CENTRAL OPERA SERVICE BULLETIN

MAY-JUNE, 1967

NEW OPERAS AND PREMIERS NEW COMPANIES NEW CENTERS AVAILABLE SETS WHAT PRICE OPERA?* INTERNATIONAL VISITORS TO NEW YORK MODERN ART IN OPERA BOOKS 18
HOW AND WHY I WROTE BOMARZO
by Alberto GinaHera PERFORMANCE LISTING, 1966-67, cont. NEW COS MEMBERS FIRST PERFORMANCE LISTING, 1967-68 *COS survey of touring company charges
Sponsored by the Metropolitan Opera National Council Central Opera Service Lincoln Center Plaia Metropolitan Opera New York, N.Y. 10023 799-3467
CENTRAL OPERA SERVICE COMMITTEE
R. L. B. TOBIN, National Chairman The National Council JULIUS RUDEL, Co-chairman New York City Opera National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN E. H. CORRIGAN, JR. MRS. NORRIS DARRELL HOWARD J. HOOK, JR. GEORGE HOWERTON ELIHU M. HYNDMAN MRS. JOHN R. SAVAGE JAMES SCHWABACHER, JR.
Professional Committee MAURICE ABRAVANEL RICHARD KARP Salt Lake City Symphony Pittsburgh Opera KURT HERBERT ADLER PAUL KNOWLES San Francisco Opera University of Minnesota VICTOR ALESSANDRO GLADYS MATHEW San Antonio Symphony Community Opera ROBERT G. ANDERSON MRS. LOUDON MELLEN Tulsa Opera Opera Soc. of Wash., D.C. WILFRED C. BAIN ELEMER NAGY Indiana University Hartt College of Music ROBERT BAUSTIAN MME. ROSE PALMAI-TENSER Santa Fe Opera Mobile Opera Guild MORITZ BOMHARD RUSSELL D. PATTERSON Kentucky Opera Kansas City Lyric Theatre JOHN BROWNLEE MRS. JOHN DEWITT PELTZ Manhattan School of Music Metropolitan Opera PAUL CALLAWAY GEORGE SCHICK Opera Soc. of Wash., D.C. Metropolitan Opera STANLEY CHAPPLE MARK SCHUBART University of Washington Lincoln Center EUGENE CONLEY MRS. L. S. STEMMONS No. Texas State Univ. Dallas Civic Opera WALTER DUCLOUX LEONARD TREASH University of S. California Eastman School of Music PETER PAUL FUCHS LUCAS UNDERWOOD Louisiana State University College of the Pacific ROBERT GAY GID WALDROP Northwestern University Juilliard School of Music BORIS GOLDOVSKY MRS. J. P. WALLACE Goldovsky Opera Theatre Shreveport Civic Opera WALTER HERBERT MRS. PAUL P. WILSON Houston Grand Opera Mid-South Reg. Director LUDWIG ZIRNER University of Illinois
The September-October issue will carry the final performance listing of the 196667 season. Companies who have not yet submitted their schedule should mail them before August 31 to be included. We extend our best wishes for a pleasant summer to all our members.
The Central Opera Service Bulletin is published bi-monthly for its members by Central Opera Service. Permission to quote is not necessary but kindly note source. We would appreciate receiving any information pertaining to opera and operatic production in your region; please address inquiries or material to: Mrs. Maria F. Rich, Editor Central Opera Service Bulletin Lincoln Center Plaza New York N Y 10023
Single copies of this issue: $1.00
Volume 9, Number 5 May-June, 1967

NEW OPERAS AND PREMIERES

AMERICAN OPERAS On May 14 the Religious Program Department of CBS News presented the first performance of Ezra Laderman's GALILEO GALILEI, a 90-minute operaoratorio. It was taped in New York's Riverside Church with soloists, chorus and orchestra in front of the main altar. Joe Darien wrote the libretto. The "mini" has invaded the operatic field and the Opera Workshop of the New School for Social Research will present a program of five short operas, four of them in world premieres. They are THE LAST DAY by Ned Rorem, BRIEF CANDLE by William Mayer and SOUND STUDIO and ENTR'ACTE, both by John Marsh. The fifth work on the program scheduled for May 22 and 26 is Blitzsteins Triple Sec. After a successful premiere by the Opera Society of Washington, D.C., Alberto Ginastera's BOMARZO will be included in the New York City Opera Company's Spring season in its original production. (See also Mr. Ginastera's speech on page 10.) The premiere in the nation's capital was conducted, staged and designed by New York City Opera's teamMessrs. Rudel, Capobianco and Cho Lee, who were also responsible for the production of Ginastera's Don Rodrigo. The music department of Albion College in Michigan gave the first performance of Anthony Taff's LIL1TH on February 6. Albion College had previously presented Noah and The Summons by the same composer in 1963 and 1964 respectively; the latest opera is based on a novel by Ero McDonald. Hawaii's University Opera Studio has offered the premiere of RING AROUND HARLEQUIN, a one-act opera composed by the Studio's musical director, Neil McKay. The performance took place on April 24 and was presented in a double bill with // Tabarro. Shasta College in Redding, California, offered Peter Sacco's one-act comedy, MR. VINEGAR, on May 12 and 13. It was programmed together with Pagliacci. Dr. Kelsey Jones of the music faculty of Montreal's McGill University is the composer of SAM SLICK, an opera scheduled for premiere by McGill's Opera Workshop on December, 15, 1967. Subsequent performances, all with orchestra, will take place on December 16 and 18. The National Federation of Music Clubs awarded CHANTICLEER, a one-act opera by Joyce Barthelson, the $1,000 first prize in its contemporary opera contest. The composer is co-founder of The Music School in Scarsdale, New York. Seymour Barab, another American composer, also wrote a children's opera based on the same fairy tale. Mezzo-soprano Elaine Bonazzi commissioned Henry Rauscher to write a one-act opera for her. The title will be JOAN OF ARC AT REIMS. Another commission announced recently was awarded by the Center Opera Company in Minneapolis to Eric Stokes, member of the faculty at the University of 1

Minnesota. John Ludwig, general manager of the opera company, informs us that "the musical style will be contemporary, emphasizing simultaneous events and spatial separation of performers. The libretto will be equally contemporary with the subject best described as American." Premiere of the three-act opera is planned for the 1968-69 season at the Tyrone Guthrie Theater. AMERICAN PREMIERES Italian composer Renzo Rossellini will witness the American premiere of his THE VIEW FROM THE BRIDGE, scheduled by the Lyric Opera Company of Philadelphia for October 17.The Peabody Institute of Music in Baltimore gave the first American performance of Rossellini's LA GUERRA on April 28. The composer is reported to be collaborating with librettist Diego Fabbri on a new opera entitled L'AVVENTURIERO. The rights for the 1968-69 world premiere have been obtained by the Opera Company of Monte Carlo. Carl Orff's ANTIGONAE, first performed in Germany in 1949, will be presented by The Little Orchestra Society under Thomas Scherman on April 23, 1968, for the first time in this country. The performance will take place at New York's Philharmonic Hall as part of the company's 1967-68 season. (Other premieres announced in the March '67 Bulletin.) The Sophocles drama was previously adapted by some 25 composers, among them Ziani (1660), Orkandini (1718), Gluck (1756), and Honegger (1927). THESPIS, or THE GODS GROWN OLD will be performed by the Comic Opera Company of Baltimore, Md., on May 19 and 20. The original Gilbert and Sullivan operetta was first heard in England in 1871. Much of the original musical material was lost, but in 1962 two London musicologists reconstructed the work and it was subsequently presented in this adaptation in England. The Baltimore performance will mark its American premiere. EUROPEAN PREMIERES Next season Munich's Theater am Gartnerplatz will premiere Mark Lothar's DER WIDERSPENSTIGE HEILIGE. In May of this year the theater is presenting Chabrier's L'Etoile in a German translation as DAS HOROSKOP DES KOENIGS.Hindemith-Brecht's LEHRSTUECKE will be performed at the Ruhrfestpiele in Germany this summer. It is the first performance given with the consent of the composer's widow.In February the Stadttheater in Saarbriiken gave the first performance of yet another musical version of MEDEE, this one composed by Andras Kovach.Rolf Liebermann, director of the Hamburg Opera, commissioned Lars Johan Werle, composer of A Dream of Therese, to write an opera for his theatre. Mr. Werle will collaborate with librettist Lars Junsten on the new work based on the novel NACH WAERMEREN LAENDERN {Towards Warmer Lands) by P. C. Jersild.TOGETHER AND ALONE by Ondras Mihaly was given its premiere by the Budapest Opera this season. It is a play within a play, set in the time of World War II.

RARELY PERFORMED OPERAS

The Glyndebourne Festival announced a new production of Cavalli's L'ORMINDO for this season. This almost extinct work, first heard in Venice in 1644, will be performed in Glyndebourne in a "realization" by Raymond Leppard. The English translation of Giovanni Faustini's libretto is by Geoffrey Dunn; a vocal score will be published by Faber and Faber and will be available in this country from G. Schrimer. Rameau's PLATEE was given its first hearing in the United States on May 4 and 5 by the Clark University Opera Workshop in Worcester, Mass. First performed in 1754 in Versaille and in 1749 in Paris, the opera is also known as Junon jalouse. The latest recorded performance was in Milan in 1921.A recent revival of another Rameau onera took place in Boston, when the Opera Company of Boston performed Hippolyte et Aricie.
The Metropolitan Opera Studio is offering a program entitled "The Other Opera." It presents arias and ensembles from largely unknown operas based on stories made famous by other composers. The program includes Sutermeister's and Bellini's Romeo and Juliet, Lortzing's Hans Sachs, Boito's Mefistofele, Goetz's Taming of the Shrew, Blech's and Massenet's Cinderella and Bernstein's West Side Story.
NEW COMPANIES NEW CENTERS
On April 21 THE OPERA ASSOCIATION OF WESTERN MICHIGAN celebrated its formation with a Reception-Musicale. The company's aim, as stated by its president, John F. Gilmore, is to present the citizens of Grand Rapids with staged opera performances of professional quality. For that purpose the new association has appointed Carl Karapetian, musical director and conductor of the Grand Rapids Symphony, as its artistic director, together with Paul Dreher, director of the Grand Rapids Civic Theatre. This cooperation between the city's major cultural organizations will culminate in five performances of The Marriage of Figaro in June. Besides offering enjoyment to Ontario, California, audiences through its operatic performances, the WEST END OPERA ASSOCIATION is also leading a new way in rehabilitation and human relations. Former Metropolitan Opera soprano Stella Roman, who is the guiding spirit behind the California company, has persuaded the authorities at nearby Chino State Prison to permit some inmates to build and paint scenery for a recent production of La Boheme. They did this with the aid of the Supervisor of Industrial Arts and were permitted to attend a performance to witness the success of their handiwork. BRADLEY UNIVERSITY in Peoria, Illinois, has announced the establishment of an Opera Workshop under Edwin K. Blanchard, director. Its first endeavor will be the presentation of operatic scenes and a one-act chamber opera. Mr. Blanchard envisions the establishment of a permanent community opera group by eventually joining with the Civic Orchestra and Ballet.

AVAILABLE SETS The Martha Baird Rockefeller Fund for Music has given a $40,000 grant towards a new production of Boris Godunoy. It will be shared by five Eastern opera companies (Baltimore, Toronto, Philadelphia Lyric, Hartford and Washington, D.C.) with a premiere performance in Baltimore in November. Collaborating on the production will be set designer Ming Cho Lee, costume designer Jose Varona and stage director Tito Capobianco; cast and musical direction will vary with each company. Omaha Civic Opera Association offers for rent the sets and costumes for The Ballad of Baby Doe designed by John Braden. For further information contact M. S. Matthews, 4515 Military Avenue, Omaha, Nebraska.

WHAT PRICE OPERA?

