Tulsa Opera

Tulsa Opera is an American opera company based in Tulsa, Oklahoma.

Originally an amateur performance group named the Tulsa Opera Club (established 1948), the company was incorporated as a professional organization in 1953. Performances for the company were originally presented at the Tulsa Theater (the "Old Lady on Brady") until the Tulsa Performing Arts Center (TPAC) opened in 1977. The company currently presents an annual season of three staged operas at the TPAC. Numerous well known singers have performed in operas with the company, including Beverly Sills, Anna Moffo, Roberta Peters, Richard Tucker, Renata Scotto, Cornell MacNeil, Samuel Ramey, Simon Estes, and Jerry Hadley among many others. In addition to staged operas, the company has also presented concerts and recitals featuring artists like Barbara Cook, Susan Graham, Luciano Pavarotti, Leontyne Price, and Joan Sutherland. Opera composer and pianist Tobias Picker currently serves as the company's artistic director.

History

1948-1953: Tulsa Opera Club

In 1948, five Tulsans, Bess Gowans, Ralph and Ione Sassano, Mary Helen Markham and Beverly Bliss, formed the Tulsa Opera Club. On 4 December 1948, the organization performed Giuseppe Verdi's ''La traviata'' at All Souls Unitarian Church on Boulder Ave. with Ralph and Ione Sassano portraying Alfredo and Violetta, and a young William Lewis singing the role of Gaston while a high school senior under the baton of local conductor Gerald Whitney. Impressed with the performance, ''Tulsa World'' owner Maud Lorton Meyers approached the company with the offer of financial support in exchange for a seat on the company's board of directors which was established in 1949. That same year she purchased a house at 1610 South Boulder in downtown Tulsa. This home served as both the headquarters for Tulsa Opera, and as the living quarters of the Sassano family. The current Tulsa Opera headquarters is still at this address, but with a different building that was built in 1975.Williams and Sowell, p. 19 In 1971 the company purchased adjacent properties to the original building which allowed for a parking lot and a much larger facility to be built.

Following ''La Traviata'', the company initially presented light operas and operettas twice yearly at Will Rogers High School with mainly amateur performers.Williams and Sowell, p. 20 In 1950 the company moved to the " Old Lady on Brady" and began hiring one or two professional singers per production; beginning with David Atkinson as Robert in Sigmund Romberg's ''The New Moon''. The company continued to present light operas and operettas twice yearly through 1953, including a production of Gustav Luders's ''The Prince of Pilsen'' which featured a young Rue McClanahan as a dancer.

1953-1974: Early professional years at the "Old Lady on Brady"

In 1953, the company restructured itself as a fully professional organization under the name Tulsa Opera; continuing to stage operas at the Tulsa Theater on Brady St.Williams and Sowell, p.22 From this point on all the principal roles were paid professionals, beginning in November 1953 with Giacomo Puccini's ''Madama Butterfly'', directed by Anthony Stivanello of the New York Grand Opera Company, with Tomiko Kanazawa as Cio-Cio-San, Giulio Gari as Pinkerton, and John Brownlee as Sharpless. Stivanello directed many of Tulsa Opera's productions through 1973. Many prominent artists performed with the company in succeeding years, including tenors Eugene Conley (1955, Faust) Barry Morrell (Cavaradossi, 1957Williams and Sowell, p. 27) and Brian Sullivan (1955, Rodolfo); sopranos Licia Albanese (Tosca, 1957), Nadine Conner (1955, Mimì), Dorothy Kirsten (1958, Cio-Cio-San) Marguerite Piazza (Violetta, 1954Williams and Sowell, p. 24); mezzo-soprano Nell Rankin (1957, CarmenWilliams and Sowell, p.28); baritones Walter Cassel (Scarpia, 1957); and dancers Roman Jasinski and Moscelyne Larkin (featured in ''Lucia di Lammermoor'', 1958).

In 1957 George Whitney stepped down as Tulsa Opera's conductor, and the company began hiring professional opera conductors such as Giuseppe Bamboschek to lead performances. Bamboschek notably conducted a highly lauded production of Giuseppe Verdi's ''Il trovatore'' in the Spring of 1959 which starred Jussi Björling as Manrico, Elinor Ross as Leonora, Leonard Warren as Count di Luna, and Jean Madeira as Alzucena. In 1959 conductor Carlo Moresco was hired as artistic director of Tulsa Opera and Jeannette Turner was hired as executive director. Moresco conducted all of the company's performances for the next sixteen years, and Turner served as the company's business manager through 1974.Williams and Sowell, p. 32 In 1962, in the midst of a strike at the Metropolitan Opera, Tulsa Opera was able to procure a star-studded cast of Met talent for a production of Rossini's ''The Barber of Seville'' with Roberta Peters as Rosina, Cesare Valletti as Almaviva, Frank Guarrera as Figaro, Salvatore Baccaloni as Bartolo, and stage director Dino Yannopolous.

