Florence Louise Pettitt

709:, Wednesday December 14, 1977). Critic Sue Cromwell wrote that "Sarah Caldwell fans, presumably waiting patiently for the Opera Company of Boston's new season to begin, missed the kind of performance that is their meat and drink", adding that "Sarah's seasoned fans would have torn the house down." John Bates, of Caldwell's "Opera Company of Boston" served as Pettitt's young "Wagner" in the Chaminade effort. Cromwell noted that "...the same kinds of strengths and weaknesses appear to prevail with both the professional Caldwell company and the semi-pro Chaminade." 891:. And yet, having pioneered the introduction of fully staged opera into the mainstream of civic life in America, and having done so without supportive academic incubation (like by Boston University for Caldwell) or prolonged mentoring (like Goldovsky for Caldwell) during a time when American women were effectively barred from leadership in all fields, Mrs Pettitt found herself finally surrounded by the field of well supported competitors she had always sought to engender (the same is true for Goldovsky, who made such a case in his memoir: see 475:, who also studied at Tanglewood, was a lifelong friend and supporter of Mrs Pettitt. He starred in the world premiere of Stravinsky's "Rake's Progress" in Europe, before Caldwell brought Stravinsky to BU to conduct the US premiere. Another male advocate in the Boston Symphony Orchestra / Tanglewood community was Pettitt's lifelong friend, violinist Sheldon Rotenberg, who was hired by Koussevitsky in 1948, and stayed with the BSO until 1991. He was brought to Tanglewood from Leopold Stokowski's National Youth Orchestra. 555:. But few women in the US were running opera companies when Mrs Pettitt took the helm of Chaminade, and the consistency of her multiple responsibility is notable. Caldwell herself often did not conduct the orchestra in her independent productions. Perhaps no other woman in America so consistently and enduringly performed both as conductor and director as did Mrs Pettitt. 479:

other things. The American impulse to excel in the arts was stimulated in the late 1950s in part by Soviet triumphalism. This was part of the backdrop to the founding of the Chaminade Opera Group, but the very few women who conducted opera in America in the 1950s faced other challenges that were more immediate, and more cumbersome.

883:

witnessed promising talent in league with high enthusiasm. In the case of Sasson and others, the opportunity was well requited. On a budget of almost zero, working long hours for no pay, in a nonprofit, in the interest of promoting unproven ability, it would be inappropriate to judge her efforts by the performance standards of the

98:. For over forty years, she simultaneously served as orchestral conductor, dramatic director, and vocal director for the Chaminade Opera Group, which she founded in 1959. She promoted the growth of opera, and the advancement of many performers ranging from amateur enthusiasts to internationally known professionals. 679:

After more than a dozen years of experience, the Chaminade Opera Group was reaching new heights in the 1970s, recruiting well established professionals and receiving praise in the press. Turnout was often standing room only, and the group was forced to add extra performances to accommodate the rising

505:

Reiner reportedly said to Goldovsky in his conducting class at the Curtis Institute: "Anybody can beat time evenly and it's nothing to be proud of...I'm not going to waste your time and mine teaching you easy things. What I'm going to do first is teach you how to conduct operatic recitatives. Because

352:

The loss of the Opera House was a great blow to the Boston Opera scene, and put the efforts of Goldovsky and the others at great disadvantage. For about forty years afterward, the perennial fulfillment of Boston's operatic aspirations was accomplished by under-financed, under-accommodated devotees in

882:

Mrs Pettitt was by then in her late seventies, and American opera was no longer the desolate wilderness of so many years before. The catalogues of companies, stars, venues and repertoires had become lengthy, surfeited. She had always provided probative opportunity on evidence of good faith where she

264:

The New England Conservatory had always been the backbone of local Boston opera companies in the twentieth century. But in the 1930s, the conservatory had great difficulty even maintaining a teaching schedule in opera. Wallace Goodrich tried in 1936 to create a school of opera there without success.