Published here for the first time are minimum guarantees and set rates by opera companies on tour as compiled by a recent Central Opera Service Survey.
With more and better equipped auditoriums available for operatic performances, the demand for travelling productions has risen. A recent Central Opera Service study finds that the wide range of demand has created a wide range of supply. Depending upon the size of community and the type of audience to be attracted, the search may go all the way from one or more evenings of grand opera to a lecture demonstration for middle or high school students. The choice may also be limited by the pocketbook of the school or the budget of the impresario dictating whether the Metropolitan Opera or its Studio Company will be engaged. Beginning with the largest of American companies, the METROPOLITAN OPERA on its Spring tour, travelling with 350 performers and 80 stage hands, musical instruments, thousands of tons of scenery and costumes, demands a guarantee of $40,000 per performance in 1968. This amount does not include rental of the theatre, ushers and local advertisement. These items are never included in quotations and must always be borne by the local impresario or sponsoring organization. (For schedule of this season's tour, see Jan. '67 Bulletin.) NEW YORK CITY OPERA COMPANY'S price per performance on tour is about $15,000; however, this does not include travelling expenses for the company members, sets and costumes. Depending on the distance, it might raise the price to $18,000-$20,000 if only a single performance is contracted. The projected three-weeks engagement in Los Angeles will involve the transportation of eight complete productions and over 200 company members for twenty performances. No figures are available from the SAN FRANCISCO OPERA COMPANY since the ensemble has not performed away from its home base for the last two years. The METROPOLITAN OPERA NATIONAL COMPANY'S prices ranged from $6,500 to $10,000, depending on various factors. Traveling with four productions and 130 members, it incurred so large a deficit that operations were suspended, at least for the coming season. The new AMERICAN NATIONAL COMPANY, headed by Sarah Caldwell, will be picking up some of the National Company's bookings (both ensembles are managed by Sol Hurok). It is asking a guarantee of $8,500. Traveling with about 200 members, it will offer three operas in the Fall and two further productions in the Spring. But whereas the Metropolitan touring ensemble was travelling almost continuously and had no home theatre, the American National group will be operating out of Boston with the Opera Company of Boston's performances being an integral part of the company. The Fall tour has been announced as lasting two months. Each tour will be preceded by eight weeks of rehearsals. The GOLDOVSKY OPERA THEATRE is a well-known travelling institution and possibly the only one not operating with a defiicit. One or two productions are taken on extended Spring and Fall tours of about three months each. The tours are managed by Herbert Barrett Management who guarantees the company $4,000 per performance and a minimum amount of performances a week. A 22-man orchestra travels with the company; the four company stage hands have to be augmented by three to four local stage hands. This, plus the usual hall rental fee, ticket printing and advertisement have to be added to expenses. The CANADIAN OPERA COMPANY offers a three to four months annual tour which alternates between the Eastern provinces one year and the Middle-West and West the next. Most of the Western tour is book by Overture Concerts. Until this season performances were with piano accompaniment only and were available for $1,350. Beginning with the 1968 tour, the company will take a twelve to fifteen-man orchestra along which will bring the number of touring members to about 34-40. Using some subsidies from the Canada Counoil, the company will ask for a minimum guarantee of $1,950. The LAKE GEORGE OPERA COMPANY'S season has been extended with some performances outside Glens Falls for a fee of about $3,000. The company 5

on tour furnishes sets, costumes and an orchestra of 32. However, it must be considered that these performances involve only a minimum of travel. The WESTERN OPERA THEATER, the young travelling company of the San Francisco Opera which was established this season with assistance from a Federal grant, offers a variety of arrangements. The choice depends on the size of the budget and the availability of an orchestra pit. Operas like Cosi fan tutte, The Medium together with The Old Maid and the Thief or The Barber of Seville can be conscripted for a minimum guarantee of $2,750 with orchestra or for $1,250 with two piano accompaniment, Performances are presented under the sponsorship of a responsible local organization, as is the case with the Metropolitan Opera and many other organizations. Western Opera Theater also offers a lecture demonstration for presentation in cooperation with local schools. This is available for $600. THE LINCOLN CENTER STUDENT PROGRAM presents two of its operatic constituents in a variety of programs. A choice of one or two may be included in the regular Lincoln Center Student Program series which also includes one chamber music, one dance and one theatre program. All lecture demonstrations are about one hour long. THE METROPOLITAN OPERA STUDIO offers three different programs to choose from: An Opera Lecture Demonstration, Shakespeare in Opera and Song, or Songs, Arias and Vocal Ensembles. These programs are available to schools for $400 each in the series or for $450 if taken individually. A somewhat higher fee would be charged to non-educational organizations. Further, the Met Studio offers its complete opera productions (Cosi fan tutte, Don Pasquale, Cinderella) staged and costumed with piano accompaniment for $850 in the student series and for $925 if not in subscription. As an operatic alternative or additional event, Lincoln Center Student Program offers two programs presented by the NEW YORK CITY OPERA Educational Department, Introduction to Contemporary Opera or Drama and Novel in Opera. Each program lasts about one hour and is available to schools through Lincoln Center at the same price as the Met Studio, $400 in the series, $450 for a single performance. All are presented under the auspices and with assistance of the U.S. Department of Health, Education and Welfare under the Title III program. Almost since its inception the NEW HAVEN OPERA SOCIETY has offered an educational program to local and surrounding area schools. It presents a lecturedemonstration of one hour for $100 with four professional singers, one narrator and one accompanist participating. For a second performance on the same day, the charge is reduced by $25. Scenes from different operas, which are presented in costume and with props, are available for $350 per day, $550 for twoa-day. Opera performances with piano accompaniment, but fully staged and costumed, are offered by the TURNAU OPERA PLAYERS, who also bring their own lighting equipment. Bookings are arranged by the non-profit management of the National Music League. The charge is $1,400 per night and the company's tour repertory includes such varied fare as La Traviata, Bluebeard's Castle and Erwartung, The Rake's Progress. The NATIONAL OPERA COMPANY, sponsored by the Grass Roots Foundation of Raleigh, North Carolina, offers three complete operas with piano accompaniment on a 70-performance tour. Bookings are made by the Celebrity Bureau, Atlanta, Ga., which charges $1,250 per performance. The agent, in turn, engages the company on a weekly basis. National Opera travels with sets and costumes. The company also offers approximately forty performances to public schools for about $300 each. These are shortened versions (one to one and one-half hours) of the operas in its reperoire. The AFTER DINNER OPERA COMPANY offers two different programs at different prices: "Three Happy Operas" are available for $1,250 while "Seven Short, Short Operas" command the double fee. Both programs are staged, costumed, with piano accompaniment; each program lasts about two hours. Although this list cannot include all companies giving performances outside their home theatres, it is hoped that this cross-section will be of assistance and inspira 6

MODERN ART IN OPERA This season marks the debut of a renowned French painter, an American cartoonist and most recently of a famous British sculptor on the operatic stage. Marc Chagall's colorful sets for the Metropolitan Opera's Magic Flute are already well known and Saul Steinberg's designs for Seattle's Story of a Soldier were previously mentioned in these pages. Now comes word from the Festival of Two Worlds in Spoleto that sculptor Henry Moore will try his hand at creating sets for the new production of Don Giovanni. This will be Mr. Moore's first venture in stage design. Another American artist participating in the American-Italian Festival for the first time will be architect Buckminster Fuller. He is designing a 350-seat, domed theatre called Spoleto-Sphere, which will be used for plays, recitals and art exhibitions. It will open on July 1. It will be realized with the assistance of the Aluminum Company of America, Southern Illinois University, and the National Endowment for the Arts. Mr. Fuller designed the domeshaped American Pavilion at Expo '67. 7
The Opera Company of Boston's performance of The Rake's Progress in March included both Op and Pop art effects. "Kinetic Visuals" gave the appearance of a discotheque, complete with Mod clothes. Projection, as well as television, were used through much of the whole production, while backdrops were stark black and white designs. For the auction scene the chorus was placed among the audience, calling its bids up to the stage. Another production with an up-dated change of locale was offered by the Center Opera Company when it performed Gilbert and Sullivan's The Gondoliers in April. The Minneapolis group used a Mod clad and "Twiggy looking" chorus in audience fashion on stage. Sets were replaced by large Pop Art signs. Poster art is enjoying a great revival and with interest flourishing for the graphic arts, numerous new posters have appeaed. Chagall designed a poster announcing the opening of the Metropolitan Opera House last fall; an attractive new design by Frank Stella announces the dates of the Lincoln Center Festival '67; copies may be purchased for $10, special silk screened prints numbered and signed are available for $120 each from gift shops at Lincoln Center. There are three gift-book stores (Library-Museum, Philharmonic Hall and the Metropolitan Opea House) which sell posters ranging in subject matter from a facsimile of the 1883 opening of Faust to posters commemorating the openings of inividual buildings in the Lincoln Center complex by such artists as Ben Shahn and Robert Indiana.
BOOKS A fascinating book of commentary, anecdotes and serious professional evaluation is THE TOSCANINI MUSICIANS KNEW by B. H. Haggin, published by Horizon Press. A collection of seventeen candid interviews with famous musicians, reminiscing about the Maestro, revealing many details of their personal experience with Toscanini never before brought to light. Mr. Haggin collected, prepared and edited the book which also contains some previously unpublished photos. The book sells for $7.50. Frank Merkling, Editor of Opera News, is preparing a new series of books of popular operas of the Metropolitan Opera repertory. Utilizing material formerly published in the magazine, each volume will be devoted to one opera; the first off the press is THE MARRIAGE OF FIGARO, illustrated with musical samples, photographs and drawings. The series is published by Dodd, Mead & Co., and each book sells for $5. The title, RICHARD STRAUSS, THE LIFE OF A NON-HERO, epitomizes the concept of this new biography. Author George Marek follows the composer from his youth to his death in 1949, with special emphasis on the years spent under Hitler in Germany. His personality as reflected in his compositions is also discussed. Published by Simon and Schuster, the 330-page book sells for $7.95. THE INFINITE VARIETY OF MUSIC is Leonard Bernstein's latest book, published by Simon and Schuster. It features all the TV scripts Mr. Bernstein delivered over the last years to an ever increasing, spellbound audience. The book also contains symphonic analyses and some musical essays, as well as photos and musical examples. The price is $6.50. Musicologist and music critic Henry Pleasants is the author of THE GREAT SINGERS, featuring seventy-one biographies of opera stars in chronological order up to Kirsten Flagstad. Photographs of some of the singers are included. The book is published by Simon and Schuster; the price is $7.50. Quaintance Eaton's new book, THE MIRACLE OF THE MET, will be published by Appleton-Century in the fall. Subtitled "An Informal History," it covers the entire span of the Metropolitan through its last Paris visit and the first season at Lincoln Center and contains hitherto unpublished material obtained through personal interviews as well as little known stories from newspaper columns of early days. 8

