and Los Angeles Philhar-

monic orchestras and has conducted operaand symphony concerts in various U.S.cities. — Beginning next season, HIRO-SHI WAKASUGI will be the General-musikdirektor of the Deutsche Oper amRhein in Diisseldorf / Duisburg, taking overfrom Giinther Wich. Mo. Wakasugi will re-tain his present post as Music Director ofthe Radio Orchestra of Cologne. — At thesame time, American conductor LAW-RENCE FOSTER will become PrincipalConductor of the dual-city opera company.— BRUNO WEIL succeeds Gabor Oetvosas Music Director of the Augsburg Operabeginning with the 1981-82 season, KLAUSWEISE will become Music Director in Kiel,and ADAM FISCHER General Music Di-rector in Freiburg. — The opera house inKassel named WALDEMAR NELSSONMusic Director to succeed James Lockhart.

GOTTFRIED WAGNER, son of WolfgangWagner, was engaged by the WuppertalerBuhnen as Resident Stage Director andDramaturg. — The Komische Oper in EastBerlin has appointed HARRY KUPFERArtistic Director. He will succeed JoachimHerz, who took over the post from WalterFelsenstein.

Last fall, ITALO GOMEZ became the Direc-tor of the Teatro La Fenice in Venice. —The Rome Opera has engaged DANIELOREN as Music Director and PermanentConductor. The 25-year old maestro maywell be the youngest head of an interna-tional opera house. ROMAN VLAD is thenew General Administrator with the samecompany.

In France, M. MICHEL LEDUC was namedPresident of the Chambre Syndicale of theDirectors of French Theatres.

PETER EBERT announced his resignationas General Manager of the Scottish Operadue to financial problems of the company. •

Government Programs(continued from page 14)

tation with the other programs, to further explore its implementation.A pilot program would allow certain (a small number) of presenters tosubmit only one application to the Endowment to cover their total fund-ing requests to the Endowment. Inter Arts would administer its reviewand approval.

The MINNESOTA STATE ARTS BOARD, which gives unrestrictedgrants to selected arts organizations toward their operating expenses,has approved a plan for the development of regional arts councils servingall parts of the state.

The SOUTHERN ARTS FEDERATION, comprising Alabama, Florida,Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Caro-lina, Tennessee, and Virginia, is seeking applications from performingarts groups for inclusion in its 1982-83 touring program.

STATE AREGIONAL

ARTSAGENCIES

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PERFORMANCE LISTING 1980-81 SEASON, cont.All performances are staged with orchestra unless marked "cone, pf." or "w.p."(with piano), — * following an opera title indicates new production. — Performancesand news items once announced will not be relisted at the time of performance.

ARIZONAArizona Theatre Co., S. Rosentfaal, Art. Dir., Tucson Community Center

Theatre4/7-16/81 A Little Night MusicPhoenix Symphony Orchestra, T. Alcantara, Mus. Dir., Phoenix3/81 Bluebeard's Castle cone, pfs.; Hale

ARKANSASArkansas Opera Theatre, A. Chotard, Gen. Dir., Little Rock (see also Vol. 22,

No. 3)1980-81 Many Moons Children's Opera Theatre on tour to 16 communities in AR

CALIFORNIAAmerican Theatre of Opera, C. Candala, Dir., Los Angeles12/12, 14/80 Zador's Yehu Laiacona, SwornayBrown Bag Opera of the San Francisco Opera1-3/81 Gounod's Philemon and Baucis Eng, Stapp; 1/27/81 opening pf.California Institute of the Arts & Los Angeles County Museum9/80 Matyushin's Victory Over the Sun Am. prem., in conjunction with Russian

avant-garde 1910-1930 exhibit: "New Perspectives"; 1/23, 24, 25/81 at SmithsonianInstitution/ Museum of Natural History, Washington, D.C.

California Institute of the Arts, H. Petta, Dir., Valencia2/5, 6, 7/81 L'Enfant et les sortilegesCalifornia State College-Stanislaus, G. Unruh, Dir. Opera, Turlock2/5, 6, 7, 8/81 FaustCalifornia State Univ. Opera Wksp., D. Scott, Dir., Northridge10/24, 25, 26, 29, 30 11/1, 2/80 Faust3/27, 28 4/1, 3-5/81 The Old Maid and the Thief & Comedy on the BridgeCity West Opera, Wilshire Ebell Theatre9/5, 6/80 Lucia di LammermoorIISI81 The Merry WidowDesert Opera Theatre, A. Baekey, Dir., Palm Desert10/31 11/1, 2, 7, 8, 9/80 Die FledermausFullerton Civic Light Opera, Fullerton10/18/80 Damn Yankees2/20-22, 27, 28 3/1, 5-8/81 The Merry WidowGlendale Opera, D. Forster, Dir., Glendale10/26/80 PagliacciLa Mirada Civic Light Opera, La Mirada5/5-17/81 Follies on BroadwayLong Beach Grand Opera, M. Milenski, Mus. Dir., Terrace Theatre1/15, 17/81 Faust Malfitano; Cianello, Morris, Schexnayder; c: Kellogg; d: Auer-

bachLos Angeles Chamber Orchestra, Los Angeles11/1/80 Le Bourgeois gentilhomme w. USC Men's Chamber Choir; narr: Ferrer; c:

G. Schwartz; 10/31 Univ. California Santa Barbara; 11/2 El Camino CollegeLos Angeles Philharmonic, C. M. Giulini, Mus. Dir., Music Center Pavilion,

Los Angeles12/11, 12, 14/80 Bluebeard's Castle cone, pfs., Kasza; Cheek; c: Foster; 12/13 in

San DiegoMark Taper Forum, G. Davidson, Art Dir., Los Angeles3/8-5/3/81 Swados' The HaggadahMonterey County Symphony, Monterey1/81 Porgy and BessMt. San Jacinto College Opera Wksp., A. Ayars, Dir., Gihnan Hot Springs1/16, 18, 23, 25/81 The CrucibleOpera a la Carte, R. Sheldon, Dir., Los Angeles10/4/80 2/3, 7, 28/81 The Pirates of Penzance10/18, 19/80 The Mikado1/312/1/81 Cox and Box & Trial by Jury

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Pacific Lyric Theatre, I. Mysior, Dir., Balboa Park Theatre, San Diego9/12-14, 19-21/80 Captain Lovelock & Scenes from Mozart operasPalm Springs Opera Guild of the Desert, Palm Springs1/14/81 The Barber of Seville Marsee; Evans, Nolen, Bassett; c: Salesky; National

