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Delightful Opera Program Planned At Brevard Center By BOB BROWN Spartanburg's Henry Janiec and John McQ-ae have worked up a most delightful group of operas for the Brevard Music

choice for July 20. Two years ago this writer suggested to Dr. Janiec, director of the Center, that he consider producing the

Thill is Olle of the great favorites of graad opera. Tbe st.ory bas everything: actloa, .uapeose, love, hate, tragedy, death - all

"Tales" with Producer Mc- In a sdUDg of some of the most Center this Swnmer. They have Crae, who is considered by beautiful mUllc of aU time. planned a season of all-time many an operatlc producUon • favorites _ nothing too heavy genius: "carmen" is a good grand and nothing not liked by regular " I think it would be good if we opera for young people who can figure out some way to think they might not like grand opera entOOsiasti. The opening piece is "Trial by eEplaln the story to the people," opera. But they should read the Jury" - a perfect one.,act gem. Janlec answered. libretto beforehand, by all n pokes fun at the courts in an I promised to do everything means. Then it will Jr0ve extremely clever way. Gilbert's possible to explain the story. It throughly enjoyable. The nbretto is the tale of a breach ttl may not be too difficulti it is the Brevard people produced it a promise suit, sparkling with story of four loves, told by a few years a80, and did a exquisite Wit and rhyme and poet whose mind is clouded with remarkably fine job of it. resulting in a surprise ending. Sullivan's music is apt ani:I singable throughout. " Trial by Jury" is scheduled for July 7.

"HaD$e1 aad Gretel" will be suag July U. While lbe .otry II the cbildrt..•• clallle, tile m1ll1c 01 tbe opera" f.r from juftlllle. It II adult opera IIlat aU may enjoy without prior preparation.

Englebert Humperdinck, the real one, the composer, not the pop singer, is the creator of the Hansel and Gretel opera. "Tala of Hoffmann" is the


It is Offenbach's masterpiece. The music ill total enjoyment from beginning to end, and this writer urges parenb to bring the children. let them sit through the first act (and the prelude, of course) then take them borne. That lleat act., revolving around Hoffmann's love affair with a mechanical doll, is one of the most beautifully creations of aU


"The Merry Widow", Lehar's lilting I1ght opera, wtll clole the season on August 18. This should be even more popular than was " The Student Prince." last season, which is saying it will play. to a sold-out howe. Each year the operas draw

more and more people, as their

excellence is learned of throughout the United Stales and canada. They represent a gold mine of pleasure In. the doorways of the people of North "Oklahoma" is schedled for and South Carolina. It is tragic Aug. 3. 'Ibl.t is one of the aU· that more people 01 the time favorite musicals of both Carolinas do not enjoy their stage and screen. share of the gold. All it takes to "canneD" wUh:ome Alii 18. enjoy opera is learning about it

Large Crowd. Expected

Opera Friday Opens Second Weekend Of Music Festival Opera Friday Opens Second Weekend Of Music Festival

The stcand F estival weekc nd 01 the summer season at Ure\'3rd Music Center begins Friday night with the 011l'r3 Hallsel and Gretel. to bo followed Saturday by a Ilc rformanrc by the Transvl· va nia S)'mphony Orchestra allli Sundar the l\lusic ('rRtrt Orrhest ra a.nd Choru s "HI IlrtSf'nt lIanders Messiah Undf'r the dil'ection of n ohert Shaw.

The Brevard Music ('cnlcr tenm of lIenry JanieI' and .lotJn Richards McCrae will combine their superb talents for the production of Hansel and Gretel. Mr. JanieI' will conduct the l'olusic Center Orchesh'a while Mr. McCrne directs the opera comp:lny. Members of the Opera Workshop at the Center will appear in roles in Hansel and Grelnl. Conductor Emil Rub dr ops his baton Saturday evening on the season's opening performance by the Transylvania Syml,hony Orchestra. Feat ur· ,, " seh'rllons will be Schubert's Eighth Symphony, Ber· lioz's Hungarian l\h rch, and Dcbussy's Nllagee Feles.