some people it is only the melody which can be remembered and whistled. Foi me a melodic line may be produced even with atonality, or serial music, providing that the line is not broken. A composer may use) the most advanced language and still produce music fitted for singers. If we compare, for example, the melodic line of "Don Giovanni" and of "Tristan," you will see the difference between them, because both works belong to different periods, but have nevertheless beautiful singing, melodic lines. The same may happen with a modern composer. I have worked a lot on this problem when I wrote "Bomarzo," since I tried to write for the voice and not against it. I think that although "Bomarzo" is probably more far-out in its musical language than "Don Rodrigo," I have achieved greater and more substantial results for the voice. 3) The third problem has to deal with form. The structure in opera, as in other musical forms, must be very tight. The composer has to watch and adapt carefully the form of drama to the musical form. The reading of a monologue may take one minute, but if you put it to music it will last four minutes. So the proportion is one to four. That means that the tempo in drama and the tempo in music is different and it must be adjusted very carefully. "Bomarzo," as all my other works, has been built into a very strict and severe structure. It is divided into fifteen scenes and each one is divided in itself into three micro-structures, each one reproducing the Greek form of exposition, crisis and conclusion. So the form which governs the whole opera is reproduced in tiny cells in each scene. The main point or crisis in the opera is the Erotic Ballet, in which the Duke of Bomarzo dreams and in this nightmare he forsees his Sacro Bosco, his Garden of Monsters, which he creates at the end of his life. One of the novelties which "Bomarzo" offers in its structure, is the "racconto" or flash-back, which has been used many times in the movies or in novels, but never, as far as I know, in opera. "Bomarzo" begins when the Duke is dying and the opera tells the main events of his life as he recalls one after another. At the end we find again the first scene and the Duke dies. It is as if the whole opera had only taken fifteen seconds. 4) The fourth and last problem deals with the musical language. A composer has to write music of his own time. I do not believe in the greatness of contemporary composers who write in the style of nineteenth-century composers. I have written only two operas but I have great experience with this form. I was very lucky to be born in Buenos Aires, where the Teatro Colon has a long and great operatic tradition, presenting not only the great operas of the classic repertoire but also almost all modern operas. Since the age of fourteen I had the chance of seeing and listening to the works of Monteverdi, Gluck, Mozart, Rossini, Verdi, Puccini, Massenet, Strauss, Wagner, Mascagni, Debussy, Rabaud, Britten, and Menotti. I could also enjoy the acquaintance of more unfrequently played composers as: Rimsky-Korsakoff, Busoni, Pizzetti, Respighi, Malipiero, Berg, Stravinsky, Dallapiccola, Schoenberg. But I have not only seen these operas, I have studied many of them through their scores. And one thing I have learned is that the operatic composer must establish his relationship with the public through a dramatic action using the language of his own time. It is not necessary to use a story of our day to write a modern opera. Sometimes it happens to be the contrary. What makes a contemporary opera is its musical language. When Berg uses for his "Wozzeck" a story written a hundred years ago or Dallapiccola in his '"Prigioniero" tells the story of a man during the Inquisition, they are producing contemporary works of art because the language they use is contemporary. In "Bomarzo" I have tried to write a more advanced work than in "Don Rodrigo" or any of my latest compositions. I use series and also other devices as microtonalism, chromatic whole, aleatory forms. I have also employed three kinds of different techniques in the texture: clusters, which are massive sounds of chords like big sonorous columns, clouds and constellations. Clouds are sounds which are produced in an aleatory form and which stay suspended in the air but change slowly in color and form, as clouds do. Constellations are bright flashes of sounds which suddenly appear and which disappear the same way. 12

I have used two rhythmic patterns: the metrical rhythm and the alleatory rhythm. Both are notated in the score in two different ways as a symbolic notation and as a proportional notation. Besides singing I have employed for the voice the dramatic speech, with poetic rhythm in the two soliloquies. In these the orchestra plays with alleatory forms. For the main character I have chosen the voice of a lyric tenor since Pier Francesco Orsini, Duke of Bomarzo, is not a powerful man of action and I needed to create a doubtful and uncertain personality. Julia Farnese, his wife, is a soprano. She is a sweet character with some mystery in her. We never learn whether she has been unfaithful to her husband, same as with Melisande. Pantasilea, the beautiful temptress, is a mezzo because her voice has to be warm and sensual, expressing lust, passion and also some contempt for the Duke. Maerbale, Bomarzo's brother, is a romantic and also secretive character, while the other brother, Girolamo, is violent. Both are baritones and in each one I have stressed the accents needed to mark their personalities. The father, that old and cruel Condottiero, is a bass and the grandmother, Diani Orsini, who adores Pier Francesco is a contralto. She is the great lady of the family, the column holding up the pride and nobility of the whole family. The Magician Silvio de Narni, that enigmatic man who exerts great influence on the weak Duke, is a baritone. And finally, if you see the opera after hearing so much about it, you will find in the cast a very strange character: the slave Abul. He is represented by a mime, because he never speaks or sings, although he is the constant companion of Bomarzo and has enormous influence upon him. Regarding the orchestra, I have used a normal one with an important percussion section. Harpsichord, mandolin and viola d'amore provide in certain moments strange and different orchestral colors. The chorus is placed in the pit and sings as if it were another section of the orchestra. Sometimes the chorus is singing, as in traditional opera, only commenting on the action, in other parts I have used it to create a surrealistic atmosphere. For example, at the beginning in the Prelude I have tried to depict musically Bomarzo's garden with its strange monsters. The chorus sings making sounds of consonants without vowels, such as: L, J, G, K, P, M; it is as if the monsters wished to speak but were unable to do so because they are not alive; they are stone monsters. Later in the Erotic Ballet, the voices of the chorus, besides sighing, murmuring, lamenting, pronounce the word "love" in almost all the languages of the world. For this part I had several friends helping me, and we found quite a long list of words, some of them very phonetic. The chorus serves also to develop a Choral Interlude, which I wrote in the form of a Villanella. And now enough of the technique. I hope that by what we have said today, my friend Mujica Lainez and I, we have unveiled the mysterious and magic world of "Bomarzo." In this world, as in "Ulysses" by Joyce, dreams and reality are mixed in such a way that the ideas, fantasies, desires, past memories, imaginations, eagerness of Bomarzo, become more real than the reality itself. And this is why I would like to read for you as an ending of this talk the following lines written by Paul Klee and which may be applied to our present work: "But our pounding heart drives us down, deep down to the source of all. "What springs from this source, whatever it may be called, dream, idea or fantasymust be taken seriously only if it unites with the proper creative means to form a work of art. "Then those curiosities become realitiesrealities of art which help to lift life out of its mediocrity. "For not only do they, to some extent, add more spirit to the seen, but they also make secret visions visible.' Lecture given by Alberto Ginastera in the Auditorium of the State Department in Washington, on May 4, 1967, under the auspices of the Opera Society of Washington, D.C., preceding the premiere of "Bomarzo" on May 19.

PERFORMANCE LISTING, 1966-67 SEASON (not previously listed) ALABAMA University of Alabama; Sylvia Dehenport, dir., University 3/10, 11/67 The Triumph of Honor Eng. Zytowski CALIFORNIA Cabrillo Music Festival, G. Clark, dean, Community Service, Aptos 8/20, 25, 27/67 The Three Penny Opera California Institute of the Arts, Opera Workshop, Los Angeles 4/2, 30/67 The Play of Robin and Marion van Grove trans., and orchest. Calif. Western University, W. Teutsch, dir. Opera, San Diego 4/21, 22/67 An Incomplete Education Eng. Addison & Djamileh Eng. TeutschTurner 5/22, 23, 24, 26, 27/67 Cosi fan tutte Eng. Martin 6/1, 2, 3/67 Billy Budd Sacramento State College, music dept., J. M. Lewis 1/19, 20/67 Bacon's A Tree on the Plains San Francisco Opera Guild Talent Bank, Peggy Donovan, mus. dir. for Children's Hour 66-67 Amahl and the Night Visitors w. Oakland Symphony, 5 pfs. Cenerentola 6 pfs. in Merced County 6/24/67 La Finta Giardiniera at Montalvo Festival Shasta College, Opera Workshop, O. Tognozzi, dir., Redding 5/12, 13/67 Sacco's Mr. Vinegar prem. & Pagliacci Eng. Gratton Grafton West End Opera Assn., Stefen Petroff, gen. dir., Ontario 11/9/66 La Traviata 4/22/67 La Boheme Tweed, Walker; Dastrup, Bewers; dir: S. Roman Yuba College Theatre, D. Butler, dir., Marysville 3/30, / 1 , 6, 7, 8/67 The Pirates of Penzance CONNECTICUT Hartt College, of Music, E. Nagy, dir. Opera Theatre, Hartford 5/3-6/67 Ariadne auf Naxos mus. dir: M. Paranov; Hinds; Johnson (Met. Aud. finalist) (see also 1/67 Bulletin) FLORIDA Florida State University School of Music, Opera Guild, Tallahassee 6/9, 10, 12, 13/67 Don Giovanni Jeffrey; White; cond: Ehinscombe; dir: Collins Stetson University School of Music, Opera Workshop, R. Hause, mus. dir., DeLand 3/1, 2, 3, 4/67 The Marriage of Figaro Eng. Martin, J. Clements HAWAII University of Hawaii Opera Studio, N. McKay, mus. dir. 4/24, 25, 26/67 // Tabarro & McKay's Ring Around Harlequin prem. ILLINOIS Northwestern University Summer H. S. Music Project, Ravinia Park 7/22, 24/67 The Second Hurricane cond: Copland Springfield Jr. College, music, dept, Sister Annunciata, chmn. 2/20, 21, 22/67 Goldstein's A Bullet for Billy the Kid University of Illinois Opera Group, L. Zirner, dir., Urbana 2/24, 26/67 The Good Soldier Schweik (see also 3/67 Bulletin) IOWA Drake University Opera Workshop, Marion Hall, dir., Des Moines 4/21, 22/67 The Secret Marriage Eng. Witherspoon & The Cloak Eng. Machlis w.p. 7/3/67 Mohaupt's Double Trouble KANSAS Bethany College, Opera Workshop, Elizabeth Patches, dir., Lindsborg 12/2/66 Dido and Aeneas

KENTUCKY

Union College, music dept., Barbourville 2/9/67 The Telephone w.p. 14

TENNESSEE

Carson-Newman College Opera Workshop, Th. Teagues, dir., Jefferson City 3/19/67 Noye's Fludde Memphis State University Opera Theatre and Workshop, G. Osborne, dir. 11/10, 11/66 The Elixir of Love Eng. Martin 3/30, 31/67 Albert Herring 5/3, 4, 5/67 Rigoletto Eng. Martin 5/19/67 The Telephone & A Game of Chance Middle Tennessee State University, Neil Wright, mus. dir., Murfreesboro 2/4, 6/67 Die Fledermaus Eng. Dietz-Kanin TEXAS Baylor University, School of Music, D. Steinberg, dean, Waco 5/4, 5, 6, 11, 12, 13/67 Otello Eng. Sternberg WISCONSIN Beloit College, music dept. Wm. Jones, chmn., Beloit 3/17/67 The Medium & The Telephone Florentine Opera Company of Milwaukee, J. Anello, mus. dir. 7/7, 8/67 Musical Comedy (winter season see 9/66 Bulletin) 8/4, 5/67 The Merry Widow
All performances are staged and with orchestra unless marked pf." or "w.p." (with piano).

"concert

Performances and news items once anounced will not be relisted at the time of performance.
NEW COS MEMBERS Paul Berl, 250 West 85th St., New York, N.Y. Bradley Univ. School of Music, E. Blanchard, Peoria, 111. Univ. of California Library, Serials Section, Irvine, Calif. Miss Tatiana B. Evtushenko, 210 Euclid St., Hartford, Conn. FBN Opera Workshop, L. Fowler, dir., 42-55 Colden St., Flushing, N.Y. Mrs. Lyle H. Fisher, 1624 Edgcombe Rd., St., Paul, Minn. Philip Meister, Natl. Shakespeare Company, 639 Tenth Ave., New York, N.Y. Francis F. Randolph, J. & W. Seligman Co., 65 Broadway, New York, N.Y. David Rowe, 324 East 66th St., New York, N.Y. Miss Ruth Uebel, 123 East 64th St., New York, N.Y. Jack Eric Williams, 1410 East 42nd St., Odessa, Texas
FIRST PERFORMANCE LISTING, 1967-1968 SEASON ALABAMA Birmingham Civic Opera Assn. and Birmingham Symph., M. McClung, prod. 12/19/67 Hansel and Gretel 4/3, 4/68 The Consul