Opera Touring Co.San Bernardino Civic Light Opera, San Bernardino2/13-21/81 Plain and FancySan Carlo Opera, M. Leonetti, Dir., San Gabriel (see also Vol. 22, No. 3)10/19/80 Norma11/30/80 CarmenSan Diego Opera Center, T. Capobianco, Gen. Dir., San Diego1980-81 The Ballad of the Bremen Band; The Secret MarriageSan Diego State University & San Diego Opera, T. Capobianco, Art. Dir.,

San Diego12/5, 6, 12, 13/80 Salieri's FalstaffSan Jose Festival, San Jose2/81 Henze's El CimmardnSan Jose Symphony and Opera, R. Wright, Gen. Mgr., San Jose2/81 The Marriage of Figaro HynesSanta Monica Civic Opera, J. Garrotto, Dir., Santa Monica10/11, 12m/8O L'Elisir d'amore2/28 3/1/81 The Chocolate SoldierSouth Coast Repertory, D. Emmes, Prod. Art Dir., Costa Mesa5/26-6/28/81 Anything GoesSpring Opera Theater, K. H. Adler, Gen. Dir., San Francisco (see also Vol. 22,

No. 3)3/6, 8m, 12, 14/81 Eaton's The Cry of Clytaemnestra N. Nelson, P. Hunter, Paten-

aude-Yarnell; Noble, C. Freeman & Monteverdi's // Ballo delle ingrate Patenaude-Yarnell, G. Stapp; c: Bradshaw; d: Freedman; ds: Casey

Valley Opera, R. Chauls, Mus. Dir., Van Nuys (see also Vol. 22, No. 3)1/22, 23, 24, 25m/81 The Merry Wives of Windsor4/11, 12/81 Chaul's Alice in Wonderland 4/18m/81 in Los Angeles6/18, 19, 20, 21m/81 The Ballad of Baby DoeUniversity of California Opera Wksp., J. Hall, Prod., Los Angeles (see also

Vol. 22, No. 3)12/19, 20, 21/80 Amahl and the Night Visitors 6 pfs.

COLORADODenver Center Theatre Co., E. Call, Dir., Denver3/10-4/28/81 How to Succeed in Business Without Really Trying

CONNECTICUTYale University School of Music, R. Crittenden, Dir., New Haven11/7/80 Gotterdammerung Act II; Curtin; c: Mauceri

DELAWAREWilmington Opera Society, R. McCartney, Pres., Wilmington2/27/81 Cost fan tutte Wolf, Schumann, S. Peterson; Grahame, Davies, Crafts; c:

Caraher; d: Driver; Opera Theatre of Syracuse prod.41 SI II Trovatore

DISTRICT OF COLUMBIAArena Stage, Z. Fichandler, Prod. Dir., Washington10/29-12/14/80 One Mo' Time5/8-6/14/81 Menken's God Bless You, Mr. RosewaterHandel Festival, S. Simon, Mus. Dir., Kennedy Center Concert Hall1/10/81 Ariodante Tourangeau, L. Haywood, Anderson; Meredith, Hirst; cone. pf.3/14/81 "Hallelujah Handel" excerpts5/9/81 Belshazar Craig, Wolff; H. Price; cone. pf.Imagination Celebration, Terrace Theatre, Kennedy Center (4/19-5/2/81)4/19, 20/81 Starbird prod: Texas Opera Theatre, 4 pfs.; also ballet & theatre pfs.

for children

FLORIDAAlice People Theatre, University of Tampa, Tampa5/15-31/81 Stop the World — / Want to Get Off

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Florida Lyric Opera, R. Maresca, Gen. Mgr., Tampa/Clearwater (see also Vol.22, No.3)

1/28/81 The Telephone & Pagliacci2/21/81 Tosca J. Hill; Sanchez-Luna, Beer-Geest; c: Flagello; d: Laurenti41231 SI La TraviataPalisades Theatre, R. Hopkins, Art Dir., St. Petersburg4/3-18/81 Fonseca's Tropical NightsSt. Petersburg Opera Co., W. Posno, Pres., Bayfront Auditorium11/22/80 La Traviata N. Shade; Price, Schexnayder; c: LeBaron; d: Ducas; ds: Gano

New Orleans Opera prod.1/16/81 The Barber of Seville Anderson; Britton, Lorey, Beni; c: LeBaron; New

Orleans prod.3/7/81 Tosca Amara; Morell, Opthof; d: Lucas

GEORGIAAlliance Theatre Company, F. Chappell, Art. Dir., Atlanta10/15-11/9/80 A History of the American Film11/26-12/31/80 The King and 13/9-4/3/81 Not Just KidstuffSavannah Symphony, C. Badea, Mus. Dir., Savannah1980-81 Tosca cone. pfs.

HAWAIIHawaii Opera Theatre, A. Taylor, Gen. Mgr., Honolulu (see also Vol. 22,

No.3)2/13, 15, 17/81 Carmen Vergara, Karlsson; D. Bailey, Hartman; c: Johanos; d:

Morelock; ds: GullicksenSt. Francis High School, Honolulu12/12/80 Tanner's Pupu-Kani-Oe prem.

ILLINOISChicago Opera Repertory Theatre, B. Kamsler, Exec. Dir., Chicago3/81 // Matrimonio segretoChicago Opera Theatre & Urban Gateways Program, A. Stone, Art. Dir. (see

also Vol. 22, No. 3)11/80-3/81 tour to schools: The Barber of Seville mini-version, adapt. Stone; w.p.Chicago Symphony Orchestra, G. Solti, Mus. Dir. (see also Vol. 22, No. 3)3/81 Oedipus Rex Aler; c: AbbadoMidland Repertory Players, K. Shanahan, Prod. Dir., Alton2/27, 28, 29/81 Herodiade w.p.; also pfs. in JuneOPRILL (Opera Illinois), D. Lloyd, Pres., Eastern Illinois Univ., Charleston10/25/80 Opera Scenes by member workshopsPerformance Community, B. Schaffer, Art. Dir., Chicago10/2-11/9/80 D'Amato's RSVP Broadway11/25/80-1/4/81 Director's Diamonds

INDIANAIndiana Repertory Theatre, E. Stern, Art. Dir., Indianapolis10/24-11/15/80 Mitchell's Hoagy, Bix & Wolfgang Beethoven Bunkhaus prem.Indiana University Opera Studio, C. Webb, Dean, Bloomington (see also Vol.

