Wolf Trap Centerlines, Volume 1, June 15-June 26, 1976

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Other Media: s-pers_348_001_021_tr.txt

Transcription (Scripto): Read Full Text Only (TXT)
Extent (Dublin Core): 32 pages
File Name (Dublin Core): s-pers_348_001_021
Title (Dublin Core): Wolf Trap Centerlines, Volume 1, June 15-June 26, 1976
Date (Dublin Core): 1976-06-05/1976-06-26
Date Created (Dublin Core): 1976-06-05/1976-06-26
Congress (Dublin Core): 94th (1975-1977)
Topics (Dublin Core): See all items with this value Wolf Trap National Park for the Performing Arts (Va.)
Policy Area (Curation): Arts, Culture, Religion
Creator (Dublin Core): Wolf Trap Foundation for the Performing Arts
Record Type (Dublin Core): programs (documents)
Rights (Dublin Core): http://rightsstatements.org/vocab/CNE/1.0/
Language (Dublin Core): eng
Collection Finding Aid (Dublin Core): https://dolearchivecollections.ku.edu/index.php?p=collections/findingaid&id=21&q=
Physical Location (Dublin Core): Collection 005, Box 348, Folder 1
Institution (Dublin Core): Robert J. Dole Institute of Politics, University of Kansas, Lawrence, KS
Archival Collection (Dublin Core): Robert J. Dole Senate Papers-Personal/Political Files, 1969-1996
Full Text (Extract Text): (page 1)
FILENE CENTER Vienna, Virginia
WOLF TRAP CENTERLINES
Wolf Trap Farm Park for the Performing Arts . VOLUME I JUNE 5-JUNE 26 . 1976
Alt Text: A full theater audience
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Alt Text: Living room
Alt text: Exterior of a dome shaped house
Alt Text: Dining room
Alt Text: Back deck and the exterior of a dome shaped brown house.
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WOLF TRAP FARM PARK for the Performing Arts
INFORMATION
The administration offices of Wolf Trap Farm Park for the Performing Arts are open to the public 9:00 a.m. to 5:00 p.m. daily. Telephone: 938-3810.
FREE PARKING FACILITIES: West parking lot, 1,000 cars. East parking lot, 350 cars. Special guests and disabled persons only are permitted to use other spaces. Parking lots are entered from Trap Road. Follow directions of Park Police. Parking is free.
REST ROOMS: Located at the ticket office entrance area and in the lower level of the gift shop building.
FIRST AID: Consult Park Rangers, Park Police, or ushers for emergency facilities.
HOUSE PHYSICIANS: A house physician is in at- tendance at all performances. Doctors are serving on a volunteer basis. Contact Park Rangers, Park Police, or ushers.
WHEELCHAIR ACCOMMODATIONS: Special arrangements can be made by advance request. Telephone: 938-3810, ext. 234.
LOST AND FOUND: Items are held at the Park Police office, telephone: 938-3810, extension 235.
LAWN SEATING: General Admission from $2.00 to $4.00. Tickets available at Filene Center Ticket Office, Ticketron and all Wolf Trap voucher agencies. Blankets and chairs allowed on grass areas as indicated by ushers.
DINING PAVILION: Buffet dinner served nightly from 6 to 7:30 p.m .: $6.95. Reservations accepted until 1:00 p.m .: 938-3800 or Ticketron.
MAIN STAGE DOOR: Location Stage Left (audience right). All inquiries to the doorman.
WOLF TRAP ASSOCIATES GIFT SHOP: Located on the Plaza, adjacent to Ramp A. Hours: 6:30 p.m. through intermission: Matinees: one hour prior to performance through intermission.
TICKET OFFICE/FILENE CENTER: Hours: 12:00 noon to 9:00 p.m. Performance Days; 12:00 noon to 6:00 p.m. Nonperformance days. Instant credit available with BankAmericard, American Express, Master Charge and Central Charge. Tickets also available at all Ticketron outlets and at Wolf Trap voucher agencies throughout the Washington metropolitan area.
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WOLF TRAP CENTERLINES
Published by the Wolf Trap Foundation
VOL. 1 - June 5 to June 26
CONTENTS
General Information Letters of Greeting Wolf Trap Birds Wolf Trap Reminiscences Calendar of Coming Events Wolf Trap Company Suppertime in the Park Interpretive Program
EDITOR:
Luke Bandle,
Wolf Trap Foundation
ASSOCIATE EDITOR:
Jane E. Arenberg,
Wolf Trap Foundation
The Wolf Trap Foundation 1624 Trap Road Vienna, Virginia 22180
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Wolf Trap means the excitement of a live performance in a setting alive with the beauty of nature. This season Wolf Trap once again offers a variety of talent and art to its many, many enthusiastic fans.
I hope your Wolf Trap experience is as enjoyable and memorable as mine has always been. It's truly an honor for me to serve as Honorary Chairman of the Wolf Trap Foundation Board of Directors because I believe it is a "national treasure."
With best wishes for a marvelous time at Wolf Trap.
Betty Ford Sincerely, Betty Ford
Alt Text: Woman smiling
Throughout the nation this summer the Ameri- can heritage will be celebrated in special Bicentennial programs. It is a responsibility of the Department of the Interior to preserve and interpret this heritage, not just in 1976 but year in and year out, with the National Park System as its showcase.
One of the jewels of that system is Wolf Trap. Here is highlighted our rich performing arts tradition. I hope that many Bicentennial visitors to the Nation's Capital will also take in Wolf Trap. The exciting programs scheduled here this year will enrich the memories that our guests from America and abroad take home from Washington.
Welcome to Wolf Trap, and to the National Park System. We invite you to make the Wolf Trap tradition your own.
Thomas S . Kleppe
Thomas S. Kleppe Secretary of the Interior
Alt Text: Man with glasses smiling
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As we open our sixth season, we realize that in five short years Wolf Trap has learned much from the nationwide community it serves.
As a partner of the National Park Service, Department of the Interior, we embarked on a venture involving few people and we are proud to realize that many hundreds are now making Wolf Trap possible.
We at the Foundation assumed a major responsibility and thank all who have given their support and confidence.
Catherine Filene Shouse Catherine Filene Shouse
Alt Text: Woman smiling
Each season at Wolf Trap ignites anticipation and brings richness and refreshment, fulfillment and pleasure to the summer.
This year the chief program architects, Miss Beverly Sills and Mrs. Jouett Shouse, have designed and developed a summer season honoring the tenets of the Bicentennial theme and giving each of us Wolf Trap's most impressive season.
We hope you will enjoy the summer with us.
J. William Middendorf II
J. William Middendorf II Chairman, Wolf Trap Foundation
(Page 6)
Wolf Trap Birds
From April to January of 1948, Lady Wilson, Wife of Field Marshal Lord Wilson, and Dr. Wetmore, Secretary of the Smithsonian Institution, compiled a list of birds commonly in residence at Wolf Trap. The following is printed from their findings, with due appreciation of their sustained efforts in spotting and cataloguing the regular birdlife of this Park.
Orchard Oriole, summer resident Eastern Crow, permanent Cardinal, permanent
White Crowned Sparrow, rare White Throated Sparrow, winter Sparrow, permanent Field Sparrow, summer Downy Woodpecker, permanent Flicker, permanent Mocking Bird, permanent Starling, permanent Mourning Dove, summer Eastern Bluebird, permanent Gold Finch, permanent Indigo Bunting, summer Whippoorwill, summer Red Eyed Towhee, summer Robin, summer Red Shouldered Hawk, permanent Slate Colored Junco, winter Turkey Buzzard, permanent Yellow Bellied Sapsucker, winter Myrtle Warbler, winter Maryland Yellow Throat Warbler, summer Chipping Sparrow, summer Cow Bird, summer
Black Billed Cuckoo, summer Ruby Crowned Kinglet, winter Thrasher, summer
Swift (Chimney), summer
Song Sparrow, permanent Blue Jay, permanent Tufted Titmouse, permanent
Chickadee (Carolina), permanent White Breasted Nuthatch, permanent Ruby-Throated Hummingbird, summer Bob White, permanent Catbird, summer
Scarlet Tanager, summer Eastern King Bird, summer Phoebe, summer Red Eyed Virio, summer
Yellow Throated Virio, summer Yellow Warbler, summer House Wren, summer Black Poll Warbler, summer
Yellow Billed Cuckoo, summer Red Billed Woodpecker, permanent Black Vulture, permanent Wood Thrush, summer Kildeer, permanent
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Wolf Trap Reminiscences
BY DONALD SANDERS
There was that exciting opening night on July 1, 1971. There were two first ladies, Mrs. Richard M. Nixon and Senora Gonzalez de Velasco of Peru, Governor of Virginia and Mrs. Linwood Holton.
There was the Secretary of the Interior, Rogers C. B. Morton; the President of American University, Dr. George H. Williams; and the Donor of this first National Park for the performing arts, Mrs. Jouett Shouse.
"To Catherine Filene Shouse may I convey the heartfelt thanks and affection of each of us," Morton said. "We of the Department of the Interior prize our opportunity to administer Wolf Trap Farm Park. . .
"With the launching of Filene Center, Washington will take its rightful place as one of the major summer music centers of the nation. The true importance is its meaning to the people ... for the coming years."
At the end of the intermission, American University awarded an honorary
doctor of laws degree to Mrs. Shouse. "Yours is a life of service so varied as to defy precise description," Dr. Williams told her. "You have enriched this community and the nation through your gift ... "
There was also the night before, just as exciting in a different sort of way.
Van Cliburn flew in during the early evening to rehearse with the National Symphony under conductor Julius Rudel for the opening concert which
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(Page 8)
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also starred bass-baritone Norman Triegle.
Workmen were busy fixing seats which had not been properly bolted down in the haste to finish the Filene Center auditorium following the fire in mid-March which did some $650,000 damage.
Kay Shouse was on hand to cheer them on and to make sure that every- thing was done right. And she was proud that it was not only the workmen but the executives of the company which had the contract.
And she was apprehensive about the chance of rain on opening night.
"I don't like the looks of the moon," she said. "I kept the rain away for a month while we worked on the parking lot-in spite of the Hagerstown Almanac; it said heavy rain."
A few days earlier the Baltimore Sun had published an Associated Press article about Wolf Trap under the head- line: "Tales from the Vienna (Va.) Woods."
The anonymous headline writer could not have foreseen that Wolf Trap would indeed take on almost im- mediately an ambience similar to that of Vienna.
The contrasts are remarkable: the women in designer dresses and the men in black tie in the boxes, the middle aged couples in department store dresses and sports shirts in the or- chestra, the young in jeans and shorts on blankets on the lawn.
There have been notables: former President Richard M. Nixon, President and Mrs. Gerald Ford, Vice President and Mrs. Nelson Rockefeller. Prince Philip of Great Britain is expected shortly.
There proved to be many more days and nights at Wolf Trap after that gala opening.
The Metropolitan Opera, the Preser- vation Hall Jazz Band, Beverly Sills, Benny Goodman, Pierre Boulez, Virgil Fox, Eugene Ormandy, Pat Paulsen, Ar- thur Fiedler, Dave Brubeck, Carmen Balthrop in that moving production of (Continued on page 23)
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TEXACO takes you to the MET for the 37th consecutive season
The 1976-77 season promises to be one of the most stimulating and rewarding in the history of the Metropolitan Opera. It is the first under the guidance of the Met's new artistic team of James Levine, music director, and John Dexter, director of production.
The excitement of this new adventure in operatic achievement is yours via Texaco's live radio broadcasts of twenty Saturday afternoon performances to be heard coast to coast in the U. S. over the Texaco-Metropolitan Opera Radio Network, and in Canada over the English and French networks of the CBC.
The season will be full of surprises, including four operas which will be heard on these broadcasts for the first time and a dozen others which will not have been heard for at least two seasons.
It all begins on December 4, 1976, with a broadcast of a new production of Wagner's LOHENGRIN conducted by James Levine. We cordially invite you to join us at that time.
TEXACO
Leontyne Price, as seen in the 1975-76 production of AIDA
Photo Copyright Beth Bergman 1976
Alt Text: Picture of a woman singing
Alt Text: Picture of the MET
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METROPOLITAN OPERA ASSOCIATION
Monday Evening, June 7, 1976, at 8:00 O'clock
NEW PRODUCTION
Guiseppe Verdi
AIDA
Opera in four acts
Libretto by Antonio Ghislanzoni
Conductor: Richard Woitach
Production: John Dexter
Set Designer: David Reppa
Costume Designer Peter J. Hall
Lighting Designer: Gilbert Hemsley
Stage Director: Bruce Donnell
Characters in order of vocal appearance
Ramfis.................................Jerome Hines
Radames.............................James McCracken
Amneris...............................Bianca Berini
Aida....................................Rita Hunter
The King........................... Richard T. Gill
A messenger.........................Charles Anthony
A priestess......................... Marcia Baldwin
Amonasro........................... Cornell MacNeil
Choreographer: Louis Johnson
Dancers:
Act I, Scene 2: Alastair Munro
Act II, Scene 1: Susana Aschieri, Naomi Marritt, Ellen Rievman
Act II, Scene 2: William Badolato, Edilio Ferraro and Corps de Ballet
Chorus Master: David Stivender

This production of AIDA was made possible by a generous and deeply appreciated gift from the Gramma Fisher Foundation, Marshalltown, Iowa.
Adaptation of this production for the tour was made possible by a generous and deeply appreciated gift from teh Atlanta Music Festival Association.
The Metropolitan Opera's 1976 national tour is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal agency.

KNABE PIANO USED EXCLUSIVELY
Lighting executed by: Rudolph Kuntner
Scenery, properties and electrical props constructed and painted in: Metropolitan Opera Shops
Costumes executed by: Metropolitan Opera Costume Department
Wigs executed by: Metropolitan Wig Department
Sculptured headpieces and masks by: Gary Brouwer
Assistant Designer: Miguel Romero
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Synopsis of Scenes Egypt, during the reign of the Pharaohs
ACT I, Scene 1: A hall in the palace at Memphis Scene 2: The temple of Ptah
ACT II, Scene 1: Amneris' apartments in the palace at Thebes Scene 2: A public square
ACT III: The banks of the Nile
ACT IV, Scene 1: The temple of judgment Scene 2: A tomb below the temple
The Metropolitan Opera is a member of OPERA America, Inc.
The management reserves the right to make any changes in the above cast in case of unforeseen exigencies.
THE STORY IN BRIEF
Aida
ACT I: In the hall of the royal palace at Memphis, Radames, a young captain of the guard, learns from the high priest Ramfis that Ethiopia threatens the Nile valley and that the goddess Isis has decreed a new commander for Egypt. Left alone, Radames hopes that he is the chosen one, imagining a glorious victory so he may free his beloved Aida, slave of Amneris, the King's daughter ("Celeste Aida''). Amneris, who loves Radames, interrupts his musing and questions him shrewdly; her suspicion that he loves Aida increases at the entrance of her slave girl (Trio: "Vieni, o diletta"). Soon the King and his train arrive to give audience to a messenger from the front, who reports that the Ethiopian army, led by Amonasro, is marching on Thebes. The King announces the appointment of Radames as Egyptian commander and leads the assemblage in a battle hymn. As Radames is led off amid general rejoicing, Aida remains alone, appalled that she too has cheered him to victory ("Ritorna vincitor!"), for the Ethiopians are her people, and Amonasro, their king, is her father. Torn by conflicting loyalties, she begs the gods for pity.
In the temple of Ptah, a priestess is heard addressing the god as ceremonial dances are performed. Ramfis consecrates Radames' mission and presents him with the ceremonial sword.
ACT II: Reclining on her terrace, the lovesick Amneris is groomed by slaves for the triumphal return of Radames. A group of dancing girls temporarily distracts the princess from her romantic musing. At Aida's approach she dismisses her attendants and, hoping to confirm her suspicions that the slave loves Radames, tells her first that he has perished in battle, and then that he still lives (Duet: "Fu la sorte dell' armi"). At Aida's joyous outcry, Amneris threatens her and leaves for the festivities.
At the gate of Thebes a crowd welcomes the army, which passes in review before the King and Amneris (Chorus and triumphal march: "Gloria all' Egitto"). The spoils of war are borne in and triumphal dances performed. When Radames is carried on victorious, Amneris presents him with a wreath. Next, the Ethiopian captives are led in; among them Aida recognizes her father. Whispering to Aida not to disclose his rank, Amonasro pleads for the prisoners (Ensemble "Ma tu, Re"). Though Ramfis and the priests demand the captives' death, Radames intercedes on their behalf; Amonasro, as their spokesman, is held hostage, but the others are set free. When the King gives Radames the hand of Amneris, Aida falls disconsolately into her father's arms.
ACT III: On a moonlit bank of the Nile, Ramfis leads Amneris and Radames into the temple of Isis for a wedding vigil. Aida steals in to await a farewell meeting with her lover; overcome with nostalgia, she mourns her lost homeland ("O patria mia"). She is jolted from her reverie by Amonasro, who demands that she learn Radames' plan for his new campaign against the Ethiopians (Duet: "Rivedrai le foreste imbalsamate"); she reluctantly agrees. Amonasro hides as Radames, striding from the temple, ardently greets Aida with promises to make her his bride after his next victory. She instead urges immediate flight and paints an evocative picture of their future happiness (Duet: "Fuggiam gli ardori inospiti"). Winning Radames to her
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idea, she asks what route his armies will take so as to avoid them. No sooner does he reply than Amonasro emerges from hiding, reveals his identity and, with Aida, tries to enlist the stunned Radames to their cause. Suddenly Amneris appears, calling Radames traitor. Amonasro lunges at her with a dagger, but Radames blocks his path. Then, as Aida and her father flee, he surrenders himself to the high priest.
ACT IV: In the temple of judgment, Amneris, bewailing the treason of Radames, determines to make a last effort to save him. When the guards lead him in, she offers to save his life if he will renounce Aida (Duet: "Già i Sacerdoti''); he refuses. Enraged, Amneris sends him to his doom but is immediately overcome with remorse. She listens in despair as his condemnation echoes from the hall of justice, and when the priests file out she curses them.
Radames, sealed in a vault beneath the temple, muses on Aida. He is startled by a noise: it is Aida herself, who has chosen to share his fate. Radames vainly tries to dislodge the stone that seals the tomb. Bidding farewell to earth, the lovers greet eternity (Duet: "O terra, addio"), while above, Amneris prays for Radames' soul .- Courtesy of OPERA NEWS
ABOUT THE ARTISTS
JEROME HINES, bass (Ramfis), was born in Hollywood, California, and this season celebrated his 30th anniversary with the Metropolitan Opera, having made his debut with the company in 1946. He studied at the University of California at Los Angeles where he ranked equally as chemist, physicist and musician. Mr. Hines has sung more than 40 roles at the Metropolitan, as well as others with La
Scala, the San Francisco Opera, the Bavarian State Opera, the Bayreuth Festival, the Spoleto Festival and the Teatro Colon in Buenos Aires. In the fall of 1962 he made his debut at the Bolshoi Opera in Moscow in the title role of Boris Godunov in Russian. Mr. Hines' roles at the Metropolitan include Silva in Ernani, Don Giovanni, Zaccaria in Nabucco, Arkel in Pelleas et Melisande, King
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Marke in Tristan und Isolde, Sarastro in Die Zauberfloete, Philip in Don Carlo, Boris Godunov, and Mephistopheles in Gounod's Faust.
JAMES McCRACKEN, tenor (Radames), was born in Gary, Indiana. Following service in the Navy during World War II, he entered Columbia University where he studied voice and appeared in several opera workshop productions. He joined the Metropolitan Opera in 1953 and sang small roles for four seasons. He then went to Europe, where he established his career, and in 1963 returned to the Metropolitan to make his second debut in the title role of a new production of Otello. He has been heard in most of the world's leading opera houses, including Covent Garden, the Vienna State Opera, the Teatro Liceo, and the San Francisco Opera. At the Metropolitan his repertory includes Samson in Samson et Dalila, Don Jose in Carmen, Florestan in Fidelio, Calaf in Turandot, Canio in Pagliacci, and Radames, which he sang in the premiere of this season's new production of Aida.
BIANCA BERINI, mezzo-soprano (Amneris), is a native of Trieste who now lives in Milan. She has been heard in many of the world's leading opera houses, including La Scala, the Teatro La Fenice in Venice, and those of Turin, Lisbon, Barcelona, Vienna, Berlin, London and Mexico. In the United States she has sung with the opera companies of New Orleans, Pittsburgh and Philadelphia. Her repertoire encompasses such roles as Amneris in
Aida, Azucena in Il Trovatore, Adalgisa in Norma, Laura in La Gioconda, Ortrud in Lohengrin, Dalila in Samson et Dalila, Carmen, Charlotte in Werther, and Eboli in Don Carlo.
RITA HUNTER, soprano (Aida), was born in Wallasey, Cheshire, England. She studied singing first in Liverpool and later in London. She joined the Sadler's Wells Opera in 1957 as a chorus member and two years later she was engaged by the Carl Rosa Opera Company. After a year of study with Dame Eva Turner she was re-engaged by the English National Opera, this time as a principal artist, where she has remained as a permanent member. Among the many roles she has sung there are Senta in Der Fliegende Hollaender, Donna Anna in Don Giovanni, Bruennhilde in Die Walkuere and Goetterdaemmerung, Amelia in Un Ballo in Maschera, and Santuzza in Cavalleria Rusticana. She has also sung with the Welsh National Opera at Covent Garden and the San Francisco Opera, and is heard regularly in recital, concert and oratorio performances. She made her Metropolitan Opera debut as Bruennhilde in Die Walkuere on Dec. 19, 1972, and has since been heard there as Santuzza in Cavalleria Rusticana, Bruennhilde in Goetterdaemmerung, and in the title role of Bellini's Norma.
RICHARD T. GILL, bass (The King), was a professor of economics at Harvard University for several
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years before deciding on a musical career. He is the author of five books in that field and is a winner of an Atlantic Monthly Award for short stories. He has been heard with the New York City Opera, the Opera Company of Boston, the Houston Grand Opera, the Caramoor Festival, and the Baltimore Opera. In addition, he has sung extensively in England at the Canterbury Festival, The Chelsea Opera Group, and at the Victoria and Albert Museum. He made his Metropolitan Opera debut in 1973 in the premiere of Les Troyens, and has since been heard there as Pimen in Boris Godunov, Timur in Turandot, Friar Laurent in Romeo et Juliette, Jero in The Siege of Corinth, and the King in Aida.
CHARLES ANTHONY, tenor (A messenger), was born Carlogero Antonio Caruso in New Orleans, but when he embarked on an operatic career he decided to do so without using that illustrious musical name. After serving apprenticeship with the New Orleans Opera he entered the regional contest of the Metropolitan Opera Auditions in 1952 and was judged a winner. With his scholarship he went to Italy for further study and returned to make his Metropolitan Opera debut in 1954. He has since sung more than 60 roles, including Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni, Count Almaviva in II Barbiere di Siviglia, David in Die Meistersinger, and Shuisky in Boris Godunov. He has also sung with the Cologne Opera, the Santa Fe Opera, the Cincinnati Summer Opera, and the Laguna Festival in California.

MARCIA BALDWIN, mezzo-soprano (A priestess), was born in Moline, Illinois, and is a graduate of Northwestern University. A former member of the Metropolitan Opera Studio, Miss Baldwin has been heard with the Santa Fe Opera, the San Francisco Spring Opera, the Cincinnati Summer Opera, and the Goldovsky Opera Theater. She appeared in the NBC-TV Opera production of Boris Godunov in 1961 and has given concerts throughout the United States. In the summer of 1968 she sang in the world premiere of David Amram's Twelfth Night at the Lake George Opera Festival. She made her Metropolitan Opera debut in 1963 as Javotte in Massenet's Manon, and among her more than 30 roles there since are Lisa in Pique Dame, Nicklausse in Les Contes d'Hoffmann, Mistress Page in Falstaff, Stephano in Romeo et Juliette, and Hansel in Hansel and Gretel.
Minnesota-born CORNELL MacNEIL, baritone, made his Metropolitan Opera debut in advance of schedule when he replaced an ailing colleague in the title role of Rigoletto on March 21, 1959, the same month he had also appeared for the first time at La Scala as Don Carlo in Ernani. New York first heard him in the Broadway production of The Consul, prior to his engagement by the New York City Opera. He has sung in all the principal Italian theatres, as well as with the Vienna State Opera, Covent Garden, the Teatro Liceo, the San Francisco Opera, and the Lyric Opera of Chicago. His repertoire at the Metropolitan includes more than 20

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(Page 17)
roles, among them Macbeth, Simon Boccanegra, Tonio in Pagliacci, Iago in Otello, Monforte in I Vespri Siciliani, the title role of Falstaff, and Renato in Un Ballo in Maschera. This season he was heard as Amonasro in the premiere of the new production of Aida, as Michele in Il Tabarro, and in the title role of Gianni Schicchi.
RICHARD WOITACH, conductor, is a native of Binghamton, New York. He received his bachelor's degree in music from the Eastman School of Music in Rochester, New York. Following his graduation he was named official pianist with the Rochester Philharmonic, where he was also heard as concerto soloist. For three years he was also heard as piano accompanist with violinists Zino Francescatti, Erick Friedman and Carroll Glenn. He came to the Metropolitan Opera in 1959 as an assistant conductor, and during the nine years he held that position, he was in charge of the preparation of 26 different works. Among the many companies he has con- ducted are the Cincinnati Summer Opera, the Western Opera Theater of San Francisco, the Opera Company of Boston, the Vancouver International Festival, the Pittsburgh Civic Light Opera and the Chautauqua Opera. He made his Metropolitan Opera debut in September 1974 conducting Madama Butterfly, and this season added The Siege of Corinth, La Gioconda, and Tosca to his Metropolitan Opera repertoire.

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Metropolitan Opera Association
OFFICERS
Lowell Wadmond, Chairman Emeritus Mrs. Alexander M. Laughlin, Vice President
Langdon Van Norden, Chairman of the Board James S. Smith, Treasurer
William Rockefeller, President James C. Hemphill, Assistant Treasurer
Laurence D. Lovett, Chairman, Executive Committee Alton E. Peters, Secretary
J. William Fisher, Vice President Eva Popper, Assistant Secretary
Michael V. Forrestal, Vice President Lauterstein & Lauterstein, Legal Counsel

BOARD OF DIRECTORS
Mrs. August Belmont
Mrs. Lewis W. Douglas Emeritus Directors
Anthony A. Bliss
Mrs. Kenyon Boocock
Thomas G. Chamberlain
John T. Connor
Henry A. Correa
James S. Deely
C. Robert Devine
John W. Drye, Jr.
Irving Mitchell Felt
J. William Fisher
Michael V. Forrestal
Mrs. William Francis Gibbs
James P. Gillis
Francis Goelet
Maurice F. Granville
Lauder Greenway
Paul Hallingby, Jr.
Mrs. John T. Harrison, Jr.
James C. Hemphill
Leon Hess
Howard J. Hook, Jr.
Mrs. Gilbert Humphrey
Mrs. Alexander M. Laughlin
Goddard Lieberson
John D. Lockton
Laurence D. Lovett
James S. Marcus
Dorothy Maynor
George S. Moore
A. Chauncey Newlin
Mrs. Peter H. Nicholas
Alton E. Peters
Edward S. Reid
William Rockefeller
Mrs. John Barry Ryan
Alexander Saunderson
James S. Smith
Charles M. Spofford
Roger L. Stevens
William M. Sullivan
Frank E. Taplin
Mrs. Edgar Tobin
Miss Alice Tully
Langdon Van Norden
Royall Victor
Lowell Wadmond
Mrs. Frederick K. Weyerhauser
Mrs. Charles B. Wrightsman

MEMBERS OF THE ASSOCIATION
Mrs. Walter H. Annenberg
Mrs. William B. Ansted, Jr.
Talcott M. Banks
Frederic H. Brandi
Thomas S. Brush
Richard E. Cheney
Christopher T. Clark
Lloyd N. Cutler
Mrs. Norris Darrell
Frederic G. Donner
Frank W. Donovan
Robert G. Edge
Thomas M. Evans
Governor Luis Ferre
Leroy Frantz, Jr.
Mrs. Polk Guest
Floyd D. Hall
Mrs. Donald D. Harrington
Gordon M. Hill
Miss Kate Ireland
Mrs. Kenneth A. Ives
Mme. Maria Jeritza
Andrew Kershaw
Arthur L. Kramer, Jr.
Mrs. Albert D. Lasker
Albert A. List
Mrs. Richard P. Loftus
Mrs. C. Ruxton Love
Wilber H. Mack
James F. Miller
Philip L. Miller
Malcolm Muir
Bess Myerson
Mrs. Allen G. Oliphant
Mrs. Peter F. Packard
Hon. David W. Peck
Mrs. John DeWitt Peltz
Bernard Peyton
Mrs. Priscilla Potter
Thomas L. Pulling
Tony Randall
Mrs. Francis F. Randolph
Meshulam Riklis
John T. Sargent
William Schuman
Howard C. Sheperd
Grant G. Simmons, Jr.
Carleton Sprague Smith
Harvey M. Spear
William I. Spencer
Rise Stevens Surovy
Samuel L. Tedlow
Blanche Thebom
Norfleet R. Turner
Mrs. Theodore O. Yntema
and all members of the Board of Directors

ADMINISTRATION
Anthony A. Bliss Executive Director
James Levine Principal Conductor
John Dexter Director of Production
Charles Riecker Richard Rodzinski Artistic Administrators
Michael Bronson Technical and Business Administrator
Francis Robinson Assistant Manager
Richard J. Clavell Director of Finance
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Administrative Staff
Office of the Executive Director
Edward Corn Special Assistant to the Executive Director
Eva Popper Executive Assistant
Artistic Administration
Lawrence Stayer
Ann Coughlin Assistant Artistic Administrators
Florence Guarino Assistant to the Artistic Administrators
Bill Hudson Company Manager and Musical Secretary
Arge Keller Assistant Musical Secretary
Marianne Flettner Rehearsal Assistant
John Grande Librarian
Daniel Sagarman
Joseph Ortiz Assistant Librarians
Technical and Business Administration
Charles Bonheur
Jay Rutherford Production Coordinators
Harry A. Lasley Assistant Business Manager
Clemente D'Alessio
William Coles Technical Assistants
Nancy Cottle Assistant to the Technical Administrator
Stage Management
Osie Hawkins
Chris Mahan Executive Stage Managers
Stanley Levine Stage Manager
William McCourt Assistant Stage Manager
Stage and Shop Operations
Rudolph Kuntner Director of Stage Operations
Stephen Diaz Master Mechanix
RIchard Hauser Masterof Properties
David Reppa Staff Scenic Designer
Stanley Cappiello Scenic Artist
Joseph Volpe Carpentry Shop Head
Richard Graham Properties Construction
Nina Lawson Hair Stylist and Wigs
Victor Callegari Makeup Artist
Rose Calamari Wardrobe Supervisor
Charles Caine Staff Costume Designer