CALIFORNIA

Los Angeles Music Center, Chandler Pavilion 11/17-12/6 New York City Opera Co. (program see N.Y.C.) San Diego Opera Company, W. Herbert, mus. dir. 11/9, 11/67 Salome Weathers 3/14, 16/68 Carmen Blackham; Olvis, Treigle 5/2, 4/68 The Magic Flute Pracht; Blankenship, Palmer San Francisco Children's Opera, N. Gingold, dir., at Marines' Theatre 10/15/67 Johnny Appleseed 12/10/67 Snow White and the Seven Dwarfs (at S.F. Opera House) 1/28/68 Little Red Riding Hood 3/3/68 Goldilocks Becomes Queen 4/28/68 Sleeping Beauty 5/26/68 Snow White and Rose Red 6/3/68 The Boot of Mr. Ticklewood San Francisco Opera Co., K. H. Adler, gen dir. 9/19, 22, 27 10/1/67 La Gioconda Crespin, Forrester, Bumbry; Cioni, Ludgin; cond: G. Patane 9/20, 23, 26, 29, 10/8/67 The Magic Flute* Eng. Marsh, Scovotti; Burrows, Evans; cond: Stein; dir: Hager; des: Businger, West 9/30, 10/3, 13/67 Louise Saunders, Cervena; Alexander, Rossi-Lemeni; cond: Perisson; dir: Erlo 10/4, 7, 10, 15/67 Der Rosenkavalier Crespin, Anderson, Grist; Greindl, Modenos; cond: Stein; dir: Hager 10/6, 11, 17/67 Macbeth Bumbry; Ludgin; cond: Patane; dir: Erlo 10/14, 20, 24/67 Manon Lescaut Kirsten; Ilosfalvy, Bryn-Jones; cond: Grossman; dir: Mansouri 10/18, 27, 31 11/5/67 Tristan und Isolde* Dalis, Dunn; Thomas, Ludgin, Greindl; cond: Stein; dir: Hager; des: Bauer-Ecsy, West 10/21, 25, 29/67 L'Elisir d'amore* Grist; Kraus, Wixell, Bruscantini; cond: Patane; dir: Mansouri; des: Darling 10/28 11/3, 8/67 The Visitation** Weathers, Scovotti, Cervena, Kirkpatrick; Estes, Ulfung, Crofoot, Ludgin, Wixell, Bryn-Jones, Modenos, O'Leary; cond: Schuller; dir: Hager; des: Bauer-Ecsy, West 11/4, 7, 10, 12/67 Faust* Saunders, Anderson; Kraus, Ghiaurov; cond: Perisson; dir: Erie 11/11, 15, 19, 21, 24/67 La Boheme Freni, Scovotti; Pavarotti, Wixell; cond: Bernardi; dir: Farruggio; des: Jenkins 11/14, 18, 26/67 Un Ballo in maschera Price, Dunn, Grist; Ulfung, MacNeil; cond: Bernardi; dir: Mansouri 11/17, 22, 25/67 Das Rheingold* Saunders, Dalis, Dunn; Ward, Thomas; cond: Ludwig; dir: Hager; des: Skalicki, West * new production ** first American production COLORADO Colorado Springs Opera Assn., J. Crawford, mgr. 10/31, 11/1, 2, 3/67 Hansel and Gretel 111, 8, 9/68 Rigoletto 4/24, 25, 26/68 La Perichole CONNECTICUT Connecticut Opera Assn., F. Pandolfi, exec, dir., Hartford 10/7/67 Tosca Tucci; Campora, Colzani 11/9/67 Madama Butterfly Scotto, de Carlo; Fiorito, Bardini 12/15/67 Romeo et Juliette Moffo; Corelli 2/15/68 Manon Lescaut Tebaldi; Domingo, Sordello 3/12/68 Otello Fenn; McCracken, Bacquier 4/4/68 Cavalleria Rusticana & Pagliacci Borso, Quilico; Ross; Gismondo FLORIDA Opera Arts Assn., Dolores McReynolds, art. dir., Merritt Island 9/23, 24/67 Die Fledermaus Eng. Dietz-Kanin 18

Opera Guild of Greater Miami, A. di Filippi, gen. mgr. 1/22, 24, 27/68 Un Ballo in maschera Malaspino, Kramarich, Clements; Domingo {1/30 in Ft. Lauderdale) 2/19, 21, 24/68 Die Fledermaus Eng. Martin; Fenn, Scovotti, Roggero; Craig, Guarrera, Hayward (2/27 in Ft. Lauderdale) 3/18, 20, 23/68 Samson el Dalila Warfield; McCracken, Bacquier, Moscona, Pichardo GEORGIA Brenau College, Music Dept., Dr. K. Baumgardner, head, Gainesville 2/27, 28/68 Trouble in Tahiti ILLINOIS Chicago Lyric Opera season cancelled Univ. of Illinois, L. Zirner, dir. Opera, Urbana 3/9, 10/68 Schuller's The Visitation composer conducting INDIANA Ball State University Opera Workshop, J. T. Campbell, dir., Muncie 11/9, 10, 11/67 Don Pasquale Eng. Mead 2/2-4/68 Musical Comedy 2/22/68 Thompson's Solomon and Balkis w.p. 5/10, 11, 12/68 The Medium & The Old Maid and the Thief
New Orleans Opera House Assn., New Orleans 10/5, 7/67 Faust Kirsten; Hines, Molese 10/19, 21/67 Madama Butterfly Zeani; di Virgilio, Rayson 11/2, 4/67 Macbeth Borkh; MacNeil 12/7, 9/67 Der fliegende Hollander Bjoner; Ward, Cassilly 2/29 3/2/68 Lucia di Lammermoor Sutherland; Cossa, Malas, Molese 3/14, 16/68 // Trovatore Caballe, Pospinov; Domingo, Sordello 3/28, 30/68 Pagliacci & Amelia Goes to the Ball Schuh, Gismondo; Ludgin, Fredericks 4/25, 27/68 The Tales of Hoffmann Sills; Alexander, Treigle, Castel MARYLAND Baltimore Civic Opera Co., R. Wonderlich, pres. 11/2, 4, 6/67 Boris Godunov St. dir: Capobianco; des: Lee/Vorona 2/15, 17, 19/68 Salome 3/21, 23, 25/68 La Traviata

MASSACHUSETTS

American National Opera Company, S. Caldwell, dir., Boston 9/25-11/26/67 Eastern tour: Falstaff, Tosca, Lulu Spring 68 Western tour: above and Die Meistersinger von Niirnberg, Cavalleria Rusticana & Pagliacci New England Conservatory Opera Theatre, Th. Philips, dir., Boston 11/10, 11/67 The Coronation of Poppea 2/1, 2, 3/68 Ariadne auf Naxos 5/4, 5/68 To be announced MICHIGAN Western Michigan University, Music Dept., Wm. Appel, dir., Kalamazoo 11/30 12/1, 2/67 Gianni Schicchi MISSOURI St. Louis Opera Theatre, St. Louis 11/67 Wozzeck NEW YORK CITY Clark Center for the Perf. Arts, N. Ornest, dir. Opera Workshop, YWCA 1/68 Scenes 1 /68 Un Ballo in maschera Little Orchestra Society, Th. Scherman, mus. dir., Philharmonic Hall 10/10/67 Busoni's Turandot Am. orem. Kuhse semi-staged 12/12/67 The Makropoulos Case N.Y. prem. Kuiplova, Zidek 4/23/68 Orff's Antigonae Am. prem.; Borkh, Mannioni, C. Alexander, W. Lewis 12/22/67 L'Enfance du Christ 19
New York City Opera Company, Julius Rudel, gen. dir. 9/14-11/12/67 opening: The Magic Flute, new prods: Weisgall's Nine Rivers from Jordan prem., Le Coq d'or, Cavalleria Rusticana & Pagliacci dir: Zorina. other operas: Julius Caesar, Der Rosenkavalier, La Traviata, Tosca, Madama Butterfly, Carmen, The Marriage of Figaro, La Boheme, The Barber of Seville 11/17-12/6/67 at Los Angeles Music Center. 20 pfs: Don Rodrigo, Julius Caesar, The Magic Flute, Tosca, La Boheme, Madama Butterfly, La Traviata, The Tales of Hoffmann 2/22-4/21/68 spring season, Ginastera's Bomarzo, N.Y. prem. Opera Guide Theatre Co., P. Rubino, gen. dir. 10/21/67 Mascagni's Iris at McMillan Theatre, Columbia U. NORTH CAROLINA Charlotte Opera Assn., Mrs. J. Henderson, pres., J. McCrae, mils. dir. 11/13/67 Faust Alexander 2/12/68 Cosi fan tutte 4/1/68 Tosca Krall; Crain, Meredith OHIO Cincinnati Symphony Orchestra, M. Rudolf, mus. dir. 10/13, 14/67 Fidelio Tatum, Traficante; Sullivan, Elvira, Paul; concert pf. 12/67 L'Enfance du Christ Columbus Civic Opera Assn., with Columbus Symph., J. Holland, art. dir. 11/67 Rigoletto (sets from Cincinnati) 2/67 Albert Herring (sets from Chautauqua) 4/68 Faust (sets from Cincinnati) Dayton Opera Association, Dayton (and Toledo Opera Ass'n.) 10/28/67 La Boheme Thomson, Randazzo; Bardini, Lambrinos, Hernandez, Voketaites 2/3/68 Don Giovanni Lampropolous, Pracht, Hurley; Hecht, Green, Lampi, Beck 5/4/68 Turandot Ross, Malbin; Barioni, Moscona Lake Erie Opera Theatre, L. Lane, dir., Cleveland 9/67 The Bartered Bride Eng., Goldovsky, cond. & st. dir.: Goldovsky 9/67 L'Heure espagnole & Oedipus Rex dir: H. Butler Mansfield Symphony Orchestra, R. L. Cronquist, mus. dir. 2/4/68 Carmen (staged) OKLAHOMA Tulsa Opera Company, R. Anderson, dir. 11/2, 4/67 Madama Butterfly Scotto; Alexander 3/21, 23/68 Don Pasquale D'Angelo; Tajo PENNSYLVANIA Indiana University of Penn., H. Wildeboor, dir., Opera Theatre, Indiana 10/28-30/67 H.M.S. Pinafore 2/9-11/68 Die Fledermaus Eng. Dietz-Kanin Philadelphia Grand Opera Co., A. Terraciano, mgr. 10/27/67 La Traviata 11/10/67 Madama Butterfly 12/7/67 The Barber of Seville 12/31/67 Die Fledermaus 1/23/68 Rigoletto 2/13/68 Norma 3/12/68 La Boheme 4/16/68 Turandot Philadelphia Lyric Opera Company, A. Fabiani, dir. 10/17/67 Rosselini's View from the Bridge* Am. prem. Lane; Galli 10/20, 24/67 Romeo et Juliette Freni, Pilou; Corelli, Flagello 11/14/67 Rigoletto Scotto; Protti, Kolk 11/17, 21/67 Faust Lorengar; Alexander/Kraus, Ghiaurov 12/1/67 / Puritani* Moffo, Duval; Ausensi 12/5, 8/67 Otello Tebaldi; Vickers 2/6/68 Tannhauser* Bjoner, Dunn; Thomas, Dooley 2/20/68 Aida Arroyo, Bumbry; Corelli, Giaiotti 3/5, 8/68 // Pirata* Caballe; Marti 3/26, Z9/68Norma* Sutherland * new production Pittsburgh Opera, Inc., Richard Karp., gen. dir. 10/26, 28/67 Lucia di Lammermoor Scotto; Ausensi, Lavirgen 12/7, 9/67 Carmen Resnik; Olvis, Hecht 1/18, 20/68 Aida Mastilovic, Rankin; Savelli; Moscona 2/15, 17/68 Lakme Peters; Duval 3/21, 23/68 // Trovatore Caballe, Kramarich; Marti, Sordello