22, No. 3)12/4, 5/80 L'Oca del Cairo Eng. & Hageman's The Aspern Papers prem; c: Stanley/

Hodges; d: Pugh/Eitemiller; ds: Brown/Dendy4/16, 17/81 Secret of Suzanne & Riders to the Sea

KANSASWichita State University Opera Theatre, G. Gibson, Dir., Wichita10/80 Dialogues of the Carmelites 4 pfs.

KENTUCKYActors Theatre of Louisville, J. Jory, Prod. Dir., Louisville4/30-5/24/81 Diamond Studs

LOUISIANACentenary College Opera Theatre, M. B. Armes, Dir., Shreveport11/23, 24/80 Cosi fan tutteMatinee Musical Club, Alexandria3/81 Tosca Sundine; Embree; c: Kushner

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Opera America Composer/Librettist Showcase, P. Haupt-Nolen & W. Balk,Co-Dirs., New Orleans

1/6, 7/81 excerpts from Paxton's The Adventures of Friar Tuck; Chauls' Alice inWonderland; Ahlstrom's America, I Love You; Pouhe's Pantomime; Mechem'sTartuffe; Paulus's A Village Singer; Read's Villon Ellsaesser, Nicosia, Peterson,McCaffrey, Sonnenschein; Grayson, Hoback, Edwards, Nolen, Bassett

MARYLANDBaltimore Opera Recital Series, J. Holbrook, Gen. Mgr., Peabody Conservatory1/4/81 Ryan Edwards in Concert1/22/81 James Morris in ConcertCenter Stage, S. Wojewodski, Art. Dir., Baltimore12/12/80-1/18/81 The Duenna musical adapt. Mulcahy

MASSACHUSETTSAmerican Repertory Theatre, Cambridge11/27/80-2/28/81 The Seven Deadly Sins Eng. Auden/KallmanBoston Concert Opera Orchestra, D. Stockton, Dir. (see also Vol. 22, No. 3)1/30 2/1/81 Lucia di Lammermoor Hall; McCauley, Arnold, West; c: Stockton;

cone. pfs.The Handel and Haydn Society of Boston, T. Dunn, Mus. Dir., Symphony Hall3/13/81 Honegger's King David Zoghby, Allen; Humphrey; cone. pf.Springfield Symphony Orchestra, R. Gutter, Mus. Dir., Springfield3/81 The Marriage of Figaro cone. pf.Stage West, S. Hays, Prod. Dir., West Springfield12/11/80-1/3/81 Dames at SeaWorcester Foothills Theatre Co., M. Smith, Exec. Prod., Worcester12/10/80-1/4/81 Downes's Bye, Bye Broadway

MICHIGANAttic Theatre, Detroit11/14/80-1/3/81 The Robber BridegroomBoars Head Theatre, C. Conn, Mng. Dir., Lansing3/26-4/2/81 Oh, Coward!Michigan Opera Theatre Opera-in-Residence touring program, DetroitSpring '81 Barab's Fair Means and Foul prem.; Fledermaus to St. Clair & UticaMichigan Technical University, Music Department, Houghton12/10-13/80 Amahl and the Night VisitorsUniversity of Michigan Opera Theater, P. Bakman. Dir., Ann Arbor11/20-23/80 The Consul c: Meier; d: Bakman11/24/80 Opera Workshop presentation3/26-29/81 Orpheus in the Underworld c: Meier; d: Burgwin

MINNESOTACricket Theatre, L. Salerni, Art. Dir., Hennepin Center, Minneapolis5/22-6/3/81 Side by Side by SondheimMinnesota Opera & Civic Orchestra of Minneapolis, Orchestra Hall, Min-

neapolis (see also Vol. 22, No. 3)3/1/81 Vaughan Williams' The Pilgrim's Progress cone, pf.; c: Brunelle, w. Ply-

mouth Festival ChoirUniversity of Minnesota Opera Theatre, V. Sutton, Dir., Minneapolis4/3, 4/81 Martin y Soler's Una Cosa rara Eng. Sutton; Am. prem. (postponed from

3/80); c: RolekMISSOURI

Opera Theatre of Saint Louis Touring Company, R. Gaddes, Gen. Dir., St.Louis

3/16/81 (opening night) The Night Bell and tourSt. Louis Conservatory (CASA) Opera Wksp., E. Zambara, Dir., St. Louis2/7, 8/81 Orfeo ed Euridice

MONTANAIntermountain Opera Ass'n., Bozeman5/22, 23/81 La Boheme d/ds: Stivanello

NEVADANevada Opera, Ted Puffer, Dir., Reno10/24, 25/80 The Merry Widow2/20, 21/81 Cost fan tutte Burgess, Blaikie, C. Lewis, Livings, Trimble, L. Cooper;

c: Sullivan; d: Puffer; ds: Vogel4/9, 10/81 The Girl of the Golden West N. Shade

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NEW JERSEYGeorge Street Playhouse, E. Krebs, Prod., New Brunswick12/4/80-1/4/81 PurlieLubo Opera Co., J. Lasky, Gen. Mgr., Boonton State Theater (see also Vol. 22,

No. 3)5/16/81 Tosca Lasky; Livigni, Andoor; c: Morss; d: Mihov (replacing La Forza

del destino)New Jersey State Opera, A. Silipigni, Art. Dir., Newark (see also Vol. 22,

No. 3)12/2, 9/80 Nixon's The Bride Comes to Yellow Sky at Newark Public Library &

Kean CollegeOpera Classics of New Jersey, G. Ungaro, Gen. Mgr., Paramus (see also Vol.

22, No. 3)2/28/81 // Trovatore (replacing Samson et Dalila) Ehrlich; Williams, Lambrinos;

c: Coppola; d: Moresco; ds: StivanelloOpera Theatre of New Jersey, New Brunswick1980-81 tour to schools: The Telephone; Gallantry; The Impresario; Opera scenesWhole Theatre Co., O. Dukakis, Art Dir., Montclair10/21-11/23/80 Cole.'