799:

Richard Dyer, the eminent Globe columnist who presided at New England Conservatory's 2008 centennial of Boris Goldovsky (recounting tales of Boston Opera from the 1940s, 1950s and 1960s along with stars Phyllis Curtin, George Shirley, Sherrill Milnes, Rosalind Elias, Justino Diaz and John Moriarty)

418:

For some of these women, Tanglewood was a common thread. This summer institution of the arts was created by wealthy women of the Berkshires who invited Koussevitsky in. The famous 'shed' was established when a woman leading the organization called for donations during a rain-drenched concert. The

356:

After the demolition, "Goldovsky struggled on at Harvard's Loeb Theatre. There he staged his last three Boston productions...". After those few performances, Goldovsky then "retired to the relative leisure of his NEC visiting lectureship. The Conservatory began to fret about opera and 'its need for

268:

When Louise was in attendance at NEC ( 1939–1941 ), Goodrich was still trying to put together a program. Goodrich won approval to hire a conductor from London's famous Covent Garden in 1940, but this was a far cry from the robust opera department that he conceived. When Goldovsky was hired there in

749:

Sarah Caldwell's Boston company gradually fell apart, and by 1990, Tanglewood's opera department had long since been pared back by the BSO trustees. Eric Leinsdorf had fired Goldovsky from Tanglewood in the early 1960s, and abolished the opera department there. It wasn't until the mid-1990s that

478:

One other factor to mention is the cold war. The launching of Sputnik epitomized a new cold war rivalry that extended to culture and even to classical music. Van Cliburn's 1958 victory in the first quadrennial Tchaikovsky piano competition in Moscow won him a ticker tape parade in Manhattan, among

455:

in the 1920s, helped Caldwell develop at Tanglewood in the 1950s. Copland chose Boulanger to be his composition instructor, and he became leader of the composition department at Tanglewood. Leonard Bernstein, who worked closely with Caldwell at Tanglewood in the 1950s, and became a close friend of

194:

Although she devoted more hours over her long life to the production of opera than to her own singing career, and though she was eventually better known as a teacher and director, she always considered herself to be a singer, and continued to give solo vocal performances into the 1970s. During her

467:

Pettitt's family was sympathetic to the idea of women directors. Her son in law studied under Boulanger in Boston in the early sixties, and her husband and brother in law ( a music professor at Boston's Emerson College ) were very supportive. Her brother in law was for many years a keyboardist at

795:

was saved and renovated in the late 1970s. While Boston City Hall backed revitalization of the Strand, with help from community groups, it has not been primarily used as an opera house since the re-opening. But when the Caldwell organization faltered, it provided shelter to the Chaminade group.

822:

In the narrative of Boston Opera history, this may have been the highwater mark for Mrs Pettitt and her Chaminade group. But she continued using Boston singers in her productions for many more years, and continued to draw on the Boston Opera community for talent, ticket sales, inspiration, and

898:

Although age and illness (particularly that of her lifelong love George Arthur Pettitt) gradually began to affect her productiveness in the new millennium, she maintained an incontrovertible optimism and resolve. Her teaching and rehearsal schedules exhibited the same relentless diligence as

501:

During her long tenure Mrs Pettitt served in three roles: orchestra conductor, vocal director and dramatic director. She probably did so for a longer, unbroken period than any other American woman. The difficulty of this challenge was illustrated by Boris Goldovsky, who pursued a career as a

282:

Public demand for opera seems to have been historically low in Boston in this period. The Metropolitan Opera cancelled its 1947 tour of Boston completely, and Goldovsky's company was the only local replacement available. During the war, NEC's "Popular Music Program" ( which focussed on the

209:

Goldovsky, when he arrived in 1942, found the opera situation in Boston "dormant". At Tanglewood, "the war shut down opera and nearly everything else..," though Goldovsky predicted "a growth in operatic productions similar to the great recent growth in symphonic performances and numbers of

237:

productions in eastern Massachusetts in the 1940s and 1950s. She and her husband performed a consistent repertoire of G & S scenes professionally for various civic women's clubs (Foxboro, Framingham, Boston, etc ) under contract to "Flora Frame" of Boston in the 1950s and early 1960s.