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ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN E. H. CORR1GAN, JR. MRS. NORRIS DARRELL MRS. TIMOTHY FISKE CARROLL G. HARPER ELIHU M. HYNDMAN
Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER San Francisco Opera VICTOR ALESSANDRO San Antonio Symphony ROBERT G. ANDERSON Tulsa Opera WILFRED C. BAIN Indiana University ROBERT BAUSTIAN Santa Fe Opera MORITZ BOMHARD Kentucky Opera STANLEY CHAPPLE University of Washington EUGENE CONLEY No. Texas State Univ. WALTER DUCLOUX University of Texas PETER PAUL FUCHS Louisiana State University ROBERT GAY Northwestern University BORIS GOLDOVSKY Goldovsky Opera Theatre WALTER HERBERT Houston & San Diego Opera RICHARD KARP Pittsburgh Opera GLADYS MATHEW Community Opera MRS. LOUDON MELLEN Opera Soc. of Wash., D.C. ELEMER NAGY Hartt College of Music MME. ROSE PALMAI-TENSER Mobile Opera Guild RUSSELL D. PATTERSON Kansas City Lyric Theater MRS. JOHN DEWITT PELTZ Metropolitan Opera JAN POPPER University of California, L.A. GLYNN ROSS Seattle Opera GEORGE SCHICK Manhattan School of Music MARK SCHUBART Lincoln Center MRS. L. S. STEMMONS Dallas Civic Opera LEONARD TREASH Eastman School of Music LUCAS UNDERWOOD University of the Pacific GIDEON WALDROP Juilliard School of Music MRS. J. P. WALLACE Shreveport Civic Opera LUDWIG ZIRNER University of Illinois
The 1970 Survey Issue of the COS Bulletin will be in two parts: 1) Operatic Sets and Costumes for rent and 2) Opera Companies and Workshops indicating number of annual productions and performances.
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Volume 13, Number 1 September-October, 1970

NEW OPERAS AND PREMIERES

AMERICAN OPERAS FAUST COUNTER FAUST is a collage of operas and plays (Berlioz, Boito, Gounod, Goethe, Marlowe) on the mefistofelian subject. Additional music was composed by John Gessner. Wesley Balk of the Center Opera Company, the organization that commissioned the opera, is responsible for the adaptation. He will stage the work in its premiere in Minneapolis at the Tyrone Guthrie theatre on January 30; repeat performances are scheduled for February 7, 12 and 13 and for March in San Francisco as part of the Spring Opera Theatre's season at the Curran Theatre. The second new opera commissioned and scheduled for premiere by the Center Opera Company this season will be the result of the collaboration of Mr. Balk with Yale Marshall. CHRISTMAS MUMMERIES AND GOOD GOVERNMENT combines "The Business of Good Government" by John Arden with a medieval mummers play. Seven performances will be given at the Hennepin Avenue Methodist Church in Minneapolis beginning December 12. Indiana University announced the new date for the premiere of John Eaton's HERACLES as May 15, 1971, in Bloomington. It was originally contemplated for the past season. Two new one-act operas will make up a program of world premieres at the University of Wisconsin/Milwaukee Opera Theatre on November 13. Both are by Jonathan Elkus, composer-in-residence at Lehigh University in Pennsylvania, and represent his fifth and sixth venture into operatic composition. HELEN IN EGYPT has a libretto by Jere Knight after an epic poem by Hilda Doolittle dealing with "the wrong Helen"; the libretto for MEDEA is by the composer and is based on the original Euripides play. After some postponements, final premiere dates for two operas by major American composers have now been set. Gian Carlo Menotti's THE MOST IMPORTANT MAN IN THE WORLD is scheduled by the New York City Opera for March '71, and Lee Hoiby's SUMMER AND SMOKE after Tennessee Williams' play will receive a first performance by the St. Paul Opera Company during its first summer festival in July '71. The work had originally been commissioned by the San Francisco Opera. American composer Thomas Pasatieri is working on his first full-length opera; he has three one-act works to his credit. The Seattle Opera, assisted by a grant from the National Opera Institute (see article on "Federal Aid and Grants"), plans the premiere for March '72.

was heard at the City of London Festival on July 8. AGAMEMNON by Richard Morris with a libretto by A. Holden was heard in November '69 in Oxford, and MAMMON by Derrick Mason with a libretto by C. Dandy was performed on June 5, 1970, at London's Morley College. Three new short operas were done in Bergamo, Italy, on one program: Danilo Lorenzini's QUATTRO PER CINQUE, G. C. Sonzogno's BOULE DE SUIF and Alberto Soresina's LA TAVERN A DEL MIRACOLA. On March 26, the Piccola Scala in Milan offered a double bill of Bruno Bettinelli's COUNT DOWN (sic) and Gino Negri's PUBBLICITA NINFA GENTILE. In January, the opera house in Mantua presented Marieli Owero's LA FINTA MUTA with the composer conducting. In October '69, IL MARESCALCO {The Stablemaster), a comedy after Aretino by the prolific composer G. F. Malipiero, was premiered in Treviso. Rumanian composer Pascal Bentoiu was awarded the $1,600 Guido Valcarenghi Prize for Unpublished Operas for his opera, HAMLET, while the Italian Copyright Society SIAE bestowed its Gold Medal on American Robert W. Mann for his opera THE SCARLET LETTER: Giancarlo Colombini and British composer Sidney John Kay received honorable mention for their operas IL GHETTO and STRATEGY respectively. Rafaello de Banfield is presently completing TOM BE POUR UNE FEMME SEULE; the premiere is planned for Marseille in January. Grenoble offered the first performance of Rene Leibowitz's LES ESPAGNOLS A VENISE on January 27, 1970. The one-act opera has a libretto by G. Limbour. A new form of musical theatre is being presented in Paris near Les Halles by a group called Les Treteaux de France. The multi-media piece, based on Pierre Bourgeade's La Rose rose, is called ORDEN; the music is by Girolamo Arrigo, and the staging, which is an integral part of the work, was devised by Jorge Lavelli. The Royal Flemish Opera, which offers new works annually, performed Marinus de Jong's ESMOREIT on September 11 in Antwerp, and the Norwegian Opera in Oslo premiered Edvard Fliflet Braein's ANNE PEDERSDOTTER. Recently premiered Czech operas include Jiri Paur's fourth opera, ZDRAVY NEMOCNU, after Moliere's Malade imaginaire, at the Prague National Theatre on May 22, Milos Stedron's APARAT A MACHINA, a one-act chamber work after Kafka's Penal Colony, in Brno on April 3, and Alois Pino's VYVOLAVACI (The Hucksters) with a libretto by J. Berg in Brno on April 1. Hungarian composers are represented by Gyorgy Fanki and his TRAGEDY OF THE MAN, based on a Hungarian drama by I. Madach, performed this season in Budapest and by Otto Ferenczy and his UNUSUAL HUMORESQUE, after Kurt Gotz's The Dead Aunt, which was done last season in Kosice. Mansi Barberis's second opera, KERA DUDUCA (Dear Duduca) was seen on Rumanian television on July 26. The libretto is by Anghel Ionescu-Arbore after a book by N. Filimon. Bulgarian composer Stjepan Sulek chose Shakespeare's The Tempest as the subject for his opera, OLUJA, performed in November '69 in Zagreb. The last season also brought Kyril Molchanov's third opera, RUSSIAN WOMEN, to Saratov, U.S.S.R., and Boris Latoshinski's POLKOWODETZ (The Major) to Kiev in February 1970. This list would not be complete without mention of the new operas performed in the Far East. Tokio was the scene of the premiere of Sonki Kinoshita's OKINA WA (12/69) and also of Osamu Shimizu's DAIBUTSU KAIGEN (Tales of the Celebration of the Great Image of Buddha) on October 2, 1970 at the Niki-Kai Opera. JAHANARA by Indian composer and soprano Shanno Khurana combines a Western style libretto in Urdu by Rifat Sarosh with Indian classical music. The first performance took place in New Delhi on January 7, 1970.

for an additional 1,483 performances last season. (Financial figures cannot be estimated for these workshops since their budgets are part of academic expenses.) The NATIONAL OPERA INSTITUTE was formed last summer "to encourage the growth and development of opera in the U.S." and to assist opera companies, composers and young singers. It was established with a $300,000 grant from Mrs. DeWitt Wallace and a matching contribution from the National Endowment for the Arts. These funds will be disbursed over a two-year period. The general programs as well as specific initial grants for the first year have been announced: 1) $150,000 to opera companies to assist with production costs of new American operas and/ or to workshops to hire professional singers to give new works the best possible performance ($25,000 was awarded to the Santa Fe Opera to assist in the production of Berio's Opera, and $17,500 was pledged to the Seattle Opera towards production costs of the world premiere of Pasatieri's Dos Madres which is scheduled for March 72); 2) $75,000 for commissioning new works as grants to composers and librettists, and for the preparation of musical material; 3) $25,000 for a study of opera on film or video tape (study and introductory program to be developed by the New York City Opera, recipient of this grant); 4) $75,000 to sponsor operatic programs on tours to communities which have had no previous exposure to opera ($10,000 to the Alaska State Council to engage the Western Opera Theatre for eight student performances and $10,000 to the Inner City Cultural Center of Los Angeles to engage the Western Opera Theatre for one week of performances and seminars, also $5,000 to the Afro-American Singing Theatre of New York City); 5) $125,000 to assist young promising singers. Roger L. Stevens is President of the National Opera Institute of which the following opera personages are trustees: Kurt Herbert Adler, Luciano Berio, Anthony Bliss, Robert Collinge, Lawrence Deutsch, Don Engle, Michael Forrestal, Carol Fox, Prentiss Cobb Hale, Paul Hume, Irving Kolodin, George London, George Moore, Gunther Schuller, Blanche Thebom, John Walker, and Ludwig Zirner. Further information may be obtained by writing to N.O.I., 726 Jackson Place, N.W., Washington, D.C. 20506. The NEW YORK STATE COUNCIL ON THE ARTS has made a first round of grants from its recently allocated funds of $18 million; the largest contribution in the operatic field ($328,000) went to the Metropolitan Opera to be used towards expenses at the free park concerts and an upstate tour by the Metropolitan Opera Studio. The Tri-Cities Opera in Binghamton and the Syracuse Symphony and Opera Assn. also received grants. The Brooklyn Academy of Music and Lincoln Center were among the performing arts centers to receive funds. Both the ASSOCIATED COUNCILS OF THE ARTS and the BUSINESS COMMITTEE ON THE ARTS are working on assistance programs for arts organizations. Although neither group has funds to disburse, each is working on a pilot program which can be translated into dollars and cents for performing groups. With the assistance of ACA, N.Y. Volunteer Lawyers for the Arts has been formed. It offers free legal counsel to artistic companies. Its headquarters are the ACA offices, 1564 Broadway, New York, N.Y. 10036, and if successful similar organizations will next form in Boston and Washington. BCA plans other free volunteer services and is presently organizing Certified Public Accountant firms to advise and assist arts organizations free of charge. The TENNESSEE ARTS COMMISSION effects state touring programs in the arts by bringing together interested sponsoring organizations and eligible arts groups. Both the Memphis Opera Theatre and the Opera Theatre of the State UniversHy are participating in the program.

NEWS FROM OPERA COMPANIES
The SPRING OPERA THEATRE is the new name under which the former Spring Opera of San Francisco will open at the Curran Theatre, its new home, in March 1971. It will perform on a thrust stage with the conductor and orchestra backstage and hidden from the audience. Musical problems will be solved in a way similar to that devised by the Center Opera Company at the Guthrie Theatre, i.e. closed circuit TV monitors and extensive rehearsals. In fact, one of the four productions to be heard at the Curran Theatre under the Spring Opera Theatre's sponsorship will be the new opera, Faust Counter Faust, in the original Center Opera production (see New Operas and Premieres). The other operas to be performed by the junior San Francisco company are Titus {La Clemenza di Tito), Rigoletto and Don Pasquale; all operas will be sung in English. The company continues under the auspices of the San Francisco Opera and the directorship of Kurt Herbert Adler. The NEW ORLEANS OPERA, now in its twenty-eighth consecutive season, is experimenting with a new schedule this year. It will attempt to put the budget and the fund drive as well as the performance schedule and the subscriptions on a calendar-year basis. The first three operas winding up the 1970 year have been offered under one short subscription series. The three operas to be performed during the Spring (1971) will be on the same subscription as those scheduled for the following Fall. The Company also announced that its current repertory of Faust, Rigoletto and Madama Butterfly was chosen "quite frankly, to increase box office". It is also reducing the number of productions from eight two years ago to six this year. Similarly, the VANCOUVER OPERA has found itself in a financial predicament and has reduced the current season from four to three productions of "standard fare for conservative audiences". It will be interesting to observe the outcome of the New Orleans plan for it is the first time a company has arranged its schedule and finances on a calendar rather than a seasonal basis, with the exception, of course, of those companies whose seasons automatically fall into one calendar year. For the second year the NEW ORLEANS OPERA is offering a remarkable and extremely well planned program, the OPERA IS club, designed to involve teenagers in opera, thus insuring the continuance of local audiences while stimulating potential careers in the arts. The program is coordinated and publicized in high schools, but neither teacher nor parent may apply on behalf of the student. There are no initiation fees, no dues, and no compulsory meetings. The members receive an attractive certificate and a psychedelic membership button and have the privilege of buying opera tickets at the box office for themselves or for friends for $1 each. They are invited to special press conferences where they may be photographed with lead singers and interview these stars prior to each production for the school newspaper. They may also apply for jobs as ushers, supers or backstage helpers. A Newsletter is mailed to all members before each production; a briefing coke party, held at the beginning of the season, offers alternating entertainment of psychedelic lights and rock music and projections of past opera productions and operatic music. It is no wonder that membership in the first year exceeded 500. The ST. PAUL OPERA, too, is in the process of reorientation. Its current season features two double bills alternating at the Crawford Livingston Theatre followed by Floyd's Of Mice and Men which will open the O'Shaughnessy Auditorium at St. Catherine's College on October 20. A Thanksgiving production of Hansel and Gretel rounds out the opera company's Fall season. Rather than presenting a traditional Spring season, the company hopes to offer the first Summer Festival in St. Paul at the new auditorium. Present plans provide for five operatic productions with star singers and a concurrent Opera Academy, offering academic credit for courses in voice, staging, design, etc. The faculty will be made up of performing artists employed at the festival. Further information will be announced as soon as plans are complete.