Other notable singers to perform under Moresco's baton included sopranos Gianna D'Angelo (Lucia, 1964Williams and Sowell, p.37), Jean Fenn (1971, DesdemonaWilliams and Sowell, p. 44 ) Anna Moffo (Violetta, 1960),Williams and Sowell, p. 31 Maralin Niska (1973, Manon Lescaut), Beverly Sills (Violetta, 1967), Renata Scotto (1967, Cio-Cio-SanWilliams and Sowell, p. 42), Gabriella Tucci (1969, Aida), Dorothy Warenskjold (1960, MimiWilliams and Sowell, p. 33), and Teresa Żylis-Gara (1973, LeonoraWilliams and Sowell, p. 50); mezzo-sopranos Frances Bible (1969, OrlofskyWilliams and Sowell, p. 41), Viorica Cortez (1972, Carmen), Muriel Costa-Greenspon (1965, The Mother in ''Hansel and Gretel''Williams and Sowell, p. 39) and Mildred Miller (Cherubino, 1963); tenors John Alexander (1964, Edgardo), Norman Kelley (1965, The Witch in ''Hansel and Gretel''); Alfredo Kraus (1968, The Duke in ''Rigoletto''); Flaviano Labò (1960, Rodolfo) James McCracken (1971, Otello), Robert Nagy (1972, Don JoseWilliams and Sowell, p. 46 ), and Richard Tucker (Don Jose, 1962Williams and Sowell, p.36); baritones Cesare Bardelli (Scarpia, 1963), Napoléon Bisson (1960, Schaunard), Igor Gorin (1964, Ashton), Peter Glossop (1970, Scarpia), Chester Ludgin (1965, The Father in ''Hansel and Gretel''), and Cornell MacNeil (1973, Count Di Luna); bass-baritone Norman Treigle (1966, Mephistopheles); and basses Ezio Flagello (1970, Don Basilio), Bonaldo Giaiotti (1969, RamfisWilliams and Sowell, p. 43 ), Nicola Moscona (1960, Colline) and Italo Tajo (1965, Dulcamara).

1975-1987: Edward Purrington

After the departure of Turner at the end of 1974, opera director Edward Purrington of the Santa Fe Opera became general manager and artistic director, beginning on New Years day 1975.Williams and Sowell, p. 51 He remained in that position until the conclusion of Tulsa Opera's 1986-1987 season. The first production he oversaw was Giuseppe Verdi's ''Rigoletto'' with Louis Quilico in the title role in the spring of 1975. That year also marked the return of native Tulsan William Lewis, by this time a well established artist at the Metropolitan Opera, as Cavaradossi in ''Tosca''. Carlo Moresco remained involved in a diminished capacity as a conductor during Purrington's early years with the company, making his final conducting appearance leading Verdi's ''Macbeth'' in 1977 with Marisa Galvany as Lady Macbeth and Quilico in the title role.Williams and Sowell, p. 54

In 1977, the Tulsa Performing Arts Center (TPAC) was built. Since that time, nearly all operas have been presented in the Center's Chapman Music Hall. The first opera the company staged at the TPAC was Verdi's ''Aida'' in November 1977 with Gilda Cruz-Romo in the title role, Ermanno Mauro as Radames, John Macurdy as Ramfis, and Mignon Dunn as Amneris.Williams and Sowell, p. 56 In 1978 Beverly Sills returned to Tulsa Opera to perform Elvira in Bellini's ''I Puritani'' with Enrico di Giuseppe as Arturo and Samuel Ramey as Giorgio. That same year the company staged Mozart's ''Don Giovanni'' with Sherrill Milnes in the title role and Paul Plishka as Leperello.

In 1979-1980 season, Purrington expanded Tulsa Opera's season from two annual production to three annual productions; a practice that has remained in place.Williams and Sowell, p. 59 That season included a double bill of Massanet's '' La Navarraise'' (with Nancy Shade as Anita and Jacque Trussel as Araquil) and Ruggero Leoncavallo's ''Pagliacci'', Richard Wagner's ''Die Walküre'' (with Simon Estes giving his first performances of Wotan); and Johann Strauss II's ''Die Fledermaus'' (1980, with Ashley Putnam as Rosalinda, Dale Duesing as Eisenstein, and Judith Somogi conducting). Somogi, a conductor at the New York City Opera, was a favorite of Tulsa audiences during Purrington's tenure, making her debut with the company in 1976 with Douglas Moore's ''The Ballad of Baby Doe'' starring Costanza Cuccaro in the title role, Jean Kraft as Augusta Tabor, and John Reardon as Horace Tabor. Her other work with the company included ''La traviata'' (1979, with Diana Soviero as Violetta, John Brecknock as Alfredo, and Michael Devlin as Germont); ''Die Fledermaus'' (1980, with Ashley Putnam as Rosalinda and Dale Duesing as Eisenstein); ''La bohème'' (1981, with Soviero as Mimi, Rita Shane as Mussetta, and Stephen Dickson as Marcello); ''Der Rosenkavalier'' (1983, with Gwendolyn Jones as Octavian, Mechthild Gessendorf as The Marschallin, and Diane Curry as Annina); and ''Aida'' (1985, with Leona Mitchell as the title heroine).