NEW MEXICOEastern New Mexico University Music Theater, R. Cage, Dir., Portales10/80 Suor Angelica & RSVP

NEW YORKCornell Savoyards, S. Bronfenbrenner, Pres., Ithaca11/7-9, 14-16/80 The Mikado3/81 RuddigoreFestival Opera, G. Levine, Cond., Colden Center for the Performing Arts12/5, 7m/80 Fidelio cone, pf.; Knie; McCracken, Plishka; Collegiate ChoraleManhasset Bay Opera Ass'n., R. H. Lawson, Art. Dir., Great Neck and tour11/8, 23/80 La Traviata2/7, 15/81 Manon3/14, 22/81 The Daughter of the RegimentPAF Playhouse, J. Broad, Prod., Huntington Station4/3-25/81 Dweir's The RaftPocket Opera of the Opera Theatre of Syracuse, R. Driver, Dir., Syracuse (see

also Vol. 22, No. 3)1980-81 tour Sweet Betsy from PikeRochester Philharmonic, D. Zinman, Mus. Dir., Rochester5/21, 23/81 Fidelio cone, pfs.; BusseSUNY at Fredonia, Stefan Zweig Symposium, M. Sonnenfeld & Y. Wilensky,

Co-ords., Fredonia3/30-4/2/81 incl. scenes from Strauss/Zweig's Die schweigsame Frau c: H. J. BrownSyracuse Stage, A. Storch, Prod. Dir., Archbold Theatre12/12/80-1/4/81 Dames at SeaA Taste of Opera, Educational Tour of Tri-Cities Opera, Binghamton3-5/81 Sid, the Serpent Who Wanted to Sing, Little Red Riding Hood; Faun in the

ForestWestchester Lyric Festival Opera, F. Iglesias, Gen. Dir., SUNY, Purchase (see

also Vol. 22, No. 3)12/20/80 L'Elisir damore di Stefano; c: J. Rescigno; d: Stivanello

NEW YORK CITYAfter Dinner Opera, spons: Con Edison & N.Y.C. Board of Education, Ro-

tunda, Federal Hall3/12-26/81 "A Revolutionary Celebration" 15 pfs.Amato Opera Circle, A. Amato, Dir. (see also Vol. 22, No. 3)2/15/81 Little Red Riding HoodAmerican Opera Repertory Co., L. Dell'Orefice, Mus. Dir., Carnegie Hall5/17/81 L'Amico Fritz A. Evans; F. Tagliavini; w. Scola Cantorum of N.Y.Arthur Lief Presents, Del Terzo Studio, Carnegie Hall Studios1/22/81 Dvorak's The Peasant Rogue cone, reading; Eng. LiefBillie Holiday Theatre, Brooklyn10/1-11/30/80 Huntley's Tambourines to Glory

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Brooklyn Lyric Opera, N. Myrvick, Art. Dir., Brooklyn11/2/80 Rigoletto 2111 SI La BohemeBrooklyn Opera Society, R. Tazzini, Mng. Dir., Brooklyn10/11, 12/ 80 La Boheme 11 / 29/ 80 L'Infedelta delusa1/31 2/7/81 Cost fan tutte c: NygaardBroque Opera Co., M. King, Dir., Richard Morse Theater2/6, 7/81 The Ring of the Fetluccinis (55-min. persiflage of Grand Opera)Chamber Opera Theater of New York, T. Motyka, Art. Dir., Marymount Man-

hattan Theatre12/26, 27m, 27, 28m/80 Angelique & Old Maid and the Thief c: CoxFirst All Children's Theatre, M. Stein, Art. Dir.10/18-12/31/81 Grownups 1/10-2/28/81 The Incredible Feeling Show3/15-5/24/81 Peaslee's The Children's CrusadeGolden Fleece, L. Rodgers, Dir., Theatre 22 (see also Vol. 22, No. 3)2/27, 28 3/1/81 Rorem's Bertha & Benjamin's The Rehearsal3/20, 22/81 "Composer Chamber Theater", compositions by Amram, Dembo,

Fink, Luening, R. SamuelsHenry Street Settlement Opera Wksp., S. Barker, Dir.2/1/81 Don GiovanniIndiana University Opera Theater at Metropolitan Opera (see also Vol. 22,

No. 3)4/26/81 Martinu's The Greek Passion c: Balkwill; d: Allen; ds: RoethlisbergerInterstate Opera Co., Martin Luther King High School11/9, 16/80 La JuiveJuilliard American Opera Center, Lincoln Center (see also Vol. 22, No. 3)2/25, 27, 29 3/ lm/81 Lucia di Lammermoor c: Halasz; d: Ayrton; ds: Colavecchia/

LeeJuilliard Opera Training Dept.4/24, 26/81 La buona figliuola Eng. Dunn; c: Torzs; d: AyrtonLubo Opera Co. of New Jersey & Liederkranz Society of NY, Martin Luther

King Auditorium1/30, 31# 2/ lm/81 Grafin Mariza # Eng.; c: Morss; d: MihovManhattan Opera Theatre, A. Charlet, Dir., Brandeis Auditorium10/17/80 Lakme11/26/80 ThaisManhattan School of Music, J. Crosby, Pres., John Brownlee Theatre3/19, 21, 22m/81 Die Kluge & Suor AngelicaMannes College of Music Opera Wksp., F. Popper, Dir., Recital Hall12/8, 10/80 Opera Scenes3/13/81 L'Oca del CairoMetropolitan Opera Ass'n, A. A. Bliss, Gen. Mgr., Metropolitan Opera House12/10, 19/80 Mahler's Symphony No. 2; Home, Blegen/Battle; c: Levine12/12, 16, 20, 26, 29/80 l/3m/81 Lulu (3-act vers.) Stratas/Migenes, Lear; Riegel,

Mazura, Carlson, Foldi; c: Levine; d: Dexter; ds: Herbert12/17, 22, 31/80 1/3, 6, 10 16, 20, 24, 29/81 Cavalleria rusticana & Pagliacci12/18, 23, 27, 30/80 1/2, 7, 10m/81 Les Dialogues des Carmelites12/24, 25, 27m/80 1/1, 5, 8/81 Hansel and Gretel Eng.1/9, 13, 17, 21, 26, 31m 2/5, 9, 13, 18/81 Tristan und Isolde1/12, 15, 22, 24, 27, 30 2/4, 7m, 12, 16, 21/81 Die Zauberflote1/19, 23, 28, 31 2/3, 7, 10, 14m, 19, 23, 27 3/5/81 Un Ballo in maschera1/1, 6, 11, 14, 17, 21m, 26/81 L'ltaliana in Algeri2/20#, 25, 28m 3/3, 7, 9, 13/81 "Parade"* Satie's Parade & Poulenc's Les Mamelles

de Tiresias Malfitano; Holloway, Monk & Ravel's L'Enfant et les sortilegesHarris, G. Robinson, Welting, Quivar, Bradley; Velis, Holloway, Robbins; c:Rosenthal; d: Dexter; ds: Hockney; chgr: Sebastian

2/24,28 3/4, 7m, 11, 14, 23, 27 4/3/81 Salome3/2, 6, 10, 14m/81 L'Elisir d'amore3/17#, 21, 25, 28m 4/1, 6, 10, 14, 17/81 La Traviata* Cotrubas; Domingo, Mac-

Neil; c: Levine; d: Graham; ds: Moiseiwitsch3/19/81 Caballe and Carreras "In Concert"3/21m, 28, 31 4/4, 8/81 Manon Lescaut3/26, 30 4/4m, 7, 11, 15, 18/81 The Rise and Fall of the City of Mahagonny4/12/81 Nilsson; Jung, Estes "In Concert" c: Levine #Guild benefit pfs.