The SEATTLE OPERA ASSOCIATION is in the news with three different innovative programs: 1) the training of two potential opera administrators, 2) the National Artists Program for young singers, and 3) a computerized address system for speedy distribution of announcements and subscription news. The first beneficiaries of the administrative training program, operated with financial assistance from the Adolph Foundation, are Robert de Simone, assistant stage director in Seattle last year and who is also trained as a concert pianist, and Robert Peterson, production assistant at the Seattle Opera for the last three years. They will now be exposed to handling public relations, community marketing, personnel management, administration, production, etc. The second program offers a year-round opportunity to three young singers to participate in both the International and National Series, to sing in the multi-media production of the Seattle Opera's Youth Program and to concertize throughout the state in schools or clubs. The third project is a cooperative effort with the University of Washington under a Federal Government Work Study Program. Over 30,000 names of contributors, subscribers and friends of the opera company are entered into the computer with specific information on each, thus enabling the company to reach individual groups for specific purposes without flooding everyone with mail and saving days of work otherwise needed for hand addressing. Subscription renewals and general ticketing will also be handled by the computer. A two-year study revealed the Burroughs B-5500 Computer with the computer code of ALGOL, which allows up to 120 entries with each name, to be the most suitable system for the project. The computer is located at the University. The NEW YORK CITY CENTER OF MUSIC AND DRAMA is offering its Third Edition of A City Center Sampling, consisting of thirty-three different subscription series. Each one combines four or five events, drawing from opera performances at the State Theatre, from fifteen American and foreign dance companies performing at the 55th Street Theatre and from the Anta Theatre. The same organization is continuing its afternoon low-priced-ticket programs ($1 and $1.50) of dance, opera and drama for Senior Citizens which it so successfully started last year. New this year are morning programs for school children with tickets for 500. Among the various grants facilitating such programs is the Billy Rose Foundation's five-year award of $250,000 to the New York City Center for the "expansion of its urban activities with special consideration for disadvantaged children". HUNTER COLLEGE will now make tickets available to Senior Citizens for $1 for seven of its regular concerts and for a travel film series. Tickets may be bought at the box office with ID cards or may be ordered by mail; a copy of the ID card must be enclosed with the order and payment. Rush-ticket plans have been instituted by a number of performing groups. Ticket prices for these last minute pick-ups vary with each organization. Student ID cards are required in all instances and tickets in any location of the house not sold one half hour before curtain time are made available for $3.50 at the San Francisco Opera, for $2.00 at New York's Philharmonic and Tully Halls, for $1.75 at the New York State Theatre and the City Center of Music and Drama, for $ 1.50 at the St. Paul Opera and for $1 at the Brooklyn Academy of Music. Not all events at these theatres, however, are included in this plan. Two American opera companies have eliminated the word Civic from their titles. Henceforth they will be known as THE OMAHA OPERA ASSOCIATION and THE BALTIMORE OPERA COMPANY. Robert Collinge, the latter's Managing Director, will now have the title General Manager. The Jackson Opera Guild has formally changed its name to THE MISSISSIPPI OPERA COMPANY. The NEW YORK CITY OPERA COMPANY closely averted a strike when it was able to settle with its orchestra musicians in the middle of its Fall season. An agreement was signed with the basic orchestra of forty-five musicians which assured them of a weekly minimum of $300 in the third year of the contract, of a sixperformance week and additional health and welfare benefits. A thirty-two week season was guaranteed. This had been one of the major points of contention since

NEW TRANSLATIONS

Mozart's Zaide turned up last summer at Boston's Gardner Museum, in one of its rare performances, in a new English translation by Michael Kaye. The translation is available from Mr. Kaye, c/o New England Conservatory of Music, Boston. Ann Bailey, Frank Corsaro and Raymond Pinnell worked with a new, up-dated translation of La Boheme at the Lake George Opera Festival last summer. Set in the 1920's, the text includes references to various events in Paris after World War I. 10
Lehar's The Merry Widow will appear in a new English translation by Janne Alters when it is performed in Dallas in November. Anne Grossman has added Pergolesi's La Serva padrona to her many English translations, which are available from her at 1235 Park Ave., N.Y., N.Y. Carmen is appearing in yet another modern disguise {Carmen Jones) as The Naked Carmen, a rock version, written for and recorded by Mercury Records. Composer John Corigliano (son of violinist) and record producer David Hess have collaborated on this new presentation, which features, besides the Detroit Symphony, the Moog Synthesizer and other electronic sounds; the libretto contains numerous references to contemporary politics.

NEW ACADEMIC PROGRAMS

The University of Toronto's Royal Conservatory offers for the first time a Diploma in Opera Performance. Eligible are vocal and music students who have had three to four years training and who have subsequently completed the special two-year advanced opera course, recently instituted by the University. The University of Miami's Sally and Joseph Handleman Institute for Recorded Sound will offer a Bachelor of Music in Recorded Music degree as soon as the special courses are developed. The training in arts administration offered by UCLA includes a period of Student Internship with a performing or administrative arts organization. The University of Cincinnati College-Conservatory is expanding its operatic division to include instruction by two new faculty members, Steven Waxier and Snellen Childs. They come from the Cleveland Playhouse and the Missouri Repertory Theatre respectively and their instruction in "opera and theatre crafts" will emphasize the technical aspects of production methods. Some major foundation grants were recently awarded in the educational field. The Rockefeller Foundation allocated $440,000 for a five-year project for a New Center for the Performing Arts at the University of Iowa, an interdisciplinary program started one year ago with an initial Rockefeller grant of $25,000 The Ford Foundation's $2 million program for the arts and humanities includes the following educational music programs: the Symphony for the New World for the training of young, non-white musicians, the New York Committee for Young Audiences for special demonstrations in schools and libraries, and the Kodaly Institute for the training of American music educators. The Booth Ferris Foundation gave $50,000 of unrestricted funds to the Mannes College of Music in New York. The federal grant from HEW to the new California Institute of the Arts in Valencia was augmented by $1 million, and now totals $3.1 million; a large portion of the $54 million cost is being sustained by the Disney Foundation. The International Society for Music Education held its latest conference in Moscow in July 1970. Ninety-five American music educators from twenty states participated in the week-long meeting. November 15 to December 15 was designated as Children and the Arts Month by Nancy Hanks, Chairman of the National Endowment for the Arts, and Stephen Hess, Chairman of the White House Conference on Children and Youth. The month-long activities, planned and supported by State arts councils, will culminate in a White House Conference scheduled for December 13-15.

ANNIVERSARY CELEBRATIONS A great number of new productions of Fidelio are planned for this year, the two hundredth anniversary of BEETHOVEN'S birth. Indicative, perhaps, of today's hurried pace is last season's great increase in performances of the opera. In anticipation of the bicentennial, performances in the United States totalled thirty-two compared to three the year before. This year also marks the centennial of FRANZ LEHAR's birth and Austria honored its native son and operetta king with a special summer festival. The Dallas Civic Opera is offering a new production of his The Merry Widow for the occasion, which, however, has not been marked by any increase in performances of his works in this country. Other composers with special anniversaries this season include BELA BARTOK (twentyfifth anniversary of his death) and AARON COPLAND and SAMUEL BARBER (seventieth and sixtieth birthday respectively). Preliminary planning for the UNITED STATES Bicentennial Celebration of the Declaration of Independence has been started by the American Revolution Bicentennial Commission. The commission first concentrated on recommendations for the site of the 1976 celebration. Philadelphia will most probably be host to the international exhibition, with Boston, Miami and Washington actively participating. Hopefully, the American operatic community will rise to the occasion with commissons for new works. Metropoltan Opera singers celebrating debut anniversaries include LICIA ALBANESE, whose first Metropolitan Opera performance dates back thirty years, RICHARD TUCKER and REGINA RESNICK, who both celebrated their twenty-fifth anniversaries with the company earlier this year, and most recently, ROBERT MERRILL, who was feted after a silver anniversary performance of La Traviata. General Manager RUDOLF BING just completed his twentieth season with the company. LAURITZ MELCHIOR celebrated his eightieth birthday in March with gala dinners in New York and Los Angeles, while two conductors observed their eighty-fifth birthdays by leading their orchestras in full-length, gala concerts; they were OTTO KLEMPERER at the Royal Festival Hall, conducting Mahler's Lied von der Erde and VITTORIO GUI conducting at the Maggio Musicale Fiorentino, which he had founded in 1933.
The MOBILE OPERA GUILD, founded by Mme. Rose Palmai-Tenser, will celebrate its silver anniversary in March with two performances of Faust. The company reflects the philosophy of its dedicated founder and director by annually giving one fully professional production, featuring the best young American singers. The Guild also sponsors a workshop.

The ITHACA OPERA ASSN., Inc., claims the distinction of being the only opera company with consecutive seasons in a community of under 30,000 inhabitants to celebrate its twentieth anniversary. Kenneth Baumann, who founded the company in 1949, is its artistic director and driving force. Binghamton, an up-state New York city with almost triple the population of Ithaca, has been the home of the TRI-CITIES OPERA, which also celebrated its twentieth season. The company produces three different operas plus one short opera in a workshop production and offers a total of 26 performances a season.
NEWS FROM PUBLISHERS AND ARTISTS MANAGEMENT
Carl Fischer, Inc., has published two operas by Martin Kalmanoff, The Bald Prima Donna (after Ionesco) and The Great Stone Face (after Hawthorne). Oxford University Press announced the publication of Samuel Adler's The Outcasts of Poker Flat. Sidney A. Seidenberg has formed his own artists's management and has opened offices at 1414 Avenue of the Americas, N.Y., N.Y. 10019.