Orchestra
James Levine, Principal Conductor
Abraham Marcus Orchestra Personnel Manager
Edgardo Sodero, Assistant to the Orchestra Personnel Manager
Violins
Raymond Gniewek, Concertmaster
Edmund Jacobsen, Associate Concertmaster
Seymour Wakschal
Ernest Drucker
Arnold Caplan
Joseph Zwilich
Henryk Kasten
Sandor Balint
Vincent Greicius
Joyce Robbins
Rena Shapiro
Judith Yanchus
Doris Allen
Albert Weintraub, Principal
Leslie Dreyer, Associate Principal
Raphael Feinstein, Assistant Principal
Toni Rapport
Jacques Rubinstein
Joseph Malfitano
Glenda Williamson
Leon Kaplan
Richard Elias
Ernest Papavasilion
Emma Ricci
Magdalena Aghbolaghi
Theodore Schwartz
Violas
Michael Ouzounian, Principal
Harold Elitzik
Leonard Grossman
David Uchitel
Marilyn Stroh
Seymour Berman
David Berkowitz
Midhat Serbagi
Arnold Magnes
Michael Barten
Cellos
Jascha Silberstein Principal
Richard Kay, Associate Principal
Gerald Kagan, Assistant Principal
Yves Chardon
Edgardo Sodero
Philip Cherry
John Pastore
Carlo Pitello
Leszek Zavistovski
Double Basses
Georges Andre, Principal
Michael Morgan, Assistant Principal
Julian Tivin
Ernest Gruen
Marvin Topolsky
Nathaniel Currier
Jesse Teiko
Tom Brennand
Flutes
James Politis, Principal
Victor Just, Principal
James Hosmer
Karen Griffin
Piccolo
Karen Griffin
Oboes
William Arrowsmith, Principal
Alfred Genovese, Principal
Waldemar Bhosys
Richard Nass
English Horn
Richard Nass
Clarinets
Herbert Blayman, Principal
Roger Hiller, Principal
Ben Armato
Vincent Abato
Bass Clarinet
Vincent Abato
Bassoons
Stephen Maxym, Principal
Richard Hebert, Principal
David Manchester
Paul Cammarota
Contra Bassoon
Paul Cammarota
Horns
Howard T. Howard, Principle
Clarendon Van Norman, Principal
Richard Reissig
Richard Moore
Frederic Weber
Arthur Sussman
Carmelo Barranco
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, LEader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, Leader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
Trumpets
Melvyn Broiles, Principal
Mark Gould, Principal
Harry D. Peers
Lynn Berman
Vincent Penzarella
Bass Trumpet
David Langlitz
Trombones
Per Brevig, Principal
David Langlitz, Principal
Douglas Edelman*
John Clark
Max Bonecutter*
Bass Trombones
John Clark
Max Bonecutter*
Tuba
Herbert Wekselblatt
Timpani
Richard Horowitz, Principal
Fred Hinger, Principal
Abraham Marcus
Percussion
Abraham Marcus, Principal
Morris Tilkin
Herbert Baker
Harps
Reinhardt Elster, Principal
Claude Hill
Organ
John Grady
Celeste
Cecilia Brauer
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Chorus
David Stivender, Chorus Master
David Leighton, Assistant Chorus Master
Sopranos
Elizabeth Anguish
Linore Aronson
Miriam Broderick
Patricia Clarke
Wanda Cooke
Suzanne Der Derian
Elena Doria
Cecelia Entner
Mary Fercana
Ann Florio
Elinor Harper
Ruth Lansche
Elyssa Lindner
Linda Mays
Helen McIlhenny
Gloria Rydgren
Lilias Sims
Maureen Smith
Dorothy Traub
Constance Webber
Shinja Kwak
Edna Lind
Valerie Lundberg
Pamela Munson
Joyce Olson
Teresa Robinson
Judit Schichtanz
Dorothy Shawn
Betty Stone
Karol Teiko**
Maria Yauger
Tenors
Erbert Aldridge
Max Alperstein
Arthur Apy
Tony Asaro
Cecil Baker
Dale Caldwell*
Frank D'Elia
Emil Filip
Richard Firmin
Nino Garcia
Norman Griffin
John Hanriot
Robert Kelly
Charles Kuestner
Luigi Marcella
Daniel Mele**
William Mellow
Roland Miles
Abram Morales
Fawayne Murphy
John Person
Salvatore Randazzo
Hal Roberts
Robert Ruddy
Basses
Nicola Barbusci
Glen Bater
Vladimir Chistiakov
Frank Coffey
Paul De Paola
Luis Forero
John Foscolos
John Frydel
Edward Ghazal
Herman Marcus
Donald Peck**
Thomas POwell
Harry Shean
Domenico Simeone
Peter Sliker
Harold Sternberg
Sam Sternberg
John Trehy**

** steady extra chorister

Ballet

Audrey Keane, Ballet Administrator
Irving Owen, Rehearsal Pianist
Nicolyn Emanuel, Ivan Allen, Ballet Captains

* new artist
Choreographers
Alvin Ailey
Thomas Andrew
Todd Bolender
John Butler
Louis Johnson*
Zachary Solov
Dancers
Pauline Andrey
Susana Aschieri
Eleanor Bobb
Nicolyn Emanuel
Skiles Fairlie
Vicki Fisera
Silvia Grinvalds
Patricia Heyes
Eugenia Hoeflin
Tania Karina
Suzanne Laurence
Diana Levy
Naomi Marritt
Antionette Peloso
Ellen Rievman
Lucia Sciorsci
Judith Thelen
Ivan Allen
William Badolato
William Breedlove
Marcus Bugler
Edilio Ferraro
Vincenzio Figlia
Jack Hertzog
Jeremy Ives
Jan Mickens
Alastair Munro
Anthony Santiago
Marc Verzatt
CALL ABOUT OUR WOLF TRAP DINNER
THE ALIBI The Alibi Restaurant
Exquisite French Cuisine Full Selection of Wines and Cocktails
10418 Main Street Fairfax, VA.
Phone 591-6319
Major Credit Cards Honored
PET-OTEL 759-3311
BOARDING GROOMING
Alt Text: A drawing of a doorman letting a dog and a cat go past him.
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WOLF TRAP FOUNDATION STAFF
Charles H. Watts, II President
Carol V. Harford Vice President
ARTISTIC ADMINISTRATION
Francis Rizzo, Artistic Aministrator
Virginia Pfaff, Program Coordinator
Gerald P.G. Holmes, Operations Coordinator
John Woolley, Production Administrator
Ann McPherson McKee, Assistant Production Administrator
Mary-Therese Mennino, Department Secretary
Roman Terleckyj, Production Assistant*
*National Opera Institute Intern
GENERAL ADMINISTRATION
Eveline Hyde, Executive Administrator
Raymond T. Underwood, Jr., Financial Manager
Fang Li, Accountant
Laurie J. Barnwell, Executive Secretary
Gay Ashley, Secretarial Assistant
Terry Clark, Messenger/Driver
Dorothy Buckley, Switchboard Operator
DEVELOPMENT
Paul B. Ward, Director
Clynne Moser, Development Assistant
Jere Hathaway Wright, Consultant
COMMUNICATIONS AND MARKETING
Luke Bandle, Director
Jane E. Arenberg, Executive Assistant
Annabel Dick, Secretary
Mark G. Aurbach, Manager,
Ticket Services
Susan M. Waters, Assistant Ticket Services
Peter Grigsby, Group Sales
Ticket Services Staff: Susan Adland, Joni Boyko, Robert Cameron, Philip Ege, John Feather, J.M.H. Ffrench-Mullen, Bambi Hembrick, William Hoffman, Mary Beth Hull, Patricia Jaggers, Sally Kirshner, Melanie Miller, Andrea Mose, Barbara Pierce, Glen Rother, Richard Rother, Anastasia Rozolis, Alan Schuman, Colleen Shaughnessy, Deirdre Shaughnessy, Reilly Shaughnessy, Guy Sibilla, Steven Vickery, Mary Wagner, Beth Wagy, Sharon Waters, Christine Willoughby, R. Reed Wilson.
Summer Staff: Steven Blaine, Michael Juchniewicz
WOLF TRAP ASSOCIATES
Virginia McHenry, Executive Director
Janet Juchniewicz, Assistant
Mildred L. Love, Gift Shop Manager
BOARD OF DIRECTORS
Mrs. Gerald R. Ford Honorary Chairman
Mrs. Jouett Shouse Donor
J. William Middendorf II Chairman
Rodney Weir Markley, Jr. Vice-Chairman
Hobart Taylor, Jr. Vice-Chairman
Bradshaw Mintener Secretary
Douglas R. Smith Treasurer
Ralph E. Becker General Counsel
Robert O. Anderson
G. Dewey Arnold
Mrs. James M. Beggs
Roland Boyd
Nash Castro
Mrs. William P. Clements, Jr.
John J. Corson
William Diamond
J. Martin Emerson
Gary E. Everhardt, ex officio
Howard J. Feldman
E. Atwill Gilman
Peter S. Hackes
Mathew Hale
Edwin K. Hoffman
Linwood Holton
Richard G. Kleindienst
Melvin R. Laird
Mrs. John J, Louis
Edwin Lynch
Clark MacGregor
Mrs. Elizabeth S. May
W. Jarvis Moody
Mrs. Franklin Orr
Mrs. David Packard
Joseph C. Palamountain, Jr.
Mrs. Jed Pearson
Robert A Podesta
Mrs. Abe Pollin
I. Lee Potter
John Robertson
Donald L. Rogers, ex officio
David A. Schulte, Jr.
Miss Beverly Sills
William E. Simon
Robert H. Smith
T. Eugene Smith
Roger L. Stevens
W. Clement Stone
Mrs. Cyrus R. Vance
Paul C. Warnke
C. Langhome Washburn
Miss Barbara M. Watson
Claude C. Wild, Jr.
Julius Rudel Artistic Advisor
WOLF TRAP COMPANY STAFF
John Moriarty, Director; Lawrence Skrobacs, Principal Coach; Scott Bergeson, Steven Blier, Gary Magby, Musical Preparation; Louis Galterio, Dramatic Technique; Bonni Kaplan, Body Movement; Mario Salerno, Italian Master Classes; Charles Elsen, Make up Master Classes; Susan Vitucci, Company Administrator.
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DEPARTMENT OF THE INTERIOR
The Honorable Thomas S. Kleppe Secretary of the Interior
NATIONAL PARK SERVICE
Gary E. Everhardt Director
NATIONAL CAPITAL PARKS
Manus J. Fish, Jr. Director
WOLF TRAP FARM PARK FOR THE PERFORMING ARTS J. Claire St. Jacques, Director
Ralph A. Hoffman, Chief of Performing Arts; Paul E. Meyers, Chief of Maintenance; Herbert G. Graul, Management Assistant; Thomas J. Rother, House Manager; Paul R. Fout, Visitor Services; Mary Frances Pearson, Cultural Activities Specialist; Mary Brown, Cultural Activities Specialist; Pat Saavedra, Head Usher, Sgt. Harry Huber, U.S. Park Police; Officer Jim Henry, U.S. Park Police; Frank Florentine, Technical Director; Ronald F. Cuffe, Production Coordinator; James Crowley, Head Carpenter; Frederick Tepper, Head Electrician; Ralph B. Saylor, Jr., Head Propman; Alexander Lakomyj, Head Soundman; Robert Angus, Head Flyman; Richard Talbott, Assistant Carpenter; Philip Mosbo, Assistant Electrician; Charles Naecker, Assistant Propman; Farrel Becker, Assistant Soundman; Richard Ryan, Assistant Flyman; Richard F. King, Jr., Third Electrician; Paul W. Farabee, Jr., Third Soundman.
COMPOSER'S CABIN Donor: Edward R. Carr, Sr.
Architect: Kohler-Daniels Associates in conjunction with students of the Fairfax County Vocational Education Dept. Builders: Fairfax County Vocational Educational Foundation, Inc., in conjunction with students of Fairfax County Vocational Educational Department.
FILENE CENTER ARCHITECTS MacFadyen and Knowles, New York City
IN PERFORMANCE AT WOLF TRAP TELEVISION STAFF David Prowitt, Executive Producer Ruth Leon, Producer
CREDITS
Ticket Services Uniform Accessories furnished by WOODWARD AND LOTHROP.
TICKETRON: Edward Dougherty, Anne Beiser, Carol Lisagor, Bob Samuels.
ADS Productions, Inc .; Blocher Reprographics, Inc .; Colortone Press Creative Graphics, Inc .; Frederick L. Fryer; Frank Parson's Paper Company, Inc .; Raff Embossing and Foilcraft, Inc .; Robert Rathe Photography; Singer Corporation; Tour Strick, Artist; John Schoeni, Artist; Exxon Corporation; Judd and Detweiler, Inc.
Who Are The Wolf Trap Associates?
The Wolf Trap Associates is a membership organization of the Wolf Trap Foundation, organized to help build community support and encourage citizen involvement with the Park and its partner, the Wolf Trap Foundation.
The Wolf Trap Associates are people from throughout the United States who want to be involved with Wolf Trap by:
supporting the education of young professionals in the Wolf Trap Company-those selected annually by audition from throughout the United States to study, train and perform under career-oriented conditions for eight weeks under Wolf Trap sponsorship.
meeting guest artists.
providing hospitality for guest artists, members of the Wolf Trap Company and other visitors to Wolf Trap.
... participating in programs designed to develop greater understanding and knowledge of the performing arts.
serving in programs at the Park, as office volunteers and as members of special events teams.
operating the Gift Shop at the Park.
WOLF TRAP ASSOCIATES
Board of Trustees
Mrs. Mills E. Godwin, Honorary Chairman Mr. Donald L. Rogers, Chairman Mrs. William J. Hardy, Vice-Chairman Mr. Ralph A. Beeton, Treasurer
Mrs. Howard L. Burris, Mrs. John Dimick, Mr. Roscoe L. Egger, Jr., Mrs. Marion Edwyn Harrison, Mrs. Linwood Holton, Mrs. Cornelius B. Kennedy, Mrs. Richard G. Kleindienst, Mr. Robert E. Lee, IV, Mr. Rollins Wm. Miller, Jr., Mrs. Ralph E. Ulmer, Mr. Robert Waldron, Mrs. C. Swan Weber, Mr. J. Hillman Zahn, Mrs. Robert W. McHenry.
Committee Chairmen
Mrs. Francis X. Kilroy, Administrative Assistance; Mrs. Willard E. Brown, Education; Mrs. Paul C. Kincheloe, Jr., Gift Shop Volunteers; Mrs. Francis W. Brown, Hospitality for Guest Articles; Mrs. Robert S. Siegel, Membership Co-Chairman; Mrs. Roy Edward Clark, Speakers Bureau; Mrs. George S. Oliver, Wolf Trap Company Liaison; Mrs. Brooke Nihart, Chairman for Volunteers; Mrs. Roy M. Ahalt, Chairman for Volunteers.
Special Events Chairmen
Mrs. William P. Clements, Jr., June 5th Benefit-General Chairman; Mrs. Joseph J. Sisco, Supper Chairman; Mrs. Willard E. Brown, Embassy Day in the Park; Mrs. Alfred Luessenhop, Wolf Trap Ball 1976; Mrs. David E. Lindgren, February with the Arts 1977; Mr. John Nidecker, July 3rd Gala.
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Reminiscences
(Continued from page 8)
Scott Joplin's "TREEMONISHA."
The list is too long to enumerate. One remembers opportunities to talk with Miss Sills, Roberta Peters, director Katherine Dunham of the Joplin opera, composer-conductor John Green, and to chat with Errol Garner in the green room during intermission and asking him if he would play STAIRWAY TO THE STARS, one of his early recordings. He did.
There was a friendly talk with Soviet Ambassador Anatoliy Dobrinin at a post-performance tent supper given by the late producer Sol Hurok, following an interview with Hurok at his suite in the Watergate Hotel.
There was an opportunity to sit in at a rehearsal of the Duke Ellington orchestra presided over by Mercer Elling- ton shortly after his father's death. That was in a basement room of a nearby motel, a cramped space in sharp contrast to the vast Filene Stage where they would perform the following night.
Celebrities aside, the audiences often are just as interesting.
The picnics on the lawn, as varied as the dress in the center. There are brown bags and beer, and there are elaborate rattan picnic baskets filled with chicken breasts or squab, and champagne iced
in coolers. There are paper table cloths and elaborate ones; some choose to picnic on the grass.
There are the intermissions, with long queues lining up for hot dogs and beer or champagne.
There are the daytime programs for children, the Fourth of July fireworks which went amiss one summer without much damage, the Christmas carol sing. There was the wet snowy morning when the first composer's cottage was dedicated, followed by hot chocolate at the center.
There are memories of the National Folk Festival, when whole families come out and stroll around the grounds watching the demonstrations and, above all, the extemporaneous performances by country and folk players of the guitar, the washboard, the suitcase bass.
There are the bright scrubbed faces of the young men and girl ushers, and the friendly staff of the National Park Service which, after some falldowns in the first season or two, runs the park with pleasing efficiency.
There are still, of course, sometimes distressing waits while jockeying for position to leave the park after a performance. But everyone seems to be happy even so.
No one who has followed Wolf Trap from its beginnings has any doubt that Mrs. Shouse is still deeply committed to its success.
There was a night last summer when,
23
Alt Text: A man in a suit and a woman with glasses in a dress
Alt Text: Three people talking in dress clothes
(page 24)
recovering from surgery after she broke her hip in a fall, she came in a golf cart from her home across Dulles access highway to watch a performance from the edge of the lawn.
She has not always been entirely successful in controlling the weather, but does consult regularly with the Hagers-Town Almanac.
A week or so later, she was back in her box to hear a concert by the Philadelphia Orchestra. With her were Mrs. Eugene Ormandy and some other friends.
Eugene Fodor, the brilliant young violinist, was playing a Paganini virtuoso work when there was a sudden thunderstorm of such noise and violence that, as Paul Hume wrote in The Washington Post, Paganini himself could scarcely have performed it.
Mrs. Shouse leaned forward in her seat, tensing, looking at the heavens.
"Sit back and relax," a friend told her. "You aren't going to be able to stop this."
But at intermission a few minutes later the storm did stop.
Bank at midnight (Just in case you need cash to treat the gang tonight.)
24-Hour Teller Machines
FIRST VIRGINIA BANK
Near You!
TYSONS CORNER OFFICE
1970 Chain Bridge Road
McCLEAN OFFICE
1356 Chain Bridge Road
CLARENDON BANK & TRUST
Serving Northern Virginia
821-7777 Member F.D.I.C.
Clarendon Bank & Trust's new headquarters office building at Tysons Corner is convenient for all the banking services you'll ever need. We have a branch office, too, at 1356 Chain Bridge Road, in McLean. Come in soon to open your personal Free Checking Account, to earn the highest legal bank interest rate on your Savings, to apply for a Loan, and for complete Trust Services. We're near you. Let us show you that we're "The Bank That Works" ...for you!
24
Alt Text: A bank building
(Page 25)
Daughter of the Regiment 1974
THE WOLF TRAP COMPANY: A NEW HORIZON FOR '76
Growth and evolution, while always controversial, are indispensable signs of life in any thriving arts group. The Wolf Trap Company-a training program for singers at the Filene Center-has grown and evolved to become one of our foremost musical resources in the United States. The new directions it has found for 1976 arise from achievements of the past five years; in turn, they promise great things in music for the years to come.
Begun in 1972 as an apprenticeship program, the Wolf Trap Company was formed as a ground where young singers might test their abilities and make decisions regarding their commitment to a professional career. The foundations of the present training program were laid when John Moriarty joined the staff in 1973; since that time, a primary goal has been to expand the professional opportunities of company singers by offering them challenging and significant roles in major operatic productions at the Filene Center. The size of the company has been progressively pared, in order to assure all members a full professional participation in all works presented. While past years often saw guest artists in operatic leads or solos, this year finds all major roles cast from the Comany
Calvary at the Madeira School 1974
Albert Herring at the Madeira School
1975
Saint of Bleecker Street 1973
Alt Text: Three pictures of play performances
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"If music be the food of love, playon!"
OGDEN FOOD SERVICES Providing food and drink to the patrons of Wolf Trap for years.
The Six Percent Passbook
Chevy Chase Savings and Loan a stock corporation
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Company itself, with increased opportunities for solo assignments with other groups as well. This year's company is a select group; while young in years (their ages range from 21 to 28), they can well be described as "young professionals" whose training and performance at Wolf Trap can be instrumental in launching them into serious artistic careers.
The search for this group has been a tireless and exacting as well as a rewarding procedure. On January 3 John Moriarty, Company Director, and Francis Rizzo, Wolf Trap's Artistic Administrator, took to the audition trail-a ten- day talent-hunt which included visits to Chicago, Oklahoma City, Boston and New York, as well as a two-day session for D.C .- area candidates. To insure that Wolf Trap's nets would be cast nation-wide, special auditions-first in San Francisco and later at Opera America's annual convention in Miami- had been attended the month before. The 16 singers chosen for the company were culled from more than 650 promising applicants.
Over half of the "happy few" are past company members. Rockwell Blake, Stephen Dickson and Janice Hall (who during their 1974 apprentice season sang in the chorus of The Daughter of the Regiment) return to Wolf Trap as soloists, as does Neil Rosenshein (a veteran of both the 1973 and 1974 sea- sons). They will be joined by five members of last year's company-James Maddalena, Robert Orth, Susan Smith, Patricia Stone and Christine Whittle- sey-and seven newcomers-John Cheek, Christopher Deane, Keith Kibler, Roger Lucas, Evelyn Petros, Fredda Rakusin and Peter Strummer. Another company alumnus, Donnie Ray Albert (1974, 1975) returns this summer-not as a company member, but as a leading singer in the Houston Grand Opera's production of Porgy and Bess.
The Company demonstrates that singing talent emerges from every area of the United States: the range of native states represented includes New York, Ohio, California, Oklahoma, Massachusetts, West Virginia and Illinois.
One important aspect of the Company's "new look" is the fact that (Continued on page 29)
26
(Page 27)
Alt Text: Various people having a picnic
Suppertime in the Park
A tranquility pervades Wolf Trap Farm Park for the Performing Arts before the evening curtain rises. This is the leisurely dining hour when Washingtonians and guests escape the summer heat and city tensions to enjoy their meal in the cool country air of Vienna. The style of the picnics is as varied as the people themselves. A stroll through the 117-acre park will find a couple in a tux and gown, sipping wine by candlelight, near an exuberant family in denims playing together on the lawn. This happy blend makes our first national park for the performing arts very special indeed.
Visitors come to the park to treat themselves to the best in their favorite
entertainment; but also to savor the summer through the often-forgotten joy of outdoor dining. A variety of food ser- vices is available, ranging from an elegant buffet in the Pavilion Tent to old- fashioned picnic baskets to quickie commuters' snacks. The Pavilion overlooks the park's meadow and the Filene Center, with an adjoining Special Events Area where groups of 25 or more may gather and picnic as they please. For patrons who prefer to bring their food, Wolf Trap has two snack bars on the main plaza of the theatre. Soft drinks, coffee, beer, wine, champagne, hot dogs, light sandwiches and candies may be purchased before the performance or during the intermission. After the show, for groups or organizations who have purchased tickets, late-night receptions can also be arranged.
For the down-home taste, the Wolf Trap Associates have collected favorite summer recipes for simple, no-cook meals, international feasts, delicious dietetic summer fare, or creative gourmet combinations-all available through the Wolf Trap Gift Shop. And for the work-weary diner who wants to be spoiled, the Vienna area offers a number of restaurants featuring fine cuisine for every palate.
There's no need to miss dinner to come to a show at Wolf Trap. We try to satisfy your every dining need!
Alt Text: Table Full of Food
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(Page 28)
Who are . . .
BENEFACTORS: Donors of $100,000 and above
NATIONAL BUSINESS ADVISORY COUNCIL: Corporations giving $5,000 per year.
WOLF TRAP SPONSORS: Individuals or organizations giving $2,500 or more per year.
WOLF TRAPPERS: Individuals or organizations giving $1,000.
WOLF TRAP COMPANY FELLOWSHIPS: Individuals or or- ganizations giving $500 or more specifically for the Wolf Trap Company.
SPECIAL GIFTS: Individuals or organizations giving $100 to $1,000.
GRANTS: A Contribution from a private or government organiza- tion for a special purpose.
WOLF TRAPPERS
OFFICERS
Dr. John W. McTigue, General Chairman Mrs. Samuel Zola, District of Columbia Chairman Mrs. John Ackerman, Maryland Chairman Dr. C. Barrie Cook, Virginia Co-Chairman Mr. Peter Conners Andrews, Virginia Co-Chairman Miss Gay Friedman, National Corporate Chairman Mrs. Philip W. Buchen, Newcomers Chairman Mr. Louis V. Priebe, Communications Chairman
Arthur Andersen & Company Mr. & Mrs. Peter Conners Andrews Mr. Leo Bernstein Mr. & Mrs. Norman Bemstein Dr. & Mrs. Robert J. Brennan Ted Britt Ford Sales, Inc. Honorable and Mrs. Philip W. Buchen Mr. & Mrs. William Calomiris Mr. & Mrs. Albert Chaiken C & P Telephone Mr. & Mrs. Emanuel Cohen Dr. & Mrs. C. Barrie Cook Decisions and Designs, Inc. Mr. Albert Dwoskin Enserch Corporation Mr. & Mrs. Sanford D. Greenberg Mr. & Mrs. John H. Grover Mr. & Mrs. R. Clyde Hargrove Mrs. R. H. Hargrove Mr. & Mrs. R. Wayne Hirst Mr. & Mrs. Arthur Kellar Dr. & Mrs. George A. Kelser, Jr. Mr. & Mrs. Irvin Kolker Lindsay Cadillac Company Mr. & Mrs. Maurice Lipnick Mr. & Mrs. Edwin Lynch Mr. & Mrs. F. Sheild McCandlish McGraw-Hill, Inc. Dr. & Mrs. John W. McTigue Mr. & Mrs. Paul Mellon Muzak of Washington Mr. & Mrs. Florenz Ourisman Mr. & Mrs. Howard Polinger Mr. & Mrs. Abe Pollin Mr. & Mrs. I. Lee Potter Mr. & Mrs. E. A. Prichard Mr. & Mrs. Eugene H. Rietzke Dr. Monira Rifatt Mr. & Mrs. John D. Ringle Mr. & Mrs. T. Eugene Smith Mr. & Mrs. Albert G. Van Metre Mr. & Mrs. John C. Webb H. E. Ardeshir Zahedi, Ambassador of Iran
BENEFACTORS
Mr. & Mrs. David Packard Mrs. Jouett Shouse
NATIONAL BUSINESS ADVISORY COUNCIL
Aerojet-General Corporation Alcoa Foundation Alvord Foundation Atlantic-Richfield Company Walt Disney Productions Exxon Company, U.S.A. Ford Motor Company Gulf Oil Company International Business Machines Corporation Phillips Petroleum Company Charles E. Smith Family Foundation Standard Oil Company of California TRW Foundation Westgate Corporation
INDIVIDUAL SPONSORS
Honorable and Mrs. William P. Clements, Jr. Mr. John J. Corson International Telephone and Telegraph Corporation LTV Corporation Mr. David A. Schulte, Jr. Honorable and Mrs. William E. Simon Etta L. and Henry F. Wanger Foundation
SPECIAL GIFTS
John P. Adams, M.D. Ahmedou Ould Abdallah, Ambassador of Mauritania Mr. D. F. Antonelli, Jr. Mrs. Moira Archbold Mr. & Mrs. James M. Beggs Reverend Frederick Bloom Mr. & Mrs. Harold J. Bobys Mr. & Mrs. William Cafritz Mrs. John T. Connor Mr. & Mrs. William Diamond Mr. & Mrs. J. William Fulbright Elizabeth Polk Guest Mr. & Mrs. R. Philip Hanes, Jr. Mr. Charles T. Lindsay, Sr. Mr. Yehudi Menuhin Mr. & Mrs. Robert E. Newby Dr. Dwight Newman Mrs. Charles Emory Phillips Mr. & Mrs. E. A. Prichard Mr. Thomas E. Tager Mrs. H. C. Tate Mr. John Vaughn
WOLF TRAP COMPANY FELLOWSHIPS
Wolf Trap Associates Broadcast Music, Inc. Major General and Mrs. Daniel Campbell Mrs. Paul L. Davies The Charles Delmar Foundation Mrs. John Dimick Mrs. Claude Grabeel I.A.T.S.E. Local #22 Mrs. John J. Louis Mr. Michael W. Louis The J. Willard Marriott Family Foundation Mars Foundation Mrs. Elizabeth May Pepsico, Inc. The Rotary Club of Vienna Mr. Douglas R. Smith Hattie M. Strong Foundation Honorable and Mrs. C. Langhorne Washbum
GRANTS
The Filene Foundation The National Endowment For The Arts The Virginia Commission on the Arts and Humanities
(Page 29)
Wolf Trap Company
(Continued from page 26)
company members dominate the vocal scene in this summer's program. With the exception of the counter-tenor role of Oberon, the production of Britten's Midsummer Night's Dream is cast entirely with company singers, and all but the three principal roles in La Traviata (a production starring Beverly Sills) are filled with our resident forces. All solo parts in the Beethoven Ninth (danced by the Bejart Ballet) and in Mahler's Eighth Symphony (performed by The National Symphony under Julius Rudel) will be entrusted to the company. Company members will also appear in Aaron Copland's concert with The National Symphony, the Ring Cycle Centennial Concert with the same orchestra, as well as in ballets to be presented by the Robert Joffrey and the Eliot Feld companies.
As the company confronts this ambitious performing schedule, they will receive daily training (both formal classwork and individual coaching) during an eight-week period from June 20 to August 14. This intensive program led by John Moriarty has won increasing acclaim as the "finishing school par excellence" for young American singers. Mr. Moriarty's staff of musical coaches will be complemented by Louis Galterio (dramatic technique), and in addition to the regular program, master classes will be conducted by two distinguished guest instructors-Mario Salerno (Italian diction) and Charles Elsen (make-up).
Wolf Trap's experimental concept -an advanced resident company, combining intensive training and performing opportunities of maximum scope and challenge-has been hailed in the musical community as "revolutionary". Advised of this, Mrs. Shouse remarked: "Then 1976 is the ideal year to try it."
Mrs. Jouett Shouse 1916 F. Street, N.W. Washington, D.C. 20006
Dear Mrs. Shouse:
This afternoon as I was reading an Associates' bulletin which Frank Rizzo sent me (with a picture of Wolf Trap Company Madrigal Singers), I began
pleasantly reminiscing about my extraordinary experience with the Company this past summer, and it was truly extraordinary. Now that I am away from the training program I realize there is no other place for young singers to get that kind of education.
I am convinced that the staff of teachers and coaches at Wolf Trap were the reason for the high level of inspiration and achievement we of the Wolf Trap Company experienced this summer. John Moriarty, Wesley Balti, Ruth Ambrose, and Larry Skrobacs, Steve Blier, Tom Wharton and Scott Bergeson all made this summer something I shall never forget; and they will also make me dissatisfied with those who offer me less than they did.
The Wolf Trap Company Apprentice Program will hopefully continue in the years to come. Its influence could raise the standards of opera and concert work in this country, with the help of you and the Associates and those I have mentioned. I am very happy to have been a part of it for at least one summer.
Sincerely, Marsha Hunter Wolf Trap Company, 1975
Alt Text: Cartoon of Washington D.C. and Baltimore
THE 1976 COLORADO OPERA FESTIVAL June and July
Donizetti
DON PASQUALE
A DOUBLE BILL
Stravinsky's Puccini's
THE SOLDIER'S TALE GIANNI SCHICCHI
Mussorgsky's
BORIS GODUNOV
Colorado Springs (303) 473-2233
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(Page 30)
The National Park Service -Interpretive Program
Wolf Trap's Summer Interpretive Program enters its fifth season on July 5, offering Workshops-in-the-Arts and free daytime performances in the Theatre- in-the-Woods and the Meadow Tent through August 27, Monday through Friday. Part of the Park's Interpretive Program, sponsored by the Department of the Interior, National Park Service, this summer will include: puppets, story theatre, theatrical participation events and workshops.
Reservations for these programs must be made by calling the Interpretive Office at (703) 938-3810 from 10:00 a.m. to 4:00 p.m. weekdays.
THE DULLES ACCESS ROAD IS NOT OPEN FOR INTERPRETIVE PROGRAM EVENTS.
THEATRE-IN-THE-WOODS PROGRAM
10:30 a.m. Monday-Friday: Library Theatre: "Curious George" "Rumpelstiltskin"
1:00 p.m. Monday-Friday: Bob Brown Marionettes: "Great American Bandwagon"- A Bicentennial Piece
THE MEADOW TENT PROGRAM
11:00 a.m. and Noon Monday-Friday: Inter-Play Productions "The Creation of the Nation"- A theatrical participation event
30
Alt Text: Child in a crowd
Alt Text: People Laying on the ground
Alt Text: A puppet performing
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We can't make Sunday Brunch.
So we have ours on Tuesday ... or Wednesday, or any other day of the week. And we enjoy it most at the Publick House of Georgetown. No matter what day of the week it is, brunch at the Publick House has that good Sunday feeling. The menu is just as full as on Sundays. Brunch cocktails like Mimosa and Milk Punch are real eye openers. There are six kinds of egg specialties prepared to perfection with Benedict and Hussarde heading the list. And fluffy omelettes, assorted quiches and steak and eggs for the hardy. Round it all out with just the perfect wine and finish with an irresistible dessert. At the Publick House, you can get a great Sunday brunch on Monday . . . on Tuesday .. . on Wednesday ... Any day ... Every day!
Publick House 3218 M St., N.W., Georgetown, Washington, D.C. 333-6605
Brunch Served Daily 10 AM to 3 PM
Alt Text: 2 priests having brunch
(Page 32)
"Television's finest 13 hours"
THE ADAMS CHRONICLES
Photo Carl Samrock
See The Adams Chronicles and In Performance at Wolf Trap back to back this fall on PBS.
Starting in September, The Adams Chronicles, the highest rated series in public television's history, will precede new and selected repeat performances taped at Wolf Trap.
New Wolf Trap productions will include La Traviata, starring Beverly Sills; a jazz concert starring Dizzy Gillespie, Earl "Fatha" Hines and Billy Eckstine; a Baryshnikov/Kirkland ballet; Cleo Laine and John Dankworth; and the live July 3 Bicentennial concert of the National Symphony, conducted by Andre Kostelanetz
In Performance at Wolf Trap is made possible by a grant from Atlantic Richfield Company.
with Yehudi Menuhin as soloist. Produced by WETA/26, Washington, D.C. The Adams Chronicles cast includes (above, clockwise from upper left) Steven Grover (John Quincy Adams), Lisa Lucas (Nabby Adams), Kathryn Walker (Abigail Adams), J. C. Powell (Charles Adams), George Grizzard (John Adams), and Asher Pergament (Tommy Adams). An original production by WNET/13, New York.
The Adams Chronicles is made possible by a grant from the National Endowment for the Humanities, The Andrew W. Mellon Foundation, and Atlantic Richfield Company.
ARCO
AtlanticRichfieldCompany
Alt Text: People Dressed as the Adams Family; (page 1)
FILENE CENTER Vienna, Virginia
WOLF TRAP CENTERLINES
Wolf Trap Farm Park for the Performing Arts . VOLUME I JUNE 5-JUNE 26 . 1976
Alt Text: A full theater audience
(page 2)
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Enclosed is $3.00 for my full-color brochure containing floor plans and detailed specifications for all nine models of the Geodesic Dome.
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Mail to: Living Arts Publishing P.O. Box 1567, Trenton, N.J. 08607
Alt Text: Living room
Alt text: Exterior of a dome shaped house
Alt Text: Dining room
Alt Text: Back deck and the exterior of a dome shaped brown house.
(Page 3)
WOLF TRAP FARM PARK for the Performing Arts
INFORMATION
The administration offices of Wolf Trap Farm Park for the Performing Arts are open to the public 9:00 a.m. to 5:00 p.m. daily. Telephone: 938-3810.
FREE PARKING FACILITIES: West parking lot, 1,000 cars. East parking lot, 350 cars. Special guests and disabled persons only are permitted to use other spaces. Parking lots are entered from Trap Road. Follow directions of Park Police. Parking is free.
REST ROOMS: Located at the ticket office entrance area and in the lower level of the gift shop building.
FIRST AID: Consult Park Rangers, Park Police, or ushers for emergency facilities.
HOUSE PHYSICIANS: A house physician is in at- tendance at all performances. Doctors are serving on a volunteer basis. Contact Park Rangers, Park Police, or ushers.
WHEELCHAIR ACCOMMODATIONS: Special arrangements can be made by advance request. Telephone: 938-3810, ext. 234.
LOST AND FOUND: Items are held at the Park Police office, telephone: 938-3810, extension 235.
LAWN SEATING: General Admission from $2.00 to $4.00. Tickets available at Filene Center Ticket Office, Ticketron and all Wolf Trap voucher agencies. Blankets and chairs allowed on grass areas as indicated by ushers.
DINING PAVILION: Buffet dinner served nightly from 6 to 7:30 p.m .: $6.95. Reservations accepted until 1:00 p.m .: 938-3800 or Ticketron.
MAIN STAGE DOOR: Location Stage Left (audience right). All inquiries to the doorman.
WOLF TRAP ASSOCIATES GIFT SHOP: Located on the Plaza, adjacent to Ramp A. Hours: 6:30 p.m. through intermission: Matinees: one hour prior to performance through intermission.
TICKET OFFICE/FILENE CENTER: Hours: 12:00 noon to 9:00 p.m. Performance Days; 12:00 noon to 6:00 p.m. Nonperformance days. Instant credit available with BankAmericard, American Express, Master Charge and Central Charge. Tickets also available at all Ticketron outlets and at Wolf Trap voucher agencies throughout the Washington metropolitan area.
FILENE CENTER SEATING PLAN
LAWN
LOGE LOGE A/D
BOXES
REAR ORCHESTRA
ORCHESTRA
STAGE
WOLF TRAP CENTERLINES
Published by the Wolf Trap Foundation
VOL. 1 - June 5 to June 26
CONTENTS
General Information Letters of Greeting Wolf Trap Birds Wolf Trap Reminiscences Calendar of Coming Events Wolf Trap Company Suppertime in the Park Interpretive Program
EDITOR:
Luke Bandle,
Wolf Trap Foundation
ASSOCIATE EDITOR:
Jane E. Arenberg,
Wolf Trap Foundation
The Wolf Trap Foundation 1624 Trap Road Vienna, Virginia 22180
(Page 4)
Wolf Trap means the excitement of a live performance in a setting alive with the beauty of nature. This season Wolf Trap once again offers a variety of talent and art to its many, many enthusiastic fans.
I hope your Wolf Trap experience is as enjoyable and memorable as mine has always been. It's truly an honor for me to serve as Honorary Chairman of the Wolf Trap Foundation Board of Directors because I believe it is a "national treasure."
With best wishes for a marvelous time at Wolf Trap.
Betty Ford Sincerely, Betty Ford
Alt Text: Woman smiling
Throughout the nation this summer the Ameri- can heritage will be celebrated in special Bicentennial programs. It is a responsibility of the Department of the Interior to preserve and interpret this heritage, not just in 1976 but year in and year out, with the National Park System as its showcase.
One of the jewels of that system is Wolf Trap. Here is highlighted our rich performing arts tradition. I hope that many Bicentennial visitors to the Nation's Capital will also take in Wolf Trap. The exciting programs scheduled here this year will enrich the memories that our guests from America and abroad take home from Washington.
Welcome to Wolf Trap, and to the National Park System. We invite you to make the Wolf Trap tradition your own.
Thomas S . Kleppe
Thomas S. Kleppe Secretary of the Interior
Alt Text: Man with glasses smiling
(Page 5)
As we open our sixth season, we realize that in five short years Wolf Trap has learned much from the nationwide community it serves.
As a partner of the National Park Service, Department of the Interior, we embarked on a venture involving few people and we are proud to realize that many hundreds are now making Wolf Trap possible.
We at the Foundation assumed a major responsibility and thank all who have given their support and confidence.
Catherine Filene Shouse Catherine Filene Shouse
Alt Text: Woman smiling
Each season at Wolf Trap ignites anticipation and brings richness and refreshment, fulfillment and pleasure to the summer.
This year the chief program architects, Miss Beverly Sills and Mrs. Jouett Shouse, have designed and developed a summer season honoring the tenets of the Bicentennial theme and giving each of us Wolf Trap's most impressive season.
We hope you will enjoy the summer with us.
J. William Middendorf II
J. William Middendorf II Chairman, Wolf Trap Foundation
(Page 6)
Wolf Trap Birds
From April to January of 1948, Lady Wilson, Wife of Field Marshal Lord Wilson, and Dr. Wetmore, Secretary of the Smithsonian Institution, compiled a list of birds commonly in residence at Wolf Trap. The following is printed from their findings, with due appreciation of their sustained efforts in spotting and cataloguing the regular birdlife of this Park.
Orchard Oriole, summer resident Eastern Crow, permanent Cardinal, permanent
White Crowned Sparrow, rare White Throated Sparrow, winter Sparrow, permanent Field Sparrow, summer Downy Woodpecker, permanent Flicker, permanent Mocking Bird, permanent Starling, permanent Mourning Dove, summer Eastern Bluebird, permanent Gold Finch, permanent Indigo Bunting, summer Whippoorwill, summer Red Eyed Towhee, summer Robin, summer Red Shouldered Hawk, permanent Slate Colored Junco, winter Turkey Buzzard, permanent Yellow Bellied Sapsucker, winter Myrtle Warbler, winter Maryland Yellow Throat Warbler, summer Chipping Sparrow, summer Cow Bird, summer
Black Billed Cuckoo, summer Ruby Crowned Kinglet, winter Thrasher, summer
Swift (Chimney), summer
Song Sparrow, permanent Blue Jay, permanent Tufted Titmouse, permanent
Chickadee (Carolina), permanent White Breasted Nuthatch, permanent Ruby-Throated Hummingbird, summer Bob White, permanent Catbird, summer
Scarlet Tanager, summer Eastern King Bird, summer Phoebe, summer Red Eyed Virio, summer
Yellow Throated Virio, summer Yellow Warbler, summer House Wren, summer Black Poll Warbler, summer
Yellow Billed Cuckoo, summer Red Billed Woodpecker, permanent Black Vulture, permanent Wood Thrush, summer Kildeer, permanent
6
(Page 7)
Wolf Trap Reminiscences
BY DONALD SANDERS
There was that exciting opening night on July 1, 1971. There were two first ladies, Mrs. Richard M. Nixon and Senora Gonzalez de Velasco of Peru, Governor of Virginia and Mrs. Linwood Holton.
There was the Secretary of the Interior, Rogers C. B. Morton; the President of American University, Dr. George H. Williams; and the Donor of this first National Park for the performing arts, Mrs. Jouett Shouse.
"To Catherine Filene Shouse may I convey the heartfelt thanks and affection of each of us," Morton said. "We of the Department of the Interior prize our opportunity to administer Wolf Trap Farm Park. . .
"With the launching of Filene Center, Washington will take its rightful place as one of the major summer music centers of the nation. The true importance is its meaning to the people ... for the coming years."
At the end of the intermission, American University awarded an honorary
doctor of laws degree to Mrs. Shouse. "Yours is a life of service so varied as to defy precise description," Dr. Williams told her. "You have enriched this community and the nation through your gift ... "
There was also the night before, just as exciting in a different sort of way.
Van Cliburn flew in during the early evening to rehearse with the National Symphony under conductor Julius Rudel for the opening concert which
7
Alt Text: A man is laughing as a woman takes a drink at a dinner table outside
Alt Text: people wait in a long line
(Page 8)
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also starred bass-baritone Norman Triegle.
Workmen were busy fixing seats which had not been properly bolted down in the haste to finish the Filene Center auditorium following the fire in mid-March which did some $650,000 damage.
Kay Shouse was on hand to cheer them on and to make sure that every- thing was done right. And she was proud that it was not only the workmen but the executives of the company which had the contract.
And she was apprehensive about the chance of rain on opening night.
"I don't like the looks of the moon," she said. "I kept the rain away for a month while we worked on the parking lot-in spite of the Hagerstown Almanac; it said heavy rain."
A few days earlier the Baltimore Sun had published an Associated Press article about Wolf Trap under the head- line: "Tales from the Vienna (Va.) Woods."
The anonymous headline writer could not have foreseen that Wolf Trap would indeed take on almost im- mediately an ambience similar to that of Vienna.
The contrasts are remarkable: the women in designer dresses and the men in black tie in the boxes, the middle aged couples in department store dresses and sports shirts in the or- chestra, the young in jeans and shorts on blankets on the lawn.
There have been notables: former President Richard M. Nixon, President and Mrs. Gerald Ford, Vice President and Mrs. Nelson Rockefeller. Prince Philip of Great Britain is expected shortly.
There proved to be many more days and nights at Wolf Trap after that gala opening.
The Metropolitan Opera, the Preser- vation Hall Jazz Band, Beverly Sills, Benny Goodman, Pierre Boulez, Virgil Fox, Eugene Ormandy, Pat Paulsen, Ar- thur Fiedler, Dave Brubeck, Carmen Balthrop in that moving production of (Continued on page 23)
8
(Page 9)
BICENTENNIAL Diamond Stars
Dazzling DIAMOND STAR NECKLACES complete with 14-karat gold rope chains available in 3 lengths:
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$149.00 Three Stars, 18 Diamonds $399.00
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Expanding Our Services Efficient And Fast All Jewelry Repairing, Designing and Setting is now Being Done on Our Premises by a Skilled Goldsmith.
RESTON international JEVVĒLERS
on the plaza NEXT TO THE SHERATON HOTEL 620-9669
9
Alt Text: Drawing of a woman with a star necklace
Alt Text: Drawing of a man closely inspecting a diamond
(Page 10)
TEXACO takes you to the MET for the 37th consecutive season
The 1976-77 season promises to be one of the most stimulating and rewarding in the history of the Metropolitan Opera. It is the first under the guidance of the Met's new artistic team of James Levine, music director, and John Dexter, director of production.
The excitement of this new adventure in operatic achievement is yours via Texaco's live radio broadcasts of twenty Saturday afternoon performances to be heard coast to coast in the U. S. over the Texaco-Metropolitan Opera Radio Network, and in Canada over the English and French networks of the CBC.
The season will be full of surprises, including four operas which will be heard on these broadcasts for the first time and a dozen others which will not have been heard for at least two seasons.
It all begins on December 4, 1976, with a broadcast of a new production of Wagner's LOHENGRIN conducted by James Levine. We cordially invite you to join us at that time.
TEXACO
Leontyne Price, as seen in the 1975-76 production of AIDA
Photo Copyright Beth Bergman 1976
Alt Text: Picture of a woman singing
Alt Text: Picture of the MET
(Page 11)
METROPOLITAN OPERA ASSOCIATION
Monday Evening, June 7, 1976, at 8:00 O'clock
NEW PRODUCTION
Guiseppe Verdi
AIDA
Opera in four acts
Libretto by Antonio Ghislanzoni
Conductor: Richard Woitach
Production: John Dexter
Set Designer: David Reppa
Costume Designer Peter J. Hall
Lighting Designer: Gilbert Hemsley
Stage Director: Bruce Donnell
Characters in order of vocal appearance
Ramfis.................................Jerome Hines
Radames.............................James McCracken
Amneris...............................Bianca Berini
Aida....................................Rita Hunter
The King........................... Richard T. Gill
A messenger.........................Charles Anthony
A priestess......................... Marcia Baldwin
Amonasro........................... Cornell MacNeil
Choreographer: Louis Johnson
Dancers:
Act I, Scene 2: Alastair Munro
Act II, Scene 1: Susana Aschieri, Naomi Marritt, Ellen Rievman
Act II, Scene 2: William Badolato, Edilio Ferraro and Corps de Ballet
Chorus Master: David Stivender