(Conhnued from Page One)

concerts dubbed the Connoisseur Series. Featured will be casts. This is the second sea· son Mr. Shaw has conducted the artist - faculty of the Cena workshOl1 at the Center con· ter in concert with chamber cilHling with a concert. music. Bozza's Suite for Brass Quintet, Brahams' Piano Quar· Next Monday night will fea- tet in G Minor, and Rousdl's ture the second in a series of Serenade will be performed in

an intimate candlelight atmosphere. The concert will be held in the Straus Student Center at the Brevard Music Center. Ticket and concert informa· tion is available from the Brevard Music Center, Brevard.

Sunday at 2:30 guest conductor Robert Shaw will con· c1ude an in.depth study, of Handel's Messiah with a performance or the entire work. Mr. Shaw has beell conducting a week·long study of the Han· del masterpiece at the Center. 1'Jr. Shaw is the founder and conductor of the famed Robert Shaw Chorale and became music dil'eclor and condudol' of the Atlanta Svm phony Orcbestra in tile r~ lI of 1967. In six years he has expanded the Atlanta S~'lII llho ny Orchestra's scope to include ballet, oralorio, eilambt'r music, educational cOllcerts and special tcle· _Turn to Page Five

At Brevard Music Center "The ~lerry Widow", last in the Brevard Music Center opera series for the season, will be sung at 8: 15 p. m. Saturday. This most successful of the seasons of Brevard opera included "Trial by Jury", "Hansel and Gretel", "Tales of Hoffmann", " Okla· homa !", and "Carmen". Principals in

"The i\'Jerry Widow" are, (L-R) : David Rae Smith as the Prince, Janice Janice as the widow, Perry Daniels as Popoff, and Beverly Culbreath as Natalie. John Richards McCrae is produc· er·director, and Henry Janiec is con· ductor.

Opera Opens 2nd Weekend, Of Brevard Center Season BREVARD-The sec 0 n d festival weekend of the summer season at Brevard Music Center hegins Friday night with lite opera Hansel and Gretel. A perfomance by the Transylvania Symphony is slated Saturday and Sunday the

Symphony, Berlioz's Hungarian March and Debussy's Nuages, Fetes. Sunday at 2:30 p.m. guest conductor Robert Shaw will present an in-depth study of Handel's Messiah with a performance of the entire work.

Music Center Or.:::hestra and Shaw has been condllCting a Chor~s will present .Han,del's week-long study of the Handel MeSSiah under the directIOn masterpiece at the center. Robert Shaw. Shaw is the founde r and cenThe Brevard Music Center ductor of the famed Rohert team of Henry Janiec and John Shaw Chorale and became music Richards McCrae will combine director and conductor of the their talents for the Hansel and Atlanta Symphony Orchestra in Gretel production. Janiec will the fall of 1967. In six years. conduct the Music C en t e r Shaw has expanded the Atlanta Orchestra while McCrae directs Symphony Orchestra's scope to the opera company. Members include ballet, 0 rat 0 rio, of the center Operal Workshop chamber m u sic, educational will appear in roles the opera. concerts and special tclecasts. Conductor Emil Raab will be This is the second season Shaw on the podium Saturday evening has conducted a workshop at for the season's 0 pen i n g the center concluding with a performance by the conccrt. T ran s y I van i a Symp~ny Monday night will feature the Orchestra. Featured selechons second in a series of concerts will be Schubert's i g h t h dub bed the "Connoisseur Series." Featured will be the artist-faculty of the center in concert with chamber ml1sic. Bozza's Suite for Brass Quintet. Brahms' Piano Quartet in G Minor and Rouse\l's Serenade will be rformed in an in-

timate candlelight atmosphere. The roncerl will be held in the Straus Student Center at Brevard Music Center. Tick~t ~nd c.o nee r t in路 1orn:tahon IS available by contactml!' the center.