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1980-81 Roster: sops.: Amara, Andrade, Battle, Bergquist, Blegen, Bradley, Brand-son, Bumbry, Coss, Cotrubas, Craig, Crespin, Cruz-Romo, Davis, De Franco, Donat,Jones, Knie, Lear, Lorange, Malfitano, Meier, Migenes-Johnson, Mitchell, Nilsson,Norden, Peters, Popp, Robinson, Savova, Scotto, Stratas, Verrett, Volkman, Welting,Wohlafka, Zoghby, Zylis-Gara; mezzos: Baglioni, Berini, Boozer, Bybee, Carlson,Casei, Catania, Chookasian, Cornell, Cortez, Decker, Dunn, Elias, Ewing, Godfrey,Grillo, Harris, Home, Jones, Kraft, Love, Petros, Quivar, Troyanos; tens.: Alex-ander, Anthony, Atherton, Bergonzi, Best, Bini, Blake, Cassilly, Castel, Ciannella,Creech, Domingo, Frank, Franke, Gedda, Giacomini, Gibbs, Gonzalez, Jenkins,Jung, Kness, Kuebler, Lewis, Little, Malamood, Mauro, Morell, Nagy, Pavarotti,Raffante, Raitzin, Rendall, Riegel, Sergi, Talley, Ulfung, Velis, Vickers, Walker,Wenkoff; bars.: Boesch, Boucher, Carlson, Christopher, Clark, Darrenkamp, Dues-ing, Ellis, Elvira, Glassman, Goodloe, Holloway, MacNeil, Mclntyre, Meredith,Milnes, Monk, Nimnicht, Patrick, Quilico, Schexnayder, Sereni, Shinall, Stewart,Thompson, Uppman, Weikl; basses: Andersson, Berberian, Bertolino, Booth,Capecchi, Cheek, Courtney, Dobriansky, Estes, Fleck, Foldi, Gramm, Hines,Macurdy, Mazura, Morris, Plishka, Robbins, Salminen, Vernon, Vinco; conds.:Davis, Foster, Fulton, Jarvi, Levine, Patane, Rescigno, Rosenthal, Rudel, Stivender,Tate, Veltri, Woitach.Metropolitan Opera Ass'n Spring Tour, A. A. Bliss, Gen. Dir., Kennedy

Center, Atlanta, Memphis, Dallas, Minneapolis, Detroit, Cleveland, Boston4/20, 28 5/6, 13, 16, 19, 25 6/3, 10/81 Manon Lescaut4/21, 27 5/4, 14, 18, 30 6/4, 11/81 La Traviata4/22, 29 5/7, 12, 15, 20, 26 6/2, 12/81 The Rise and Fall of the City of Mahagonny4121, 30 5/8, 22, 28 6/7, 13/81 Verdi Requiem4/24 5/2m, 9, 23m, 30m 6/5, 9/81 Samson et Dalila4/25m5/2, 5, 11, 16m, 23, 29 6/1, 8/81 Don Giovanni4/25 5/1, 9m, 21, 27 6/6m, 13m/81 Cavalleria rusticana & PagliacciMetropolitan Singers & Little Orchestra Society, Avery Fisher Hall11/23/80 Honegger's Jeanne a"Arc au bucher Papas; Bosco; c: AnagnostNational Opera Touring Co., B. Sills, Gen. Dir., tour (see also Vol. 22, No. 3)Spring '81 Pagliacci incl. 4 pfs. in Bermuda; Barber of Seville in Palm SpringsNew York Choral Society, R. Cormier, Mus. Dir., Carnegie Hall2/14/81 Carmina burana AndersonNew York City Opera, B. Sills, Gen. Mgr., State Theatre (see also Vol. 22,

No. 3)2/19 3/lm, 11, 21/81 The Merry Wives of Windsor2/20, 22, 24, 28m 3/8m/81 Don Giovanni2/21m 3/19, 29m 4/15, 25/81 Carmen2/21, 27 3/8/81 Les Pecheurs de perles2/22m, 28 3/7m/81 Les Contes d'Hoffmann3/1, 3, 7, 14/81 Mary, Queen of Scots* Putnam; Busse, Serbo, Fredricks, Bell, Sea-

bury; c: Mark; d: Farrar; ds: Romero/Reid; Virginia Opera Ass'n prod.3/6, 12, 29 4/4m, 19m, 25m/81 La Boheme3/14m, 18, 28m 4/4, 10/81 Madama Butterfly3/15m, 21, 25/81 Giulio Cesare3/13, 15, 17, 20, 22m/81 Attila* Zschau; Ramey, DiGiuseppe, Fredricks; c: Com-

issiona; d: Mansouri; ds: Lee/George; Lyric Opera of Chicago & San Diego Operaco-prod.