127:

and BSO violinist Sheldon Rotenberg and composer Ray Coniff were taught by her music teacher, who was a graduate of the New England Conservatory. Rounseville came back to honor and commemorate this teacher years later, in 1953, after making the internationally renowned film version of the

878:

had a weak high range. The woodwinds seemed "under-rehearsed." Mr Tommasini could not recommend that particular show to his readers, and evinced incognizance of both her early role as a pioneering woman and her long regional importance in fostering generations of experienced singers.

740:

By the late 1970s, the number of opera companies in the country had vastly increased, to the point that the Metropolitan Opera Guild tried to conduct a sort of census. The opera 'drought' of the 1940s was clearly long gone. The Chaminade Opera Group was now one of many companies.

487:

In 1958, a year before the founding of the company, Mrs Pettitt directed a limited production of Mozart's "Cosi Fan Tutte" at a small venue, with double piano accompaniment instead of orchestra. The following year she commenced the first official season of the new company with

1232:

performed for the Chaminade Opera Group in 1985 and 1987, early in his opera career. He has performed under the direction of Seiji Ozawa with the Boston Symphony Orchestra. He was awarded a Tanglewood fellowship. He teaches voice at Harvard and MIT. He has sung across Europe.

198:

She also gradually gained some stage and drama experience in small local theatrical productions, and Gilbert and Sullivan; but in Massachusetts in the thirties and forties, there were few opportunities for young performers to try their hand at serious, fully staged opera.

202:

The only fully staged operas in Boston then were generally done by New York's Met on tour at the Huntington Avenue site. Opera "scenes" were done at NEC by Goldovsky and others in Jordan Hall. There were very few opera companies in existence then, compared to the 1970s.

380:

become a conductor in Chicago—remarked that Hillis "established herself as a choral conductor ... because there were virtually no orchestral conducting opportunities for women when she began her career in the 1950s" ( Margaret Hillis' New York Times obituary ).

269:

1942 he was only paid $ 2,500 for the entire year and told to work part time. Fortunately for him, he was able to supplement his income as of 1946 by becoming "Mr. Opera," the voice that was broadcast every Saturday afternoon nationwide from New York by Texaco.

463:

It was at Tanglewood that Goldovsky let Caldwell substitute conduct for him when he was hospitalized for an illness in the early postwar era. He ran the opera department at Tanglewood from the war years until Leinsdorf took over as BSO conductor in about 1961.

502:

conductor before becoming an opera lover. In his first conducting class with Fritz Reiner, he was confronted with the notion that an art form he despised (Goldovsky as a student loathed opera) comprised the most difficult and demanding form of conducting.

558:

There were few opera companies at all in the United States in 1958. Of those, there were few founded by women, and of those, there were fewer still with a woman serving as both conductor and dramatic director. She was certainly a leader, and a pioneer.

622:, November 8, 1964). Her daughter sang that same year with Joan Sutherland in Caldwell's production of "I Puritani" in Boston. At this point, international stars started coming to Boston, including Renata Tebaldi, Plácido Domingo, and Sutherland. 272:

By hiring Goldovsky in 1942, upon the recommendation of Koussevitsky, Goodrich laid the foundations for the renaissance that bore fruit over the next 50 years. But the 1940s and 1950s were still lean years compared to the 1960s and onward.

814:

Pettitt's collaborators that year included Randall J. Kulunis, who at the time saw the failure of the Caldwell efforts and the loss of Caldwell's venue as an opportunity to resurrect the original plans of the original Huntington Street

895:), and still refused to deny opportunity to the unproven, and the unfinished. Mr Tommasini sought to judge her narrowly, within the facile intellectual confines of mere technical pedantry. He was truly unqualified to take her measure. 775:

By this point Mrs Pettitt's company—a more enduring institution—found itself thriving in Boston. In January of that year, the Boston Opera Company (not Caldwell's "Opera Company of Boston") featured Mrs Pettitt's production of Bizet's

509:

Reiner forced Goldovsky to coach the opera singers at Curtis in operatic repertoire, the better to prepare him to be a great conductor. And Goldovsky dedicated his book to three men: Fritz Reiner, Ernst Lert, and Serge Koussevitzky.