Page 5 The A.hev.iUe Booi1-6wlT.e 788 MelT.lT.<mon Ave. 253-1692

tightly integrated Brevard for the Music dramatic action, inCenter Resident Opera tensity of focus. Company production Both versions make of Bizet's "Carmen," superb lyric theatre, John Richards McCrae and certainly Mr. director and Henry McCrae's (which of Janiec conductor. course is currently For this perforfashionable in one or mance Mr. McCrae retwo other opera houses) turned to the origwas exciting and perinal idea of the suasive. work as opera- comi As for the matter que, musical episodes of the spoken dialogue: joined by spoken it too, I think, has dialogue, rather than its merits and its using the recitatives defects. Immediacy of provided by Guiraud, dramatic impact, certo which most of us tainly, and the kind are so accustomed of simplicity inherfrom repeated hearent in the story and ings ("Carmen" is the characters: these one of the two or on the plus side. But three most popular not all singers, not operas in the world) even all good singers, that we have to be are trained in the reminded they were highly stylized denot in the original livery of operatic score. spoken lines; skill Further fidelity is required to go to the original verfrom the "sung" charsion was the absence acter to the "speakof the colorful baling" character wi thlet sequences usualout marring the stage ly so vivid a part identity--especially of the fourth act true when the work in the public square is in Engl.ish (as before the bull ring was this "Carmen,") in Seville. Indeed, and some of the natwe never saw this ive singers still squar e --and hence reta i n in t hei r spoken no "water sellers, dialogue regi onal inothers with oranges , flections they have fans, and other artlearned to avoid when icles • •• Chorus •• . singing . Admittedly, Ballet •.• Festival t her e was not a procession" (I quote great deal of this from Kobh6 ' s ol d k i nd of s i nging in classic) and no t r i the Brevard "Carmen , " umphant entrance of bu t t here was enough Carmen on her newest --and n~t all of it lover ' s brightly deamon g the less procorated arm . minent char acters -What we did see to make one momentwhen the f i nal curtain arily uneasy . opened was the toreaI had some undor ' s dressing r oom easi ness, too, with in Bart Alderman 's the usually admir able fancifu l recrea tion , Br evar d orchestra , with suggestive rewhich did not seem l igious touches, posto me to rise to a ters announcing the number of desired hero's appearance , heights--or was this and-- very much domin again a matter of ating the scene-- the r etaining the lean passageway to the profile prevai l ing arena, through which, in the staging and after exchanging rethe sets? If so, it newed protestations was a mistake, at of love with the gypsy, least in the Prelude Escamillo goes to his to the First Act, glory while Carmen , which so marvelously defiant of the fate contains all the her friends Mercedes drama "in petto"-: and Frasquita have the sunshine of the warneq her of, reholiday plaza, the mains behind to face buoyancy of the fesDon Jose's frenzied tive bull - fight thrappeals and the ulti ong; the "Toreador mate dagger stroke. Song, " with its proWhat we lost was vocative virility, spectacle , display; fol lowed by business what we gained was a i n the strings to August 10: To

evoke Carmen's danger ous feminine allure --and then the almost brutal introduction of the "Fate Motif"--this wonderful music demands that an orchestra give its emotional all, while retaining, of course, its control of accuracy, which the Brevard players would do in any case. Friday evening I tho ught they seemed a little tired. Alderman's dressing for Act One and Two was ordinary but serviceable, with nice touches of color. His opening shot for Act Three ("A Mountain Pass") was beautifully poeticized by the lighting or Archie Stevens: a mysterious shade of Dlue, gradually growing brighter; a single tree catching traceries of starlight; and a radi ant pattern of stars g~ ~tt ering. (We remember those stars from other Brevard operas, but so what? They ' re al ways welcome --even with gypsy smugglers lurking beneath . ) Choral matters were kept to a mini mum and were attractively managed; a good guard detail, cigarette- factory girls that mayor may not have belonged to the union, (their "Smoke" chorus was lovely), and gypsies not t oo obviously dressed for the tourist trade. We have come to expect good s i nging and acting from the Brevard ensembl es, and the "Carmen " crew met these expect ations . There was an especially appealing . children ' s chorus to take care of the idiotic mock drill in Act One, the youngsters carefully graded in size down to two little pea nuts, who pretended to forget to leave the stage when all the others marched off, then suddenly realized their situ ation, and fled -- to great applause. For my book , a little cute, but the audience