This production of AIDA was made possible by a generous and deeply appreciated gift from the Gramma Fisher Foundation, Marshalltown, Iowa.
Adaptation of this production for the tour was made possible by a generous and deeply appreciated gift from teh Atlanta Music Festival Association.
The Metropolitan Opera's 1976 national tour is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal agency.

KNABE PIANO USED EXCLUSIVELY
Lighting executed by: Rudolph Kuntner
Scenery, properties and electrical props constructed and painted in: Metropolitan Opera Shops
Costumes executed by: Metropolitan Opera Costume Department
Wigs executed by: Metropolitan Wig Department
Sculptured headpieces and masks by: Gary Brouwer
Assistant Designer: Miguel Romero
11
(Page 12)
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Synopsis of Scenes Egypt, during the reign of the Pharaohs
ACT I, Scene 1: A hall in the palace at Memphis Scene 2: The temple of Ptah
ACT II, Scene 1: Amneris' apartments in the palace at Thebes Scene 2: A public square
ACT III: The banks of the Nile
ACT IV, Scene 1: The temple of judgment Scene 2: A tomb below the temple
The Metropolitan Opera is a member of OPERA America, Inc.
The management reserves the right to make any changes in the above cast in case of unforeseen exigencies.
THE STORY IN BRIEF
Aida
ACT I: In the hall of the royal palace at Memphis, Radames, a young captain of the guard, learns from the high priest Ramfis that Ethiopia threatens the Nile valley and that the goddess Isis has decreed a new commander for Egypt. Left alone, Radames hopes that he is the chosen one, imagining a glorious victory so he may free his beloved Aida, slave of Amneris, the King's daughter ("Celeste Aida''). Amneris, who loves Radames, interrupts his musing and questions him shrewdly; her suspicion that he loves Aida increases at the entrance of her slave girl (Trio: "Vieni, o diletta"). Soon the King and his train arrive to give audience to a messenger from the front, who reports that the Ethiopian army, led by Amonasro, is marching on Thebes. The King announces the appointment of Radames as Egyptian commander and leads the assemblage in a battle hymn. As Radames is led off amid general rejoicing, Aida remains alone, appalled that she too has cheered him to victory ("Ritorna vincitor!"), for the Ethiopians are her people, and Amonasro, their king, is her father. Torn by conflicting loyalties, she begs the gods for pity.
In the temple of Ptah, a priestess is heard addressing the god as ceremonial dances are performed. Ramfis consecrates Radames' mission and presents him with the ceremonial sword.
ACT II: Reclining on her terrace, the lovesick Amneris is groomed by slaves for the triumphal return of Radames. A group of dancing girls temporarily distracts the princess from her romantic musing. At Aida's approach she dismisses her attendants and, hoping to confirm her suspicions that the slave loves Radames, tells her first that he has perished in battle, and then that he still lives (Duet: "Fu la sorte dell' armi"). At Aida's joyous outcry, Amneris threatens her and leaves for the festivities.
At the gate of Thebes a crowd welcomes the army, which passes in review before the King and Amneris (Chorus and triumphal march: "Gloria all' Egitto"). The spoils of war are borne in and triumphal dances performed. When Radames is carried on victorious, Amneris presents him with a wreath. Next, the Ethiopian captives are led in; among them Aida recognizes her father. Whispering to Aida not to disclose his rank, Amonasro pleads for the prisoners (Ensemble "Ma tu, Re"). Though Ramfis and the priests demand the captives' death, Radames intercedes on their behalf; Amonasro, as their spokesman, is held hostage, but the others are set free. When the King gives Radames the hand of Amneris, Aida falls disconsolately into her father's arms.
ACT III: On a moonlit bank of the Nile, Ramfis leads Amneris and Radames into the temple of Isis for a wedding vigil. Aida steals in to await a farewell meeting with her lover; overcome with nostalgia, she mourns her lost homeland ("O patria mia"). She is jolted from her reverie by Amonasro, who demands that she learn Radames' plan for his new campaign against the Ethiopians (Duet: "Rivedrai le foreste imbalsamate"); she reluctantly agrees. Amonasro hides as Radames, striding from the temple, ardently greets Aida with promises to make her his bride after his next victory. She instead urges immediate flight and paints an evocative picture of their future happiness (Duet: "Fuggiam gli ardori inospiti"). Winning Radames to her
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idea, she asks what route his armies will take so as to avoid them. No sooner does he reply than Amonasro emerges from hiding, reveals his identity and, with Aida, tries to enlist the stunned Radames to their cause. Suddenly Amneris appears, calling Radames traitor. Amonasro lunges at her with a dagger, but Radames blocks his path. Then, as Aida and her father flee, he surrenders himself to the high priest.
ACT IV: In the temple of judgment, Amneris, bewailing the treason of Radames, determines to make a last effort to save him. When the guards lead him in, she offers to save his life if he will renounce Aida (Duet: "Già i Sacerdoti''); he refuses. Enraged, Amneris sends him to his doom but is immediately overcome with remorse. She listens in despair as his condemnation echoes from the hall of justice, and when the priests file out she curses them.
Radames, sealed in a vault beneath the temple, muses on Aida. He is startled by a noise: it is Aida herself, who has chosen to share his fate. Radames vainly tries to dislodge the stone that seals the tomb. Bidding farewell to earth, the lovers greet eternity (Duet: "O terra, addio"), while above, Amneris prays for Radames' soul .- Courtesy of OPERA NEWS
ABOUT THE ARTISTS
JEROME HINES, bass (Ramfis), was born in Hollywood, California, and this season celebrated his 30th anniversary with the Metropolitan Opera, having made his debut with the company in 1946. He studied at the University of California at Los Angeles where he ranked equally as chemist, physicist and musician. Mr. Hines has sung more than 40 roles at the Metropolitan, as well as others with La
Scala, the San Francisco Opera, the Bavarian State Opera, the Bayreuth Festival, the Spoleto Festival and the Teatro Colon in Buenos Aires. In the fall of 1962 he made his debut at the Bolshoi Opera in Moscow in the title role of Boris Godunov in Russian. Mr. Hines' roles at the Metropolitan include Silva in Ernani, Don Giovanni, Zaccaria in Nabucco, Arkel in Pelleas et Melisande, King
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Marke in Tristan und Isolde, Sarastro in Die Zauberfloete, Philip in Don Carlo, Boris Godunov, and Mephistopheles in Gounod's Faust.
JAMES McCRACKEN, tenor (Radames), was born in Gary, Indiana. Following service in the Navy during World War II, he entered Columbia University where he studied voice and appeared in several opera workshop productions. He joined the Metropolitan Opera in 1953 and sang small roles for four seasons. He then went to Europe, where he established his career, and in 1963 returned to the Metropolitan to make his second debut in the title role of a new production of Otello. He has been heard in most of the world's leading opera houses, including Covent Garden, the Vienna State Opera, the Teatro Liceo, and the San Francisco Opera. At the Metropolitan his repertory includes Samson in Samson et Dalila, Don Jose in Carmen, Florestan in Fidelio, Calaf in Turandot, Canio in Pagliacci, and Radames, which he sang in the premiere of this season's new production of Aida.
BIANCA BERINI, mezzo-soprano (Amneris), is a native of Trieste who now lives in Milan. She has been heard in many of the world's leading opera houses, including La Scala, the Teatro La Fenice in Venice, and those of Turin, Lisbon, Barcelona, Vienna, Berlin, London and Mexico. In the United States she has sung with the opera companies of New Orleans, Pittsburgh and Philadelphia. Her repertoire encompasses such roles as Amneris in
Aida, Azucena in Il Trovatore, Adalgisa in Norma, Laura in La Gioconda, Ortrud in Lohengrin, Dalila in Samson et Dalila, Carmen, Charlotte in Werther, and Eboli in Don Carlo.
RITA HUNTER, soprano (Aida), was born in Wallasey, Cheshire, England. She studied singing first in Liverpool and later in London. She joined the Sadler's Wells Opera in 1957 as a chorus member and two years later she was engaged by the Carl Rosa Opera Company. After a year of study with Dame Eva Turner she was re-engaged by the English National Opera, this time as a principal artist, where she has remained as a permanent member. Among the many roles she has sung there are Senta in Der Fliegende Hollaender, Donna Anna in Don Giovanni, Bruennhilde in Die Walkuere and Goetterdaemmerung, Amelia in Un Ballo in Maschera, and Santuzza in Cavalleria Rusticana. She has also sung with the Welsh National Opera at Covent Garden and the San Francisco Opera, and is heard regularly in recital, concert and oratorio performances. She made her Metropolitan Opera debut as Bruennhilde in Die Walkuere on Dec. 19, 1972, and has since been heard there as Santuzza in Cavalleria Rusticana, Bruennhilde in Goetterdaemmerung, and in the title role of Bellini's Norma.
RICHARD T. GILL, bass (The King), was a professor of economics at Harvard University for several
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years before deciding on a musical career. He is the author of five books in that field and is a winner of an Atlantic Monthly Award for short stories. He has been heard with the New York City Opera, the Opera Company of Boston, the Houston Grand Opera, the Caramoor Festival, and the Baltimore Opera. In addition, he has sung extensively in England at the Canterbury Festival, The Chelsea Opera Group, and at the Victoria and Albert Museum. He made his Metropolitan Opera debut in 1973 in the premiere of Les Troyens, and has since been heard there as Pimen in Boris Godunov, Timur in Turandot, Friar Laurent in Romeo et Juliette, Jero in The Siege of Corinth, and the King in Aida.
CHARLES ANTHONY, tenor (A messenger), was born Carlogero Antonio Caruso in New Orleans, but when he embarked on an operatic career he decided to do so without using that illustrious musical name. After serving apprenticeship with the New Orleans Opera he entered the regional contest of the Metropolitan Opera Auditions in 1952 and was judged a winner. With his scholarship he went to Italy for further study and returned to make his Metropolitan Opera debut in 1954. He has since sung more than 60 roles, including Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni, Count Almaviva in II Barbiere di Siviglia, David in Die Meistersinger, and Shuisky in Boris Godunov. He has also sung with the Cologne Opera, the Santa Fe Opera, the Cincinnati Summer Opera, and the Laguna Festival in California.

MARCIA BALDWIN, mezzo-soprano (A priestess), was born in Moline, Illinois, and is a graduate of Northwestern University. A former member of the Metropolitan Opera Studio, Miss Baldwin has been heard with the Santa Fe Opera, the San Francisco Spring Opera, the Cincinnati Summer Opera, and the Goldovsky Opera Theater. She appeared in the NBC-TV Opera production of Boris Godunov in 1961 and has given concerts throughout the United States. In the summer of 1968 she sang in the world premiere of David Amram's Twelfth Night at the Lake George Opera Festival. She made her Metropolitan Opera debut in 1963 as Javotte in Massenet's Manon, and among her more than 30 roles there since are Lisa in Pique Dame, Nicklausse in Les Contes d'Hoffmann, Mistress Page in Falstaff, Stephano in Romeo et Juliette, and Hansel in Hansel and Gretel.
Minnesota-born CORNELL MacNEIL, baritone, made his Metropolitan Opera debut in advance of schedule when he replaced an ailing colleague in the title role of Rigoletto on March 21, 1959, the same month he had also appeared for the first time at La Scala as Don Carlo in Ernani. New York first heard him in the Broadway production of The Consul, prior to his engagement by the New York City Opera. He has sung in all the principal Italian theatres, as well as with the Vienna State Opera, Covent Garden, the Teatro Liceo, the San Francisco Opera, and the Lyric Opera of Chicago. His repertoire at the Metropolitan includes more than 20

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roles, among them Macbeth, Simon Boccanegra, Tonio in Pagliacci, Iago in Otello, Monforte in I Vespri Siciliani, the title role of Falstaff, and Renato in Un Ballo in Maschera. This season he was heard as Amonasro in the premiere of the new production of Aida, as Michele in Il Tabarro, and in the title role of Gianni Schicchi.
RICHARD WOITACH, conductor, is a native of Binghamton, New York. He received his bachelor's degree in music from the Eastman School of Music in Rochester, New York. Following his graduation he was named official pianist with the Rochester Philharmonic, where he was also heard as concerto soloist. For three years he was also heard as piano accompanist with violinists Zino Francescatti, Erick Friedman and Carroll Glenn. He came to the Metropolitan Opera in 1959 as an assistant conductor, and during the nine years he held that position, he was in charge of the preparation of 26 different works. Among the many companies he has con- ducted are the Cincinnati Summer Opera, the Western Opera Theater of San Francisco, the Opera Company of Boston, the Vancouver International Festival, the Pittsburgh Civic Light Opera and the Chautauqua Opera. He made his Metropolitan Opera debut in September 1974 conducting Madama Butterfly, and this season added The Siege of Corinth, La Gioconda, and Tosca to his Metropolitan Opera repertoire.

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Metropolitan Opera Association
OFFICERS
Lowell Wadmond, Chairman Emeritus Mrs. Alexander M. Laughlin, Vice President
Langdon Van Norden, Chairman of the Board James S. Smith, Treasurer
William Rockefeller, President James C. Hemphill, Assistant Treasurer
Laurence D. Lovett, Chairman, Executive Committee Alton E. Peters, Secretary
J. William Fisher, Vice President Eva Popper, Assistant Secretary
Michael V. Forrestal, Vice President Lauterstein & Lauterstein, Legal Counsel

BOARD OF DIRECTORS
Mrs. August Belmont
Mrs. Lewis W. Douglas Emeritus Directors
Anthony A. Bliss
Mrs. Kenyon Boocock
Thomas G. Chamberlain
John T. Connor
Henry A. Correa
James S. Deely
C. Robert Devine
John W. Drye, Jr.
Irving Mitchell Felt
J. William Fisher
Michael V. Forrestal
Mrs. William Francis Gibbs
James P. Gillis
Francis Goelet
Maurice F. Granville
Lauder Greenway
Paul Hallingby, Jr.
Mrs. John T. Harrison, Jr.
James C. Hemphill
Leon Hess
Howard J. Hook, Jr.
Mrs. Gilbert Humphrey
Mrs. Alexander M. Laughlin
Goddard Lieberson
John D. Lockton
Laurence D. Lovett
James S. Marcus
Dorothy Maynor
George S. Moore
A. Chauncey Newlin
Mrs. Peter H. Nicholas
Alton E. Peters
Edward S. Reid
William Rockefeller
Mrs. John Barry Ryan
Alexander Saunderson
James S. Smith
Charles M. Spofford
Roger L. Stevens
William M. Sullivan
Frank E. Taplin
Mrs. Edgar Tobin
Miss Alice Tully
Langdon Van Norden
Royall Victor
Lowell Wadmond
Mrs. Frederick K. Weyerhauser
Mrs. Charles B. Wrightsman

MEMBERS OF THE ASSOCIATION
Mrs. Walter H. Annenberg
Mrs. William B. Ansted, Jr.
Talcott M. Banks
Frederic H. Brandi
Thomas S. Brush
Richard E. Cheney
Christopher T. Clark
Lloyd N. Cutler
Mrs. Norris Darrell
Frederic G. Donner
Frank W. Donovan
Robert G. Edge
Thomas M. Evans
Governor Luis Ferre
Leroy Frantz, Jr.
Mrs. Polk Guest
Floyd D. Hall
Mrs. Donald D. Harrington
Gordon M. Hill
Miss Kate Ireland
Mrs. Kenneth A. Ives
Mme. Maria Jeritza
Andrew Kershaw
Arthur L. Kramer, Jr.
Mrs. Albert D. Lasker
Albert A. List
Mrs. Richard P. Loftus
Mrs. C. Ruxton Love
Wilber H. Mack
James F. Miller
Philip L. Miller
Malcolm Muir
Bess Myerson
Mrs. Allen G. Oliphant
Mrs. Peter F. Packard
Hon. David W. Peck
Mrs. John DeWitt Peltz
Bernard Peyton
Mrs. Priscilla Potter
Thomas L. Pulling
Tony Randall
Mrs. Francis F. Randolph
Meshulam Riklis
John T. Sargent
William Schuman
Howard C. Sheperd
Grant G. Simmons, Jr.
Carleton Sprague Smith
Harvey M. Spear
William I. Spencer
Rise Stevens Surovy
Samuel L. Tedlow
Blanche Thebom
Norfleet R. Turner
Mrs. Theodore O. Yntema
and all members of the Board of Directors

ADMINISTRATION
Anthony A. Bliss Executive Director
James Levine Principal Conductor
John Dexter Director of Production
Charles Riecker Richard Rodzinski Artistic Administrators
Michael Bronson Technical and Business Administrator
Francis Robinson Assistant Manager
Richard J. Clavell Director of Finance
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Administrative Staff
Office of the Executive Director
Edward Corn Special Assistant to the Executive Director
Eva Popper Executive Assistant
Artistic Administration
Lawrence Stayer
Ann Coughlin Assistant Artistic Administrators
Florence Guarino Assistant to the Artistic Administrators
Bill Hudson Company Manager and Musical Secretary
Arge Keller Assistant Musical Secretary
Marianne Flettner Rehearsal Assistant
John Grande Librarian
Daniel Sagarman
Joseph Ortiz Assistant Librarians
Technical and Business Administration
Charles Bonheur
Jay Rutherford Production Coordinators
Harry A. Lasley Assistant Business Manager
Clemente D'Alessio
William Coles Technical Assistants
Nancy Cottle Assistant to the Technical Administrator
Stage Management
Osie Hawkins
Chris Mahan Executive Stage Managers
Stanley Levine Stage Manager
William McCourt Assistant Stage Manager
Stage and Shop Operations
Rudolph Kuntner Director of Stage Operations
Stephen Diaz Master Mechanix
RIchard Hauser Masterof Properties
David Reppa Staff Scenic Designer
Stanley Cappiello Scenic Artist
Joseph Volpe Carpentry Shop Head
Richard Graham Properties Construction
Nina Lawson Hair Stylist and Wigs
Victor Callegari Makeup Artist
Rose Calamari Wardrobe Supervisor
Charles Caine Staff Costume Designer