3/22, 26, 28, 31 4/5/81 Maria Stuarda3/27 4/3/81 Falstaff4/1, 4m, 7, 12/81 Tosca4/8, llm, 17/81 Anna Bolena4/9, 11, 14, 16, 18/81 The Cunning Little Vixen* Eng. Jones & Graff; Rolandi,

Pelle; Lankston, Cross, Malas, Beattie; c: Tilson Thomas; d: Corsaro; ds: Jam-polis/Feldman

4/12m, 18m, 21/81 Love for Three Oranges4/19, 23, 26m/81 The Makropoulos Affair4/22, 24, 26/81 La Clemenza di TitoRoster: sops: Aaronson, Anderson, Christos, Craig, Esham, Fiske, Galvany, Gut-knecht, Hail, Hynes, Munro, Myers, Nielsen, Niska, Orloff, Poston, Putnam, Rolandi,E. Shade, Sheil, Sonnenschein, Soviero, Stapp, Sundine, Thomson, Vaness, Woods,Yorke, Zannoth, Zschau; mezzos: Costa-Greenspon, Curry, Davidson, Eckhart,

— 56 —

Evans, Forst, R. Freni, Hegierski, Lerner, Marsee, Pelle, Shaulis, Simon, Toro; tens:Aler, Blake, Busse, Calleo, Clark, Cole, DiGiuseppe, Evans, Grice, Hadley, Hall,Harrold, Lankston, Large. McCauley, Moser, Novick, Perry, H. Price, P. Price,Schmorr, Reed, Serbo, Trussel; bars. & basses: Albert, Arnold, Bassett, Beattie, Bell,Broecheler, Billings, Brown, Burt, Cross, Densen, Diaz, Dickson, Embree, Foss,Fredricks, Hale, Jaffe, Jamerson, Justus, Ledbetter, Long, Ludgin, Malas, Martino-vitch, McFarland, McKee, Opalach, Ramey, Reeve, Seabury, Sergi, Serrano, A. Smith,D. Smith, Sullivan, Titus, Wildermann, Yule; conds.: Bemardi, Caldwell, Comissiona,de Almeida, Effron, Keene, Mark, Mauceri, Pallo, Salesky, Simmons, Tilson Thomas,Wendelken-Wilson.New York City Opera Educational Dept., tour to schools4-5/81 Arlan's Meanwhile, Back at Cinderella'sNew York Gilbert & Sullivan Players, Symphony Space10/23-26/80 The Pirates of Penzance 6 pfs.12/26/80-1/4/81 The Mikado 6 pfs.New York Light Opera, J. Neale, Gen. Mgr., Courtyard Playhouse4/1-5/81 Offenbach's The Cat Who Turned Into a Woman Eng. Roberts & "Hooray

for Herbert" (Victor Herbert songs); Inglis, Tisheff; J. Nelson, Allen; c: Bower& Neale; d: Mattaliano; ds: Morong/Powell-Parker; 20 pfs. w.p.

New York Philharmonic, Z. Mehta, Mus. Dir., A very Fisher Hall (see alsoVol. 22, No. 3)

3/25, 26, 31/81 Bluebeard's Castle Troyanos; Nimsgern; c: KubelikThe New York Renaissance Band, S. Logemann, Dir., Alice Tully Hall2/14/81 Campion's The Lord's Masque & Monteverdi's Tirsi e Clori w. Madrigal

SingersNew Workshop Theatre, W. Boswell, Dir., Brooklyn College2/6, 7, 8m/81 "Out-of-The Ordinary-Operas" incl. Rorem's Three Sisters Who Are

Not Sisters & Starer's Anna Margarita's Will & BoswelFs Unguided Tour & Bern-stein Songs

Opera at the "Y". Kaufmann Auditorium11/20/80 La Voix humaine Patenaude-YarnellOpera Shop, Hartley House1/15, 17, 22, 24, 29, 31/81 Rita & La Serva padronaOpera Stage, Holy Name Church9/14, 21, 28 10/12, 19/80 Manon Lescaut12/21, 28/80 1/4, 11, 18, 25/81 La BohemeOpera Workshop, Holy Name Church11/16/80 1/4/81 Fedora11/23/80 The Merry Widow11/30/80 2/1/81 Rigoletto121271 SO Don Carlo1/25 2/15/81 L'Elisir d'amoreThe Philip Glass Ensemble, Town Hall2/12, 15/81 Einstein on the BeachPlaywrights Horizons, R. Moss, Prod. Dir.11/8-30/80 She Loves MeRegina Opera, Brooklyn11/30 12/7/80 Suor Angelica & Cavalleria rusticana3/7,8/81 ToscaSt. Luke's Chamber Ensemble, M. Feldman, Art. Dir., Alice Tully Hall3/14/81 Rieti's The Clock prem., workshop pf. w.o.; Brooklyn Academy of Music4/12/81 Haydn's L'Isola disabitata cone, pf.; Pruett, Lavigne; J. Stewart, OpalachScovasso Opera, S. Scovasso, Dir., Brooklyn10/4, 5, 26 11/2, 8, 9/80 The Merry Widow2/14, 15, 21, 22, 27 3/1/81 Die FledermausSinfonia d'Opera, M. Krieger, Mus. Dir., Trinity School Auditorium12/13, 14/80 Die Zauberflote cone. pfs.Theatre Opera Music Institute, T. LoMonaco, Art Dir., Park Royal Theatre11/6, 7, 8, 9/80 La Traviata w.p.11/13, 14, 15, 16/80 La Boheme Act III & Carmen Act II & Madama Butterfly Act

m , w.p.5/21/81 Mozart and Salieri Eng.; d: McDonough; 6 pfs.

— 57 —

Viennese Operetta Society, L. Albright, Exec. Dir., Chelsea Theatre12/22, 26/80 3/23/81 The Merry Widow1/27 2/23/81 Cost fan tutte615-101 SI Lehar Festival, atTully HallWNET Great Performances1/4/81 Les Contes d'Hoffmann Cotrubas, Baltsa, Serra; Domingo, Evans; c: Pretre;

d: Schlesinger; Royal Opera Covent Garden prod.6/15/81 A Bayou Legend prod: Opera/South & Mississippi Center for Education,

JacksonWNET Live from Lincoln Center, M. Goberman, Prod.1/5/81 "Beverly!" Sills Farewell Gala, New York City Opera3/23/81 Sutherland/Horne/Pavarotti Concert, N.Y. City Opera orch., c: Bonynge;

from Avery Fisher HallWNET Starrest3/22/81 Gala of Stars 1981; 90th Anniversary of Carnegie Hall, taped 2/16/81

(incl. Caballe, de los Angeles, Home; Milnes; c: Levine)The Waverly Consort, M. Jaffee, Mus. Dir., Metropolitan Museum of Art12/22, 23, 24/80 A Christmas Story A Medieval Pageant3/5/81 'The Birth of Bel Canto" at Tully Hall

NORTH CAROLINANorth Carolina Opera of the Charlotte Opera, P. Heuermann, Mgr. (see also

Vol. 22, No. 3)1980-81 tour The Toy Shop 120 pfs.