Tulsa Opera has presented recitals by several prominent artists at the TPAC, including Luciano Pavarotti in 1981, Leontyne Price in 1986, and Joan Sutherland in 1987. Other singers to have performed with the company during Purrington's leadership were sopranos Josephine Barstow (1986, Manon Lescaut), Judith Blegen (1976, as Massanet's Manon), Marisa Galvany (1985, Odabella), Valerie Masterson (1985, the title role in ''The Merry Widow''Williams and Sowell, p. 68), Erie Mills (1981, Marie), Rosalind Plowright (1987, Elizabeth in ''Don Carlo''Williams and Sowell, p. 77), and Sylvia Sass (1985, Tosca); mezzo-sopranos Fiorenza Cossotto (1984, CarmenWilliams and Sowell, p. 72); tenors William Johns (1982, Manrico), Jerry Hadley (1984, Arturo), Veriano Luchetti (1984, Don Jose), and Neil Shicoff (1986, Faust); baritone James Billings (1980, Frosch); bass-baritones James Morris (1980, Boris GodunovWilliams and Sowell, p. 64 and Richard Stilwell (1982, Rossini's Figaro); basses Jerome Hines (1987, The Grand Inquisitor) and Giorgio Tozzi (1981, Sulpice); and actress Anna Russell (1981, The Duchess of Crakentorp).

Purrington left Tulsa Opera in the Summer of 1987 to take a post as director of the Washington National Opera. Bernard Uzan succeeded him as director, but left after just one season with the company citing friction with Tulsa Opera's board. His tenure notably consisted of the company's first staging of ''The Tales of Hoffmann'' with Robert Grayson in the title role, Cyndia Sieden as Olympia, Cynthia Clarey as Nicklausse, and Eric Halfvarson as the four villains. Also heard that season was Camille Saint-Saëns's '' Samson and Delilah'' with Florence Quivar as Dalila, William Johns as Samson, and Richard Sutliff as the High Priest.

1988-1992: Nicholas Muni

In 1988 Nicholas Muni was appointed artistic director of Tulsa Opera and Myrna Smart Ruffner was named general manager. In 1990 Tulsa Opera's Young Artists gave performances of Philip Glass's '' The Juniper Tree'' with the composer in attendance.Williams and Sowell, p. 79 That same year, Tulsa Opera produced a new version of Verdi's ''La traviata'' with designs by John Conklin that staged the opera in scenes within a disco bar, swimming pool, and modern hospital room.Williams and Sowell, p. 81 Starring Frances Ginsberg as Violetta and John de Haan as Alfredo, the production drew national attention. Conklin's version of the opera was later seen at other opera companies including the New York City Opera.

Another critical success for Tulsa Opera in 1990 was the first staging of ''Le trouvère'' (the French language version of Verdi's''Il trovatore'') in the United States using a new critical edition by musicologist, conductor, and Verdi scholar David Lawton. Lawton conducted the premiere with Margaret Jane Wray as Leonore, Craig Sirianni as Manrique, Greer Grimsley as Le Comte de Luna, and Barbara Conrad as Alzucena. This version was published by Ricordi and the University of Chicago Press in 2001. This was followed by the United States premiere of Gioachino Rossini's ''Armida'' on 29 February 1992 in celebration of the 200th anniversary of Rossini's birth with a cast the included Christine Weidinger in the title role, Thomas Young as Rinaldo, and Ronald Naldi as Ubaldo. A conjoint production by Tulsa Opera, Tulsa Ballet, and the Tulsa Philharmonic, the work was staged by Nicholas Muni, designed by John Boesche, conducted by Richard Bradshaw, and recorded for national broadcast on NPR.

Other highlights of Muni's tenure included performances by sopranos Amy Burton (1992, Josephine), Jan Grissom (1991, Pamina), Elizabeth Knighton (1989, Susannah Polk), Marquita Lister (1989, Mimi), Carmen Pelton (1991, The Queen of the Night), Linda Roark-Strummer (1991, Minnie), and Maryanne Telese (1991, Cio-Cio-San); mezzo-sopranos Jane Bunnell (1991, Suzuki) and Judith Forst (1990, title role in ''La Cenerentola''; directed by Rosalind Elias); tenors Richard Brunner (1989, Sam Polk), Carroll Freeman (1990, Don Ramiro), Peter Riberi (1991, Pinkerton) and Kip Wilborn (1991, Tamino); baritones Donnie Ray Albert (1992, Jack Rance), Cris Groenendaal (Captain Corcoran, 1992), Robert Honeysucker (1990, Alidoro), and Motti Kaston (1991, Sharpless); bass-baritone Jeffrey Wells (1989, Olin Blitch); and basses Pierre Charbonneau (1990, Don Magnifico), Claude Corbeil (1990, Dandini), and Peter Volpe (1989, Colline).

1993-2008: Carol I. Crawford

Carol I. Crawford was appointed General Director in 1993, and remained in that post until 2008. The original production of Rachel Portman

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