Orchestra
James Levine, Principal Conductor
Abraham Marcus Orchestra Personnel Manager
Edgardo Sodero, Assistant to the Orchestra Personnel Manager
Violins
Raymond Gniewek, Concertmaster
Edmund Jacobsen, Associate Concertmaster
Seymour Wakschal
Ernest Drucker
Arnold Caplan
Joseph Zwilich
Henryk Kasten
Sandor Balint
Vincent Greicius
Joyce Robbins
Rena Shapiro
Judith Yanchus
Doris Allen
Albert Weintraub, Principal
Leslie Dreyer, Associate Principal
Raphael Feinstein, Assistant Principal
Toni Rapport
Jacques Rubinstein
Joseph Malfitano
Glenda Williamson
Leon Kaplan
Richard Elias
Ernest Papavasilion
Emma Ricci
Magdalena Aghbolaghi
Theodore Schwartz
Violas
Michael Ouzounian, Principal
Harold Elitzik
Leonard Grossman
David Uchitel
Marilyn Stroh
Seymour Berman
David Berkowitz
Midhat Serbagi
Arnold Magnes
Michael Barten
Cellos
Jascha Silberstein Principal
Richard Kay, Associate Principal
Gerald Kagan, Assistant Principal
Yves Chardon
Edgardo Sodero
Philip Cherry
John Pastore
Carlo Pitello
Leszek Zavistovski
Double Basses
Georges Andre, Principal
Michael Morgan, Assistant Principal
Julian Tivin
Ernest Gruen
Marvin Topolsky
Nathaniel Currier
Jesse Teiko
Tom Brennand
Flutes
James Politis, Principal
Victor Just, Principal
James Hosmer
Karen Griffin
Piccolo
Karen Griffin
Oboes
William Arrowsmith, Principal
Alfred Genovese, Principal
Waldemar Bhosys
Richard Nass
English Horn
Richard Nass
Clarinets
Herbert Blayman, Principal
Roger Hiller, Principal
Ben Armato
Vincent Abato
Bass Clarinet
Vincent Abato
Bassoons
Stephen Maxym, Principal
Richard Hebert, Principal
David Manchester
Paul Cammarota
Contra Bassoon
Paul Cammarota
Horns
Howard T. Howard, Principle
Clarendon Van Norman, Principal
Richard Reissig
Richard Moore
Frederic Weber
Arthur Sussman
Carmelo Barranco
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, LEader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, Leader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
Trumpets
Melvyn Broiles, Principal
Mark Gould, Principal
Harry D. Peers
Lynn Berman
Vincent Penzarella
Bass Trumpet
David Langlitz
Trombones
Per Brevig, Principal
David Langlitz, Principal
Douglas Edelman*
John Clark
Max Bonecutter*
Bass Trombones
John Clark
Max Bonecutter*
Tuba
Herbert Wekselblatt
Timpani
Richard Horowitz, Principal
Fred Hinger, Principal
Abraham Marcus
Percussion
Abraham Marcus, Principal
Morris Tilkin
Herbert Baker
Harps
Reinhardt Elster, Principal
Claude Hill
Organ
John Grady
Celeste
Cecilia Brauer
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Chorus
David Stivender, Chorus Master
David Leighton, Assistant Chorus Master
Sopranos
Elizabeth Anguish
Linore Aronson
Miriam Broderick
Patricia Clarke
Wanda Cooke
Suzanne Der Derian
Elena Doria
Cecelia Entner
Mary Fercana
Ann Florio
Elinor Harper
Ruth Lansche
Elyssa Lindner
Linda Mays
Helen McIlhenny
Gloria Rydgren
Lilias Sims
Maureen Smith
Dorothy Traub
Constance Webber
Shinja Kwak
Edna Lind
Valerie Lundberg
Pamela Munson
Joyce Olson
Teresa Robinson
Judit Schichtanz
Dorothy Shawn
Betty Stone
Karol Teiko**
Maria Yauger
Tenors
Erbert Aldridge
Max Alperstein
Arthur Apy
Tony Asaro
Cecil Baker
Dale Caldwell*
Frank D'Elia
Emil Filip
Richard Firmin
Nino Garcia
Norman Griffin
John Hanriot
Robert Kelly
Charles Kuestner
Luigi Marcella
Daniel Mele**
William Mellow
Roland Miles
Abram Morales
Fawayne Murphy
John Person
Salvatore Randazzo
Hal Roberts
Robert Ruddy
Basses
Nicola Barbusci
Glen Bater
Vladimir Chistiakov
Frank Coffey
Paul De Paola
Luis Forero
John Foscolos
John Frydel
Edward Ghazal
Herman Marcus
Donald Peck**
Thomas POwell
Harry Shean
Domenico Simeone
Peter Sliker
Harold Sternberg
Sam Sternberg
John Trehy**

** steady extra chorister

Ballet

Audrey Keane, Ballet Administrator
Irving Owen, Rehearsal Pianist
Nicolyn Emanuel, Ivan Allen, Ballet Captains

* new artist
Choreographers
Alvin Ailey
Thomas Andrew
Todd Bolender
John Butler
Louis Johnson*
Zachary Solov
Dancers
Pauline Andrey
Susana Aschieri
Eleanor Bobb
Nicolyn Emanuel
Skiles Fairlie
Vicki Fisera
Silvia Grinvalds
Patricia Heyes
Eugenia Hoeflin
Tania Karina
Suzanne Laurence
Diana Levy
Naomi Marritt
Antionette Peloso
Ellen Rievman
Lucia Sciorsci
Judith Thelen
Ivan Allen
William Badolato
William Breedlove
Marcus Bugler
Edilio Ferraro
Vincenzio Figlia
Jack Hertzog
Jeremy Ives
Jan Mickens
Alastair Munro
Anthony Santiago
Marc Verzatt
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WOLF TRAP FOUNDATION STAFF
Charles H. Watts, II President
Carol V. Harford Vice President
ARTISTIC ADMINISTRATION
Francis Rizzo, Artistic Aministrator
Virginia Pfaff, Program Coordinator
Gerald P.G. Holmes, Operations Coordinator
John Woolley, Production Administrator
Ann McPherson McKee, Assistant Production Administrator
Mary-Therese Mennino, Department Secretary
Roman Terleckyj, Production Assistant*
*National Opera Institute Intern
GENERAL ADMINISTRATION
Eveline Hyde, Executive Administrator
Raymond T. Underwood, Jr., Financial Manager
Fang Li, Accountant
Laurie J. Barnwell, Executive Secretary
Gay Ashley, Secretarial Assistant
Terry Clark, Messenger/Driver
Dorothy Buckley, Switchboard Operator
DEVELOPMENT
Paul B. Ward, Director
Clynne Moser, Development Assistant
Jere Hathaway Wright, Consultant
COMMUNICATIONS AND MARKETING
Luke Bandle, Director
Jane E. Arenberg, Executive Assistant
Annabel Dick, Secretary
Mark G. Aurbach, Manager,
Ticket Services
Susan M. Waters, Assistant Ticket Services
Peter Grigsby, Group Sales
Ticket Services Staff: Susan Adland, Joni Boyko, Robert Cameron, Philip Ege, John Feather, J.M.H. Ffrench-Mullen, Bambi Hembrick, William Hoffman, Mary Beth Hull, Patricia Jaggers, Sally Kirshner, Melanie Miller, Andrea Mose, Barbara Pierce, Glen Rother, Richard Rother, Anastasia Rozolis, Alan Schuman, Colleen Shaughnessy, Deirdre Shaughnessy, Reilly Shaughnessy, Guy Sibilla, Steven Vickery, Mary Wagner, Beth Wagy, Sharon Waters, Christine Willoughby, R. Reed Wilson.
Summer Staff: Steven Blaine, Michael Juchniewicz
WOLF TRAP ASSOCIATES
Virginia McHenry, Executive Director
Janet Juchniewicz, Assistant
Mildred L. Love, Gift Shop Manager
BOARD OF DIRECTORS
Mrs. Gerald R. Ford Honorary Chairman
Mrs. Jouett Shouse Donor
J. William Middendorf II Chairman
Rodney Weir Markley, Jr. Vice-Chairman
Hobart Taylor, Jr. Vice-Chairman
Bradshaw Mintener Secretary
Douglas R. Smith Treasurer
Ralph E. Becker General Counsel
Robert O. Anderson
G. Dewey Arnold
Mrs. James M. Beggs
Roland Boyd
Nash Castro
Mrs. William P. Clements, Jr.
John J. Corson
William Diamond
J. Martin Emerson
Gary E. Everhardt, ex officio
Howard J. Feldman
E. Atwill Gilman
Peter S. Hackes
Mathew Hale
Edwin K. Hoffman
Linwood Holton
Richard G. Kleindienst
Melvin R. Laird
Mrs. John J, Louis
Edwin Lynch
Clark MacGregor
Mrs. Elizabeth S. May
W. Jarvis Moody
Mrs. Franklin Orr
Mrs. David Packard
Joseph C. Palamountain, Jr.
Mrs. Jed Pearson
Robert A Podesta
Mrs. Abe Pollin
I. Lee Potter
John Robertson
Donald L. Rogers, ex officio
David A. Schulte, Jr.
Miss Beverly Sills
William E. Simon
Robert H. Smith
T. Eugene Smith
Roger L. Stevens
W. Clement Stone
Mrs. Cyrus R. Vance
Paul C. Warnke
C. Langhome Washburn
Miss Barbara M. Watson
Claude C. Wild, Jr.
Julius Rudel Artistic Advisor
WOLF TRAP COMPANY STAFF
John Moriarty, Director; Lawrence Skrobacs, Principal Coach; Scott Bergeson, Steven Blier, Gary Magby, Musical Preparation; Louis Galterio, Dramatic Technique; Bonni Kaplan, Body Movement; Mario Salerno, Italian Master Classes; Charles Elsen, Make up Master Classes; Susan Vitucci, Company Administrator.
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DEPARTMENT OF THE INTERIOR
The Honorable Thomas S. Kleppe Secretary of the Interior
NATIONAL PARK SERVICE
Gary E. Everhardt Director
NATIONAL CAPITAL PARKS
Manus J. Fish, Jr. Director
WOLF TRAP FARM PARK FOR THE PERFORMING ARTS J. Claire St. Jacques, Director
Ralph A. Hoffman, Chief of Performing Arts; Paul E. Meyers, Chief of Maintenance; Herbert G. Graul, Management Assistant; Thomas J. Rother, House Manager; Paul R. Fout, Visitor Services; Mary Frances Pearson, Cultural Activities Specialist; Mary Brown, Cultural Activities Specialist; Pat Saavedra, Head Usher, Sgt. Harry Huber, U.S. Park Police; Officer Jim Henry, U.S. Park Police; Frank Florentine, Technical Director; Ronald F. Cuffe, Production Coordinator; James Crowley, Head Carpenter; Frederick Tepper, Head Electrician; Ralph B. Saylor, Jr., Head Propman; Alexander Lakomyj, Head Soundman; Robert Angus, Head Flyman; Richard Talbott, Assistant Carpenter; Philip Mosbo, Assistant Electrician; Charles Naecker, Assistant Propman; Farrel Becker, Assistant Soundman; Richard Ryan, Assistant Flyman; Richard F. King, Jr., Third Electrician; Paul W. Farabee, Jr., Third Soundman.
COMPOSER'S CABIN Donor: Edward R. Carr, Sr.
Architect: Kohler-Daniels Associates in conjunction with students of the Fairfax County Vocational Education Dept. Builders: Fairfax County Vocational Educational Foundation, Inc., in conjunction with students of Fairfax County Vocational Educational Department.
FILENE CENTER ARCHITECTS MacFadyen and Knowles, New York City
IN PERFORMANCE AT WOLF TRAP TELEVISION STAFF David Prowitt, Executive Producer Ruth Leon, Producer
CREDITS
Ticket Services Uniform Accessories furnished by WOODWARD AND LOTHROP.
TICKETRON: Edward Dougherty, Anne Beiser, Carol Lisagor, Bob Samuels.
ADS Productions, Inc .; Blocher Reprographics, Inc .; Colortone Press Creative Graphics, Inc .; Frederick L. Fryer; Frank Parson's Paper Company, Inc .; Raff Embossing and Foilcraft, Inc .; Robert Rathe Photography; Singer Corporation; Tour Strick, Artist; John Schoeni, Artist; Exxon Corporation; Judd and Detweiler, Inc.
Who Are The Wolf Trap Associates?
The Wolf Trap Associates is a membership organization of the Wolf Trap Foundation, organized to help build community support and encourage citizen involvement with the Park and its partner, the Wolf Trap Foundation.
The Wolf Trap Associates are people from throughout the United States who want to be involved with Wolf Trap by:
supporting the education of young professionals in the Wolf Trap Company-those selected annually by audition from throughout the United States to study, train and perform under career-oriented conditions for eight weeks under Wolf Trap sponsorship.
meeting guest artists.
providing hospitality for guest artists, members of the Wolf Trap Company and other visitors to Wolf Trap.
... participating in programs designed to develop greater understanding and knowledge of the performing arts.
serving in programs at the Park, as office volunteers and as members of special events teams.
operating the Gift Shop at the Park.
WOLF TRAP ASSOCIATES
Board of Trustees
Mrs. Mills E. Godwin, Honorary Chairman Mr. Donald L. Rogers, Chairman Mrs. William J. Hardy, Vice-Chairman Mr. Ralph A. Beeton, Treasurer
Mrs. Howard L. Burris, Mrs. John Dimick, Mr. Roscoe L. Egger, Jr., Mrs. Marion Edwyn Harrison, Mrs. Linwood Holton, Mrs. Cornelius B. Kennedy, Mrs. Richard G. Kleindienst, Mr. Robert E. Lee, IV, Mr. Rollins Wm. Miller, Jr., Mrs. Ralph E. Ulmer, Mr. Robert Waldron, Mrs. C. Swan Weber, Mr. J. Hillman Zahn, Mrs. Robert W. McHenry.
Committee Chairmen
Mrs. Francis X. Kilroy, Administrative Assistance; Mrs. Willard E. Brown, Education; Mrs. Paul C. Kincheloe, Jr., Gift Shop Volunteers; Mrs. Francis W. Brown, Hospitality for Guest Articles; Mrs. Robert S. Siegel, Membership Co-Chairman; Mrs. Roy Edward Clark, Speakers Bureau; Mrs. George S. Oliver, Wolf Trap Company Liaison; Mrs. Brooke Nihart, Chairman for Volunteers; Mrs. Roy M. Ahalt, Chairman for Volunteers.
Special Events Chairmen
Mrs. William P. Clements, Jr., June 5th Benefit-General Chairman; Mrs. Joseph J. Sisco, Supper Chairman; Mrs. Willard E. Brown, Embassy Day in the Park; Mrs. Alfred Luessenhop, Wolf Trap Ball 1976; Mrs. David E. Lindgren, February with the Arts 1977; Mr. John Nidecker, July 3rd Gala.
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Reminiscences
(Continued from page 8)
Scott Joplin's "TREEMONISHA."
The list is too long to enumerate. One remembers opportunities to talk with Miss Sills, Roberta Peters, director Katherine Dunham of the Joplin opera, composer-conductor John Green, and to chat with Errol Garner in the green room during intermission and asking him if he would play STAIRWAY TO THE STARS, one of his early recordings. He did.
There was a friendly talk with Soviet Ambassador Anatoliy Dobrinin at a post-performance tent supper given by the late producer Sol Hurok, following an interview with Hurok at his suite in the Watergate Hotel.
There was an opportunity to sit in at a rehearsal of the Duke Ellington orchestra presided over by Mercer Elling- ton shortly after his father's death. That was in a basement room of a nearby motel, a cramped space in sharp contrast to the vast Filene Stage where they would perform the following night.
Celebrities aside, the audiences often are just as interesting.
The picnics on the lawn, as varied as the dress in the center. There are brown bags and beer, and there are elaborate rattan picnic baskets filled with chicken breasts or squab, and champagne iced
in coolers. There are paper table cloths and elaborate ones; some choose to picnic on the grass.
There are the intermissions, with long queues lining up for hot dogs and beer or champagne.
There are the daytime programs for children, the Fourth of July fireworks which went amiss one summer without much damage, the Christmas carol sing. There was the wet snowy morning when the first composer's cottage was dedicated, followed by hot chocolate at the center.
There are memories of the National Folk Festival, when whole families come out and stroll around the grounds watching the demonstrations and, above all, the extemporaneous performances by country and folk players of the guitar, the washboard, the suitcase bass.
There are the bright scrubbed faces of the young men and girl ushers, and the friendly staff of the National Park Service which, after some falldowns in the first season or two, runs the park with pleasing efficiency.
There are still, of course, sometimes distressing waits while jockeying for position to leave the park after a performance. But everyone seems to be happy even so.
No one who has followed Wolf Trap from its beginnings has any doubt that Mrs. Shouse is still deeply committed to its success.
There was a night last summer when,
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Alt Text: A man in a suit and a woman with glasses in a dress
Alt Text: Three people talking in dress clothes
(page 24)
recovering from surgery after she broke her hip in a fall, she came in a golf cart from her home across Dulles access highway to watch a performance from the edge of the lawn.
She has not always been entirely successful in controlling the weather, but does consult regularly with the Hagers-Town Almanac.
A week or so later, she was back in her box to hear a concert by the Philadelphia Orchestra. With her were Mrs. Eugene Ormandy and some other friends.
Eugene Fodor, the brilliant young violinist, was playing a Paganini virtuoso work when there was a sudden thunderstorm of such noise and violence that, as Paul Hume wrote in The Washington Post, Paganini himself could scarcely have performed it.
Mrs. Shouse leaned forward in her seat, tensing, looking at the heavens.
"Sit back and relax," a friend told her. "You aren't going to be able to stop this."
But at intermission a few minutes later the storm did stop.
Bank at midnight (Just in case you need cash to treat the gang tonight.)
24-Hour Teller Machines
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Serving Northern Virginia
821-7777 Member F.D.I.C.
Clarendon Bank & Trust's new headquarters office building at Tysons Corner is convenient for all the banking services you'll ever need. We have a branch office, too, at 1356 Chain Bridge Road, in McLean. Come in soon to open your personal Free Checking Account, to earn the highest legal bank interest rate on your Savings, to apply for a Loan, and for complete Trust Services. We're near you. Let us show you that we're "The Bank That Works" ...for you!
24
Alt Text: A bank building
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Daughter of the Regiment 1974
THE WOLF TRAP COMPANY: A NEW HORIZON FOR '76
Growth and evolution, while always controversial, are indispensable signs of life in any thriving arts group. The Wolf Trap Company-a training program for singers at the Filene Center-has grown and evolved to become one of our foremost musical resources in the United States. The new directions it has found for 1976 arise from achievements of the past five years; in turn, they promise great things in music for the years to come.
Begun in 1972 as an apprenticeship program, the Wolf Trap Company was formed as a ground where young singers might test their abilities and make decisions regarding their commitment to a professional career. The foundations of the present training program were laid when John Moriarty joined the staff in 1973; since that time, a primary goal has been to expand the professional opportunities of company singers by offering them challenging and significant roles in major operatic productions at the Filene Center. The size of the company has been progressively pared, in order to assure all members a full professional participation in all works presented. While past years often saw guest artists in operatic leads or solos, this year finds all major roles cast from the Comany
Calvary at the Madeira School 1974
Albert Herring at the Madeira School
1975
Saint of Bleecker Street 1973
Alt Text: Three pictures of play performances
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"If music be the food of love, playon!"
OGDEN FOOD SERVICES Providing food and drink to the patrons of Wolf Trap for years.
The Six Percent Passbook
Chevy Chase Savings and Loan a stock corporation
Chevy Chase Friendship Heights Aspen Hill Silver Spring Sumner Landover 301/652-1551
Company itself, with increased opportunities for solo assignments with other groups as well. This year's company is a select group; while young in years (their ages range from 21 to 28), they can well be described as "young professionals" whose training and performance at Wolf Trap can be instrumental in launching them into serious artistic careers.
The search for this group has been a tireless and exacting as well as a rewarding procedure. On January 3 John Moriarty, Company Director, and Francis Rizzo, Wolf Trap's Artistic Administrator, took to the audition trail-a ten- day talent-hunt which included visits to Chicago, Oklahoma City, Boston and New York, as well as a two-day session for D.C .- area candidates. To insure that Wolf Trap's nets would be cast nation-wide, special auditions-first in San Francisco and later at Opera America's annual convention in Miami- had been attended the month before. The 16 singers chosen for the company were culled from more than 650 promising applicants.
Over half of the "happy few" are past company members. Rockwell Blake, Stephen Dickson and Janice Hall (who during their 1974 apprentice season sang in the chorus of The Daughter of the Regiment) return to Wolf Trap as soloists, as does Neil Rosenshein (a veteran of both the 1973 and 1974 sea- sons). They will be joined by five members of last year's company-James Maddalena, Robert Orth, Susan Smith, Patricia Stone and Christine Whittle- sey-and seven newcomers-John Cheek, Christopher Deane, Keith Kibler, Roger Lucas, Evelyn Petros, Fredda Rakusin and Peter Strummer. Another company alumnus, Donnie Ray Albert (1974, 1975) returns this summer-not as a company member, but as a leading singer in the Houston Grand Opera's production of Porgy and Bess.
The Company demonstrates that singing talent emerges from every area of the United States: the range of native states represented includes New York, Ohio, California, Oklahoma, Massachusetts, West Virginia and Illinois.
One important aspect of the Company's "new look" is the fact that (Continued on page 29)
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Alt Text: Various people having a picnic
Suppertime in the Park
A tranquility pervades Wolf Trap Farm Park for the Performing Arts before the evening curtain rises. This is the leisurely dining hour when Washingtonians and guests escape the summer heat and city tensions to enjoy their meal in the cool country air of Vienna. The style of the picnics is as varied as the people themselves. A stroll through the 117-acre park will find a couple in a tux and gown, sipping wine by candlelight, near an exuberant family in denims playing together on the lawn. This happy blend makes our first national park for the performing arts very special indeed.
Visitors come to the park to treat themselves to the best in their favorite
entertainment; but also to savor the summer through the often-forgotten joy of outdoor dining. A variety of food ser- vices is available, ranging from an elegant buffet in the Pavilion Tent to old- fashioned picnic baskets to quickie commuters' snacks. The Pavilion overlooks the park's meadow and the Filene Center, with an adjoining Special Events Area where groups of 25 or more may gather and picnic as they please. For patrons who prefer to bring their food, Wolf Trap has two snack bars on the main plaza of the theatre. Soft drinks, coffee, beer, wine, champagne, hot dogs, light sandwiches and candies may be purchased before the performance or during the intermission. After the show, for groups or organizations who have purchased tickets, late-night receptions can also be arranged.
For the down-home taste, the Wolf Trap Associates have collected favorite summer recipes for simple, no-cook meals, international feasts, delicious dietetic summer fare, or creative gourmet combinations-all available through the Wolf Trap Gift Shop. And for the work-weary diner who wants to be spoiled, the Vienna area offers a number of restaurants featuring fine cuisine for every palate.
There's no need to miss dinner to come to a show at Wolf Trap. We try to satisfy your every dining need!
Alt Text: Table Full of Food
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Who are . . .
BENEFACTORS: Donors of $100,000 and above
NATIONAL BUSINESS ADVISORY COUNCIL: Corporations giving $5,000 per year.
WOLF TRAP SPONSORS: Individuals or organizations giving $2,500 or more per year.
WOLF TRAPPERS: Individuals or organizations giving $1,000.
WOLF TRAP COMPANY FELLOWSHIPS: Individuals or or- ganizations giving $500 or more specifically for the Wolf Trap Company.
SPECIAL GIFTS: Individuals or organizations giving $100 to $1,000.
GRANTS: A Contribution from a private or government organiza- tion for a special purpose.
WOLF TRAPPERS
OFFICERS
Dr. John W. McTigue, General Chairman Mrs. Samuel Zola, District of Columbia Chairman Mrs. John Ackerman, Maryland Chairman Dr. C. Barrie Cook, Virginia Co-Chairman Mr. Peter Conners Andrews, Virginia Co-Chairman Miss Gay Friedman, National Corporate Chairman Mrs. Philip W. Buchen, Newcomers Chairman Mr. Louis V. Priebe, Communications Chairman
Arthur Andersen & Company Mr. & Mrs. Peter Conners Andrews Mr. Leo Bernstein Mr. & Mrs. Norman Bemstein Dr. & Mrs. Robert J. Brennan Ted Britt Ford Sales, Inc. Honorable and Mrs. Philip W. Buchen Mr. & Mrs. William Calomiris Mr. & Mrs. Albert Chaiken C & P Telephone Mr. & Mrs. Emanuel Cohen Dr. & Mrs. C. Barrie Cook Decisions and Designs, Inc. Mr. Albert Dwoskin Enserch Corporation Mr. & Mrs. Sanford D. Greenberg Mr. & Mrs. John H. Grover Mr. & Mrs. R. Clyde Hargrove Mrs. R. H. Hargrove Mr. & Mrs. R. Wayne Hirst Mr. & Mrs. Arthur Kellar Dr. & Mrs. George A. Kelser, Jr. Mr. & Mrs. Irvin Kolker Lindsay Cadillac Company Mr. & Mrs. Maurice Lipnick Mr. & Mrs. Edwin Lynch Mr. & Mrs. F. Sheild McCandlish McGraw-Hill, Inc. Dr. & Mrs. John W. McTigue Mr. & Mrs. Paul Mellon Muzak of Washington Mr. & Mrs. Florenz Ourisman Mr. & Mrs. Howard Polinger Mr. & Mrs. Abe Pollin Mr. & Mrs. I. Lee Potter Mr. & Mrs. E. A. Prichard Mr. & Mrs. Eugene H. Rietzke Dr. Monira Rifatt Mr. & Mrs. John D. Ringle Mr. & Mrs. T. Eugene Smith Mr. & Mrs. Albert G. Van Metre Mr. & Mrs. John C. Webb H. E. Ardeshir Zahedi, Ambassador of Iran
BENEFACTORS
Mr. & Mrs. David Packard Mrs. Jouett Shouse
NATIONAL BUSINESS ADVISORY COUNCIL
Aerojet-General Corporation Alcoa Foundation Alvord Foundation Atlantic-Richfield Company Walt Disney Productions Exxon Company, U.S.A. Ford Motor Company Gulf Oil Company International Business Machines Corporation Phillips Petroleum Company Charles E. Smith Family Foundation Standard Oil Company of California TRW Foundation Westgate Corporation
INDIVIDUAL SPONSORS
Honorable and Mrs. William P. Clements, Jr. Mr. John J. Corson International Telephone and Telegraph Corporation LTV Corporation Mr. David A. Schulte, Jr. Honorable and Mrs. William E. Simon Etta L. and Henry F. Wanger Foundation
SPECIAL GIFTS
John P. Adams, M.D. Ahmedou Ould Abdallah, Ambassador of Mauritania Mr. D. F. Antonelli, Jr. Mrs. Moira Archbold Mr. & Mrs. James M. Beggs Reverend Frederick Bloom Mr. & Mrs. Harold J. Bobys Mr. & Mrs. William Cafritz Mrs. John T. Connor Mr. & Mrs. William Diamond Mr. & Mrs. J. William Fulbright Elizabeth Polk Guest Mr. & Mrs. R. Philip Hanes, Jr. Mr. Charles T. Lindsay, Sr. Mr. Yehudi Menuhin Mr. & Mrs. Robert E. Newby Dr. Dwight Newman Mrs. Charles Emory Phillips Mr. & Mrs. E. A. Prichard Mr. Thomas E. Tager Mrs. H. C. Tate Mr. John Vaughn
WOLF TRAP COMPANY FELLOWSHIPS
Wolf Trap Associates Broadcast Music, Inc. Major General and Mrs. Daniel Campbell Mrs. Paul L. Davies The Charles Delmar Foundation Mrs. John Dimick Mrs. Claude Grabeel I.A.T.S.E. Local #22 Mrs. John J. Louis Mr. Michael W. Louis The J. Willard Marriott Family Foundation Mars Foundation Mrs. Elizabeth May Pepsico, Inc. The Rotary Club of Vienna Mr. Douglas R. Smith Hattie M. Strong Foundation Honorable and Mrs. C. Langhorne Washbum
GRANTS
The Filene Foundation The National Endowment For The Arts The Virginia Commission on the Arts and Humanities
(Page 29)
Wolf Trap Company
(Continued from page 26)
company members dominate the vocal scene in this summer's program. With the exception of the counter-tenor role of Oberon, the production of Britten's Midsummer Night's Dream is cast entirely with company singers, and all but the three principal roles in La Traviata (a production starring Beverly Sills) are filled with our resident forces. All solo parts in the Beethoven Ninth (danced by the Bejart Ballet) and in Mahler's Eighth Symphony (performed by The National Symphony under Julius Rudel) will be entrusted to the company. Company members will also appear in Aaron Copland's concert with The National Symphony, the Ring Cycle Centennial Concert with the same orchestra, as well as in ballets to be presented by the Robert Joffrey and the Eliot Feld companies.
As the company confronts this ambitious performing schedule, they will receive daily training (both formal classwork and individual coaching) during an eight-week period from June 20 to August 14. This intensive program led by John Moriarty has won increasing acclaim as the "finishing school par excellence" for young American singers. Mr. Moriarty's staff of musical coaches will be complemented by Louis Galterio (dramatic technique), and in addition to the regular program, master classes will be conducted by two distinguished guest instructors-Mario Salerno (Italian diction) and Charles Elsen (make-up).
Wolf Trap's experimental concept -an advanced resident company, combining intensive training and performing opportunities of maximum scope and challenge-has been hailed in the musical community as "revolutionary". Advised of this, Mrs. Shouse remarked: "Then 1976 is the ideal year to try it."
Mrs. Jouett Shouse 1916 F. Street, N.W. Washington, D.C. 20006
Dear Mrs. Shouse:
This afternoon as I was reading an Associates' bulletin which Frank Rizzo sent me (with a picture of Wolf Trap Company Madrigal Singers), I began
pleasantly reminiscing about my extraordinary experience with the Company this past summer, and it was truly extraordinary. Now that I am away from the training program I realize there is no other place for young singers to get that kind of education.
I am convinced that the staff of teachers and coaches at Wolf Trap were the reason for the high level of inspiration and achievement we of the Wolf Trap Company experienced this summer. John Moriarty, Wesley Balti, Ruth Ambrose, and Larry Skrobacs, Steve Blier, Tom Wharton and Scott Bergeson all made this summer something I shall never forget; and they will also make me dissatisfied with those who offer me less than they did.
The Wolf Trap Company Apprentice Program will hopefully continue in the years to come. Its influence could raise the standards of opera and concert work in this country, with the help of you and the Associates and those I have mentioned. I am very happy to have been a part of it for at least one summer.
Sincerely, Marsha Hunter Wolf Trap Company, 1975
Alt Text: Cartoon of Washington D.C. and Baltimore
THE 1976 COLORADO OPERA FESTIVAL June and July
Donizetti
DON PASQUALE
A DOUBLE BILL
Stravinsky's Puccini's
THE SOLDIER'S TALE GIANNI SCHICCHI
Mussorgsky's
BORIS GODUNOV
Colorado Springs (303) 473-2233
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The National Park Service -Interpretive Program
Wolf Trap's Summer Interpretive Program enters its fifth season on July 5, offering Workshops-in-the-Arts and free daytime performances in the Theatre- in-the-Woods and the Meadow Tent through August 27, Monday through Friday. Part of the Park's Interpretive Program, sponsored by the Department of the Interior, National Park Service, this summer will include: puppets, story theatre, theatrical participation events and workshops.
Reservations for these programs must be made by calling the Interpretive Office at (703) 938-3810 from 10:00 a.m. to 4:00 p.m. weekdays.
THE DULLES ACCESS ROAD IS NOT OPEN FOR INTERPRETIVE PROGRAM EVENTS.
THEATRE-IN-THE-WOODS PROGRAM
10:30 a.m. Monday-Friday: Library Theatre: "Curious George" "Rumpelstiltskin"
1:00 p.m. Monday-Friday: Bob Brown Marionettes: "Great American Bandwagon"- A Bicentennial Piece
THE MEADOW TENT PROGRAM
11:00 a.m. and Noon Monday-Friday: Inter-Play Productions "The Creation of the Nation"- A theatrical participation event
30
Alt Text: Child in a crowd
Alt Text: People Laying on the ground
Alt Text: A puppet performing
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We can't make Sunday Brunch.
So we have ours on Tuesday ... or Wednesday, or any other day of the week. And we enjoy it most at the Publick House of Georgetown. No matter what day of the week it is, brunch at the Publick House has that good Sunday feeling. The menu is just as full as on Sundays. Brunch cocktails like Mimosa and Milk Punch are real eye openers. There are six kinds of egg specialties prepared to perfection with Benedict and Hussarde heading the list. And fluffy omelettes, assorted quiches and steak and eggs for the hardy. Round it all out with just the perfect wine and finish with an irresistible dessert. At the Publick House, you can get a great Sunday brunch on Monday . . . on Tuesday .. . on Wednesday ... Any day ... Every day!
Publick House 3218 M St., N.W., Georgetown, Washington, D.C. 333-6605
Brunch Served Daily 10 AM to 3 PM
Alt Text: 2 priests having brunch
(Page 32)
"Television's finest 13 hours"
THE ADAMS CHRONICLES
Photo Carl Samrock
See The Adams Chronicles and In Performance at Wolf Trap back to back this fall on PBS.
Starting in September, The Adams Chronicles, the highest rated series in public television's history, will precede new and selected repeat performances taped at Wolf Trap.
New Wolf Trap productions will include La Traviata, starring Beverly Sills; a jazz concert starring Dizzy Gillespie, Earl "Fatha" Hines and Billy Eckstine; a Baryshnikov/Kirkland ballet; Cleo Laine and John Dankworth; and the live July 3 Bicentennial concert of the National Symphony, conducted by Andre Kostelanetz
In Performance at Wolf Trap is made possible by a grant from Atlantic Richfield Company.
with Yehudi Menuhin as soloist. Produced by WETA/26, Washington, D.C. The Adams Chronicles cast includes (above, clockwise from upper left) Steven Grover (John Quincy Adams), Lisa Lucas (Nabby Adams), Kathryn Walker (Abigail Adams), J. C. Powell (Charles Adams), George Grizzard (John Adams), and Asher Pergament (Tommy Adams). An original production by WNET/13, New York.
The Adams Chronicles is made possible by a grant from the National Endowment for the Humanities, The Andrew W. Mellon Foundation, and Atlantic Richfield Company.
ARCO
AtlanticRichfieldCompany
Alt Text: People Dressed as the Adams Family; (page 1)
FILENE CENTER Vienna, Virginia
WOLF TRAP CENTERLINES
Wolf Trap Farm Park for the Performing Arts . VOLUME I JUNE 5-JUNE 26 . 1976
Alt Text: A full theater audience
(page 2)
AN EXCITING NEW WAY OF LIVING
Here is a home that provides a dramatic way of living that you can afford. Just imagine living in a home that gives you the feeling of space and security that the dome home creates for you-a free flowing space which envelopes you in a mind expanding experience. The dome home also creates a living environment that just naturally brings a family together. Imagination and creativity are your only constraints in realizing the unlimited design and space potential of the Geodesic Dome home with the privacy of interior skylighted spaces or bedrooms with views of the stars and the moon. How about vaulted ceilings and intimate conversation areas in extended alcoves. You too can create a home that lets you discover the drama of living.
Geodesic Structures, Inc. Box 176, Roosevelt, NJ 08555
YES, WE'RE INTERESTED IN DOME LIVING.
Enclosed is $3.00 for my full-color brochure containing floor plans and detailed specifications for all nine models of the Geodesic Dome.
Name
Street
State
Zip
City
Home Telephone
Business Tel.
Mail to: Living Arts Publishing P.O. Box 1567, Trenton, N.J. 08607
Alt Text: Living room
Alt text: Exterior of a dome shaped house
Alt Text: Dining room
Alt Text: Back deck and the exterior of a dome shaped brown house.
(Page 3)
WOLF TRAP FARM PARK for the Performing Arts
INFORMATION
The administration offices of Wolf Trap Farm Park for the Performing Arts are open to the public 9:00 a.m. to 5:00 p.m. daily. Telephone: 938-3810.
FREE PARKING FACILITIES: West parking lot, 1,000 cars. East parking lot, 350 cars. Special guests and disabled persons only are permitted to use other spaces. Parking lots are entered from Trap Road. Follow directions of Park Police. Parking is free.
REST ROOMS: Located at the ticket office entrance area and in the lower level of the gift shop building.
FIRST AID: Consult Park Rangers, Park Police, or ushers for emergency facilities.
HOUSE PHYSICIANS: A house physician is in at- tendance at all performances. Doctors are serving on a volunteer basis. Contact Park Rangers, Park Police, or ushers.
WHEELCHAIR ACCOMMODATIONS: Special arrangements can be made by advance request. Telephone: 938-3810, ext. 234.
LOST AND FOUND: Items are held at the Park Police office, telephone: 938-3810, extension 235.
LAWN SEATING: General Admission from $2.00 to $4.00. Tickets available at Filene Center Ticket Office, Ticketron and all Wolf Trap voucher agencies. Blankets and chairs allowed on grass areas as indicated by ushers.
DINING PAVILION: Buffet dinner served nightly from 6 to 7:30 p.m .: $6.95. Reservations accepted until 1:00 p.m .: 938-3800 or Ticketron.
MAIN STAGE DOOR: Location Stage Left (audience right). All inquiries to the doorman.
WOLF TRAP ASSOCIATES GIFT SHOP: Located on the Plaza, adjacent to Ramp A. Hours: 6:30 p.m. through intermission: Matinees: one hour prior to performance through intermission.
TICKET OFFICE/FILENE CENTER: Hours: 12:00 noon to 9:00 p.m. Performance Days; 12:00 noon to 6:00 p.m. Nonperformance days. Instant credit available with BankAmericard, American Express, Master Charge and Central Charge. Tickets also available at all Ticketron outlets and at Wolf Trap voucher agencies throughout the Washington metropolitan area.
FILENE CENTER SEATING PLAN
LAWN
LOGE LOGE A/D
BOXES
REAR ORCHESTRA
ORCHESTRA
STAGE
WOLF TRAP CENTERLINES
Published by the Wolf Trap Foundation
VOL. 1 - June 5 to June 26
CONTENTS
General Information Letters of Greeting Wolf Trap Birds Wolf Trap Reminiscences Calendar of Coming Events Wolf Trap Company Suppertime in the Park Interpretive Program
EDITOR:
Luke Bandle,
Wolf Trap Foundation
ASSOCIATE EDITOR:
Jane E. Arenberg,
Wolf Trap Foundation
The Wolf Trap Foundation 1624 Trap Road Vienna, Virginia 22180
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Wolf Trap means the excitement of a live performance in a setting alive with the beauty of nature. This season Wolf Trap once again offers a variety of talent and art to its many, many enthusiastic fans.
I hope your Wolf Trap experience is as enjoyable and memorable as mine has always been. It's truly an honor for me to serve as Honorary Chairman of the Wolf Trap Foundation Board of Directors because I believe it is a "national treasure."
With best wishes for a marvelous time at Wolf Trap.
Betty Ford Sincerely, Betty Ford
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Throughout the nation this summer the Ameri- can heritage will be celebrated in special Bicentennial programs. It is a responsibility of the Department of the Interior to preserve and interpret this heritage, not just in 1976 but year in and year out, with the National Park System as its showcase.
One of the jewels of that system is Wolf Trap. Here is highlighted our rich performing arts tradition. I hope that many Bicentennial visitors to the Nation's Capital will also take in Wolf Trap. The exciting programs scheduled here this year will enrich the memories that our guests from America and abroad take home from Washington.
Welcome to Wolf Trap, and to the National Park System. We invite you to make the Wolf Trap tradition your own.
Thomas S . Kleppe
Thomas S. Kleppe Secretary of the Interior
Alt Text: Man with glasses smiling
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As we open our sixth season, we realize that in five short years Wolf Trap has learned much from the nationwide community it serves.
As a partner of the National Park Service, Department of the Interior, we embarked on a venture involving few people and we are proud to realize that many hundreds are now making Wolf Trap possible.
We at the Foundation assumed a major responsibility and thank all who have given their support and confidence.
Catherine Filene Shouse Catherine Filene Shouse
Alt Text: Woman smiling
Each season at Wolf Trap ignites anticipation and brings richness and refreshment, fulfillment and pleasure to the summer.
This year the chief program architects, Miss Beverly Sills and Mrs. Jouett Shouse, have designed and developed a summer season honoring the tenets of the Bicentennial theme and giving each of us Wolf Trap's most impressive season.
We hope you will enjoy the summer with us.
J. William Middendorf II
J. William Middendorf II Chairman, Wolf Trap Foundation
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Wolf Trap Birds
From April to January of 1948, Lady Wilson, Wife of Field Marshal Lord Wilson, and Dr. Wetmore, Secretary of the Smithsonian Institution, compiled a list of birds commonly in residence at Wolf Trap. The following is printed from their findings, with due appreciation of their sustained efforts in spotting and cataloguing the regular birdlife of this Park.
Orchard Oriole, summer resident Eastern Crow, permanent Cardinal, permanent
White Crowned Sparrow, rare White Throated Sparrow, winter Sparrow, permanent Field Sparrow, summer Downy Woodpecker, permanent Flicker, permanent Mocking Bird, permanent Starling, permanent Mourning Dove, summer Eastern Bluebird, permanent Gold Finch, permanent Indigo Bunting, summer Whippoorwill, summer Red Eyed Towhee, summer Robin, summer Red Shouldered Hawk, permanent Slate Colored Junco, winter Turkey Buzzard, permanent Yellow Bellied Sapsucker, winter Myrtle Warbler, winter Maryland Yellow Throat Warbler, summer Chipping Sparrow, summer Cow Bird, summer
Black Billed Cuckoo, summer Ruby Crowned Kinglet, winter Thrasher, summer
Swift (Chimney), summer
Song Sparrow, permanent Blue Jay, permanent Tufted Titmouse, permanent
Chickadee (Carolina), permanent White Breasted Nuthatch, permanent Ruby-Throated Hummingbird, summer Bob White, permanent Catbird, summer
Scarlet Tanager, summer Eastern King Bird, summer Phoebe, summer Red Eyed Virio, summer
Yellow Throated Virio, summer Yellow Warbler, summer House Wren, summer Black Poll Warbler, summer
Yellow Billed Cuckoo, summer Red Billed Woodpecker, permanent Black Vulture, permanent Wood Thrush, summer Kildeer, permanent
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Wolf Trap Reminiscences
BY DONALD SANDERS
There was that exciting opening night on July 1, 1971. There were two first ladies, Mrs. Richard M. Nixon and Senora Gonzalez de Velasco of Peru, Governor of Virginia and Mrs. Linwood Holton.
There was the Secretary of the Interior, Rogers C. B. Morton; the President of American University, Dr. George H. Williams; and the Donor of this first National Park for the performing arts, Mrs. Jouett Shouse.
"To Catherine Filene Shouse may I convey the heartfelt thanks and affection of each of us," Morton said. "We of the Department of the Interior prize our opportunity to administer Wolf Trap Farm Park. . .
"With the launching of Filene Center, Washington will take its rightful place as one of the major summer music centers of the nation. The true importance is its meaning to the people ... for the coming years."
At the end of the intermission, American University awarded an honorary
doctor of laws degree to Mrs. Shouse. "Yours is a life of service so varied as to defy precise description," Dr. Williams told her. "You have enriched this community and the nation through your gift ... "
There was also the night before, just as exciting in a different sort of way.
Van Cliburn flew in during the early evening to rehearse with the National Symphony under conductor Julius Rudel for the opening concert which
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also starred bass-baritone Norman Triegle.
Workmen were busy fixing seats which had not been properly bolted down in the haste to finish the Filene Center auditorium following the fire in mid-March which did some $650,000 damage.
Kay Shouse was on hand to cheer them on and to make sure that every- thing was done right. And she was proud that it was not only the workmen but the executives of the company which had the contract.
And she was apprehensive about the chance of rain on opening night.
"I don't like the looks of the moon," she said. "I kept the rain away for a month while we worked on the parking lot-in spite of the Hagerstown Almanac; it said heavy rain."
A few days earlier the Baltimore Sun had published an Associated Press article about Wolf Trap under the head- line: "Tales from the Vienna (Va.) Woods."
The anonymous headline writer could not have foreseen that Wolf Trap would indeed take on almost im- mediately an ambience similar to that of Vienna.
The contrasts are remarkable: the women in designer dresses and the men in black tie in the boxes, the middle aged couples in department store dresses and sports shirts in the or- chestra, the young in jeans and shorts on blankets on the lawn.
There have been notables: former President Richard M. Nixon, President and Mrs. Gerald Ford, Vice President and Mrs. Nelson Rockefeller. Prince Philip of Great Britain is expected shortly.
There proved to be many more days and nights at Wolf Trap after that gala opening.
The Metropolitan Opera, the Preser- vation Hall Jazz Band, Beverly Sills, Benny Goodman, Pierre Boulez, Virgil Fox, Eugene Ormandy, Pat Paulsen, Ar- thur Fiedler, Dave Brubeck, Carmen Balthrop in that moving production of (Continued on page 23)
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TEXACO takes you to the MET for the 37th consecutive season
The 1976-77 season promises to be one of the most stimulating and rewarding in the history of the Metropolitan Opera. It is the first under the guidance of the Met's new artistic team of James Levine, music director, and John Dexter, director of production.
The excitement of this new adventure in operatic achievement is yours via Texaco's live radio broadcasts of twenty Saturday afternoon performances to be heard coast to coast in the U. S. over the Texaco-Metropolitan Opera Radio Network, and in Canada over the English and French networks of the CBC.
The season will be full of surprises, including four operas which will be heard on these broadcasts for the first time and a dozen others which will not have been heard for at least two seasons.
It all begins on December 4, 1976, with a broadcast of a new production of Wagner's LOHENGRIN conducted by James Levine. We cordially invite you to join us at that time.
TEXACO
Leontyne Price, as seen in the 1975-76 production of AIDA
Photo Copyright Beth Bergman 1976
Alt Text: Picture of a woman singing
Alt Text: Picture of the MET
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METROPOLITAN OPERA ASSOCIATION
Monday Evening, June 7, 1976, at 8:00 O'clock
NEW PRODUCTION
Guiseppe Verdi
AIDA
Opera in four acts
Libretto by Antonio Ghislanzoni
Conductor: Richard Woitach
Production: John Dexter
Set Designer: David Reppa
Costume Designer Peter J. Hall
Lighting Designer: Gilbert Hemsley
Stage Director: Bruce Donnell
Characters in order of vocal appearance
Ramfis.................................Jerome Hines
Radames.............................James McCracken
Amneris...............................Bianca Berini
Aida....................................Rita Hunter
The King........................... Richard T. Gill
A messenger.........................Charles Anthony
A priestess......................... Marcia Baldwin
Amonasro........................... Cornell MacNeil
Choreographer: Louis Johnson
Dancers:
Act I, Scene 2: Alastair Munro
Act II, Scene 1: Susana Aschieri, Naomi Marritt, Ellen Rievman
Act II, Scene 2: William Badolato, Edilio Ferraro and Corps de Ballet
Chorus Master: David Stivender