ANNOUNCEMENT

If you have sets and/or costumes for rent and have not yet received a questionnaire, please contact the COS office immediately so that they may be listed in the Special Survey Issue (see the announcement on inside cover).
COMPETITIONS FOR COMPOSERS A N D SINGERS The City of Geneva and the Radio de la Suisse Romande jointly sponsor an International Contest for Opera Composition, offering cash prizes to three winners (S. Fr. 12,000, S. Fr. 7,000 and S. Fr. 5,000) as well as a performance at the Grand Theatre de Geneve and a radio broadcast. The opera should be of 25 to 60 minutes duration. Deadline for submission of the new work is September 1, 1971. Inquiries may be addressed to: Concours International d'Opera 1971, Maison de la Radio, 66 Boulevard Carl-Vogt, CH 1211, Geneva 8, Switzerland. Just a reminder that this is the year of the triennial International Competition for Singers, sponsored by the Friday Music Club Foundation and open to singers between the ages of 18 and 29. The Foundation offers four cash prizes and a recital. Applications should be sent to Nancy Phillips, 3530 N. Dickerson St., Arlington, Va. 22207, before February 28. The competition is held in April. This is also the year of the competition of the Artists' Advisory Council, held every two years. The deadline for applications is January 31, 1971, auditions are held in New York and Chicago in February and March; over $10,000 are awarded in prizes. Application forms are available from Mrs. W. Cowen, 55 E. Washington St., Chicago, 111. 60602. Please note the new address for application forms for the competition sponsored by the Friday Morning Music Club Foundation: Nancy L. Phillips, 3530 N. Dickerson St., Arlington, Va. 22207. Cash prizes total $2500; deadline is February 28, 1971. The Corbett Foundation, 1501 Madison Road, Cincinnati, Ohio 45206, sponsors participation of young American singers (residing in the U.S. or in Europe) in the Zurich Opera Studio. Eligible are unmarried singers with professional training between the ages of 25 and 30. Tuition and living expenses are paid by the Foundation as are travel expenses for singers presently living in the U.S. Spain has announced the International Competition of the Conservatory at Orense, which is open to singers, pianists and chamber music ensembles. Information may be obtained from: Secretariat des Concursos Internacionales del Conservatorio de Musica de Orense, Plaza Major 2, Orense, Spain.

WINNERS The 1970 San Francisco Opera Auditions were won by 28-year-old mezzo CARMEN TEJADA from Los Angeles ($1,000 James Schwabacher Award), 28-year-old Japanese soprano TAMI ASAKURA ($750 Florence Bruce Award), 22-year-old mezzo GWEN JONES from Oklahoma ($500 William Kent Jr. Memorial Award) and 26-year-old soprano HELEN DILWORTH ($250 II Cenacolo Award). The winners were also presented in a concert at Stern Grove and later participated in the Merola Training Program at Saratoga, California. After completing that program, with its production of Four Saints in Three Acts, Miss Jones also received the $1,000 Gropper Memorial Award while JOSEPH PINEDO was awarded the first $500 Karl Kritz Memorial Award. The Metropolitan Opera and Community Funds, Inc., announced the three winners of the Kirsten Flagstad Memorial Award: sopranos PATRICIA GUTHRIE, past member of Geneva Opera's training center and presently singing in Coburg, Germany and KIRSTEN HUEHN, presently in Berlin, daughter of bass-baritone Julius Huehn and godchild of Mme. Flagstad, as well as tenor DANIEL NELSON of Indiana University. The second prize ($2,500) at Japan's Madama Butterfly Competition went to the 1969 Metropolitan Opera National Council Auditions' winner, soprano GJJLDA CRUZ-ROMO.
The Minna Kaufmann Ruud Foundation awarded $1,000 each to ANA RIERA, soprano from Jersey City, BARBARA HENDRICKS, soprano from Little Rock, Arkansas, and EVELYN PETROS, mezzo from Bowling Green, Ohio. Prizes of $500 were given to FAYE ROBINSON, soprano from Houston, Texas, and to JACQUELINE PIERCE, mezzo from Oklahoma City. Soprano MICHELINE RENE, from Cap de la Madeleine in Quebec, was named the 1970 winner of Winifred Cecil's Joy of Singing competition. She was presented in a debut recital in October at Lincoln Center's Tully Hall. Lyric soprano KATHLEEN MOTT, a graduate of the University of Texas, received the $1,000 first prize from the National Assn. of Teachers of Singing. WGN Radio in conjunction with the Illinois Opera Guild named its two first-prize winners of the Auditions on the Air competition: mezzo THERESA TREAD WAY and baritone RALPH GRIFFIN. Cash awards totalling $3,500 are available for the winners, who are also presented in a summer concert at Chicago's Grant Park Concerts. Preliminary auditions are held in New York, Chicago, San Francisco and Los Angeles, and are followed by fifteen weeks of auditions on the air; the finals are held at the Chicago pera House. For further information see the COS Awards for Singers brochure. The 1970 commencement prizes at the Cleveland Institute of Music went to CHRISTINE GILLESPIE (Max Berman Prize) and to MARY MICHAL EARL (Boris Goldovsky Prize in Opera). Prizes have also been awarded to coaches, conductors and arts administrators. The first Kurt Herbert Adler Award for an operatic coach and assistant conductor was bestowed on MONROE KANOUSE, past staff member of the Western Opera Theatre and currently with the San Francisco Opera. The award brings a cash prize of $1,250. American conductor JAMES FRAZIER was the 1970 winner of the Guido Cantelli International Conductors Competition held in Milan. Arts Management announced the two winners of its 1970 awards. JOHN B. HIGHTOWER was named "Arts Administrator of the Year" for his achievements as Director of the New York State Council on the Arts, and JOHN S. EDWARDS received the "Career Service Award" as Manager of the Chicago Symphony and Board Chairman of the American Symphony Orchestra League. Foreign vocal competitions turned up some interesting winners. The first prize of the Canadian Broadcasting Company's Talent Festival, a concert at the National Arts Center, went to Canadian mezzo GABRIELLE LAVIGNE, a current member of the New York City Opera, and the second prize to coloratura-mezzo RENEE ROSEN. The much publicized International Voice Competition held in Montreal last summer did not award a first prize; a second prize of $1,000 went to Canadian bass MAURICE BROWN. (Since prizes were high, this competition should have drawn an exceptional crop of young singers; one wonders whether the exceedingly heavy demands on repertory, including contemporary Canadian, may have had an adverse effect on participation.) The jury of the International Competition for Young Singers in Sofia heard fifty-nine singers from thirty-one countries and awarded first and second prizes to Bulgarian sopranos GENA DIMITROVA and ANNA TOMOVA-SINTOVA, and third prize to British soprano MARGARET CURPHEY. American soprano MARGARET GRAEME CANNING was invited as a guest artist at various Bulgarian opera houses as a result of her participation in the competition. Seventy-one singers from fifteen countries competed in this year's International Competition held in Moscow every third year. First and second prizes in both men's and women's divisions went to Russian singers; two Americans, EDNA GARABEDIAN-GEORGE and JOHN WEST, were awarded prizes; the international jury included Maria Callas and Tito Gobbi.

The second edition of the CONCISE OXFORD DICTIONARY OF MUSIC by Percy A. Scholes and edited by John Owen Ward has now appeared in a $2.95 paperback volume. Oxford University Press should be commended for having made this valuable 636-page reference work available at such low cost.
COLLECTIONS ON VIEW A N D FOR RESEARCH Wagner's Bayreuth festival estate, with the Villa Wahnfried and with archives containing the original manuscripts, letters, and memorabilia, has been offered for sale with the proviso that the estate and all parts thereof will be left intact in Bayreuth and opened for research. A recent joint statement by the city's mayor, H. W. Wild, and Mrs. Winifred Wagner announced that the family-owned estate and archives have now been reorganized into a "public foundation" and have thus been saved from any sale, which might have endangered the intactness of the invaluable collection. The Beethoven House in Heiligenstadt, outside of Vienna, where the composer wrote the Heiligenstadter Testament, has been purchased by the City of Vienna and will be opened as a museum. The three-room apartment once occupied by Beethoven will be renovated and ready for visitors during Vienna's Beethoven weeks. The Pierpont Morgan Library in New York has recently acquired the invaluable MARY FLAGLER CARY MUSIC COLLECTION, containing some 3,000 letters and documents and over 150 musical manuscripts by such composers as Bach, Mozart, Beethoven, Schubert, Bellini, Verdi and Schoenberg. This priceless collection, not available for viewing or research while it was in private hands, will go on display on November 17. The wealth of original material, including an unpublished opera, Hernani, by Bellini as well as the full score of Verdi's Ernani including an unknown aria, will be on view through January 30, 1971. The University of Texas Library in Austin is the recipient of a collection of Italian opera libretti published between 1600 and the present. H. P. Kraus, New York publisher and book dealer, was the donor who collected the approximately 3,800 items. The University of California in Santa Barbara has purchased the collection of historical phonograph records of the late Anthony Boucher. Consisting of 7,640 records, almost exclusively vocal, made between 1904 and 1968, it features nearly every opera and lieder singer of that period. The library also hopes to provide copying services. Information may be obtained from Susan Sonnet, Assistant Music Librarian, Arts Library, University of California, Santa Barbara, Calif. 93106. A collection of over 500 letters and documents owned by 19th century soprano Giuditta Pasta, has been acquired by the New York Public Library and is presently on view at the Library's Music Division at Lincoln Center. The soprano came to special prominence when she created a number of leading roles in premieres of Rossini operas and in Norma and La Sonnambula, which Bellini wrote especially for her.

FINAL PERFORMANCE LISTING, 1969-70 SEASON
All performances are staged with orchestra unless marked "cone, pf." or "w. p." (with piano). * following an opera title indicates new production. Performances and news items once announced will not be relisted at the time of performance. ALABAMA Auburn University Opera Studio, S. Timberlake, Dir., Auburn 1/70 Rita w.p. 5/70 The Telephone & Act I The Marriage of Figaro University of Alabama Opera, Miss S. Debenport, Dir., University 11/4, 5/69 Dido and Aeneas (prod, available on video tape) 12/15, 16/69 L'Histoire du soldat 12/10 in Lexington, Ky. 3/13, 14/70 Phillips' The Princess and the Frog Prince prem. (prod, available on video tape) & // Tabarro Eng. Machlis ALASKA Alaska Lyric Opera & Western Opera Theatre, pf. in Anchorage 4/22/70 The Crucible University of Alaska, Opera Workshop, D. Williams, Dir., College 12/10, 12/69 Amahl and the Night Visitors w.o. 5/3, 4/70 Coffee Cantata ARIZONA Glendale Community College, Opera Workshop, Mary A. Dutton, Dir., Glendale 4/8, 9/70 The Tender Land w.o. Grand Canyon College Opera Workshop, Mrs. M. Delavan, Dir., Phoenix 1969-70 Don Giovanni 4 pfs. w.p., Eng. Dent ARKANSAS Harding College, Department of Music, E. T. Moore, Searcy 1969-70 The Impresario Eng. Cardelli; Cavalleria rusticana Eng. May; w.p. Ouachita Baptist Univ., Opera Workshop, J. Tompkins, Dir., Arkadelphia 5/14/70 Zaninelli's Speak Up! & Hand of Bridge & Scenes w.p. CALIFORNIA California State College, Opera Workshop, Hay ward 4/18, 19/70 The Medium Carmel Bach Festival, S. Salgo, Mus. Dir., Carmel 6/26/70 The Magic Flute Eng. Martin Chico State College Opera Workshop, J. H. Kinnee, Dir., Chico 11/13, 14, 15/69 Scenes, staged w. 2 ps. 3/4, 5, 7, 8/70 The Marriage of Figaro Eng. Martin, w.o. College of the Desert, Opera Workshop, J. Kneebone, Dir., Palm Desert 11/20, 21, 22/69 La Serva padrona & Suor Angelica Eng. Furgiuele & Withers College of Marin Opera Workshop, S. Merrick, Dir., Kentfield 1/16, 17, 23, 24/70 The Apothecary Eng. Ornest 5/13, 14, 15, 16/70 Albert Herring Educational Opera Assn., Claremont, (tour 25 pfs. in schools) 1969-70 The Barber of Seville Eng. 1 hour vers. Guild Opera Company, J. Moss, Mgr., Los Angeles 4/1-21/70 The Bartered Bride Eng. Reese 12 pfs. Immaculate Heart College, Opera Workshop, Los Angeles 4/4, 5/70 Hand of Bridge & The Medium Los Angeles Valley College, Music Department, Van Nuys 5/26, 31/70 Die Fledermaus Eng. Dietz-Kanin Merritt College Opera Workshop, R. Hunt, Dir., Oakland 6/5, 6/70 The Old Maid and the Thief & Dido and Aeneas Pacific West Coast Opera Co., R. Machamer, Dir., Los Angeles 1969-70 La Boheme, Madama Butterfly on tour, 10 pfs. Pepperdine College, Music Department, Los Angeles 7/24, 25/70 Cosi fan tutte Eng. Martin San Diego State College, Opera Workshop, L. C. Hurd III, Dir., San Diego 1/9, 10, 16, 17, 18/70 La Perichole Eng. Valency 5/15, 16, 22, 23, 24/70 The Marriage of Figaro Eng. Kalmus; concert-theatre prod. San Francisco Conservatory, Opera Department 5/19, 24/70 Albert Herring