as sketched by Robert Moulson. His acting All the secondary in all the shenanigroles were entrusted ans before Carmenfs to students of the escape was about par Brevard Opera Work for the role, and he shop, who uniforntiy did not seem too emshowed courage and barrassed at the text talent. Michael Ausgiven him when making tin (Dancairo) and enquiries about his David Berndt (Remenmother in the duets dado) joined Laura with Micaela. DramaRobinson (Frasquita) tically he had an and Martha Leipsic Othello-like inten(Mercedes) in a very sity in his fourth stylish "tromperic" act, where emotion, quintet-- of course, Singing, and gesture with Carmen's help were powerfully in(but more of her tegrated. As with later). The ladies Smith (to judge from named were excellent the only other time in the tricky card I have heard Moultrio as well, and son, in the recent dramatically effect excellent "Hoffman") ive in the fourth I did not think he act. Both Scott was in his best voice: George (Moralea) some of the productand wayne Baughman ion was tight, and (Zuniga) convinced once or twice he inme they were real dulged in Mario del soldiers, and George Monaco yelling. But was amusing in his his building of the drunk scene. line in the "Flower As Micaela, with Song" was artisticalsome of the loveliest ly done, and his high music in "Carmen" to x, or whatever the sing, Martha Sheil note is, at the cli pleased visually max was thrilling and vocally. She sang and operatic in the her celebrated aria grand tradi tion. , gently and, for the The cause of all most part, purely, this rapt ure and and projected rerage was seductivel y markably for a novinterpr eted by the ice the character mezzo soprano Doroof the village maiden . thy Krebill, for She sensibly avoided whom the part might the high note introwell have been writduced by some famous ten. She has developMicaelas to show off ed many personal their range more than bits of characteri their taste in style . zation i n the role, Her "Mother" duets and while her singwith Don· Jose wer e ing lacked the sumptfeeli ngly but simply uous qual i ty of many acted and sung , and remembered Carmens, she deserved the no one could fault warm applause the the accuracy of her overflow audience delivery of the gave her . "Habanera," the Davi d Rae Smith "Seguidilla, " the waS' Escamillo,. bett er "Chanson boh3me" dramaticallY', I (especially fascin thought, than vocally, ating), and the Card at least i"n hLs big Scene. She wore beaunumber , which he sang tiful costumes, she Ln splendi-d style moved like a tigress, and with wonderful and she radiated gestures, but parts sexual danger from of which sounded unthe moment she slid comfortable. His across that bridge voice was pure bl ack and worked her way velvet, though, in through her rope the "If you love me " tricks with her dra passage with Carmen goon. A fascinating in the final act, portrayal , one with and he has the in many lights and gredient of magnetshades to it, a tri ism without which no bute to Miss Krebill's Escamdllo can succeed. artistry and to the His rival for the cooperation of Mr. gypsy's favor, Don McCrae and his tireJose, was at once less and talented strong and pathetiCI Op!!'ra COlIll2iWY.'_•• _____•

Director McCrae Weaves Magic Spell Over Breyard Mountains

Audience Bewitched By 'Tales Of Hoffman' By DEBBIE DALHOUSE Stalf Writer A grisly story of magic and




rejection, stirred in the best cigar Allen

Poe stY,e and

per formed to the haunting strains of the special Brevard Opera Company Orchestra , spread Ita magic over the North

carolina hills Friday night in John McCrae's interpretation of the French opera "Tales of Hoffmann" by Jacques Of路 fenbach. Each act of the tragicomedy is set in a different locale, opening willi a prologue in a Nur emberg tavern where Robert Moulaon as Hoffmann

the poet Is greeted by student followers and asked for a song. In the process of the comic

rendition of Kleln-Zach the dwarf, Hofbnann strays into

reminiscences of past love affairs and promises to relate the tales. Mary Ann Bushing is the sprightly Nlckiausse. Hoffmann's ever-ready muse in disguise who vig:ilantly watches over him and intervenes in his behalf during scrapes. 9le _naturally accompanies him on his love escapades, the first in Paris at the house of scientist-inventor Spalanzani (Marshall Thomas).

Spalanzani has created a walking, talking, danCing , dnging automaton which he~ paS!ll!S off as his daughter. She appears to Hoffmann as the nost beauti拢u1 creature on ~,as he is the spell of I magic p8h- of spectacles inre~ by $palaruanl's rival,