This production of AIDA was made possible by a generous and deeply appreciated gift from the Gramma Fisher Foundation, Marshalltown, Iowa.
Adaptation of this production for the tour was made possible by a generous and deeply appreciated gift from teh Atlanta Music Festival Association.
The Metropolitan Opera's 1976 national tour is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal agency.

KNABE PIANO USED EXCLUSIVELY
Lighting executed by: Rudolph Kuntner
Scenery, properties and electrical props constructed and painted in: Metropolitan Opera Shops
Costumes executed by: Metropolitan Opera Costume Department
Wigs executed by: Metropolitan Wig Department
Sculptured headpieces and masks by: Gary Brouwer
Assistant Designer: Miguel Romero
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Synopsis of Scenes Egypt, during the reign of the Pharaohs
ACT I, Scene 1: A hall in the palace at Memphis Scene 2: The temple of Ptah
ACT II, Scene 1: Amneris' apartments in the palace at Thebes Scene 2: A public square
ACT III: The banks of the Nile
ACT IV, Scene 1: The temple of judgment Scene 2: A tomb below the temple
The Metropolitan Opera is a member of OPERA America, Inc.
The management reserves the right to make any changes in the above cast in case of unforeseen exigencies.
THE STORY IN BRIEF
Aida
ACT I: In the hall of the royal palace at Memphis, Radames, a young captain of the guard, learns from the high priest Ramfis that Ethiopia threatens the Nile valley and that the goddess Isis has decreed a new commander for Egypt. Left alone, Radames hopes that he is the chosen one, imagining a glorious victory so he may free his beloved Aida, slave of Amneris, the King's daughter ("Celeste Aida''). Amneris, who loves Radames, interrupts his musing and questions him shrewdly; her suspicion that he loves Aida increases at the entrance of her slave girl (Trio: "Vieni, o diletta"). Soon the King and his train arrive to give audience to a messenger from the front, who reports that the Ethiopian army, led by Amonasro, is marching on Thebes. The King announces the appointment of Radames as Egyptian commander and leads the assemblage in a battle hymn. As Radames is led off amid general rejoicing, Aida remains alone, appalled that she too has cheered him to victory ("Ritorna vincitor!"), for the Ethiopians are her people, and Amonasro, their king, is her father. Torn by conflicting loyalties, she begs the gods for pity.
In the temple of Ptah, a priestess is heard addressing the god as ceremonial dances are performed. Ramfis consecrates Radames' mission and presents him with the ceremonial sword.
ACT II: Reclining on her terrace, the lovesick Amneris is groomed by slaves for the triumphal return of Radames. A group of dancing girls temporarily distracts the princess from her romantic musing. At Aida's approach she dismisses her attendants and, hoping to confirm her suspicions that the slave loves Radames, tells her first that he has perished in battle, and then that he still lives (Duet: "Fu la sorte dell' armi"). At Aida's joyous outcry, Amneris threatens her and leaves for the festivities.
At the gate of Thebes a crowd welcomes the army, which passes in review before the King and Amneris (Chorus and triumphal march: "Gloria all' Egitto"). The spoils of war are borne in and triumphal dances performed. When Radames is carried on victorious, Amneris presents him with a wreath. Next, the Ethiopian captives are led in; among them Aida recognizes her father. Whispering to Aida not to disclose his rank, Amonasro pleads for the prisoners (Ensemble "Ma tu, Re"). Though Ramfis and the priests demand the captives' death, Radames intercedes on their behalf; Amonasro, as their spokesman, is held hostage, but the others are set free. When the King gives Radames the hand of Amneris, Aida falls disconsolately into her father's arms.
ACT III: On a moonlit bank of the Nile, Ramfis leads Amneris and Radames into the temple of Isis for a wedding vigil. Aida steals in to await a farewell meeting with her lover; overcome with nostalgia, she mourns her lost homeland ("O patria mia"). She is jolted from her reverie by Amonasro, who demands that she learn Radames' plan for his new campaign against the Ethiopians (Duet: "Rivedrai le foreste imbalsamate"); she reluctantly agrees. Amonasro hides as Radames, striding from the temple, ardently greets Aida with promises to make her his bride after his next victory. She instead urges immediate flight and paints an evocative picture of their future happiness (Duet: "Fuggiam gli ardori inospiti"). Winning Radames to her
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idea, she asks what route his armies will take so as to avoid them. No sooner does he reply than Amonasro emerges from hiding, reveals his identity and, with Aida, tries to enlist the stunned Radames to their cause. Suddenly Amneris appears, calling Radames traitor. Amonasro lunges at her with a dagger, but Radames blocks his path. Then, as Aida and her father flee, he surrenders himself to the high priest.
ACT IV: In the temple of judgment, Amneris, bewailing the treason of Radames, determines to make a last effort to save him. When the guards lead him in, she offers to save his life if he will renounce Aida (Duet: "Già i Sacerdoti''); he refuses. Enraged, Amneris sends him to his doom but is immediately overcome with remorse. She listens in despair as his condemnation echoes from the hall of justice, and when the priests file out she curses them.
Radames, sealed in a vault beneath the temple, muses on Aida. He is startled by a noise: it is Aida herself, who has chosen to share his fate. Radames vainly tries to dislodge the stone that seals the tomb. Bidding farewell to earth, the lovers greet eternity (Duet: "O terra, addio"), while above, Amneris prays for Radames' soul .- Courtesy of OPERA NEWS
ABOUT THE ARTISTS
JEROME HINES, bass (Ramfis), was born in Hollywood, California, and this season celebrated his 30th anniversary with the Metropolitan Opera, having made his debut with the company in 1946. He studied at the University of California at Los Angeles where he ranked equally as chemist, physicist and musician. Mr. Hines has sung more than 40 roles at the Metropolitan, as well as others with La
Scala, the San Francisco Opera, the Bavarian State Opera, the Bayreuth Festival, the Spoleto Festival and the Teatro Colon in Buenos Aires. In the fall of 1962 he made his debut at the Bolshoi Opera in Moscow in the title role of Boris Godunov in Russian. Mr. Hines' roles at the Metropolitan include Silva in Ernani, Don Giovanni, Zaccaria in Nabucco, Arkel in Pelleas et Melisande, King
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Marke in Tristan und Isolde, Sarastro in Die Zauberfloete, Philip in Don Carlo, Boris Godunov, and Mephistopheles in Gounod's Faust.
JAMES McCRACKEN, tenor (Radames), was born in Gary, Indiana. Following service in the Navy during World War II, he entered Columbia University where he studied voice and appeared in several opera workshop productions. He joined the Metropolitan Opera in 1953 and sang small roles for four seasons. He then went to Europe, where he established his career, and in 1963 returned to the Metropolitan to make his second debut in the title role of a new production of Otello. He has been heard in most of the world's leading opera houses, including Covent Garden, the Vienna State Opera, the Teatro Liceo, and the San Francisco Opera. At the Metropolitan his repertory includes Samson in Samson et Dalila, Don Jose in Carmen, Florestan in Fidelio, Calaf in Turandot, Canio in Pagliacci, and Radames, which he sang in the premiere of this season's new production of Aida.
BIANCA BERINI, mezzo-soprano (Amneris), is a native of Trieste who now lives in Milan. She has been heard in many of the world's leading opera houses, including La Scala, the Teatro La Fenice in Venice, and those of Turin, Lisbon, Barcelona, Vienna, Berlin, London and Mexico. In the United States she has sung with the opera companies of New Orleans, Pittsburgh and Philadelphia. Her repertoire encompasses such roles as Amneris in
Aida, Azucena in Il Trovatore, Adalgisa in Norma, Laura in La Gioconda, Ortrud in Lohengrin, Dalila in Samson et Dalila, Carmen, Charlotte in Werther, and Eboli in Don Carlo.
RITA HUNTER, soprano (Aida), was born in Wallasey, Cheshire, England. She studied singing first in Liverpool and later in London. She joined the Sadler's Wells Opera in 1957 as a chorus member and two years later she was engaged by the Carl Rosa Opera Company. After a year of study with Dame Eva Turner she was re-engaged by the English National Opera, this time as a principal artist, where she has remained as a permanent member. Among the many roles she has sung there are Senta in Der Fliegende Hollaender, Donna Anna in Don Giovanni, Bruennhilde in Die Walkuere and Goetterdaemmerung, Amelia in Un Ballo in Maschera, and Santuzza in Cavalleria Rusticana. She has also sung with the Welsh National Opera at Covent Garden and the San Francisco Opera, and is heard regularly in recital, concert and oratorio performances. She made her Metropolitan Opera debut as Bruennhilde in Die Walkuere on Dec. 19, 1972, and has since been heard there as Santuzza in Cavalleria Rusticana, Bruennhilde in Goetterdaemmerung, and in the title role of Bellini's Norma.
RICHARD T. GILL, bass (The King), was a professor of economics at Harvard University for several
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years before deciding on a musical career. He is the author of five books in that field and is a winner of an Atlantic Monthly Award for short stories. He has been heard with the New York City Opera, the Opera Company of Boston, the Houston Grand Opera, the Caramoor Festival, and the Baltimore Opera. In addition, he has sung extensively in England at the Canterbury Festival, The Chelsea Opera Group, and at the Victoria and Albert Museum. He made his Metropolitan Opera debut in 1973 in the premiere of Les Troyens, and has since been heard there as Pimen in Boris Godunov, Timur in Turandot, Friar Laurent in Romeo et Juliette, Jero in The Siege of Corinth, and the King in Aida.
CHARLES ANTHONY, tenor (A messenger), was born Carlogero Antonio Caruso in New Orleans, but when he embarked on an operatic career he decided to do so without using that illustrious musical name. After serving apprenticeship with the New Orleans Opera he entered the regional contest of the Metropolitan Opera Auditions in 1952 and was judged a winner. With his scholarship he went to Italy for further study and returned to make his Metropolitan Opera debut in 1954. He has since sung more than 60 roles, including Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni, Count Almaviva in II Barbiere di Siviglia, David in Die Meistersinger, and Shuisky in Boris Godunov. He has also sung with the Cologne Opera, the Santa Fe Opera, the Cincinnati Summer Opera, and the Laguna Festival in California.

MARCIA BALDWIN, mezzo-soprano (A priestess), was born in Moline, Illinois, and is a graduate of Northwestern University. A former member of the Metropolitan Opera Studio, Miss Baldwin has been heard with the Santa Fe Opera, the San Francisco Spring Opera, the Cincinnati Summer Opera, and the Goldovsky Opera Theater. She appeared in the NBC-TV Opera production of Boris Godunov in 1961 and has given concerts throughout the United States. In the summer of 1968 she sang in the world premiere of David Amram's Twelfth Night at the Lake George Opera Festival. She made her Metropolitan Opera debut in 1963 as Javotte in Massenet's Manon, and among her more than 30 roles there since are Lisa in Pique Dame, Nicklausse in Les Contes d'Hoffmann, Mistress Page in Falstaff, Stephano in Romeo et Juliette, and Hansel in Hansel and Gretel.
Minnesota-born CORNELL MacNEIL, baritone, made his Metropolitan Opera debut in advance of schedule when he replaced an ailing colleague in the title role of Rigoletto on March 21, 1959, the same month he had also appeared for the first time at La Scala as Don Carlo in Ernani. New York first heard him in the Broadway production of The Consul, prior to his engagement by the New York City Opera. He has sung in all the principal Italian theatres, as well as with the Vienna State Opera, Covent Garden, the Teatro Liceo, the San Francisco Opera, and the Lyric Opera of Chicago. His repertoire at the Metropolitan includes more than 20

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roles, among them Macbeth, Simon Boccanegra, Tonio in Pagliacci, Iago in Otello, Monforte in I Vespri Siciliani, the title role of Falstaff, and Renato in Un Ballo in Maschera. This season he was heard as Amonasro in the premiere of the new production of Aida, as Michele in Il Tabarro, and in the title role of Gianni Schicchi.
RICHARD WOITACH, conductor, is a native of Binghamton, New York. He received his bachelor's degree in music from the Eastman School of Music in Rochester, New York. Following his graduation he was named official pianist with the Rochester Philharmonic, where he was also heard as concerto soloist. For three years he was also heard as piano accompanist with violinists Zino Francescatti, Erick Friedman and Carroll Glenn. He came to the Metropolitan Opera in 1959 as an assistant conductor, and during the nine years he held that position, he was in charge of the preparation of 26 different works. Among the many companies he has con- ducted are the Cincinnati Summer Opera, the Western Opera Theater of San Francisco, the Opera Company of Boston, the Vancouver International Festival, the Pittsburgh Civic Light Opera and the Chautauqua Opera. He made his Metropolitan Opera debut in September 1974 conducting Madama Butterfly, and this season added The Siege of Corinth, La Gioconda, and Tosca to his Metropolitan Opera repertoire.

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Metropolitan Opera Association
OFFICERS
Lowell Wadmond, Chairman Emeritus Mrs. Alexander M. Laughlin, Vice President
Langdon Van Norden, Chairman of the Board James S. Smith, Treasurer
William Rockefeller, President James C. Hemphill, Assistant Treasurer
Laurence D. Lovett, Chairman, Executive Committee Alton E. Peters, Secretary
J. William Fisher, Vice President Eva Popper, Assistant Secretary
Michael V. Forrestal, Vice President Lauterstein & Lauterstein, Legal Counsel

BOARD OF DIRECTORS
Mrs. August Belmont
Mrs. Lewis W. Douglas Emeritus Directors
Anthony A. Bliss
Mrs. Kenyon Boocock
Thomas G. Chamberlain
John T. Connor
Henry A. Correa
James S. Deely
C. Robert Devine
John W. Drye, Jr.
Irving Mitchell Felt
J. William Fisher
Michael V. Forrestal
Mrs. William Francis Gibbs
James P. Gillis
Francis Goelet
Maurice F. Granville
Lauder Greenway
Paul Hallingby, Jr.
Mrs. John T. Harrison, Jr.
James C. Hemphill
Leon Hess
Howard J. Hook, Jr.
Mrs. Gilbert Humphrey
Mrs. Alexander M. Laughlin
Goddard Lieberson
John D. Lockton
Laurence D. Lovett
James S. Marcus
Dorothy Maynor
George S. Moore
A. Chauncey Newlin
Mrs. Peter H. Nicholas
Alton E. Peters
Edward S. Reid
William Rockefeller
Mrs. John Barry Ryan
Alexander Saunderson
James S. Smith
Charles M. Spofford
Roger L. Stevens
William M. Sullivan
Frank E. Taplin
Mrs. Edgar Tobin
Miss Alice Tully
Langdon Van Norden
Royall Victor
Lowell Wadmond
Mrs. Frederick K. Weyerhauser
Mrs. Charles B. Wrightsman

MEMBERS OF THE ASSOCIATION
Mrs. Walter H. Annenberg
Mrs. William B. Ansted, Jr.
Talcott M. Banks
Frederic H. Brandi
Thomas S. Brush
Richard E. Cheney
Christopher T. Clark
Lloyd N. Cutler
Mrs. Norris Darrell
Frederic G. Donner
Frank W. Donovan
Robert G. Edge
Thomas M. Evans
Governor Luis Ferre
Leroy Frantz, Jr.
Mrs. Polk Guest
Floyd D. Hall
Mrs. Donald D. Harrington
Gordon M. Hill
Miss Kate Ireland
Mrs. Kenneth A. Ives
Mme. Maria Jeritza
Andrew Kershaw
Arthur L. Kramer, Jr.
Mrs. Albert D. Lasker
Albert A. List
Mrs. Richard P. Loftus
Mrs. C. Ruxton Love
Wilber H. Mack
James F. Miller
Philip L. Miller
Malcolm Muir
Bess Myerson
Mrs. Allen G. Oliphant
Mrs. Peter F. Packard
Hon. David W. Peck
Mrs. John DeWitt Peltz
Bernard Peyton
Mrs. Priscilla Potter
Thomas L. Pulling
Tony Randall
Mrs. Francis F. Randolph
Meshulam Riklis
John T. Sargent
William Schuman
Howard C. Sheperd
Grant G. Simmons, Jr.
Carleton Sprague Smith
Harvey M. Spear
William I. Spencer
Rise Stevens Surovy
Samuel L. Tedlow
Blanche Thebom
Norfleet R. Turner
Mrs. Theodore O. Yntema
and all members of the Board of Directors

ADMINISTRATION
Anthony A. Bliss Executive Director
James Levine Principal Conductor
John Dexter Director of Production
Charles Riecker Richard Rodzinski Artistic Administrators
Michael Bronson Technical and Business Administrator
Francis Robinson Assistant Manager
Richard J. Clavell Director of Finance
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Administrative Staff
Office of the Executive Director
Edward Corn Special Assistant to the Executive Director
Eva Popper Executive Assistant
Artistic Administration
Lawrence Stayer
Ann Coughlin Assistant Artistic Administrators
Florence Guarino Assistant to the Artistic Administrators
Bill Hudson Company Manager and Musical Secretary
Arge Keller Assistant Musical Secretary
Marianne Flettner Rehearsal Assistant
John Grande Librarian
Daniel Sagarman
Joseph Ortiz Assistant Librarians
Technical and Business Administration
Charles Bonheur
Jay Rutherford Production Coordinators
Harry A. Lasley Assistant Business Manager
Clemente D'Alessio
William Coles Technical Assistants
Nancy Cottle Assistant to the Technical Administrator
Stage Management
Osie Hawkins
Chris Mahan Executive Stage Managers
Stanley Levine Stage Manager
William McCourt Assistant Stage Manager
Stage and Shop Operations
Rudolph Kuntner Director of Stage Operations
Stephen Diaz Master Mechanix
RIchard Hauser Masterof Properties
David Reppa Staff Scenic Designer
Stanley Cappiello Scenic Artist
Joseph Volpe Carpentry Shop Head
Richard Graham Properties Construction
Nina Lawson Hair Stylist and Wigs
Victor Callegari Makeup Artist
Rose Calamari Wardrobe Supervisor
Charles Caine Staff Costume Designer