OHIOBaldwin-Wallace College Conservatory, S. Ginn-Paster, Dir., Berea3/81 The Magic Flute Eng.Bowling Green State University Opera Theatre, W. Taylor, Dir.11/14, 15/80 Signor Deluso & Impresario & Maurya & Mod-Carmen & Padrevia1/29, 30/81 Man of La Mancha3/6, 7, 8/81 Carmen, 3/13, 15 in Findlay & Lorain5/1,2/81 The Consul5/27-30/81 Fiddler on the Roof1119, 20, 21/81 The Sound of MusicCleveland Institute of Music Opera Theatre, A. Addison, Dir. (see also Vol.

22, No. 3)5/20/81 Les Malheurs d'Orphee c: Bragado-Darman; d: White; consult: Madeleine

MilhaudCleveland Opera, D. Bamberger, Gen. Mgr., Cleveland (see also Vol. 22, No. 3)2/11-14/81 "A Little Love Music" operatic selections at Beachwood Place MallCleveland Play House, R. Oberlin, Dir., Drury Theatre, Cleveland10/1-30/80 Banjo Dancing1/21-3/14/81 Strider3/25-5/3/81 A Funny Thing Happened on the Way to the ForumDayton Opera Ass'n, L. Freedman, Exec. Dir., Dayton10/18/80 Samson et Dalila Howard; Cox, Fredricks, Rouleau; c: Coppola; d: Freed-

man1/31/81 Faust Russell; Garrison, Furlanetto, Cossa; c: Bibo; d: Freedman3/14/81 La Fanciulla del West Niska; Dominguez, Chapman; c: Coppola; d: Freed-

man5/9/81 // Trovatore Cruz-Romo, Paunova; Bartolini, OpthofDayton Philharmonic Orchestra, C. Wendelken-Wilson, Mus. Dir., Dayton4/29, 30/81 Carmina burana AndersonECCO! of the Cincinnati Opera, J. de Blasis, Gen. Mgr., Cincinnati (see also

Vol. 22, No. 3)1980-81 tour Amahl and the Night Visitors; "What's So Grand About Opera?"Fine Arts Association, J. Savage, Exec. Dir., Willoughby (see also Vol. 22,

No. 3)3/15/81 Cumberworth's Home Burial excerpts in concert, L. Savage; S. Szaras; c:

J. SavageOpera at Peterloon Festival, R. Feist, Mus. Dir., American Opera Auditions,

Cincinnati11/30/80 Mascagni's Zanetto & scenes, Boucher, Fox; c: Feist; d: Tajo; ds: Depen-

brock; w. Cincinnati Chamber Orchestra

— 58 —

Toledo Opera Ass'n, L. Freedman, Exec. Dir., Toledo10/11/80 Samson et Dalila Howard; Cox, Fredricks, Rouleau; c: Coppola; d: Freed-

man1/24/81 Faust Russell; Garrison, Furlanetto, Cossa; c: Bibo; d: Freedman3/7/81 La Fanciulla del West Niska; Dominguez, Chapman; c: Coppola; d: Freed-

man5/2/81 // Trovatore Cruz-Romo, Paunova; Bartolini, OpthofYoungstown Symphony Society, J. Hynes, Mgr., Youngstown3/81 Faust Reeve

OKLAHOMAAmerican Theatre Co., J. Pope, Art. Dir., Tulsa12/5-24/80 Averill's Treasure IslandCimarron Circuit Opera Co., N. Meis, Mgr., Norman10/18,21,24, 30 11/9 12/13/80 1/16 2/13, 21 3/27, 29 4/11/81 Hansel and Gretel

w.p.10/19 11/7, 8/80 Gianni Schicchi w.p.11/2, 16, 21 12/6/80 1/10/81 Martha w.p.12/5/80 1/11 2/22 3/27/81 The Magic Flute w.p.2/8, 14, 27 3/2, 28/81 Rigoletto w.p.Oklahoma State University Opera Theatre, S. Van Eaton, Dir., Stillwater10-11/80 Chanticleer on tourOklahoma University Music Theater, J. Birkhead, Dir., Norman10/80 G & S excerpts at NOA Convention, Birmingham, AL10/80 My Fair Lady

OREGONPortland Opera, Education Department, tour to schools1980-81 The Toy Shop; Hansel and Gretel

PENNSYLVANIAAllegheny Repertory Theater, Pittsburgh12/28/80 Raboy's The Ill-Fated Princess prem.Pennsylvania State Co., G. Hurst, Dir., AUentown10/29-11/3/80 Kennon's Feathertop12/3-28/80 Murray's Great ExpectationsPittsburgh Public Theater, B. Shaktman, Gen. Dir., Allegheny Theatre10/1-26/80 I'm Getting My Act Together and Taking It on the RoadThe Savoy Company, D. S. Knight, Mgr., Academy of Music, Philadelphia5/29, 30/81 The Gondoliers; 6/5, 6/81 at Longwood GardensTheatre Express, W. Turner, Art. Dir., Pittsburgh2/19-3/15/ 81 The Seven Deadly Sins & Mahagonny Singspiel

RHODE ISLANDProvidence Opera Theatre, M. Ruffino-Connor, Dir., Providence (see also Vol.

22, No. 3)12/13/80 La Boheme Peters, Minutic; Fazah, Bertolino; c: Cassuto; d: Ruffino-Con-

nor; ds: AnaniaSOUTH CAROLINA

Spoleto Festival USA, G. C. Menotti, Art. Dir., Charleston (5/22-6/7/81)5/22, 27, 29 6/5/81 The Last Savage* Eng. Mead; Langton, James, Hong; DiPaolo,

Clatworthy, Stone; c: Badea; d: Menotti; ds: Montresor5/23m, 24m, 26m 6/2m, 3m, 5m/81 Monsieur Choufleuri Peterson, Bonazzi; Ho-

back, Green, McKee; c: Marty; d: Chazalettes; ds: Santicchi5/23, 25, 27m, 29m 6/lm, 3/81 L'lvrogne corrige Peterson, Bonazzi; Hoback,

Green, McKee; c: Marty; d/ds: Sanjust5/24, 26, 31 6/2, 4/81 Hollingsworth's Harrison Loved his Umbrella prem. & The

Selfish Giant prem. & The Mother d: LevineTENNESSEE

Knoxville Civic Opera, Knoxville10/31/80 The Barber of Seville Eng.; Ziegler; Britton, Lorey, Beni; c: MoriartyNashville Symphony Ass'n, M. Charry, Mus. Dir., Nashville4/23, 25, 27/81 Madama Butterfly Azuma; Theyard, Cossa; c: Charry; d: SatoPlayhouse on the Square, J. Nichols, Art Dir., Memphis10/1-18/80 Pippin1/16-2/21/81 A Funny Thing Happened on the Way to the Forum5/29-6/27181 Grease

— 59 —

University of Tennessee Opera Wksp., Chattanooga3/81 Chauls' Alice in Wonderland 8 pfs.