Coppelius (SCott George) and purchased for him by trusty Nicklausse . His conquest is'complete after the doll Olympia, convincingly automated by Gianna Rolandi, sings the enchanting aria "The Birds In The Bushes." So, too, was the audience's rapture Q'>mplete. The whole bouse cbuckled their way through the light piece, then applauded it in the grand manner that the excellence of the perfonnance demanded. This first affair ends abtupUy with Olympia's destruction by Coppelius, her creator's rival. But not before Hofbnann has the opportunity to waltz with the robot and Is liter ally swept off his feet In her mad whirling. . Hoffmann 's dismay at the ruination of the lovely doll is pitiable, but not long-lasting , as we next find him in the villa of the elegant courtesan Giulietta, on the Grand Canal in Venice. In this second act, Jane Hicks as Giulietta c aptured the audience with her opening aria "Beaulious Night, 0 Hlght of Love" intende<fto put her party guests at their ease. Again, deceit rears Its ugly head, this time in the person of a professed magician, Dappertutto, evilly portrayed by maestro Perry Daniels. 'The wicked scorcerer bribes Giulietta to procure him Hoffmann's reflection with the powerful solo "SparkJe ,

face and on the magic diamond that glows wlerdly against the sinister backdrop of his billowing black cape. Under Glulietta's spell, Hoffmann murders her former lover (James Boyles) in a duel for the key to her room; but loses his reflection and the girl as she escapes In a gondola with her hunch-backed court jester played by camper Rusty Keesler. As the police approach, Mary Ann Bushing as Nickla\1!.Se persuades the desolate Hoffmann to flee and we next encounter the Intrepid pair in Munich at the home of Hoffmann 's old fl ame Antonia (Martha Toney). The lovely Antonia, daughter of Gennany's most beloved soprano, Is forbidden to follow her mother 's career for fear that she, too, will come under the evil hand of the magician Doctor Miracle. sWIg by David Rae Smith. Miracle, however, proctreS an audience with the young girl, causes her mother 's ghost (Marvis Martin) to appear and j.nduces the daughter to join in frenzied song with the supernatW'al voice and its sinister instigator. . The exertion is too much for the frail Antonia. and she collapses dying before the scorcerer, leaving him aJone to complete the song In wicked


Again, the eerie glow of flourescent lights is played on the magician's symbolic black cape and the presence of evil fills the stage, embodied In

The impact of this scene is enhanced by artistic use at fJourescent light played on Daniels eerie white-washed


David Rae Smith's sardoruc laugh. Hoffmann is heartbroken, having lost three loves and his reflection In a brief span of time. McCrae's Interpretation omits the epilogue which returns lIS to the tavern in Nuremberg as the students drift homeward after the evening's entertainment and leave Hoffmann face-down in his drink, exhausted by his rendition. In the originaJ production. while he is in this stupefied condition his present love enters, finds him Inetriated and leaves with the poet's arch rival, throwing Ho(fmann a flower from her bouquet as they exit. The perfonnance at Ik'evard was perhaps not so ironic as Offenbach intended with the epilogue; but left the audience on a much stronger dramatic note, barely over the ragged edge of the most tragic of the tales. An ensemble of thirty-five Brevard Music Center campers backed up the prinCiple singers in the twenty~ember cast featuring Robert Moulson Gianna Rolandi, Jane Hicks: Perry Daniels, Martah Toney, David Rae Smith and Marvis Martin. The music was supez-b, as is expected of any BMC production; and the scenarios, professional all the way. in the true Ik'evard tradition. Result. another triumph for the crusaders of culture in the Carolinas.


BREVARD - The third weekend of the 37th summer season at Brevard Music Centt:r features the opera "Tales of Hoffmann" baritone Benjami.'l . ' . Middaugh and soprano Jeannme Altmeyer, The Opera Workshop under the direction of John Richards McCrae highlights the Friday night performance 0 f Of路 fen bach's "Tales of Hoffmann" with Ward Woodbury conducting the orchestra. McCrae has rewritten parts of the dialogue sequences for this performance. Opera is a consistent highlight during the seaSCln and McCrae has drawn wide acclaim for his

Opera Workshop. The native pleat baritone" and "a musi- Iwrmalion is available from the South Carolinian is in his ninth cian's singer." center. season at the music center. Sunday at 3:30 p.m. soprano Emil Raab's Transylvani3 . ~eannine Altmeyer ,,!il1 appea~ Symphony will ap~ar in con- Inc 0 n c ~ r t Wit h t h ~ cert Saturday mght wit h Brevard MUSIC Center Orchestr~ baritone guest artist Bcnjamin lundcr conductor Henry Janiec, Middaugh. Raab's young group Miss Altmeyer made h e ~ of musicians is said by many Metropolitan Opera debut as th to be the best group to appear celestial voice in Verdi's opera, with the S}'mphony in years, "Oon ~arl~." She is a nat!v Middaugh is a native of Texas of Cahform~ and has stUdied and received his bachelor of at the, MUSIC Academy of th music and master of music West In Sa~ta Barbara and a degrees from North Texas State Mozarteum In Salzburg. and Michigan State University. This ,weekend ~he Nation.a In 1968 he earned the doctor FederatIon of MUSIC .Clubs wII of music degree at Florida hold Its annual meetmg at the State University. Critics havc lcenter. touted Middaugh as "the com- Ticket and con c e r t In-