Orchestra
James Levine, Principal Conductor
Abraham Marcus Orchestra Personnel Manager
Edgardo Sodero, Assistant to the Orchestra Personnel Manager
Violins
Raymond Gniewek, Concertmaster
Edmund Jacobsen, Associate Concertmaster
Seymour Wakschal
Ernest Drucker
Arnold Caplan
Joseph Zwilich
Henryk Kasten
Sandor Balint
Vincent Greicius
Joyce Robbins
Rena Shapiro
Judith Yanchus
Doris Allen
Albert Weintraub, Principal
Leslie Dreyer, Associate Principal
Raphael Feinstein, Assistant Principal
Toni Rapport
Jacques Rubinstein
Joseph Malfitano
Glenda Williamson
Leon Kaplan
Richard Elias
Ernest Papavasilion
Emma Ricci
Magdalena Aghbolaghi
Theodore Schwartz
Violas
Michael Ouzounian, Principal
Harold Elitzik
Leonard Grossman
David Uchitel
Marilyn Stroh
Seymour Berman
David Berkowitz
Midhat Serbagi
Arnold Magnes
Michael Barten
Cellos
Jascha Silberstein Principal
Richard Kay, Associate Principal
Gerald Kagan, Assistant Principal
Yves Chardon
Edgardo Sodero
Philip Cherry
John Pastore
Carlo Pitello
Leszek Zavistovski
Double Basses
Georges Andre, Principal
Michael Morgan, Assistant Principal
Julian Tivin
Ernest Gruen
Marvin Topolsky
Nathaniel Currier
Jesse Teiko
Tom Brennand
Flutes
James Politis, Principal
Victor Just, Principal
James Hosmer
Karen Griffin
Piccolo
Karen Griffin
Oboes
William Arrowsmith, Principal
Alfred Genovese, Principal
Waldemar Bhosys
Richard Nass
English Horn
Richard Nass
Clarinets
Herbert Blayman, Principal
Roger Hiller, Principal
Ben Armato
Vincent Abato
Bass Clarinet
Vincent Abato
Bassoons
Stephen Maxym, Principal
Richard Hebert, Principal
David Manchester
Paul Cammarota
Contra Bassoon
Paul Cammarota
Horns
Howard T. Howard, Principle
Clarendon Van Norman, Principal
Richard Reissig
Richard Moore
Frederic Weber
Arthur Sussman
Carmelo Barranco
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, LEader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, Leader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
Trumpets
Melvyn Broiles, Principal
Mark Gould, Principal
Harry D. Peers
Lynn Berman
Vincent Penzarella
Bass Trumpet
David Langlitz
Trombones
Per Brevig, Principal
David Langlitz, Principal
Douglas Edelman*
John Clark
Max Bonecutter*
Bass Trombones
John Clark
Max Bonecutter*
Tuba
Herbert Wekselblatt
Timpani
Richard Horowitz, Principal
Fred Hinger, Principal
Abraham Marcus
Percussion
Abraham Marcus, Principal
Morris Tilkin
Herbert Baker
Harps
Reinhardt Elster, Principal
Claude Hill
Organ
John Grady
Celeste
Cecilia Brauer
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Chorus
David Stivender, Chorus Master
David Leighton, Assistant Chorus Master
Sopranos
Elizabeth Anguish
Linore Aronson
Miriam Broderick
Patricia Clarke
Wanda Cooke
Suzanne Der Derian
Elena Doria
Cecelia Entner
Mary Fercana
Ann Florio
Elinor Harper
Ruth Lansche
Elyssa Lindner
Linda Mays
Helen McIlhenny
Gloria Rydgren
Lilias Sims
Maureen Smith
Dorothy Traub
Constance Webber
Shinja Kwak
Edna Lind
Valerie Lundberg
Pamela Munson
Joyce Olson
Teresa Robinson
Judit Schichtanz
Dorothy Shawn
Betty Stone
Karol Teiko**
Maria Yauger
Tenors
Erbert Aldridge
Max Alperstein
Arthur Apy
Tony Asaro
Cecil Baker
Dale Caldwell*
Frank D'Elia
Emil Filip
Richard Firmin
Nino Garcia
Norman Griffin
John Hanriot
Robert Kelly
Charles Kuestner
Luigi Marcella
Daniel Mele**
William Mellow
Roland Miles
Abram Morales
Fawayne Murphy
John Person
Salvatore Randazzo
Hal Roberts
Robert Ruddy
Basses
Nicola Barbusci
Glen Bater
Vladimir Chistiakov
Frank Coffey
Paul De Paola
Luis Forero
John Foscolos
John Frydel
Edward Ghazal
Herman Marcus
Donald Peck**
Thomas POwell
Harry Shean
Domenico Simeone
Peter Sliker
Harold Sternberg
Sam Sternberg
John Trehy**

** steady extra chorister

Ballet

Audrey Keane, Ballet Administrator
Irving Owen, Rehearsal Pianist
Nicolyn Emanuel, Ivan Allen, Ballet Captains

* new artist
Choreographers
Alvin Ailey
Thomas Andrew
Todd Bolender
John Butler
Louis Johnson*
Zachary Solov
Dancers
Pauline Andrey
Susana Aschieri
Eleanor Bobb
Nicolyn Emanuel
Skiles Fairlie
Vicki Fisera
Silvia Grinvalds
Patricia Heyes
Eugenia Hoeflin
Tania Karina
Suzanne Laurence
Diana Levy
Naomi Marritt
Antionette Peloso
Ellen Rievman
Lucia Sciorsci
Judith Thelen
Ivan Allen
William Badolato
William Breedlove
Marcus Bugler
Edilio Ferraro
Vincenzio Figlia
Jack Hertzog
Jeremy Ives
Jan Mickens
Alastair Munro
Anthony Santiago
Marc Verzatt
CALL ABOUT OUR WOLF TRAP DINNER
THE ALIBI The Alibi Restaurant
Exquisite French Cuisine Full Selection of Wines and Cocktails
10418 Main Street Fairfax, VA.
Phone 591-6319
Major Credit Cards Honored
PET-OTEL 759-3311
BOARDING GROOMING
Alt Text: A drawing of a doorman letting a dog and a cat go past him.
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WOLF TRAP FOUNDATION STAFF
Charles H. Watts, II President
Carol V. Harford Vice President
ARTISTIC ADMINISTRATION
Francis Rizzo, Artistic Aministrator
Virginia Pfaff, Program Coordinator
Gerald P.G. Holmes, Operations Coordinator
John Woolley, Production Administrator
Ann McPherson McKee, Assistant Production Administrator
Mary-Therese Mennino, Department Secretary
Roman Terleckyj, Production Assistant*
*National Opera Institute Intern
GENERAL ADMINISTRATION
Eveline Hyde, Executive Administrator
Raymond T. Underwood, Jr., Financial Manager
Fang Li, Accountant
Laurie J. Barnwell, Executive Secretary
Gay Ashley, Secretarial Assistant
Terry Clark, Messenger/Driver
Dorothy Buckley, Switchboard Operator
DEVELOPMENT
Paul B. Ward, Director
Clynne Moser, Development Assistant
Jere Hathaway Wright, Consultant
COMMUNICATIONS AND MARKETING
Luke Bandle, Director
Jane E. Arenberg, Executive Assistant
Annabel Dick, Secretary
Mark G. Aurbach, Manager,
Ticket Services
Susan M. Waters, Assistant Ticket Services
Peter Grigsby, Group Sales
Ticket Services Staff: Susan Adland, Joni Boyko, Robert Cameron, Philip Ege, John Feather, J.M.H. Ffrench-Mullen, Bambi Hembrick, William Hoffman, Mary Beth Hull, Patricia Jaggers, Sally Kirshner, Melanie Miller, Andrea Mose, Barbara Pierce, Glen Rother, Richard Rother, Anastasia Rozolis, Alan Schuman, Colleen Shaughnessy, Deirdre Shaughnessy, Reilly Shaughnessy, Guy Sibilla, Steven Vickery, Mary Wagner, Beth Wagy, Sharon Waters, Christine Willoughby, R. Reed Wilson.
Summer Staff: Steven Blaine, Michael Juchniewicz
WOLF TRAP ASSOCIATES
Virginia McHenry, Executive Director
Janet Juchniewicz, Assistant
Mildred L. Love, Gift Shop Manager
BOARD OF DIRECTORS
Mrs. Gerald R. Ford Honorary Chairman
Mrs. Jouett Shouse Donor
J. William Middendorf II Chairman
Rodney Weir Markley, Jr. Vice-Chairman
Hobart Taylor, Jr. Vice-Chairman
Bradshaw Mintener Secretary
Douglas R. Smith Treasurer
Ralph E. Becker General Counsel
Robert O. Anderson
G. Dewey Arnold
Mrs. James M. Beggs
Roland Boyd
Nash Castro
Mrs. William P. Clements, Jr.
John J. Corson
William Diamond
J. Martin Emerson
Gary E. Everhardt, ex officio
Howard J. Feldman
E. Atwill Gilman
Peter S. Hackes
Mathew Hale
Edwin K. Hoffman
Linwood Holton
Richard G. Kleindienst
Melvin R. Laird
Mrs. John J, Louis
Edwin Lynch
Clark MacGregor
Mrs. Elizabeth S. May
W. Jarvis Moody
Mrs. Franklin Orr
Mrs. David Packard
Joseph C. Palamountain, Jr.
Mrs. Jed Pearson
Robert A Podesta
Mrs. Abe Pollin
I. Lee Potter
John Robertson
Donald L. Rogers, ex officio
David A. Schulte, Jr.
Miss Beverly Sills
William E. Simon
Robert H. Smith
T. Eugene Smith
Roger L. Stevens
W. Clement Stone
Mrs. Cyrus R. Vance
Paul C. Warnke
C. Langhome Washburn
Miss Barbara M. Watson
Claude C. Wild, Jr.
Julius Rudel Artistic Advisor
WOLF TRAP COMPANY STAFF
John Moriarty, Director; Lawrence Skrobacs, Principal Coach; Scott Bergeson, Steven Blier, Gary Magby, Musical Preparation; Louis Galterio, Dramatic Technique; Bonni Kaplan, Body Movement; Mario Salerno, Italian Master Classes; Charles Elsen, Make up Master Classes; Susan Vitucci, Company Administrator.
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DEPARTMENT OF THE INTERIOR
The Honorable Thomas S. Kleppe Secretary of the Interior
NATIONAL PARK SERVICE
Gary E. Everhardt Director
NATIONAL CAPITAL PARKS
Manus J. Fish, Jr. Director
WOLF TRAP FARM PARK FOR THE PERFORMING ARTS J. Claire St. Jacques, Director
Ralph A. Hoffman, Chief of Performing Arts; Paul E. Meyers, Chief of Maintenance; Herbert G. Graul, Management Assistant; Thomas J. Rother, House Manager; Paul R. Fout, Visitor Services; Mary Frances Pearson, Cultural Activities Specialist; Mary Brown, Cultural Activities Specialist; Pat Saavedra, Head Usher, Sgt. Harry Huber, U.S. Park Police; Officer Jim Henry, U.S. Park Police; Frank Florentine, Technical Director; Ronald F. Cuffe, Production Coordinator; James Crowley, Head Carpenter; Frederick Tepper, Head Electrician; Ralph B. Saylor, Jr., Head Propman; Alexander Lakomyj, Head Soundman; Robert Angus, Head Flyman; Richard Talbott, Assistant Carpenter; Philip Mosbo, Assistant Electrician; Charles Naecker, Assistant Propman; Farrel Becker, Assistant Soundman; Richard Ryan, Assistant Flyman; Richard F. King, Jr., Third Electrician; Paul W. Farabee, Jr., Third Soundman.
COMPOSER'S CABIN Donor: Edward R. Carr, Sr.
Architect: Kohler-Daniels Associates in conjunction with students of the Fairfax County Vocational Education Dept. Builders: Fairfax County Vocational Educational Foundation, Inc., in conjunction with students of Fairfax County Vocational Educational Department.
FILENE CENTER ARCHITECTS MacFadyen and Knowles, New York City
IN PERFORMANCE AT WOLF TRAP TELEVISION STAFF David Prowitt, Executive Producer Ruth Leon, Producer
CREDITS
Ticket Services Uniform Accessories furnished by WOODWARD AND LOTHROP.
TICKETRON: Edward Dougherty, Anne Beiser, Carol Lisagor, Bob Samuels.
ADS Productions, Inc .; Blocher Reprographics, Inc .; Colortone Press Creative Graphics, Inc .; Frederick L. Fryer; Frank Parson's Paper Company, Inc .; Raff Embossing and Foilcraft, Inc .; Robert Rathe Photography; Singer Corporation; Tour Strick, Artist; John Schoeni, Artist; Exxon Corporation; Judd and Detweiler, Inc.
Who Are The Wolf Trap Associates?
The Wolf Trap Associates is a membership organization of the Wolf Trap Foundation, organized to help build community support and encourage citizen involvement with the Park and its partner, the Wolf Trap Foundation.
The Wolf Trap Associates are people from throughout the United States who want to be involved with Wolf Trap by:
supporting the education of young professionals in the Wolf Trap Company-those selected annually by audition from throughout the United States to study, train and perform under career-oriented conditions for eight weeks under Wolf Trap sponsorship.
meeting guest artists.
providing hospitality for guest artists, members of the Wolf Trap Company and other visitors to Wolf Trap.
... participating in programs designed to develop greater understanding and knowledge of the performing arts.
serving in programs at the Park, as office volunteers and as members of special events teams.
operating the Gift Shop at the Park.
WOLF TRAP ASSOCIATES
Board of Trustees
Mrs. Mills E. Godwin, Honorary Chairman Mr. Donald L. Rogers, Chairman Mrs. William J. Hardy, Vice-Chairman Mr. Ralph A. Beeton, Treasurer
Mrs. Howard L. Burris, Mrs. John Dimick, Mr. Roscoe L. Egger, Jr., Mrs. Marion Edwyn Harrison, Mrs. Linwood Holton, Mrs. Cornelius B. Kennedy, Mrs. Richard G. Kleindienst, Mr. Robert E. Lee, IV, Mr. Rollins Wm. Miller, Jr., Mrs. Ralph E. Ulmer, Mr. Robert Waldron, Mrs. C. Swan Weber, Mr. J. Hillman Zahn, Mrs. Robert W. McHenry.
Committee Chairmen
Mrs. Francis X. Kilroy, Administrative Assistance; Mrs. Willard E. Brown, Education; Mrs. Paul C. Kincheloe, Jr., Gift Shop Volunteers; Mrs. Francis W. Brown, Hospitality for Guest Articles; Mrs. Robert S. Siegel, Membership Co-Chairman; Mrs. Roy Edward Clark, Speakers Bureau; Mrs. George S. Oliver, Wolf Trap Company Liaison; Mrs. Brooke Nihart, Chairman for Volunteers; Mrs. Roy M. Ahalt, Chairman for Volunteers.
Special Events Chairmen
Mrs. William P. Clements, Jr., June 5th Benefit-General Chairman; Mrs. Joseph J. Sisco, Supper Chairman; Mrs. Willard E. Brown, Embassy Day in the Park; Mrs. Alfred Luessenhop, Wolf Trap Ball 1976; Mrs. David E. Lindgren, February with the Arts 1977; Mr. John Nidecker, July 3rd Gala.
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Reminiscences
(Continued from page 8)
Scott Joplin's "TREEMONISHA."
The list is too long to enumerate. One remembers opportunities to talk with Miss Sills, Roberta Peters, director Katherine Dunham of the Joplin opera, composer-conductor John Green, and to chat with Errol Garner in the green room during intermission and asking him if he would play STAIRWAY TO THE STARS, one of his early recordings. He did.
There was a friendly talk with Soviet Ambassador Anatoliy Dobrinin at a post-performance tent supper given by the late producer Sol Hurok, following an interview with Hurok at his suite in the Watergate Hotel.
There was an opportunity to sit in at a rehearsal of the Duke Ellington orchestra presided over by Mercer Elling- ton shortly after his father's death. That was in a basement room of a nearby motel, a cramped space in sharp contrast to the vast Filene Stage where they would perform the following night.
Celebrities aside, the audiences often are just as interesting.
The picnics on the lawn, as varied as the dress in the center. There are brown bags and beer, and there are elaborate rattan picnic baskets filled with chicken breasts or squab, and champagne iced
in coolers. There are paper table cloths and elaborate ones; some choose to picnic on the grass.
There are the intermissions, with long queues lining up for hot dogs and beer or champagne.
There are the daytime programs for children, the Fourth of July fireworks which went amiss one summer without much damage, the Christmas carol sing. There was the wet snowy morning when the first composer's cottage was dedicated, followed by hot chocolate at the center.
There are memories of the National Folk Festival, when whole families come out and stroll around the grounds watching the demonstrations and, above all, the extemporaneous performances by country and folk players of the guitar, the washboard, the suitcase bass.
There are the bright scrubbed faces of the young men and girl ushers, and the friendly staff of the National Park Service which, after some falldowns in the first season or two, runs the park with pleasing efficiency.
There are still, of course, sometimes distressing waits while jockeying for position to leave the park after a performance. But everyone seems to be happy even so.
No one who has followed Wolf Trap from its beginnings has any doubt that Mrs. Shouse is still deeply committed to its success.
There was a night last summer when,
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Alt Text: A man in a suit and a woman with glasses in a dress
Alt Text: Three people talking in dress clothes
(page 24)
recovering from surgery after she broke her hip in a fall, she came in a golf cart from her home across Dulles access highway to watch a performance from the edge of the lawn.
She has not always been entirely successful in controlling the weather, but does consult regularly with the Hagers-Town Almanac.
A week or so later, she was back in her box to hear a concert by the Philadelphia Orchestra. With her were Mrs. Eugene Ormandy and some other friends.
Eugene Fodor, the brilliant young violinist, was playing a Paganini virtuoso work when there was a sudden thunderstorm of such noise and violence that, as Paul Hume wrote in The Washington Post, Paganini himself could scarcely have performed it.
Mrs. Shouse leaned forward in her seat, tensing, looking at the heavens.
"Sit back and relax," a friend told her. "You aren't going to be able to stop this."
But at intermission a few minutes later the storm did stop.
Bank at midnight (Just in case you need cash to treat the gang tonight.)
24-Hour Teller Machines
FIRST VIRGINIA BANK
Near You!
TYSONS CORNER OFFICE
1970 Chain Bridge Road
McCLEAN OFFICE
1356 Chain Bridge Road
CLARENDON BANK & TRUST
Serving Northern Virginia
821-7777 Member F.D.I.C.
Clarendon Bank & Trust's new headquarters office building at Tysons Corner is convenient for all the banking services you'll ever need. We have a branch office, too, at 1356 Chain Bridge Road, in McLean. Come in soon to open your personal Free Checking Account, to earn the highest legal bank interest rate on your Savings, to apply for a Loan, and for complete Trust Services. We're near you. Let us show you that we're "The Bank That Works" ...for you!
24
Alt Text: A bank building
(Page 25)
Daughter of the Regiment 1974
THE WOLF TRAP COMPANY: A NEW HORIZON FOR '76
Growth and evolution, while always controversial, are indispensable signs of life in any thriving arts group. The Wolf Trap Company-a training program for singers at the Filene Center-has grown and evolved to become one of our foremost musical resources in the United States. The new directions it has found for 1976 arise from achievements of the past five years; in turn, they promise great things in music for the years to come.
Begun in 1972 as an apprenticeship program, the Wolf Trap Company was formed as a ground where young singers might test their abilities and make decisions regarding their commitment to a professional career. The foundations of the present training program were laid when John Moriarty joined the staff in 1973; since that time, a primary goal has been to expand the professional opportunities of company singers by offering them challenging and significant roles in major operatic productions at the Filene Center. The size of the company has been progressively pared, in order to assure all members a full professional participation in all works presented. While past years often saw guest artists in operatic leads or solos, this year finds all major roles cast from the Comany
Calvary at the Madeira School 1974
Albert Herring at the Madeira School
1975
Saint of Bleecker Street 1973
Alt Text: Three pictures of play performances
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"If music be the food of love, playon!"
OGDEN FOOD SERVICES Providing food and drink to the patrons of Wolf Trap for years.
The Six Percent Passbook
Chevy Chase Savings and Loan a stock corporation
Chevy Chase Friendship Heights Aspen Hill Silver Spring Sumner Landover 301/652-1551
Company itself, with increased opportunities for solo assignments with other groups as well. This year's company is a select group; while young in years (their ages range from 21 to 28), they can well be described as "young professionals" whose training and performance at Wolf Trap can be instrumental in launching them into serious artistic careers.
The search for this group has been a tireless and exacting as well as a rewarding procedure. On January 3 John Moriarty, Company Director, and Francis Rizzo, Wolf Trap's Artistic Administrator, took to the audition trail-a ten- day talent-hunt which included visits to Chicago, Oklahoma City, Boston and New York, as well as a two-day session for D.C .- area candidates. To insure that Wolf Trap's nets would be cast nation-wide, special auditions-first in San Francisco and later at Opera America's annual convention in Miami- had been attended the month before. The 16 singers chosen for the company were culled from more than 650 promising applicants.
Over half of the "happy few" are past company members. Rockwell Blake, Stephen Dickson and Janice Hall (who during their 1974 apprentice season sang in the chorus of The Daughter of the Regiment) return to Wolf Trap as soloists, as does Neil Rosenshein (a veteran of both the 1973 and 1974 sea- sons). They will be joined by five members of last year's company-James Maddalena, Robert Orth, Susan Smith, Patricia Stone and Christine Whittle- sey-and seven newcomers-John Cheek, Christopher Deane, Keith Kibler, Roger Lucas, Evelyn Petros, Fredda Rakusin and Peter Strummer. Another company alumnus, Donnie Ray Albert (1974, 1975) returns this summer-not as a company member, but as a leading singer in the Houston Grand Opera's production of Porgy and Bess.
The Company demonstrates that singing talent emerges from every area of the United States: the range of native states represented includes New York, Ohio, California, Oklahoma, Massachusetts, West Virginia and Illinois.
One important aspect of the Company's "new look" is the fact that (Continued on page 29)
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Alt Text: Various people having a picnic
Suppertime in the Park
A tranquility pervades Wolf Trap Farm Park for the Performing Arts before the evening curtain rises. This is the leisurely dining hour when Washingtonians and guests escape the summer heat and city tensions to enjoy their meal in the cool country air of Vienna. The style of the picnics is as varied as the people themselves. A stroll through the 117-acre park will find a couple in a tux and gown, sipping wine by candlelight, near an exuberant family in denims playing together on the lawn. This happy blend makes our first national park for the performing arts very special indeed.
Visitors come to the park to treat themselves to the best in their favorite
entertainment; but also to savor the summer through the often-forgotten joy of outdoor dining. A variety of food ser- vices is available, ranging from an elegant buffet in the Pavilion Tent to old- fashioned picnic baskets to quickie commuters' snacks. The Pavilion overlooks the park's meadow and the Filene Center, with an adjoining Special Events Area where groups of 25 or more may gather and picnic as they please. For patrons who prefer to bring their food, Wolf Trap has two snack bars on the main plaza of the theatre. Soft drinks, coffee, beer, wine, champagne, hot dogs, light sandwiches and candies may be purchased before the performance or during the intermission. After the show, for groups or organizations who have purchased tickets, late-night receptions can also be arranged.
For the down-home taste, the Wolf Trap Associates have collected favorite summer recipes for simple, no-cook meals, international feasts, delicious dietetic summer fare, or creative gourmet combinations-all available through the Wolf Trap Gift Shop. And for the work-weary diner who wants to be spoiled, the Vienna area offers a number of restaurants featuring fine cuisine for every palate.
There's no need to miss dinner to come to a show at Wolf Trap. We try to satisfy your every dining need!
Alt Text: Table Full of Food
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Who are . . .
BENEFACTORS: Donors of $100,000 and above
NATIONAL BUSINESS ADVISORY COUNCIL: Corporations giving $5,000 per year.
WOLF TRAP SPONSORS: Individuals or organizations giving $2,500 or more per year.
WOLF TRAPPERS: Individuals or organizations giving $1,000.
WOLF TRAP COMPANY FELLOWSHIPS: Individuals or or- ganizations giving $500 or more specifically for the Wolf Trap Company.
SPECIAL GIFTS: Individuals or organizations giving $100 to $1,000.
GRANTS: A Contribution from a private or government organiza- tion for a special purpose.
WOLF TRAPPERS
OFFICERS
Dr. John W. McTigue, General Chairman Mrs. Samuel Zola, District of Columbia Chairman Mrs. John Ackerman, Maryland Chairman Dr. C. Barrie Cook, Virginia Co-Chairman Mr. Peter Conners Andrews, Virginia Co-Chairman Miss Gay Friedman, National Corporate Chairman Mrs. Philip W. Buchen, Newcomers Chairman Mr. Louis V. Priebe, Communications Chairman
Arthur Andersen & Company Mr. & Mrs. Peter Conners Andrews Mr. Leo Bernstein Mr. & Mrs. Norman Bemstein Dr. & Mrs. Robert J. Brennan Ted Britt Ford Sales, Inc. Honorable and Mrs. Philip W. Buchen Mr. & Mrs. William Calomiris Mr. & Mrs. Albert Chaiken C & P Telephone Mr. & Mrs. Emanuel Cohen Dr. & Mrs. C. Barrie Cook Decisions and Designs, Inc. Mr. Albert Dwoskin Enserch Corporation Mr. & Mrs. Sanford D. Greenberg Mr. & Mrs. John H. Grover Mr. & Mrs. R. Clyde Hargrove Mrs. R. H. Hargrove Mr. & Mrs. R. Wayne Hirst Mr. & Mrs. Arthur Kellar Dr. & Mrs. George A. Kelser, Jr. Mr. & Mrs. Irvin Kolker Lindsay Cadillac Company Mr. & Mrs. Maurice Lipnick Mr. & Mrs. Edwin Lynch Mr. & Mrs. F. Sheild McCandlish McGraw-Hill, Inc. Dr. & Mrs. John W. McTigue Mr. & Mrs. Paul Mellon Muzak of Washington Mr. & Mrs. Florenz Ourisman Mr. & Mrs. Howard Polinger Mr. & Mrs. Abe Pollin Mr. & Mrs. I. Lee Potter Mr. & Mrs. E. A. Prichard Mr. & Mrs. Eugene H. Rietzke Dr. Monira Rifatt Mr. & Mrs. John D. Ringle Mr. & Mrs. T. Eugene Smith Mr. & Mrs. Albert G. Van Metre Mr. & Mrs. John C. Webb H. E. Ardeshir Zahedi, Ambassador of Iran
BENEFACTORS
Mr. & Mrs. David Packard Mrs. Jouett Shouse
NATIONAL BUSINESS ADVISORY COUNCIL
Aerojet-General Corporation Alcoa Foundation Alvord Foundation Atlantic-Richfield Company Walt Disney Productions Exxon Company, U.S.A. Ford Motor Company Gulf Oil Company International Business Machines Corporation Phillips Petroleum Company Charles E. Smith Family Foundation Standard Oil Company of California TRW Foundation Westgate Corporation
INDIVIDUAL SPONSORS
Honorable and Mrs. William P. Clements, Jr. Mr. John J. Corson International Telephone and Telegraph Corporation LTV Corporation Mr. David A. Schulte, Jr. Honorable and Mrs. William E. Simon Etta L. and Henry F. Wanger Foundation
SPECIAL GIFTS
John P. Adams, M.D. Ahmedou Ould Abdallah, Ambassador of Mauritania Mr. D. F. Antonelli, Jr. Mrs. Moira Archbold Mr. & Mrs. James M. Beggs Reverend Frederick Bloom Mr. & Mrs. Harold J. Bobys Mr. & Mrs. William Cafritz Mrs. John T. Connor Mr. & Mrs. William Diamond Mr. & Mrs. J. William Fulbright Elizabeth Polk Guest Mr. & Mrs. R. Philip Hanes, Jr. Mr. Charles T. Lindsay, Sr. Mr. Yehudi Menuhin Mr. & Mrs. Robert E. Newby Dr. Dwight Newman Mrs. Charles Emory Phillips Mr. & Mrs. E. A. Prichard Mr. Thomas E. Tager Mrs. H. C. Tate Mr. John Vaughn
WOLF TRAP COMPANY FELLOWSHIPS
Wolf Trap Associates Broadcast Music, Inc. Major General and Mrs. Daniel Campbell Mrs. Paul L. Davies The Charles Delmar Foundation Mrs. John Dimick Mrs. Claude Grabeel I.A.T.S.E. Local #22 Mrs. John J. Louis Mr. Michael W. Louis The J. Willard Marriott Family Foundation Mars Foundation Mrs. Elizabeth May Pepsico, Inc. The Rotary Club of Vienna Mr. Douglas R. Smith Hattie M. Strong Foundation Honorable and Mrs. C. Langhorne Washbum
GRANTS
The Filene Foundation The National Endowment For The Arts The Virginia Commission on the Arts and Humanities
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Wolf Trap Company
(Continued from page 26)
company members dominate the vocal scene in this summer's program. With the exception of the counter-tenor role of Oberon, the production of Britten's Midsummer Night's Dream is cast entirely with company singers, and all but the three principal roles in La Traviata (a production starring Beverly Sills) are filled with our resident forces. All solo parts in the Beethoven Ninth (danced by the Bejart Ballet) and in Mahler's Eighth Symphony (performed by The National Symphony under Julius Rudel) will be entrusted to the company. Company members will also appear in Aaron Copland's concert with The National Symphony, the Ring Cycle Centennial Concert with the same orchestra, as well as in ballets to be presented by the Robert Joffrey and the Eliot Feld companies.
As the company confronts this ambitious performing schedule, they will receive daily training (both formal classwork and individual coaching) during an eight-week period from June 20 to August 14. This intensive program led by John Moriarty has won increasing acclaim as the "finishing school par excellence" for young American singers. Mr. Moriarty's staff of musical coaches will be complemented by Louis Galterio (dramatic technique), and in addition to the regular program, master classes will be conducted by two distinguished guest instructors-Mario Salerno (Italian diction) and Charles Elsen (make-up).
Wolf Trap's experimental concept -an advanced resident company, combining intensive training and performing opportunities of maximum scope and challenge-has been hailed in the musical community as "revolutionary". Advised of this, Mrs. Shouse remarked: "Then 1976 is the ideal year to try it."
Mrs. Jouett Shouse 1916 F. Street, N.W. Washington, D.C. 20006
Dear Mrs. Shouse:
This afternoon as I was reading an Associates' bulletin which Frank Rizzo sent me (with a picture of Wolf Trap Company Madrigal Singers), I began
pleasantly reminiscing about my extraordinary experience with the Company this past summer, and it was truly extraordinary. Now that I am away from the training program I realize there is no other place for young singers to get that kind of education.
I am convinced that the staff of teachers and coaches at Wolf Trap were the reason for the high level of inspiration and achievement we of the Wolf Trap Company experienced this summer. John Moriarty, Wesley Balti, Ruth Ambrose, and Larry Skrobacs, Steve Blier, Tom Wharton and Scott Bergeson all made this summer something I shall never forget; and they will also make me dissatisfied with those who offer me less than they did.
The Wolf Trap Company Apprentice Program will hopefully continue in the years to come. Its influence could raise the standards of opera and concert work in this country, with the help of you and the Associates and those I have mentioned. I am very happy to have been a part of it for at least one summer.
Sincerely, Marsha Hunter Wolf Trap Company, 1975
Alt Text: Cartoon of Washington D.C. and Baltimore
THE 1976 COLORADO OPERA FESTIVAL June and July
Donizetti
DON PASQUALE
A DOUBLE BILL
Stravinsky's Puccini's
THE SOLDIER'S TALE GIANNI SCHICCHI
Mussorgsky's
BORIS GODUNOV
Colorado Springs (303) 473-2233
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The National Park Service -Interpretive Program
Wolf Trap's Summer Interpretive Program enters its fifth season on July 5, offering Workshops-in-the-Arts and free daytime performances in the Theatre- in-the-Woods and the Meadow Tent through August 27, Monday through Friday. Part of the Park's Interpretive Program, sponsored by the Department of the Interior, National Park Service, this summer will include: puppets, story theatre, theatrical participation events and workshops.
Reservations for these programs must be made by calling the Interpretive Office at (703) 938-3810 from 10:00 a.m. to 4:00 p.m. weekdays.
THE DULLES ACCESS ROAD IS NOT OPEN FOR INTERPRETIVE PROGRAM EVENTS.
THEATRE-IN-THE-WOODS PROGRAM
10:30 a.m. Monday-Friday: Library Theatre: "Curious George" "Rumpelstiltskin"
1:00 p.m. Monday-Friday: Bob Brown Marionettes: "Great American Bandwagon"- A Bicentennial Piece
THE MEADOW TENT PROGRAM
11:00 a.m. and Noon Monday-Friday: Inter-Play Productions "The Creation of the Nation"- A theatrical participation event
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Alt Text: Child in a crowd
Alt Text: People Laying on the ground
Alt Text: A puppet performing
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We can't make Sunday Brunch.
So we have ours on Tuesday ... or Wednesday, or any other day of the week. And we enjoy it most at the Publick House of Georgetown. No matter what day of the week it is, brunch at the Publick House has that good Sunday feeling. The menu is just as full as on Sundays. Brunch cocktails like Mimosa and Milk Punch are real eye openers. There are six kinds of egg specialties prepared to perfection with Benedict and Hussarde heading the list. And fluffy omelettes, assorted quiches and steak and eggs for the hardy. Round it all out with just the perfect wine and finish with an irresistible dessert. At the Publick House, you can get a great Sunday brunch on Monday . . . on Tuesday .. . on Wednesday ... Any day ... Every day!
Publick House 3218 M St., N.W., Georgetown, Washington, D.C. 333-6605
Brunch Served Daily 10 AM to 3 PM
Alt Text: 2 priests having brunch
(Page 32)
"Television's finest 13 hours"
THE ADAMS CHRONICLES
Photo Carl Samrock
See The Adams Chronicles and In Performance at Wolf Trap back to back this fall on PBS.
Starting in September, The Adams Chronicles, the highest rated series in public television's history, will precede new and selected repeat performances taped at Wolf Trap.
New Wolf Trap productions will include La Traviata, starring Beverly Sills; a jazz concert starring Dizzy Gillespie, Earl "Fatha" Hines and Billy Eckstine; a Baryshnikov/Kirkland ballet; Cleo Laine and John Dankworth; and the live July 3 Bicentennial concert of the National Symphony, conducted by Andre Kostelanetz
In Performance at Wolf Trap is made possible by a grant from Atlantic Richfield Company.
with Yehudi Menuhin as soloist. Produced by WETA/26, Washington, D.C. The Adams Chronicles cast includes (above, clockwise from upper left) Steven Grover (John Quincy Adams), Lisa Lucas (Nabby Adams), Kathryn Walker (Abigail Adams), J. C. Powell (Charles Adams), George Grizzard (John Adams), and Asher Pergament (Tommy Adams). An original production by WNET/13, New York.
The Adams Chronicles is made possible by a grant from the National Endowment for the Humanities, The Andrew W. Mellon Foundation, and Atlantic Richfield Company.
ARCO
AtlanticRichfieldCompany
Alt Text: People Dressed as the Adams Family; (page 1)
FILENE CENTER Vienna, Virginia
WOLF TRAP CENTERLINES
Wolf Trap Farm Park for the Performing Arts . VOLUME I JUNE 5-JUNE 26 . 1976
Alt Text: A full theater audience
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Mail to: Living Arts Publishing P.O. Box 1567, Trenton, N.J. 08607
Alt Text: Living room
Alt text: Exterior of a dome shaped house
Alt Text: Dining room
Alt Text: Back deck and the exterior of a dome shaped brown house.
(Page 3)
WOLF TRAP FARM PARK for the Performing Arts
INFORMATION
The administration offices of Wolf Trap Farm Park for the Performing Arts are open to the public 9:00 a.m. to 5:00 p.m. daily. Telephone: 938-3810.
FREE PARKING FACILITIES: West parking lot, 1,000 cars. East parking lot, 350 cars. Special guests and disabled persons only are permitted to use other spaces. Parking lots are entered from Trap Road. Follow directions of Park Police. Parking is free.
REST ROOMS: Located at the ticket office entrance area and in the lower level of the gift shop building.
FIRST AID: Consult Park Rangers, Park Police, or ushers for emergency facilities.
HOUSE PHYSICIANS: A house physician is in at- tendance at all performances. Doctors are serving on a volunteer basis. Contact Park Rangers, Park Police, or ushers.
WHEELCHAIR ACCOMMODATIONS: Special arrangements can be made by advance request. Telephone: 938-3810, ext. 234.
LOST AND FOUND: Items are held at the Park Police office, telephone: 938-3810, extension 235.
LAWN SEATING: General Admission from $2.00 to $4.00. Tickets available at Filene Center Ticket Office, Ticketron and all Wolf Trap voucher agencies. Blankets and chairs allowed on grass areas as indicated by ushers.
DINING PAVILION: Buffet dinner served nightly from 6 to 7:30 p.m .: $6.95. Reservations accepted until 1:00 p.m .: 938-3800 or Ticketron.
MAIN STAGE DOOR: Location Stage Left (audience right). All inquiries to the doorman.
WOLF TRAP ASSOCIATES GIFT SHOP: Located on the Plaza, adjacent to Ramp A. Hours: 6:30 p.m. through intermission: Matinees: one hour prior to performance through intermission.
TICKET OFFICE/FILENE CENTER: Hours: 12:00 noon to 9:00 p.m. Performance Days; 12:00 noon to 6:00 p.m. Nonperformance days. Instant credit available with BankAmericard, American Express, Master Charge and Central Charge. Tickets also available at all Ticketron outlets and at Wolf Trap voucher agencies throughout the Washington metropolitan area.
FILENE CENTER SEATING PLAN
LAWN
LOGE LOGE A/D
BOXES
REAR ORCHESTRA
ORCHESTRA
STAGE
WOLF TRAP CENTERLINES
Published by the Wolf Trap Foundation
VOL. 1 - June 5 to June 26
CONTENTS
General Information Letters of Greeting Wolf Trap Birds Wolf Trap Reminiscences Calendar of Coming Events Wolf Trap Company Suppertime in the Park Interpretive Program
EDITOR:
Luke Bandle,
Wolf Trap Foundation
ASSOCIATE EDITOR:
Jane E. Arenberg,
Wolf Trap Foundation
The Wolf Trap Foundation 1624 Trap Road Vienna, Virginia 22180
(Page 4)
Wolf Trap means the excitement of a live performance in a setting alive with the beauty of nature. This season Wolf Trap once again offers a variety of talent and art to its many, many enthusiastic fans.
I hope your Wolf Trap experience is as enjoyable and memorable as mine has always been. It's truly an honor for me to serve as Honorary Chairman of the Wolf Trap Foundation Board of Directors because I believe it is a "national treasure."
With best wishes for a marvelous time at Wolf Trap.
Betty Ford Sincerely, Betty Ford
Alt Text: Woman smiling
Throughout the nation this summer the Ameri- can heritage will be celebrated in special Bicentennial programs. It is a responsibility of the Department of the Interior to preserve and interpret this heritage, not just in 1976 but year in and year out, with the National Park System as its showcase.
One of the jewels of that system is Wolf Trap. Here is highlighted our rich performing arts tradition. I hope that many Bicentennial visitors to the Nation's Capital will also take in Wolf Trap. The exciting programs scheduled here this year will enrich the memories that our guests from America and abroad take home from Washington.
Welcome to Wolf Trap, and to the National Park System. We invite you to make the Wolf Trap tradition your own.
Thomas S . Kleppe
Thomas S. Kleppe Secretary of the Interior
Alt Text: Man with glasses smiling
(Page 5)
As we open our sixth season, we realize that in five short years Wolf Trap has learned much from the nationwide community it serves.
As a partner of the National Park Service, Department of the Interior, we embarked on a venture involving few people and we are proud to realize that many hundreds are now making Wolf Trap possible.
We at the Foundation assumed a major responsibility and thank all who have given their support and confidence.
Catherine Filene Shouse Catherine Filene Shouse
Alt Text: Woman smiling
Each season at Wolf Trap ignites anticipation and brings richness and refreshment, fulfillment and pleasure to the summer.
This year the chief program architects, Miss Beverly Sills and Mrs. Jouett Shouse, have designed and developed a summer season honoring the tenets of the Bicentennial theme and giving each of us Wolf Trap's most impressive season.
We hope you will enjoy the summer with us.
J. William Middendorf II
J. William Middendorf II Chairman, Wolf Trap Foundation
(Page 6)
Wolf Trap Birds
From April to January of 1948, Lady Wilson, Wife of Field Marshal Lord Wilson, and Dr. Wetmore, Secretary of the Smithsonian Institution, compiled a list of birds commonly in residence at Wolf Trap. The following is printed from their findings, with due appreciation of their sustained efforts in spotting and cataloguing the regular birdlife of this Park.
Orchard Oriole, summer resident Eastern Crow, permanent Cardinal, permanent
White Crowned Sparrow, rare White Throated Sparrow, winter Sparrow, permanent Field Sparrow, summer Downy Woodpecker, permanent Flicker, permanent Mocking Bird, permanent Starling, permanent Mourning Dove, summer Eastern Bluebird, permanent Gold Finch, permanent Indigo Bunting, summer Whippoorwill, summer Red Eyed Towhee, summer Robin, summer Red Shouldered Hawk, permanent Slate Colored Junco, winter Turkey Buzzard, permanent Yellow Bellied Sapsucker, winter Myrtle Warbler, winter Maryland Yellow Throat Warbler, summer Chipping Sparrow, summer Cow Bird, summer
Black Billed Cuckoo, summer Ruby Crowned Kinglet, winter Thrasher, summer
Swift (Chimney), summer
Song Sparrow, permanent Blue Jay, permanent Tufted Titmouse, permanent
Chickadee (Carolina), permanent White Breasted Nuthatch, permanent Ruby-Throated Hummingbird, summer Bob White, permanent Catbird, summer
Scarlet Tanager, summer Eastern King Bird, summer Phoebe, summer Red Eyed Virio, summer
Yellow Throated Virio, summer Yellow Warbler, summer House Wren, summer Black Poll Warbler, summer
Yellow Billed Cuckoo, summer Red Billed Woodpecker, permanent Black Vulture, permanent Wood Thrush, summer Kildeer, permanent
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Wolf Trap Reminiscences
BY DONALD SANDERS
There was that exciting opening night on July 1, 1971. There were two first ladies, Mrs. Richard M. Nixon and Senora Gonzalez de Velasco of Peru, Governor of Virginia and Mrs. Linwood Holton.
There was the Secretary of the Interior, Rogers C. B. Morton; the President of American University, Dr. George H. Williams; and the Donor of this first National Park for the performing arts, Mrs. Jouett Shouse.
"To Catherine Filene Shouse may I convey the heartfelt thanks and affection of each of us," Morton said. "We of the Department of the Interior prize our opportunity to administer Wolf Trap Farm Park. . .
"With the launching of Filene Center, Washington will take its rightful place as one of the major summer music centers of the nation. The true importance is its meaning to the people ... for the coming years."
At the end of the intermission, American University awarded an honorary
doctor of laws degree to Mrs. Shouse. "Yours is a life of service so varied as to defy precise description," Dr. Williams told her. "You have enriched this community and the nation through your gift ... "
There was also the night before, just as exciting in a different sort of way.
Van Cliburn flew in during the early evening to rehearse with the National Symphony under conductor Julius Rudel for the opening concert which
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Alt Text: A man is laughing as a woman takes a drink at a dinner table outside
Alt Text: people wait in a long line
(Page 8)
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also starred bass-baritone Norman Triegle.
Workmen were busy fixing seats which had not been properly bolted down in the haste to finish the Filene Center auditorium following the fire in mid-March which did some $650,000 damage.
Kay Shouse was on hand to cheer them on and to make sure that every- thing was done right. And she was proud that it was not only the workmen but the executives of the company which had the contract.
And she was apprehensive about the chance of rain on opening night.
"I don't like the looks of the moon," she said. "I kept the rain away for a month while we worked on the parking lot-in spite of the Hagerstown Almanac; it said heavy rain."
A few days earlier the Baltimore Sun had published an Associated Press article about Wolf Trap under the head- line: "Tales from the Vienna (Va.) Woods."
The anonymous headline writer could not have foreseen that Wolf Trap would indeed take on almost im- mediately an ambience similar to that of Vienna.
The contrasts are remarkable: the women in designer dresses and the men in black tie in the boxes, the middle aged couples in department store dresses and sports shirts in the or- chestra, the young in jeans and shorts on blankets on the lawn.
There have been notables: former President Richard M. Nixon, President and Mrs. Gerald Ford, Vice President and Mrs. Nelson Rockefeller. Prince Philip of Great Britain is expected shortly.
There proved to be many more days and nights at Wolf Trap after that gala opening.
The Metropolitan Opera, the Preser- vation Hall Jazz Band, Beverly Sills, Benny Goodman, Pierre Boulez, Virgil Fox, Eugene Ormandy, Pat Paulsen, Ar- thur Fiedler, Dave Brubeck, Carmen Balthrop in that moving production of (Continued on page 23)
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Alt Text: Drawing of a woman with a star necklace
Alt Text: Drawing of a man closely inspecting a diamond
(Page 10)
TEXACO takes you to the MET for the 37th consecutive season
The 1976-77 season promises to be one of the most stimulating and rewarding in the history of the Metropolitan Opera. It is the first under the guidance of the Met's new artistic team of James Levine, music director, and John Dexter, director of production.
The excitement of this new adventure in operatic achievement is yours via Texaco's live radio broadcasts of twenty Saturday afternoon performances to be heard coast to coast in the U. S. over the Texaco-Metropolitan Opera Radio Network, and in Canada over the English and French networks of the CBC.
The season will be full of surprises, including four operas which will be heard on these broadcasts for the first time and a dozen others which will not have been heard for at least two seasons.
It all begins on December 4, 1976, with a broadcast of a new production of Wagner's LOHENGRIN conducted by James Levine. We cordially invite you to join us at that time.
TEXACO
Leontyne Price, as seen in the 1975-76 production of AIDA
Photo Copyright Beth Bergman 1976
Alt Text: Picture of a woman singing
Alt Text: Picture of the MET
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METROPOLITAN OPERA ASSOCIATION
Monday Evening, June 7, 1976, at 8:00 O'clock
NEW PRODUCTION
Guiseppe Verdi
AIDA
Opera in four acts
Libretto by Antonio Ghislanzoni
Conductor: Richard Woitach
Production: John Dexter
Set Designer: David Reppa
Costume Designer Peter J. Hall
Lighting Designer: Gilbert Hemsley
Stage Director: Bruce Donnell
Characters in order of vocal appearance
Ramfis.................................Jerome Hines
Radames.............................James McCracken
Amneris...............................Bianca Berini
Aida....................................Rita Hunter
The King........................... Richard T. Gill
A messenger.........................Charles Anthony
A priestess......................... Marcia Baldwin
Amonasro........................... Cornell MacNeil
Choreographer: Louis Johnson
Dancers:
Act I, Scene 2: Alastair Munro
Act II, Scene 1: Susana Aschieri, Naomi Marritt, Ellen Rievman
Act II, Scene 2: William Badolato, Edilio Ferraro and Corps de Ballet
Chorus Master: David Stivender