411:

Louise Pettitt started the Chaminade Opera Group at the same time, and the first performance was in the fall of 1959. The Chaminade goals were similar to those of Santa Fe. They established a scholarship to promote young talent.

260:

In the depths of the great depression, the Chicago opera company stopped touring in Boston. This cancellation and the creation of new companies in the late 1950s form the bookends of a difficult period for opera in Boston.

865:

was really unprepared to measure her pioneering efforts and her service to the popular propagation of high culture in America. Nor were they even prepared to review the creative and artistic innovations of her career.

1243:

William "Bill" Cashman performed professionally in Caldwell's Opera Company of Boston (January 1973 – May 1979) and in Pettitt's Chaminade Opera Group. He also performed at the Louise Pettitt memorial concert.

168:, Paris, and New York Metropolitan opera companies. One of them, Lillian Johnson, also came to sing for Louise in the Chaminade Opera Group. Louise also received instruction from Margaret Armstrong Gow of the 736:

These achievements were valuable to the opera community at large, but many of the early promoters of opera, like Goldovsky and Pettitt, gradually found themselves surrounded by well financed competitors.

245:

and elsewhere. She performed in many area churches and other venues as a classical soloist in oratorios, light opera, and mixed programs. She sang at Old South Church, Trinity, St Paul's and many others.

756:"Although buoyed by the success of Mass, by the time 1990 rolled around, Sarah was on the cusp of her last Boston season, her company tottering on the edge of financial ruin with little hope of rescue." 1956:, by Dr. Paul Tedesco, Copyright 1979 Attleboro Historical Commission, (1979) Attleboro, Mass. Library of Congress Catalog Card No. 79-88584. Printed in Danvers Mass, 1979 by Bradford & Bigelow Inc. 441:

Tanglewood allowed women who sought to become leaders in the field of music, and men who respected them, to work together in a non commercial setting where artistic development was the primary concern.

513:

So for Mrs Pettitt to have discharged all three responsibilities (orchestra director, dramatic director, singing director) for such a long period of time is a singular and extraordinary achievement.

308:

By the time Goldovsky and Koussevitsky were reinvigorating Boston high culture in the forties, the building had fallen into the hands of a theatre chain who saw no profit in its original purpose.

874:

expert—who literally wrote the (best-selling) book on opera—reviewed a belabored production of hers in the 1990s and found it charming, and warm, but riddled with weakness. The semi-professional

826:

Not only did she and her Chaminade Opera Group continue staging operas long after the folding of Caldwell's company, but they also established a broad repertoire of oratorio works, including

276:

The gas rationing of 1943 reduced Tanglewood to a simple red cross benefit concert in the Lennox public library, but this wasn't the entire reason for the leanness of opera in those years.

279:

The fact that the axis of Germany, Austria, and Italy ( the native home of opera ) became America's foremost enemy in WWII may have been a factor. Jazz was seen as a more American style.

408:. The first indoor performance of the company was in 1959. She claimed—in her memoir—that Goldovsky's "New England Opera Theatre" had been reduced to one sad production of Don Giovanni. 906:—a very similar woman—by exactly two days. An archive of her work and that of the Chaminade Opera Group is being assembled under the auspices of Wheaton College, Norton Massachusetts. 370:

in Goldovsky's shop, she believed she was left out of the tour because she was a woman. By 1955, she had decided that in some departments, she could do a better job than her mentor.

1645: 1297:

Michael Duarte, a longtime friend and collaborator of Mrs Pettitt's, and a lead in several of her productions, is expected to take her place within Chaminade Opera as director.

349:"With the demise of the opera house, Boston was left with fading vaudeville houses and movie palaces, all with shallow stages and small orchestra pits- none ideal for opera." 899:

previously. On the day she died, she was awaiting several voice students, and was three weeks into a six-week schedule for an upcoming choral concert (supporting Chaminade).

819:

and put fully staged opera once again in a proper Boston hall. Pettitt's company cooperated in this noble venture, although no resurrection occurred. Dyer hailed the effort.