'3airy-tale opera, Hansel and Qretel,


By Del McDuffi4 Angels sang. fairies danced , ..:hildren played. and witches brewed . Walt Dilllcy? No. Hum· perdinck? Yes. Engelbert Humperdinck (con· tmy to populu beUet) was alate Roman tic compos er (1854-1 921). His most poQulu work, HIlMeI and Gretel the fairy-tale opera, was stqed here Februar y 3rd in Twichell Auditor ium at 3:00P.M .

(matinee), and 8:00 P.M, "1t wu produce d, perform ed, and dJrect· ed by the Convene CoUege Opera Workshop. The Spartan burg Jun· ior League, The Spartan burg Her·

aid Journa l , WSPA·TV. and WFBC· TV generou sly assisted with city-wide publicity. HfllUel and Gretel is Humper· dinck's best known work. The use of Wagnerian harmon y and leit· motifs combin ed with melodies and the Grimm fairy·tale plot create a delightful thrce-ac t opera. The story is of the ~wo childre n, Hansel (Dian Lawler.

Adrienne Grubb· ) and Gretel (Catherine Ward, Susan Jones·) who are sent by their mother (An·

nette Whisnant, Jane Gallow ay·) pick berries in an enchan ted forest. They become hopelessly 10lt and frightened. The jolly Sandman (Donna Ulmer, J arne Kerr·) comes and lulls them to sleep. They are guarded throuldl the night by fourteell angelS, ano are awakened by the Dew Fairy (Snaron Willis, Leilani Rice·) as she welcomes the momifl8. The children then spy the delicious gingerbread house, which is ·inhablted by the Wicked Witch (Lynne McNeill, Laura Alley·) . She capture s them, but they manage to free themselves. push the witch into her own trap, and free the other gingerbread children . The anxious parents (Fathe rKermit Bums) fmd Hansel and Gretel, and there is a..great rejoicing. There was fantastic tcenery : the witch's gingerbread cottage , a lush forest, a Oying witch. Angels ~d fairies dJded across the stage


as the chlldren wander ed throuah the forest. Onstage wu an ordered wonderland. BackSl ap there WII ordered confusi on. The pianist wblzzing tIuough he, accompaniment score, nervous acton and singers running back and forth, people reaching for the correct props, stageha ndl moving the sets-al l were part of the frantic backstage activity. While the childmt (and the youna 11 heart) In the audience giggled and gasped at the fairyland, the crew worried about the next scene change, o r the next J.ishting set-up, or the next make-up job ... Even a short t.hree.-act opera takes a lot of work. The thirty· membe r cut for HIllUeI and Gntel reheane d their !Cenel from nve to thirteen houn per week in the few weeks befote it was performed . Rehearsall were long, physically exhaustinB. The dialogue wal written by John Richards McCrae , who produce d and directed the opera. Barbara Ferguson choreographed the production. David Holcom be, Scenic {)esigner, and Stage Manager Robin Crandall, and membe rs of the Workshop prepared the detailed tcenery for the produc tion. Kathleen Vandek ieft, Assistant to the Director, and Robin Crandall were to be seen at every rehearsal, helping the actors with lines and music, arrangi ng lighting set-ups, make-up duties, costuming, and other technical details. Nancy Wilkinson , th(' coach-accompanist , spent many hours leamirfg the difficult score and practicing with the singers. Dean Janiec co-ordinated the music. The leading roles were doublecast, one cast performing the matinee, the other cast the evening performance. These memhe rs of the cut and the many backstage workers made up the product ion of Hanul and Gretel, an opera that ,delighted the altdiences and proved that the hard work and long hours were wen worth the effort. • Appeared in Saturda y eveninl!. performance.

1973 Opera News Clips  

News clips about the 1973 opera program at the Brevard Music Center.