This production of AIDA was made possible by a generous and deeply appreciated gift from the Gramma Fisher Foundation, Marshalltown, Iowa.
Adaptation of this production for the tour was made possible by a generous and deeply appreciated gift from teh Atlanta Music Festival Association.
The Metropolitan Opera's 1976 national tour is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal agency.

KNABE PIANO USED EXCLUSIVELY
Lighting executed by: Rudolph Kuntner
Scenery, properties and electrical props constructed and painted in: Metropolitan Opera Shops
Costumes executed by: Metropolitan Opera Costume Department
Wigs executed by: Metropolitan Wig Department
Sculptured headpieces and masks by: Gary Brouwer
Assistant Designer: Miguel Romero
11
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Over the past five years Mercedes-Benz automobiles have held their value better than any other make of luxury car sold in America. It stands to reason that the 300D will be no exception. After all, since this automotive forerunner is years ahead today, it is bound to be a sound asset while the others are trying to catch up tomorrow. The incomparable Mercedes-Benz 300D sedan. An engineering milestone which has quietly advanced passenger car design a giant step. Mercedes-Benz Engineered like no other car in the world. ©Mercedes-Benz1976

Alt Text: Mercedes-Benz 300D

What the passenger should be coming to: The incomparable Mercedes-Benz 300D

12

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Synopsis of Scenes Egypt, during the reign of the Pharaohs
ACT I, Scene 1: A hall in the palace at Memphis Scene 2: The temple of Ptah
ACT II, Scene 1: Amneris' apartments in the palace at Thebes Scene 2: A public square
ACT III: The banks of the Nile
ACT IV, Scene 1: The temple of judgment Scene 2: A tomb below the temple
The Metropolitan Opera is a member of OPERA America, Inc.
The management reserves the right to make any changes in the above cast in case of unforeseen exigencies.
THE STORY IN BRIEF
Aida
ACT I: In the hall of the royal palace at Memphis, Radames, a young captain of the guard, learns from the high priest Ramfis that Ethiopia threatens the Nile valley and that the goddess Isis has decreed a new commander for Egypt. Left alone, Radames hopes that he is the chosen one, imagining a glorious victory so he may free his beloved Aida, slave of Amneris, the King's daughter ("Celeste Aida''). Amneris, who loves Radames, interrupts his musing and questions him shrewdly; her suspicion that he loves Aida increases at the entrance of her slave girl (Trio: "Vieni, o diletta"). Soon the King and his train arrive to give audience to a messenger from the front, who reports that the Ethiopian army, led by Amonasro, is marching on Thebes. The King announces the appointment of Radames as Egyptian commander and leads the assemblage in a battle hymn. As Radames is led off amid general rejoicing, Aida remains alone, appalled that she too has cheered him to victory ("Ritorna vincitor!"), for the Ethiopians are her people, and Amonasro, their king, is her father. Torn by conflicting loyalties, she begs the gods for pity.
In the temple of Ptah, a priestess is heard addressing the god as ceremonial dances are performed. Ramfis consecrates Radames' mission and presents him with the ceremonial sword.
ACT II: Reclining on her terrace, the lovesick Amneris is groomed by slaves for the triumphal return of Radames. A group of dancing girls temporarily distracts the princess from her romantic musing. At Aida's approach she dismisses her attendants and, hoping to confirm her suspicions that the slave loves Radames, tells her first that he has perished in battle, and then that he still lives (Duet: "Fu la sorte dell' armi"). At Aida's joyous outcry, Amneris threatens her and leaves for the festivities.
At the gate of Thebes a crowd welcomes the army, which passes in review before the King and Amneris (Chorus and triumphal march: "Gloria all' Egitto"). The spoils of war are borne in and triumphal dances performed. When Radames is carried on victorious, Amneris presents him with a wreath. Next, the Ethiopian captives are led in; among them Aida recognizes her father. Whispering to Aida not to disclose his rank, Amonasro pleads for the prisoners (Ensemble "Ma tu, Re"). Though Ramfis and the priests demand the captives' death, Radames intercedes on their behalf; Amonasro, as their spokesman, is held hostage, but the others are set free. When the King gives Radames the hand of Amneris, Aida falls disconsolately into her father's arms.
ACT III: On a moonlit bank of the Nile, Ramfis leads Amneris and Radames into the temple of Isis for a wedding vigil. Aida steals in to await a farewell meeting with her lover; overcome with nostalgia, she mourns her lost homeland ("O patria mia"). She is jolted from her reverie by Amonasro, who demands that she learn Radames' plan for his new campaign against the Ethiopians (Duet: "Rivedrai le foreste imbalsamate"); she reluctantly agrees. Amonasro hides as Radames, striding from the temple, ardently greets Aida with promises to make her his bride after his next victory. She instead urges immediate flight and paints an evocative picture of their future happiness (Duet: "Fuggiam gli ardori inospiti"). Winning Radames to her
13
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idea, she asks what route his armies will take so as to avoid them. No sooner does he reply than Amonasro emerges from hiding, reveals his identity and, with Aida, tries to enlist the stunned Radames to their cause. Suddenly Amneris appears, calling Radames traitor. Amonasro lunges at her with a dagger, but Radames blocks his path. Then, as Aida and her father flee, he surrenders himself to the high priest.
ACT IV: In the temple of judgment, Amneris, bewailing the treason of Radames, determines to make a last effort to save him. When the guards lead him in, she offers to save his life if he will renounce Aida (Duet: "Già i Sacerdoti''); he refuses. Enraged, Amneris sends him to his doom but is immediately overcome with remorse. She listens in despair as his condemnation echoes from the hall of justice, and when the priests file out she curses them.
Radames, sealed in a vault beneath the temple, muses on Aida. He is startled by a noise: it is Aida herself, who has chosen to share his fate. Radames vainly tries to dislodge the stone that seals the tomb. Bidding farewell to earth, the lovers greet eternity (Duet: "O terra, addio"), while above, Amneris prays for Radames' soul .- Courtesy of OPERA NEWS
ABOUT THE ARTISTS
JEROME HINES, bass (Ramfis), was born in Hollywood, California, and this season celebrated his 30th anniversary with the Metropolitan Opera, having made his debut with the company in 1946. He studied at the University of California at Los Angeles where he ranked equally as chemist, physicist and musician. Mr. Hines has sung more than 40 roles at the Metropolitan, as well as others with La
Scala, the San Francisco Opera, the Bavarian State Opera, the Bayreuth Festival, the Spoleto Festival and the Teatro Colon in Buenos Aires. In the fall of 1962 he made his debut at the Bolshoi Opera in Moscow in the title role of Boris Godunov in Russian. Mr. Hines' roles at the Metropolitan include Silva in Ernani, Don Giovanni, Zaccaria in Nabucco, Arkel in Pelleas et Melisande, King
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Marke in Tristan und Isolde, Sarastro in Die Zauberfloete, Philip in Don Carlo, Boris Godunov, and Mephistopheles in Gounod's Faust.
JAMES McCRACKEN, tenor (Radames), was born in Gary, Indiana. Following service in the Navy during World War II, he entered Columbia University where he studied voice and appeared in several opera workshop productions. He joined the Metropolitan Opera in 1953 and sang small roles for four seasons. He then went to Europe, where he established his career, and in 1963 returned to the Metropolitan to make his second debut in the title role of a new production of Otello. He has been heard in most of the world's leading opera houses, including Covent Garden, the Vienna State Opera, the Teatro Liceo, and the San Francisco Opera. At the Metropolitan his repertory includes Samson in Samson et Dalila, Don Jose in Carmen, Florestan in Fidelio, Calaf in Turandot, Canio in Pagliacci, and Radames, which he sang in the premiere of this season's new production of Aida.
BIANCA BERINI, mezzo-soprano (Amneris), is a native of Trieste who now lives in Milan. She has been heard in many of the world's leading opera houses, including La Scala, the Teatro La Fenice in Venice, and those of Turin, Lisbon, Barcelona, Vienna, Berlin, London and Mexico. In the United States she has sung with the opera companies of New Orleans, Pittsburgh and Philadelphia. Her repertoire encompasses such roles as Amneris in
Aida, Azucena in Il Trovatore, Adalgisa in Norma, Laura in La Gioconda, Ortrud in Lohengrin, Dalila in Samson et Dalila, Carmen, Charlotte in Werther, and Eboli in Don Carlo.
RITA HUNTER, soprano (Aida), was born in Wallasey, Cheshire, England. She studied singing first in Liverpool and later in London. She joined the Sadler's Wells Opera in 1957 as a chorus member and two years later she was engaged by the Carl Rosa Opera Company. After a year of study with Dame Eva Turner she was re-engaged by the English National Opera, this time as a principal artist, where she has remained as a permanent member. Among the many roles she has sung there are Senta in Der Fliegende Hollaender, Donna Anna in Don Giovanni, Bruennhilde in Die Walkuere and Goetterdaemmerung, Amelia in Un Ballo in Maschera, and Santuzza in Cavalleria Rusticana. She has also sung with the Welsh National Opera at Covent Garden and the San Francisco Opera, and is heard regularly in recital, concert and oratorio performances. She made her Metropolitan Opera debut as Bruennhilde in Die Walkuere on Dec. 19, 1972, and has since been heard there as Santuzza in Cavalleria Rusticana, Bruennhilde in Goetterdaemmerung, and in the title role of Bellini's Norma.
RICHARD T. GILL, bass (The King), was a professor of economics at Harvard University for several
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years before deciding on a musical career. He is the author of five books in that field and is a winner of an Atlantic Monthly Award for short stories. He has been heard with the New York City Opera, the Opera Company of Boston, the Houston Grand Opera, the Caramoor Festival, and the Baltimore Opera. In addition, he has sung extensively in England at the Canterbury Festival, The Chelsea Opera Group, and at the Victoria and Albert Museum. He made his Metropolitan Opera debut in 1973 in the premiere of Les Troyens, and has since been heard there as Pimen in Boris Godunov, Timur in Turandot, Friar Laurent in Romeo et Juliette, Jero in The Siege of Corinth, and the King in Aida.
CHARLES ANTHONY, tenor (A messenger), was born Carlogero Antonio Caruso in New Orleans, but when he embarked on an operatic career he decided to do so without using that illustrious musical name. After serving apprenticeship with the New Orleans Opera he entered the regional contest of the Metropolitan Opera Auditions in 1952 and was judged a winner. With his scholarship he went to Italy for further study and returned to make his Metropolitan Opera debut in 1954. He has since sung more than 60 roles, including Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni, Count Almaviva in II Barbiere di Siviglia, David in Die Meistersinger, and Shuisky in Boris Godunov. He has also sung with the Cologne Opera, the Santa Fe Opera, the Cincinnati Summer Opera, and the Laguna Festival in California.

MARCIA BALDWIN, mezzo-soprano (A priestess), was born in Moline, Illinois, and is a graduate of Northwestern University. A former member of the Metropolitan Opera Studio, Miss Baldwin has been heard with the Santa Fe Opera, the San Francisco Spring Opera, the Cincinnati Summer Opera, and the Goldovsky Opera Theater. She appeared in the NBC-TV Opera production of Boris Godunov in 1961 and has given concerts throughout the United States. In the summer of 1968 she sang in the world premiere of David Amram's Twelfth Night at the Lake George Opera Festival. She made her Metropolitan Opera debut in 1963 as Javotte in Massenet's Manon, and among her more than 30 roles there since are Lisa in Pique Dame, Nicklausse in Les Contes d'Hoffmann, Mistress Page in Falstaff, Stephano in Romeo et Juliette, and Hansel in Hansel and Gretel.
Minnesota-born CORNELL MacNEIL, baritone, made his Metropolitan Opera debut in advance of schedule when he replaced an ailing colleague in the title role of Rigoletto on March 21, 1959, the same month he had also appeared for the first time at La Scala as Don Carlo in Ernani. New York first heard him in the Broadway production of The Consul, prior to his engagement by the New York City Opera. He has sung in all the principal Italian theatres, as well as with the Vienna State Opera, Covent Garden, the Teatro Liceo, the San Francisco Opera, and the Lyric Opera of Chicago. His repertoire at the Metropolitan includes more than 20

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roles, among them Macbeth, Simon Boccanegra, Tonio in Pagliacci, Iago in Otello, Monforte in I Vespri Siciliani, the title role of Falstaff, and Renato in Un Ballo in Maschera. This season he was heard as Amonasro in the premiere of the new production of Aida, as Michele in Il Tabarro, and in the title role of Gianni Schicchi.
RICHARD WOITACH, conductor, is a native of Binghamton, New York. He received his bachelor's degree in music from the Eastman School of Music in Rochester, New York. Following his graduation he was named official pianist with the Rochester Philharmonic, where he was also heard as concerto soloist. For three years he was also heard as piano accompanist with violinists Zino Francescatti, Erick Friedman and Carroll Glenn. He came to the Metropolitan Opera in 1959 as an assistant conductor, and during the nine years he held that position, he was in charge of the preparation of 26 different works. Among the many companies he has con- ducted are the Cincinnati Summer Opera, the Western Opera Theater of San Francisco, the Opera Company of Boston, the Vancouver International Festival, the Pittsburgh Civic Light Opera and the Chautauqua Opera. He made his Metropolitan Opera debut in September 1974 conducting Madama Butterfly, and this season added The Siege of Corinth, La Gioconda, and Tosca to his Metropolitan Opera repertoire.

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Metropolitan Opera Association
OFFICERS
Lowell Wadmond, Chairman Emeritus Mrs. Alexander M. Laughlin, Vice President
Langdon Van Norden, Chairman of the Board James S. Smith, Treasurer
William Rockefeller, President James C. Hemphill, Assistant Treasurer
Laurence D. Lovett, Chairman, Executive Committee Alton E. Peters, Secretary
J. William Fisher, Vice President Eva Popper, Assistant Secretary
Michael V. Forrestal, Vice President Lauterstein & Lauterstein, Legal Counsel

BOARD OF DIRECTORS
Mrs. August Belmont
Mrs. Lewis W. Douglas Emeritus Directors
Anthony A. Bliss
Mrs. Kenyon Boocock
Thomas G. Chamberlain
John T. Connor
Henry A. Correa
James S. Deely
C. Robert Devine
John W. Drye, Jr.
Irving Mitchell Felt
J. William Fisher
Michael V. Forrestal
Mrs. William Francis Gibbs
James P. Gillis
Francis Goelet
Maurice F. Granville
Lauder Greenway
Paul Hallingby, Jr.
Mrs. John T. Harrison, Jr.
James C. Hemphill
Leon Hess
Howard J. Hook, Jr.
Mrs. Gilbert Humphrey
Mrs. Alexander M. Laughlin
Goddard Lieberson
John D. Lockton
Laurence D. Lovett
James S. Marcus
Dorothy Maynor
George S. Moore
A. Chauncey Newlin
Mrs. Peter H. Nicholas
Alton E. Peters
Edward S. Reid
William Rockefeller
Mrs. John Barry Ryan
Alexander Saunderson
James S. Smith
Charles M. Spofford
Roger L. Stevens
William M. Sullivan
Frank E. Taplin
Mrs. Edgar Tobin
Miss Alice Tully
Langdon Van Norden
Royall Victor
Lowell Wadmond
Mrs. Frederick K. Weyerhauser
Mrs. Charles B. Wrightsman

MEMBERS OF THE ASSOCIATION
Mrs. Walter H. Annenberg
Mrs. William B. Ansted, Jr.
Talcott M. Banks
Frederic H. Brandi
Thomas S. Brush
Richard E. Cheney
Christopher T. Clark
Lloyd N. Cutler
Mrs. Norris Darrell
Frederic G. Donner
Frank W. Donovan
Robert G. Edge
Thomas M. Evans
Governor Luis Ferre
Leroy Frantz, Jr.
Mrs. Polk Guest
Floyd D. Hall
Mrs. Donald D. Harrington
Gordon M. Hill
Miss Kate Ireland
Mrs. Kenneth A. Ives
Mme. Maria Jeritza
Andrew Kershaw
Arthur L. Kramer, Jr.
Mrs. Albert D. Lasker
Albert A. List
Mrs. Richard P. Loftus
Mrs. C. Ruxton Love
Wilber H. Mack
James F. Miller
Philip L. Miller
Malcolm Muir
Bess Myerson
Mrs. Allen G. Oliphant
Mrs. Peter F. Packard
Hon. David W. Peck
Mrs. John DeWitt Peltz
Bernard Peyton
Mrs. Priscilla Potter
Thomas L. Pulling
Tony Randall
Mrs. Francis F. Randolph
Meshulam Riklis
John T. Sargent
William Schuman
Howard C. Sheperd
Grant G. Simmons, Jr.
Carleton Sprague Smith
Harvey M. Spear
William I. Spencer
Rise Stevens Surovy
Samuel L. Tedlow
Blanche Thebom
Norfleet R. Turner
Mrs. Theodore O. Yntema
and all members of the Board of Directors

ADMINISTRATION
Anthony A. Bliss Executive Director
James Levine Principal Conductor
John Dexter Director of Production
Charles Riecker Richard Rodzinski Artistic Administrators
Michael Bronson Technical and Business Administrator
Francis Robinson Assistant Manager
Richard J. Clavell Director of Finance
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Administrative Staff
Office of the Executive Director
Edward Corn Special Assistant to the Executive Director
Eva Popper Executive Assistant
Artistic Administration
Lawrence Stayer
Ann Coughlin Assistant Artistic Administrators
Florence Guarino Assistant to the Artistic Administrators
Bill Hudson Company Manager and Musical Secretary
Arge Keller Assistant Musical Secretary
Marianne Flettner Rehearsal Assistant
John Grande Librarian
Daniel Sagarman
Joseph Ortiz Assistant Librarians
Technical and Business Administration
Charles Bonheur
Jay Rutherford Production Coordinators
Harry A. Lasley Assistant Business Manager
Clemente D'Alessio
William Coles Technical Assistants
Nancy Cottle Assistant to the Technical Administrator
Stage Management
Osie Hawkins
Chris Mahan Executive Stage Managers
Stanley Levine Stage Manager
William McCourt Assistant Stage Manager
Stage and Shop Operations
Rudolph Kuntner Director of Stage Operations
Stephen Diaz Master Mechanix
RIchard Hauser Masterof Properties
David Reppa Staff Scenic Designer
Stanley Cappiello Scenic Artist
Joseph Volpe Carpentry Shop Head
Richard Graham Properties Construction
Nina Lawson Hair Stylist and Wigs
Victor Callegari Makeup Artist
Rose Calamari Wardrobe Supervisor
Charles Caine Staff Costume Designer