2079: 854:

and Chaminade Opera Group singers performed it several times as an oratorio piece under the direction of Mrs Pettitt. They also maintained Chaminade's opera scholarship.

726:, and personally translated his entire role from the original Italian libretto for the Chaminade production. Mr Bates served in several Caldwell and Pettitt productions. 2084: 230:

Her later ability to conduct opera was most likely complemented and improved by her concurrent responsibility as conductor/director for that group, beginning in 1961.

179:

She sang professionally for many of Greater Boston's better known churches. One of her most prominent recurring performances was the regular weekly recital at the

1981: 567: 227:( Norton, Massachusetts ) formed its own Gilbert and Sullivan troupe in 1945, she became a perennial female lead for about 15 years, and never left the group. 135:

Even in high school, Louise Pettitt was promoting opera. She and her close friend, violinist Sheldon Rotenberg, tried to create an opera club at their school.

188: 311:"The first spark of revival of interest in a potential resident company was kindled by the protean Boris Goldovsky with his New England Opera Company..." 2059: 317:

Goldovsky and the New England Conservatory's Opera aficionados were allowed some use of the hall, but it ultimately fell to the wrecking ball in 1958.

2064: 772:

The last performance of her company in its own theater was June 17, 1990. Her theatre was shuttered for building code violations in December 1990.

415:

The Santa Fe opera was started in 1956/57 with the explicit goal of promoting the genre and developing a large pool of experienced performers.

384:

Hillis was a choral conductor with the New York City Opera prior to becoming the founder and conductor of the Chicago Symphony Chorus in 1957.

468:

Tanglewood. He was also Caldwell's assistant in the opera department, 1950–52, and helped Alice Taylor create the Oakland Opera in the 1970s.

195:

many years of opera work, she devoted time in every week to her voice students, and she continued to sing, generally in support of Chaminade.

1942: 1928: 1915: 1902: 1777: 419:

land was donated by women. People who supported the development of women as conductors found opportunities there to foster that development.

1357:

657:. But as her confidence and appetite grew, and emboldened by applause, she gradually opened the repertoire to less familiar composers, like 2089: 346:"Since the 1957 demolition of the old opera house, there had been talk of a new performing arts complex....All this had come to nothing." 1637: 788: 1375:"The Blue Owl", 1935. Louise and Sheldon were co-editors of the classical music section of a student publication at their high school. 753:"Sarah's 1989 production of Leonard Bernstein's Mass was her last effort that could be ranked as a piece of innovative theater,...". 445:

Margaret Hillis established a Tanglewood Alumni chorus in 1950, and her conducting career was furthered by Fritz Reiner in Chicago.

294: 1402:

1393:

314:

He made an earnest effort at grand opera in the old hall with his Les Troyens, but he ultimately focussed on teaching and touring.

305:, and other great Boston buildings) on Boston's celebrated Culture Way was gradually lost to Boston's opera lovers over the years. 1423:

2069: 1152: 489: 249:

This experience, along with her classical musicianship and vocal training prepared her for her eventual role as opera conductor.

1685: 1366:

May 16, 1953 Attleboro Sun-Times, Front Page. Rotenberg was on tour at the time, according to the article, and unable to attend.

673:

and others. And this opening of the repertoire mirrored groundbreaking work happening across the world of opera in those years.

1750:

was the director of the Chicago Civic Opera beginning in 1922, but she was a British immigrant, and only served about 10 years.

733:, who now teaches at Harvard and MIT. His experience clearly shows the value of her company regionally as a promoter of opera. 224: 180: 1797:

Including Benjamin Cox, Jeanine Kelley, "Jack" Bates, "Bill" Cashman, and others. See Records of the Chaminade Opera Company

570:). Certainly the foundation of a successful opera company in the 1950s by an American woman would have been highly unusual. 1975: 1456: 1436: 1258:

of Goldovsky Institute; He studied at Boston University's opera program 1957–1961. He performed under stage direction by

438:

and Boston. Louise sang many times at Tanglewood over the years, and sent her daughter to study under Goldovsky in 1961.