TEXASAlley Theatre, Houston11/27/80-1/11/81 The Threepenny Opera Eng. Blitzstein12/11/80-1/11/81 StriderHigh Noon Ensemble of the Dallas Civic Opera, P. Karayanis, Dir. (see also

Vol. 22, No. 3)Fall '80 tour incl. The Marriage of Figaro c: J. Rescigno; d: MorelockHouston Grand Opera Silver Anniversary Celebration, D. Gockley, Gen. Dir.,

Houston (see also Vol. 22, No. 3)3/1/81 Gala Concert, Scotto; Domingo; c: DeMain; Houston Symphony OrchestraHouston Opera Studio & Texas Opera Theater4/25, 26, 29 5/2/81 Glass' The Panther prem., prod: Lutgenhorst4/27, 28, 30 5/1/81 Face on the Barroom Floor; 4/27, 30 StarbirdHouston Symphony Orchestra, M. Woolcock, Exec. Dir., Houston4/81 Carmina burana AlerTheatre Three, Dallas10/7-11/8/80 Strider4-5/81 House of FlowersTrinity University, Drama and Music Depts., San Antonio2/12, 13, 14, 20, 21/81 Calderon's Celosaun delairematan Am. prem.University of Texas, Opening new Performing Arts Center, Austin4/23, 25/81 Don Carlo (4/24 Schiller's play Don Carlo)

UTAHPioneer Memorial Theatre, K. Engar, Exec. Dir., University of Utah, Salt

Lake City10/2-18/80 My Fair Lady2/19-3/2/81 Porgy and Bess5/7-23/81 Annie Get Your Gun

VIRGINIAOpera Alliance of Richmond, Inc., Virginia Center for the Performing Arts1/20/81 The Abduction from the SeraglioVirginia Museum Theatre, T. Marcus, Art. Dir., Richmond10/24-11/15/80 Godspell3/27-4/18/81 Something's Afoot

WASHINGTONA Contemporary Theatre, G. Falls, Art. Dir., Seattle10/1-18/80 Starting Here, Starting NowCornish Institute, Lou Harrison Festival, Seattle11/21/80 Harrison's Jephta's Daughter prem. readingSeattle Opera Educational Division, H. Holt, Dir., Seattle2-4/81 Chauls' Alice in Wonderland 28 pfs. to schoolsSeattle Repertory Theatre, P. Donnelly, Mng. Dir., Seattle10/22-11/16/80 Strider4/22-5/17/81 Silverman's Up from Paradise

CANADACanadian Children's Opera Chorus, R. Mercer, Dir., Harbourfront, Toronto12/11, 12, 13, 14/80 Cinderella in Salerno 6 pfs.Canadian Opera Company Ensemble, L. Mansouri, Gen. Dir., Toronto (see

also Vol. 22, No. 3)2/26/81 Dido and Aeneas & The Fairy Queen opening concert w. CBC Radio,

Town Hall, St. Lawrence Centre; c: Montgomery; subsequent tour3/25-29/81 The Little Sweep w. Canadian Children's Chorus at Harbourfront

Theatre, 10 pfs.Comus Music Theatre of Canada, M. Bawtree, Art. Dir., Toronto11/13, 14, 15/80 Keane's The Devil's Constructs d: Steiner; ds: Kerwin1/23, 24/81 George's A King for Corsica cone, pf.; prem. at Queen's UniversityFestitalia & Hamilton Philharmonic Orchestra, B. Brott, Mus. Dir., Hamilton,

Ont.9/11, 13/80 La Traviata Pellegrini; Bini, L. Quilico; c: Brott; d: Thomas; ds:

Darling3/13, 15/81 Tosca Stapp; Bergonzi

— 60 —

Grand Theatre de Quebec, Quebec City1980-81 // Barbiere di Siviglia; La TraviataGuelph Spring Festival, N. Goldschmidt, Mus. Dir., Guelph, Ont. (4/30-

5/17/81)4/30 5/2, 5/81 Postcard from Morocco J. Smith, Stubbs, Roslak; G. Evans, Ingram,

Kukurugya; c: Goldschmidt; d: Macdonald; ds: Johnson/Mess (5/5 in Kitchener);Canad. Prem.

5l\0l%l Leoncavallo's La Boheme cone. pf. w.p.; Coates, Curry; Baerg, Oostwoud;c: Hamilton

He Saint-Helene Opera Co., La Poudriere, Montreal9-10/80 Pomme d'Api & Monsieur Choufleuri Vaillantcourt; Trepanier, Laplante;

d/ds:Beaubien; 3 pfs. w.p.Kitchener-Waterloo Symphony, R. Armenian, Mus. Dir., Centre in the Square,

Kitchener10/16, 19/80 Die Fledermaus Terrell, Tomlin; Belcourt, May, Stark, Chambers; c:

J. Richard: d: Leberg; ds: Lord/MessNational Arts Centre, D. MacSween, Gen. Dir., Ottawa1/20-24/81 Makiri Whoopee!2/10-14/81 Starmania, A Rock Opera c: Tanada;d: Reichenbach3/4, 5/81 La Voix humaine Soderstrom; c: Bernardi4/13-18/81 Anne of Green GablesOpera Piccola, P. Alarie, Art. Dir., Victoria, B.C. & tour10/29-12/12/80 The Medium Joachim, Dlugokecki; c: Shookhoff; d: AlarieSaskatoon Opera Ass'n, Saskatoon, Saskatchewan12/18, 19, 20/80 Chip and His Dog & Amahl and the Night VisitorsUniversity of Toronto, Opera Division, E. Schabas, Chmn., Toronto11/14, 15, 21, 22/80 The Marriage of Figaro c: Craig; d: Merrill; ds: Businger/Mess3/6, 7, 13, 14/81 Patience c: Craig; d: Albano; ds: SawchuckUniversity of Victoria, School of Music, G. Corwin, Opera Dir., Victoria, BC2/7, 8/81 The Impresario Eng. Cardelli & Riders to the SeaVancouver Opera, H. McClymont, Gen. Dir. (see also Vol. 22, No.3)8/1, 4, 6, 8/81 Otello (postponed from 3/81 due to strike closing Queen Elizabeth

Theatre)

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