FLORIDA Beaches Choral Society, Jacksonville 6/6/70 La Perichole Eng. Valency Jacksonville University Opera Theatre, R. L. Bunting, Dir., Jacksonville 1969-70 The Pirates of Penzance 1969-70 Don Giovanni Rollins College Opera Group, W. Woodbury, Winter Park 10/12/69 La Serva padrona w.o., Eng. Furgiuele 10/29, 31/69 Dido and Aeneas w.o., cone. pf. 3/25 5/7/70 La Serva padrona w.p. S t Petersburg Jr. College, Opera Dept., C. Carroll, Dir., St. Petersburg 7/17, 18/70 La Serva padrona & Trouble in Tahiti 7/23, 24/70 Solomon and Balkis 7/30/70 Help! Help! The Globolinks University of Miami, Opera Workshop, Dorothy Ziegler, Dir., Coral Gables 1969-70 Little Red Riding Hood w.p. 2/9/70 Game of Chance w. 2 ps. 5/11, 12/70 Tosca w.o., Eng. Gutman 8/14, 16/70 Don Pasquale w.o. 8/21, 23/70 Madama Butterfly w.p. GEORGIA Brenau College Music Department, K. Baumgardner, Dir., Gainesville 2/24, 25/70 The Medium DeKalb College Opera Theater, Gladys Huff, Art. Dir., Clarkston 12/4, 5/69 Hansel and Gretel 3 HO II Tabarro 5/70 Gianni Schicchi Valdosta State College, Music Department, Valdosta 1129170 Trouble in Tahiti 2/27, 28/70 Sunday Excursion HAWAII The Church College of Hawaii, Music Department, Laie 5/4, 6/70 Die Fledermaus Eng. Martin University of Hawaii Opera Workshop, W. Pfeiffer, Dir., Honolulu 11/17/69 Scenes 5/17, 18/70 Bastien and Bastienne & Comedy on the Bridge & McKay's Planting a Pear Tree prem. ILLINOIS All Children's Grand Opera, Mrs. Z. Muhlman Metzger, Dir., Chicago 5/2/70 Hansel and Gretel (scenes) Bradley University Opera Workshop, E. Blanchard, Dir., Peoria 2/19, 21/70 Slow Dusk & R.S.V.P. Eng. Yannopoulos 4/19/70 Opera scenes (incl. Act III La Bohime) DePaul University Music Theatre, Annemarie Gerts, Dir., Chicago 1/16, 17/70 Dido and Aeneas as Restoration Court Festival Entertainment MacMurray College, Opera Workshop, C. M. Fisher, Dir., Jacksonville 5/1, 2/70 The Medium & Scenes Midland Repertory Players, Dorsey 6/13/70 Down in the Valley 7/25/70 The Magic Flute Northern Illinois University Opera Workshop, Elwood Smith, Dir., DeKalb 11/19-22/69 La Serva padrona & The Old Maid and the Thief Eng. Furgiuele Southern Illinois University, Opera Workshop, Marjorie Lawrence, Dir., Carbondale 10/28/69 Little Red Riding Hood HI9j69 The Impresario & Scenes 3/13, 14, 15/70 The Magic Flute Eng. Martin; w.o. 5/17/70 Opera Scenes University of Illinois Opera Group, L. Zirner, Dir., Urbana 7/31 8/1/70 Cos'i fan tutte (see also 6/70 BUta.) 8/9/70 Opera Scenes Wheaton College, Opera Workshop, Wheaton 2120110 Opera Scenes

INDIANA

Ball State University Opera Workshop, J. Campbell, Dir., Muncie 7/11/70 La Bohime cone, pf., w.p. (see also 10/69 Blltn.) 8/13-16/70 Musical Butler University, Jordan College of Music, Opera Theatre, J. Wiley, Dir., Indianapolis 4/10, 11, 12/70 The Consul 7/24, 25, 26/70 Slow Dusk & The Triumph of Honor Eng. Zytowski Coe College Opera Workshop, Elizabeth Weber, Dir., Cedar Rapids 5/8, 9, 13m, 13/70 Love Is a Game & A Game of Chance DePauw University Opera Workshop, Greencastle 2/12, 14, 19, 21/70 Cosl fan tutte Eng. Martin Drake University Opera Theatre, Marion Hall., Dir., Des Moines 4/10, 11/70 Orpheus and Euridice Eng. Ducloux, w.p. 6/25, 27, 30 7/2, 5/70 H.M.S. Pinafore 6/26, 29 7/1, 3/70 A Game of Chance Indiana University Opera Workshop, Bloomington 1969-70 The Medium, The Stronger, A Hand of Bridge, Les Malheurs d'Orphee, Alfred Heller's Sister Carrie prem; all workshop pfs. w.p., no scenery Simpson College Opera Theatre and Workshop, R. Larsen, Dir., Indianola 10/31 11/1, 2/69 Lucia di Lammermoor w.p. 2/14, 15/70 Dido and Aeneas & Gianni Schicchi w.o., Eng. Grossman 4/30 5/1, 2, 3/70 Musical Univ. of Northern Iowa, Music Theatre, Jane Birkhead, Dir., Cedar Falls 11/22-28/69 Musical 4/1, 2, 3, 10, 11, 12, 13, 14, 25, 26/70 Musical (incl. out-of-town pfs.) IOWA Cornell College Opera Workshop, M. Lee & J. Dietz, Co-Dirs., Mt. Vernon 2/28 3/1/70 The Consul Luther College Opera Workshop, D. Greedy, Decorah 5/15, 16/70 Opera Scenes w.p. University of Iowa Opera Workshop, Herald Stark, Dir., Iowa City 11/21, 22/69 Manon (excerpts) Eng. Csonka, w.p. 3/20, 21/70 The Marriage of Figaro Eng. Martin, w.o. 7/28, 29, 31 8/1/70 // Tabarro & Gianni Schicchi Eng. Machlis & Grossmann, w.o. KANSAS Baker University, Opera Workshop, C. H. Weedman, Dir., Baldwin 2/11, 13/70 The Medium w.o. Bethel College Opera Workshop, W. Jost, Mus. Dir., N. Newton 5/7, 8, 9/70 Cost fan tutte Eng. Martin Friends University Music Theatre, J. M. Miller, Dir., Wichita 4/18, 19/70 The Telephone & There and Back & Trouble in Tahiti Kansas State Teachers College, Music Department, Emporia 4/23, 24, 25/70 The Tales of Hoffmann Eng. Martin Southwestern College Opera Workshop, D. Williams, Dir., Winfield 2/14/70 Dido and Aeneas w.o. 3/18, 19/70 Trial by Jury & Trouble in Tahiti University of Kansas Theatre, G. Lawner, Mus. Dir., Lawrence 10/31 11/1, 2, 6, 7/69 Die Fledermaus Eng. Martin 3/14, 15, 16, 17/70 Little Red Riding Hood 4/23, 24, 25 5/1, 2/70 Three Penny Opera 5/8 in Bartlesville, Okla. Wichita State University Opera Theatre, G. Gibson, Dir., Wichita 4/10, 12/70 Madame Butterfly Eng. Martin (see also 10/69 Blltn.) 4/24/70 Gianni Schicchi Eng. Grossman 5/12-14/70 Scenes Wichita Symphony Orchestra, J. Robertson, Mus. Dir., Wichita 4/10, 12/70 Madama Butterfly st. dir: C. Savoca KENTUCKY Georgetown College, Music Department, Georgetown 4/27/70 The Impresario Morehead State University Opera Theatre, R. A. Cooke, Dir., Morehead 1969-Musicals

1970-71 Season MISSISSIPPI Mississippi Opera Assn., Mrs. John H. White, Pres., Jackson 11/24/70 Tosca Fenn; Alexander, Patrick, Bencze; cond: Alderson; dir: Cosenza NEBRASKA Omaha Opera Assn., J. Levine, Dir., Omaha 2/25, 27 3/lm/71 Aida cond: Kopp; st. dir: de Blasis 4/23, 24/71 Die Fledermaus Schauler NEW JERSEY Garden State Opera Co., J. T. McGill, Mgr., Jersey City (pf. at Park Theatre, Union City) 9/26/70 Carmen 10/17/70 La Traviata 11/7/70 Tosca 11 / 21 /70 Rigoletto 1215 HO La Boheme 12/19/70 Hansel and Gretel Eng. Opera Theatre of New Jersey, A. Silipigni, Dir., Newark 11/7/70 Tosca Olivero; di Amorim, Shinall 12/26sm/70 Hansel and Gretel Eng.; von Stade, Parker, Traficante, Fritz 1/10/71 Don Giovanni Evangelista, Heimal; Hines, Plishka 2/5sm, 7/71 Carmen Dunn; Theyard 3/7/71 / am the Way Evangelista; Hines 4/23m, 25/71 // Trovatore Galvany, Nave; Lomonaco smstudent matinee, 1 p.m. mmatinee, 2 p.m. Ridgewood Gilbert and Sullivan Opera Co., J. Edson, Mgr., Ridgewood 12/4, 5/70 The Pirates of Penzance at Benjamin Franklin Jr. H.S. NEW YORK Eastman School of Music, Opera Theatre, L. Treash, Dir., Rochester 12/17, 18/70 Die schweigsame Frau 3/19, 20/71 The Italian Girl in Algiers 11/21, 22/70 2/20/71 4/24, 25/71 Opera Scenes Ithaca Opera Assn., K. Baumann, Dir., Ithaca 10/19, 20/70 Don Pasquale Spring '71 to be announced Tri-Cities Opera Co., C. Savoca, P. Hibbitt, Co-Dirs., Binghamton 10/16, 24, 30, 31 11/1/70 Tosca 10/11, 18, 25/70 stud. mat. 1/14, 15, 16/71 Rapunzel 3/5, 13, 19, 20, 21/71 Romeo and Juliet 2/28 3/7, 14/71 stud. mat. 5/15/71 Gala concert NEW YORK CITY Aniato Opera Theatre Inc., A. Amato, Pres., 319 Bowery 9/11, 12, 18, 19, 25, 26m, 26 10/2, 3, 4m/70 La Traviata 10/9, 10, 16, 17, 23, 24m, 24, 30, 31 l l / l m / The Marriage of Figaro Eng. 11/6, 7, 13, 14, 20, 21m, 21, 27, 28, 29m/70 Faust 12/4, 5, 11, 12, 18, 19, 26m, 26, 27m/70 La Boheme spc. gala 12/13m/70 ll/28m/70 Hansel and Gretel Eng. 12/31/70 Die Fledermaus spc. gala; also 1/2, 3m/71 l/2m/71 The Mikado 2/12, 13, 19, 20, 26, 27m, 27 3/5, 6, 7m/71 // Trovatore 3/12, 13, 19, 20, 26, 27m, 27 4/2, 3, 4m/71 The Barber of Seville Eng. 4/9, 10, 16, 17, 23, 24m, 24, 30 5/1, 2m/71 Carmen 5/7, 8, 14, 15, 21, 22m, 22, 28, 29, 30m/71 Rigoletto The Assn. of Furtherment of Bel Canto, S. Zucker, Dir., at Central Park Mall 9/3/70 Norma w.p. 9/8/70 / Puritani w.p. 10/13, 16/70 La Sonnambula w.p. Little Orchestra Society, T. Scherman, Mus. Dir. 10/27/70 Weber's Euryanthe cone, pf.; Kubiak, Bible; J^ewis, Howard; at Philharmonic Hall (preview Brooklyn College 10/25m) 1/26 4/6/71 Symphony concerts at Tully Hall