Orchestra
James Levine, Principal Conductor
Abraham Marcus Orchestra Personnel Manager
Edgardo Sodero, Assistant to the Orchestra Personnel Manager
Violins
Raymond Gniewek, Concertmaster
Edmund Jacobsen, Associate Concertmaster
Seymour Wakschal
Ernest Drucker
Arnold Caplan
Joseph Zwilich
Henryk Kasten
Sandor Balint
Vincent Greicius
Joyce Robbins
Rena Shapiro
Judith Yanchus
Doris Allen
Albert Weintraub, Principal
Leslie Dreyer, Associate Principal
Raphael Feinstein, Assistant Principal
Toni Rapport
Jacques Rubinstein
Joseph Malfitano
Glenda Williamson
Leon Kaplan
Richard Elias
Ernest Papavasilion
Emma Ricci
Magdalena Aghbolaghi
Theodore Schwartz
Violas
Michael Ouzounian, Principal
Harold Elitzik
Leonard Grossman
David Uchitel
Marilyn Stroh
Seymour Berman
David Berkowitz
Midhat Serbagi
Arnold Magnes
Michael Barten
Cellos
Jascha Silberstein Principal
Richard Kay, Associate Principal
Gerald Kagan, Assistant Principal
Yves Chardon
Edgardo Sodero
Philip Cherry
John Pastore
Carlo Pitello
Leszek Zavistovski
Double Basses
Georges Andre, Principal
Michael Morgan, Assistant Principal
Julian Tivin
Ernest Gruen
Marvin Topolsky
Nathaniel Currier
Jesse Teiko
Tom Brennand
Flutes
James Politis, Principal
Victor Just, Principal
James Hosmer
Karen Griffin
Piccolo
Karen Griffin
Oboes
William Arrowsmith, Principal
Alfred Genovese, Principal
Waldemar Bhosys
Richard Nass
English Horn
Richard Nass
Clarinets
Herbert Blayman, Principal
Roger Hiller, Principal
Ben Armato
Vincent Abato
Bass Clarinet
Vincent Abato
Bassoons
Stephen Maxym, Principal
Richard Hebert, Principal
David Manchester
Paul Cammarota
Contra Bassoon
Paul Cammarota
Horns
Howard T. Howard, Principle
Clarendon Van Norman, Principal
Richard Reissig
Richard Moore
Frederic Weber
Arthur Sussman
Carmelo Barranco
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, LEader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
E. Scott Brubaker
Wagner Tuben
Richard Reissig, Leader
E. Scott Brubaker
Leon Kuntz
Lawrence Wechsler
Trumpets
Melvyn Broiles, Principal
Mark Gould, Principal
Harry D. Peers
Lynn Berman
Vincent Penzarella
Bass Trumpet
David Langlitz
Trombones
Per Brevig, Principal
David Langlitz, Principal
Douglas Edelman*
John Clark
Max Bonecutter*
Bass Trombones
John Clark
Max Bonecutter*
Tuba
Herbert Wekselblatt
Timpani
Richard Horowitz, Principal
Fred Hinger, Principal
Abraham Marcus
Percussion
Abraham Marcus, Principal
Morris Tilkin
Herbert Baker
Harps
Reinhardt Elster, Principal
Claude Hill
Organ
John Grady
Celeste
Cecilia Brauer
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Chorus
David Stivender, Chorus Master
David Leighton, Assistant Chorus Master
Sopranos
Elizabeth Anguish
Linore Aronson
Miriam Broderick
Patricia Clarke
Wanda Cooke
Suzanne Der Derian
Elena Doria
Cecelia Entner
Mary Fercana
Ann Florio
Elinor Harper
Ruth Lansche
Elyssa Lindner
Linda Mays
Helen McIlhenny
Gloria Rydgren
Lilias Sims
Maureen Smith
Dorothy Traub
Constance Webber
Shinja Kwak
Edna Lind
Valerie Lundberg
Pamela Munson
Joyce Olson
Teresa Robinson
Judit Schichtanz
Dorothy Shawn
Betty Stone
Karol Teiko**
Maria Yauger
Tenors
Erbert Aldridge
Max Alperstein
Arthur Apy
Tony Asaro
Cecil Baker
Dale Caldwell*
Frank D'Elia
Emil Filip
Richard Firmin
Nino Garcia
Norman Griffin
John Hanriot
Robert Kelly
Charles Kuestner
Luigi Marcella
Daniel Mele**
William Mellow
Roland Miles
Abram Morales
Fawayne Murphy
John Person
Salvatore Randazzo
Hal Roberts
Robert Ruddy
Basses
Nicola Barbusci
Glen Bater
Vladimir Chistiakov
Frank Coffey
Paul De Paola
Luis Forero
John Foscolos
John Frydel
Edward Ghazal
Herman Marcus
Donald Peck**
Thomas POwell
Harry Shean
Domenico Simeone
Peter Sliker
Harold Sternberg
Sam Sternberg
John Trehy**

** steady extra chorister

Ballet

Audrey Keane, Ballet Administrator
Irving Owen, Rehearsal Pianist
Nicolyn Emanuel, Ivan Allen, Ballet Captains

* new artist
Choreographers
Alvin Ailey
Thomas Andrew
Todd Bolender
John Butler
Louis Johnson*
Zachary Solov
Dancers
Pauline Andrey
Susana Aschieri
Eleanor Bobb
Nicolyn Emanuel
Skiles Fairlie
Vicki Fisera
Silvia Grinvalds
Patricia Heyes
Eugenia Hoeflin
Tania Karina
Suzanne Laurence
Diana Levy
Naomi Marritt
Antionette Peloso
Ellen Rievman
Lucia Sciorsci
Judith Thelen
Ivan Allen
William Badolato
William Breedlove
Marcus Bugler
Edilio Ferraro
Vincenzio Figlia
Jack Hertzog
Jeremy Ives
Jan Mickens
Alastair Munro
Anthony Santiago
Marc Verzatt
CALL ABOUT OUR WOLF TRAP DINNER
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Phone 591-6319
Major Credit Cards Honored
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BOARDING GROOMING
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20
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WOLF TRAP FOUNDATION STAFF
Charles H. Watts, II President
Carol V. Harford Vice President
ARTISTIC ADMINISTRATION
Francis Rizzo, Artistic Aministrator
Virginia Pfaff, Program Coordinator
Gerald P.G. Holmes, Operations Coordinator
John Woolley, Production Administrator
Ann McPherson McKee, Assistant Production Administrator
Mary-Therese Mennino, Department Secretary
Roman Terleckyj, Production Assistant*
*National Opera Institute Intern
GENERAL ADMINISTRATION
Eveline Hyde, Executive Administrator
Raymond T. Underwood, Jr., Financial Manager
Fang Li, Accountant
Laurie J. Barnwell, Executive Secretary
Gay Ashley, Secretarial Assistant
Terry Clark, Messenger/Driver
Dorothy Buckley, Switchboard Operator
DEVELOPMENT
Paul B. Ward, Director
Clynne Moser, Development Assistant
Jere Hathaway Wright, Consultant
COMMUNICATIONS AND MARKETING
Luke Bandle, Director
Jane E. Arenberg, Executive Assistant
Annabel Dick, Secretary
Mark G. Aurbach, Manager,
Ticket Services
Susan M. Waters, Assistant Ticket Services
Peter Grigsby, Group Sales
Ticket Services Staff: Susan Adland, Joni Boyko, Robert Cameron, Philip Ege, John Feather, J.M.H. Ffrench-Mullen, Bambi Hembrick, William Hoffman, Mary Beth Hull, Patricia Jaggers, Sally Kirshner, Melanie Miller, Andrea Mose, Barbara Pierce, Glen Rother, Richard Rother, Anastasia Rozolis, Alan Schuman, Colleen Shaughnessy, Deirdre Shaughnessy, Reilly Shaughnessy, Guy Sibilla, Steven Vickery, Mary Wagner, Beth Wagy, Sharon Waters, Christine Willoughby, R. Reed Wilson.
Summer Staff: Steven Blaine, Michael Juchniewicz
WOLF TRAP ASSOCIATES
Virginia McHenry, Executive Director
Janet Juchniewicz, Assistant
Mildred L. Love, Gift Shop Manager
BOARD OF DIRECTORS
Mrs. Gerald R. Ford Honorary Chairman
Mrs. Jouett Shouse Donor
J. William Middendorf II Chairman
Rodney Weir Markley, Jr. Vice-Chairman
Hobart Taylor, Jr. Vice-Chairman
Bradshaw Mintener Secretary
Douglas R. Smith Treasurer
Ralph E. Becker General Counsel
Robert O. Anderson
G. Dewey Arnold
Mrs. James M. Beggs
Roland Boyd
Nash Castro
Mrs. William P. Clements, Jr.
John J. Corson
William Diamond
J. Martin Emerson
Gary E. Everhardt, ex officio
Howard J. Feldman
E. Atwill Gilman
Peter S. Hackes
Mathew Hale
Edwin K. Hoffman
Linwood Holton
Richard G. Kleindienst
Melvin R. Laird
Mrs. John J, Louis
Edwin Lynch
Clark MacGregor
Mrs. Elizabeth S. May
W. Jarvis Moody
Mrs. Franklin Orr
Mrs. David Packard
Joseph C. Palamountain, Jr.
Mrs. Jed Pearson
Robert A Podesta
Mrs. Abe Pollin
I. Lee Potter
John Robertson
Donald L. Rogers, ex officio
David A. Schulte, Jr.
Miss Beverly Sills
William E. Simon
Robert H. Smith
T. Eugene Smith
Roger L. Stevens
W. Clement Stone
Mrs. Cyrus R. Vance
Paul C. Warnke
C. Langhome Washburn
Miss Barbara M. Watson
Claude C. Wild, Jr.
Julius Rudel Artistic Advisor
WOLF TRAP COMPANY STAFF
John Moriarty, Director; Lawrence Skrobacs, Principal Coach; Scott Bergeson, Steven Blier, Gary Magby, Musical Preparation; Louis Galterio, Dramatic Technique; Bonni Kaplan, Body Movement; Mario Salerno, Italian Master Classes; Charles Elsen, Make up Master Classes; Susan Vitucci, Company Administrator.
21
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DEPARTMENT OF THE INTERIOR
The Honorable Thomas S. Kleppe Secretary of the Interior
NATIONAL PARK SERVICE
Gary E. Everhardt Director
NATIONAL CAPITAL PARKS
Manus J. Fish, Jr. Director
WOLF TRAP FARM PARK FOR THE PERFORMING ARTS J. Claire St. Jacques, Director
Ralph A. Hoffman, Chief of Performing Arts; Paul E. Meyers, Chief of Maintenance; Herbert G. Graul, Management Assistant; Thomas J. Rother, House Manager; Paul R. Fout, Visitor Services; Mary Frances Pearson, Cultural Activities Specialist; Mary Brown, Cultural Activities Specialist; Pat Saavedra, Head Usher, Sgt. Harry Huber, U.S. Park Police; Officer Jim Henry, U.S. Park Police; Frank Florentine, Technical Director; Ronald F. Cuffe, Production Coordinator; James Crowley, Head Carpenter; Frederick Tepper, Head Electrician; Ralph B. Saylor, Jr., Head Propman; Alexander Lakomyj, Head Soundman; Robert Angus, Head Flyman; Richard Talbott, Assistant Carpenter; Philip Mosbo, Assistant Electrician; Charles Naecker, Assistant Propman; Farrel Becker, Assistant Soundman; Richard Ryan, Assistant Flyman; Richard F. King, Jr., Third Electrician; Paul W. Farabee, Jr., Third Soundman.
COMPOSER'S CABIN Donor: Edward R. Carr, Sr.
Architect: Kohler-Daniels Associates in conjunction with students of the Fairfax County Vocational Education Dept. Builders: Fairfax County Vocational Educational Foundation, Inc., in conjunction with students of Fairfax County Vocational Educational Department.
FILENE CENTER ARCHITECTS MacFadyen and Knowles, New York City
IN PERFORMANCE AT WOLF TRAP TELEVISION STAFF David Prowitt, Executive Producer Ruth Leon, Producer
CREDITS
Ticket Services Uniform Accessories furnished by WOODWARD AND LOTHROP.
TICKETRON: Edward Dougherty, Anne Beiser, Carol Lisagor, Bob Samuels.
ADS Productions, Inc .; Blocher Reprographics, Inc .; Colortone Press Creative Graphics, Inc .; Frederick L. Fryer; Frank Parson's Paper Company, Inc .; Raff Embossing and Foilcraft, Inc .; Robert Rathe Photography; Singer Corporation; Tour Strick, Artist; John Schoeni, Artist; Exxon Corporation; Judd and Detweiler, Inc.
Who Are The Wolf Trap Associates?
The Wolf Trap Associates is a membership organization of the Wolf Trap Foundation, organized to help build community support and encourage citizen involvement with the Park and its partner, the Wolf Trap Foundation.
The Wolf Trap Associates are people from throughout the United States who want to be involved with Wolf Trap by:
supporting the education of young professionals in the Wolf Trap Company-those selected annually by audition from throughout the United States to study, train and perform under career-oriented conditions for eight weeks under Wolf Trap sponsorship.
meeting guest artists.
providing hospitality for guest artists, members of the Wolf Trap Company and other visitors to Wolf Trap.
... participating in programs designed to develop greater understanding and knowledge of the performing arts.
serving in programs at the Park, as office volunteers and as members of special events teams.
operating the Gift Shop at the Park.
WOLF TRAP ASSOCIATES
Board of Trustees
Mrs. Mills E. Godwin, Honorary Chairman Mr. Donald L. Rogers, Chairman Mrs. William J. Hardy, Vice-Chairman Mr. Ralph A. Beeton, Treasurer
Mrs. Howard L. Burris, Mrs. John Dimick, Mr. Roscoe L. Egger, Jr., Mrs. Marion Edwyn Harrison, Mrs. Linwood Holton, Mrs. Cornelius B. Kennedy, Mrs. Richard G. Kleindienst, Mr. Robert E. Lee, IV, Mr. Rollins Wm. Miller, Jr., Mrs. Ralph E. Ulmer, Mr. Robert Waldron, Mrs. C. Swan Weber, Mr. J. Hillman Zahn, Mrs. Robert W. McHenry.
Committee Chairmen
Mrs. Francis X. Kilroy, Administrative Assistance; Mrs. Willard E. Brown, Education; Mrs. Paul C. Kincheloe, Jr., Gift Shop Volunteers; Mrs. Francis W. Brown, Hospitality for Guest Articles; Mrs. Robert S. Siegel, Membership Co-Chairman; Mrs. Roy Edward Clark, Speakers Bureau; Mrs. George S. Oliver, Wolf Trap Company Liaison; Mrs. Brooke Nihart, Chairman for Volunteers; Mrs. Roy M. Ahalt, Chairman for Volunteers.
Special Events Chairmen
Mrs. William P. Clements, Jr., June 5th Benefit-General Chairman; Mrs. Joseph J. Sisco, Supper Chairman; Mrs. Willard E. Brown, Embassy Day in the Park; Mrs. Alfred Luessenhop, Wolf Trap Ball 1976; Mrs. David E. Lindgren, February with the Arts 1977; Mr. John Nidecker, July 3rd Gala.
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Reminiscences
(Continued from page 8)
Scott Joplin's "TREEMONISHA."
The list is too long to enumerate. One remembers opportunities to talk with Miss Sills, Roberta Peters, director Katherine Dunham of the Joplin opera, composer-conductor John Green, and to chat with Errol Garner in the green room during intermission and asking him if he would play STAIRWAY TO THE STARS, one of his early recordings. He did.
There was a friendly talk with Soviet Ambassador Anatoliy Dobrinin at a post-performance tent supper given by the late producer Sol Hurok, following an interview with Hurok at his suite in the Watergate Hotel.
There was an opportunity to sit in at a rehearsal of the Duke Ellington orchestra presided over by Mercer Elling- ton shortly after his father's death. That was in a basement room of a nearby motel, a cramped space in sharp contrast to the vast Filene Stage where they would perform the following night.
Celebrities aside, the audiences often are just as interesting.
The picnics on the lawn, as varied as the dress in the center. There are brown bags and beer, and there are elaborate rattan picnic baskets filled with chicken breasts or squab, and champagne iced
in coolers. There are paper table cloths and elaborate ones; some choose to picnic on the grass.
There are the intermissions, with long queues lining up for hot dogs and beer or champagne.
There are the daytime programs for children, the Fourth of July fireworks which went amiss one summer without much damage, the Christmas carol sing. There was the wet snowy morning when the first composer's cottage was dedicated, followed by hot chocolate at the center.
There are memories of the National Folk Festival, when whole families come out and stroll around the grounds watching the demonstrations and, above all, the extemporaneous performances by country and folk players of the guitar, the washboard, the suitcase bass.
There are the bright scrubbed faces of the young men and girl ushers, and the friendly staff of the National Park Service which, after some falldowns in the first season or two, runs the park with pleasing efficiency.
There are still, of course, sometimes distressing waits while jockeying for position to leave the park after a performance. But everyone seems to be happy even so.
No one who has followed Wolf Trap from its beginnings has any doubt that Mrs. Shouse is still deeply committed to its success.
There was a night last summer when,
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Alt Text: Three people talking in dress clothes
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recovering from surgery after she broke her hip in a fall, she came in a golf cart from her home across Dulles access highway to watch a performance from the edge of the lawn.
She has not always been entirely successful in controlling the weather, but does consult regularly with the Hagers-Town Almanac.
A week or so later, she was back in her box to hear a concert by the Philadelphia Orchestra. With her were Mrs. Eugene Ormandy and some other friends.
Eugene Fodor, the brilliant young violinist, was playing a Paganini virtuoso work when there was a sudden thunderstorm of such noise and violence that, as Paul Hume wrote in The Washington Post, Paganini himself could scarcely have performed it.
Mrs. Shouse leaned forward in her seat, tensing, looking at the heavens.
"Sit back and relax," a friend told her. "You aren't going to be able to stop this."
But at intermission a few minutes later the storm did stop.
Bank at midnight (Just in case you need cash to treat the gang tonight.)
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Alt Text: A bank building
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Daughter of the Regiment 1974
THE WOLF TRAP COMPANY: A NEW HORIZON FOR '76
Growth and evolution, while always controversial, are indispensable signs of life in any thriving arts group. The Wolf Trap Company-a training program for singers at the Filene Center-has grown and evolved to become one of our foremost musical resources in the United States. The new directions it has found for 1976 arise from achievements of the past five years; in turn, they promise great things in music for the years to come.
Begun in 1972 as an apprenticeship program, the Wolf Trap Company was formed as a ground where young singers might test their abilities and make decisions regarding their commitment to a professional career. The foundations of the present training program were laid when John Moriarty joined the staff in 1973; since that time, a primary goal has been to expand the professional opportunities of company singers by offering them challenging and significant roles in major operatic productions at the Filene Center. The size of the company has been progressively pared, in order to assure all members a full professional participation in all works presented. While past years often saw guest artists in operatic leads or solos, this year finds all major roles cast from the Comany
Calvary at the Madeira School 1974
Albert Herring at the Madeira School
1975
Saint of Bleecker Street 1973
Alt Text: Three pictures of play performances
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"If music be the food of love, playon!"
OGDEN FOOD SERVICES Providing food and drink to the patrons of Wolf Trap for years.
The Six Percent Passbook
Chevy Chase Savings and Loan a stock corporation
Chevy Chase Friendship Heights Aspen Hill Silver Spring Sumner Landover 301/652-1551
Company itself, with increased opportunities for solo assignments with other groups as well. This year's company is a select group; while young in years (their ages range from 21 to 28), they can well be described as "young professionals" whose training and performance at Wolf Trap can be instrumental in launching them into serious artistic careers.
The search for this group has been a tireless and exacting as well as a rewarding procedure. On January 3 John Moriarty, Company Director, and Francis Rizzo, Wolf Trap's Artistic Administrator, took to the audition trail-a ten- day talent-hunt which included visits to Chicago, Oklahoma City, Boston and New York, as well as a two-day session for D.C .- area candidates. To insure that Wolf Trap's nets would be cast nation-wide, special auditions-first in San Francisco and later at Opera America's annual convention in Miami- had been attended the month before. The 16 singers chosen for the company were culled from more than 650 promising applicants.
Over half of the "happy few" are past company members. Rockwell Blake, Stephen Dickson and Janice Hall (who during their 1974 apprentice season sang in the chorus of The Daughter of the Regiment) return to Wolf Trap as soloists, as does Neil Rosenshein (a veteran of both the 1973 and 1974 sea- sons). They will be joined by five members of last year's company-James Maddalena, Robert Orth, Susan Smith, Patricia Stone and Christine Whittle- sey-and seven newcomers-John Cheek, Christopher Deane, Keith Kibler, Roger Lucas, Evelyn Petros, Fredda Rakusin and Peter Strummer. Another company alumnus, Donnie Ray Albert (1974, 1975) returns this summer-not as a company member, but as a leading singer in the Houston Grand Opera's production of Porgy and Bess.
The Company demonstrates that singing talent emerges from every area of the United States: the range of native states represented includes New York, Ohio, California, Oklahoma, Massachusetts, West Virginia and Illinois.
One important aspect of the Company's "new look" is the fact that (Continued on page 29)
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Alt Text: Various people having a picnic
Suppertime in the Park
A tranquility pervades Wolf Trap Farm Park for the Performing Arts before the evening curtain rises. This is the leisurely dining hour when Washingtonians and guests escape the summer heat and city tensions to enjoy their meal in the cool country air of Vienna. The style of the picnics is as varied as the people themselves. A stroll through the 117-acre park will find a couple in a tux and gown, sipping wine by candlelight, near an exuberant family in denims playing together on the lawn. This happy blend makes our first national park for the performing arts very special indeed.
Visitors come to the park to treat themselves to the best in their favorite
entertainment; but also to savor the summer through the often-forgotten joy of outdoor dining. A variety of food ser- vices is available, ranging from an elegant buffet in the Pavilion Tent to old- fashioned picnic baskets to quickie commuters' snacks. The Pavilion overlooks the park's meadow and the Filene Center, with an adjoining Special Events Area where groups of 25 or more may gather and picnic as they please. For patrons who prefer to bring their food, Wolf Trap has two snack bars on the main plaza of the theatre. Soft drinks, coffee, beer, wine, champagne, hot dogs, light sandwiches and candies may be purchased before the performance or during the intermission. After the show, for groups or organizations who have purchased tickets, late-night receptions can also be arranged.
For the down-home taste, the Wolf Trap Associates have collected favorite summer recipes for simple, no-cook meals, international feasts, delicious dietetic summer fare, or creative gourmet combinations-all available through the Wolf Trap Gift Shop. And for the work-weary diner who wants to be spoiled, the Vienna area offers a number of restaurants featuring fine cuisine for every palate.
There's no need to miss dinner to come to a show at Wolf Trap. We try to satisfy your every dining need!
Alt Text: Table Full of Food
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Who are . . .
BENEFACTORS: Donors of $100,000 and above
NATIONAL BUSINESS ADVISORY COUNCIL: Corporations giving $5,000 per year.
WOLF TRAP SPONSORS: Individuals or organizations giving $2,500 or more per year.
WOLF TRAPPERS: Individuals or organizations giving $1,000.
WOLF TRAP COMPANY FELLOWSHIPS: Individuals or or- ganizations giving $500 or more specifically for the Wolf Trap Company.
SPECIAL GIFTS: Individuals or organizations giving $100 to $1,000.
GRANTS: A Contribution from a private or government organiza- tion for a special purpose.
WOLF TRAPPERS
OFFICERS
Dr. John W. McTigue, General Chairman Mrs. Samuel Zola, District of Columbia Chairman Mrs. John Ackerman, Maryland Chairman Dr. C. Barrie Cook, Virginia Co-Chairman Mr. Peter Conners Andrews, Virginia Co-Chairman Miss Gay Friedman, National Corporate Chairman Mrs. Philip W. Buchen, Newcomers Chairman Mr. Louis V. Priebe, Communications Chairman
Arthur Andersen & Company Mr. & Mrs. Peter Conners Andrews Mr. Leo Bernstein Mr. & Mrs. Norman Bemstein Dr. & Mrs. Robert J. Brennan Ted Britt Ford Sales, Inc. Honorable and Mrs. Philip W. Buchen Mr. & Mrs. William Calomiris Mr. & Mrs. Albert Chaiken C & P Telephone Mr. & Mrs. Emanuel Cohen Dr. & Mrs. C. Barrie Cook Decisions and Designs, Inc. Mr. Albert Dwoskin Enserch Corporation Mr. & Mrs. Sanford D. Greenberg Mr. & Mrs. John H. Grover Mr. & Mrs. R. Clyde Hargrove Mrs. R. H. Hargrove Mr. & Mrs. R. Wayne Hirst Mr. & Mrs. Arthur Kellar Dr. & Mrs. George A. Kelser, Jr. Mr. & Mrs. Irvin Kolker Lindsay Cadillac Company Mr. & Mrs. Maurice Lipnick Mr. & Mrs. Edwin Lynch Mr. & Mrs. F. Sheild McCandlish McGraw-Hill, Inc. Dr. & Mrs. John W. McTigue Mr. & Mrs. Paul Mellon Muzak of Washington Mr. & Mrs. Florenz Ourisman Mr. & Mrs. Howard Polinger Mr. & Mrs. Abe Pollin Mr. & Mrs. I. Lee Potter Mr. & Mrs. E. A. Prichard Mr. & Mrs. Eugene H. Rietzke Dr. Monira Rifatt Mr. & Mrs. John D. Ringle Mr. & Mrs. T. Eugene Smith Mr. & Mrs. Albert G. Van Metre Mr. & Mrs. John C. Webb H. E. Ardeshir Zahedi, Ambassador of Iran
BENEFACTORS
Mr. & Mrs. David Packard Mrs. Jouett Shouse
NATIONAL BUSINESS ADVISORY COUNCIL
Aerojet-General Corporation Alcoa Foundation Alvord Foundation Atlantic-Richfield Company Walt Disney Productions Exxon Company, U.S.A. Ford Motor Company Gulf Oil Company International Business Machines Corporation Phillips Petroleum Company Charles E. Smith Family Foundation Standard Oil Company of California TRW Foundation Westgate Corporation
INDIVIDUAL SPONSORS
Honorable and Mrs. William P. Clements, Jr. Mr. John J. Corson International Telephone and Telegraph Corporation LTV Corporation Mr. David A. Schulte, Jr. Honorable and Mrs. William E. Simon Etta L. and Henry F. Wanger Foundation
SPECIAL GIFTS
John P. Adams, M.D. Ahmedou Ould Abdallah, Ambassador of Mauritania Mr. D. F. Antonelli, Jr. Mrs. Moira Archbold Mr. & Mrs. James M. Beggs Reverend Frederick Bloom Mr. & Mrs. Harold J. Bobys Mr. & Mrs. William Cafritz Mrs. John T. Connor Mr. & Mrs. William Diamond Mr. & Mrs. J. William Fulbright Elizabeth Polk Guest Mr. & Mrs. R. Philip Hanes, Jr. Mr. Charles T. Lindsay, Sr. Mr. Yehudi Menuhin Mr. & Mrs. Robert E. Newby Dr. Dwight Newman Mrs. Charles Emory Phillips Mr. & Mrs. E. A. Prichard Mr. Thomas E. Tager Mrs. H. C. Tate Mr. John Vaughn
WOLF TRAP COMPANY FELLOWSHIPS
Wolf Trap Associates Broadcast Music, Inc. Major General and Mrs. Daniel Campbell Mrs. Paul L. Davies The Charles Delmar Foundation Mrs. John Dimick Mrs. Claude Grabeel I.A.T.S.E. Local #22 Mrs. John J. Louis Mr. Michael W. Louis The J. Willard Marriott Family Foundation Mars Foundation Mrs. Elizabeth May Pepsico, Inc. The Rotary Club of Vienna Mr. Douglas R. Smith Hattie M. Strong Foundation Honorable and Mrs. C. Langhorne Washbum
GRANTS
The Filene Foundation The National Endowment For The Arts The Virginia Commission on the Arts and Humanities
(Page 29)
Wolf Trap Company
(Continued from page 26)
company members dominate the vocal scene in this summer's program. With the exception of the counter-tenor role of Oberon, the production of Britten's Midsummer Night's Dream is cast entirely with company singers, and all but the three principal roles in La Traviata (a production starring Beverly Sills) are filled with our resident forces. All solo parts in the Beethoven Ninth (danced by the Bejart Ballet) and in Mahler's Eighth Symphony (performed by The National Symphony under Julius Rudel) will be entrusted to the company. Company members will also appear in Aaron Copland's concert with The National Symphony, the Ring Cycle Centennial Concert with the same orchestra, as well as in ballets to be presented by the Robert Joffrey and the Eliot Feld companies.
As the company confronts this ambitious performing schedule, they will receive daily training (both formal classwork and individual coaching) during an eight-week period from June 20 to August 14. This intensive program led by John Moriarty has won increasing acclaim as the "finishing school par excellence" for young American singers. Mr. Moriarty's staff of musical coaches will be complemented by Louis Galterio (dramatic technique), and in addition to the regular program, master classes will be conducted by two distinguished guest instructors-Mario Salerno (Italian diction) and Charles Elsen (make-up).
Wolf Trap's experimental concept -an advanced resident company, combining intensive training and performing opportunities of maximum scope and challenge-has been hailed in the musical community as "revolutionary". Advised of this, Mrs. Shouse remarked: "Then 1976 is the ideal year to try it."
Mrs. Jouett Shouse 1916 F. Street, N.W. Washington, D.C. 20006
Dear Mrs. Shouse:
This afternoon as I was reading an Associates' bulletin which Frank Rizzo sent me (with a picture of Wolf Trap Company Madrigal Singers), I began
pleasantly reminiscing about my extraordinary experience with the Company this past summer, and it was truly extraordinary. Now that I am away from the training program I realize there is no other place for young singers to get that kind of education.
I am convinced that the staff of teachers and coaches at Wolf Trap were the reason for the high level of inspiration and achievement we of the Wolf Trap Company experienced this summer. John Moriarty, Wesley Balti, Ruth Ambrose, and Larry Skrobacs, Steve Blier, Tom Wharton and Scott Bergeson all made this summer something I shall never forget; and they will also make me dissatisfied with those who offer me less than they did.
The Wolf Trap Company Apprentice Program will hopefully continue in the years to come. Its influence could raise the standards of opera and concert work in this country, with the help of you and the Associates and those I have mentioned. I am very happy to have been a part of it for at least one summer.
Sincerely, Marsha Hunter Wolf Trap Company, 1975
Alt Text: Cartoon of Washington D.C. and Baltimore
THE 1976 COLORADO OPERA FESTIVAL June and July
Donizetti
DON PASQUALE
A DOUBLE BILL
Stravinsky's Puccini's
THE SOLDIER'S TALE GIANNI SCHICCHI
Mussorgsky's
BORIS GODUNOV
Colorado Springs (303) 473-2233
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The National Park Service -Interpretive Program
Wolf Trap's Summer Interpretive Program enters its fifth season on July 5, offering Workshops-in-the-Arts and free daytime performances in the Theatre- in-the-Woods and the Meadow Tent through August 27, Monday through Friday. Part of the Park's Interpretive Program, sponsored by the Department of the Interior, National Park Service, this summer will include: puppets, story theatre, theatrical participation events and workshops.
Reservations for these programs must be made by calling the Interpretive Office at (703) 938-3810 from 10:00 a.m. to 4:00 p.m. weekdays.
THE DULLES ACCESS ROAD IS NOT OPEN FOR INTERPRETIVE PROGRAM EVENTS.
THEATRE-IN-THE-WOODS PROGRAM
10:30 a.m. Monday-Friday: Library Theatre: "Curious George" "Rumpelstiltskin"
1:00 p.m. Monday-Friday: Bob Brown Marionettes: "Great American Bandwagon"- A Bicentennial Piece
THE MEADOW TENT PROGRAM
11:00 a.m. and Noon Monday-Friday: Inter-Play Productions "The Creation of the Nation"- A theatrical participation event
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We can't make Sunday Brunch.
So we have ours on Tuesday ... or Wednesday, or any other day of the week. And we enjoy it most at the Publick House of Georgetown. No matter what day of the week it is, brunch at the Publick House has that good Sunday feeling. The menu is just as full as on Sundays. Brunch cocktails like Mimosa and Milk Punch are real eye openers. There are six kinds of egg specialties prepared to perfection with Benedict and Hussarde heading the list. And fluffy omelettes, assorted quiches and steak and eggs for the hardy. Round it all out with just the perfect wine and finish with an irresistible dessert. At the Publick House, you can get a great Sunday brunch on Monday . . . on Tuesday .. . on Wednesday ... Any day ... Every day!
Publick House 3218 M St., N.W., Georgetown, Washington, D.C. 333-6605
Brunch Served Daily 10 AM to 3 PM
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"Television's finest 13 hours"
THE ADAMS CHRONICLES
Photo Carl Samrock
See The Adams Chronicles and In Performance at Wolf Trap back to back this fall on PBS.
Starting in September, The Adams Chronicles, the highest rated series in public television's history, will precede new and selected repeat performances taped at Wolf Trap.
New Wolf Trap productions will include La Traviata, starring Beverly Sills; a jazz concert starring Dizzy Gillespie, Earl "Fatha" Hines and Billy Eckstine; a Baryshnikov/Kirkland ballet; Cleo Laine and John Dankworth; and the live July 3 Bicentennial concert of the National Symphony, conducted by Andre Kostelanetz
In Performance at Wolf Trap is made possible by a grant from Atlantic Richfield Company.
with Yehudi Menuhin as soloist. Produced by WETA/26, Washington, D.C. The Adams Chronicles cast includes (above, clockwise from upper left) Steven Grover (John Quincy Adams), Lisa Lucas (Nabby Adams), Kathryn Walker (Abigail Adams), J. C. Powell (Charles Adams), George Grizzard (John Adams), and Asher Pergament (Tommy Adams). An original production by WNET/13, New York.
The Adams Chronicles is made possible by a grant from the National Endowment for the Humanities, The Andrew W. Mellon Foundation, and Atlantic Richfield Company.
ARCO
AtlanticRichfieldCompany
Alt Text: People Dressed as the Adams Family

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