1280:, and at New England Conservatory under Boris Goldovsky. He and his brother at one point recovered the plans of the old 1147: 701: 506:

until you've conducted opera, you don't know what conducting really is" (see page 155 "My Road to Opera" by Goldovsky).

She died on March 25, 2006, at her home in Massachusetts, about ten weeks after her partner of 65 years. She outlived

325: 169: 573:

The works chosen by Mrs Pettitt for her first four seasons did not stray from the standard canon of favorites. After

252:

When interest in opera grew in the late 1950s, her experience enabled her to make a vital, pioneering contribution.

1815:

p140, "Tanglewood: the clash between tradition and change" by Andrew L Pincus, Northeastern University Press (1998)

1126: 117:

orchestras. He took Louise to countless rehearsals during her childhood. The two also performed in local theaters.

1514:

p 5, "Tanglewood: the clash between Tradition and Change" Northeastern University Press (1998), by Andrew L Pincus

2024:

article concerning the Pettitt's Boston production of Bizet's "Pearl Fishers", by Richard Dyer, Sat Jan 20, 1990.

1541: 1281: 1277: 1200: 816: 387: 290: 283:

composition and arrangement of big band swing music ) garnered far more tuition revenue than opera instruction.

577:, a well-known piece then—with which she and her audience were familiar—the next three seasons were devoted to 337: 329: 161: 150: 1561:

see p280 of Quaintance Eaton's 1965 work "The Boston Opera Company" published by Appleton-Century in New York

206:

When Louise was finishing her studies at New England Conservatory in 1941, "..opera was then in eclipse...".

1237: 1219: 921: 405: 1115: 916: 562:

The New England Conservatory's alumni notes claim that Caldwell was "the second woman ever to conduct the

548: 1049: 962: 954: 850: 841: 563: 518: 321: 302: 141:

As a young woman she shifted from cello to classical singing, and sought the best training available in

1024: 861:

to review a night of her work, toward the twilight of her sixty years in musical performance. But the

2074: 2054: 1339:

Louise's Boston Globe Obituary. His obituary also says he played in the Burlington Symphony Orchestra

1167: 857:

Perhaps it was her longevity or reputation—or successes—that finally brought a representative of the

760: 298: 234: 157: 1191:, and as her website says: "Das war der Beginn ihrer deutsche Karriere." She has sung at Vienna, in 1273: 1263: 1248: 1184: 333: 1696:

Boston Globe, August 16, 1991 by Richard Dyer – "The BSO is losing its last links to Koussevitsky"

1967:(1908–1958) are housed at the Northeastern University Libraries Archives and Special Collections. 1071: 884: 715:

Mrs Pettitt's own daughter Pamela sang with both the Caldwell Company and Chaminade Opera Group.

695: 687: 618: 472: 427: 124: 1287:

Deborah O'Brien (the 1971 Miss Massachusetts, and an associate of the Opera Company of Boston);

1076: 343:

One of the Boston Globe critics claimed that "Operapathy" had taken hold of Boston's citizens.

1938: 1924: 1911: 1898: 1773: 1768:

Outside of the United States, there were a few: Emma Carelli in Rome, Maria Llacer in Madrid,

1724: 1188: 1131: 1054: 1000: 967: 948: 935: 867: 831: 827: 642: 638: 129: 1716: 1772:

in Oslo. See page xiv of "The Last Prima Donnas" 1982 by Rasponi, Alfred A. Knopf, New York

1769: 1528: 1269:

James Van Der Post, who has sung opera in companies across the United States and in Europe;

1207: 1171: 745:

Boston Opera in crisis of 1990: Pettitt temporarily takes mantle from the faltering Caldwell

712:

Over the years, several people who sang for her company also sang for the Caldwell company.

1894: 1460: 1440: 1255: 1060: 1043: 927: 892: 846: 719: 452: 426:

for several years prior, and of course their efforts were under the shadow of BSO's great

423: 377: 1705:

page 99 "An Eye For Music" 1949 by Martha Burnham Humphrey, published by HM Teich, Boston

1414:

page 210 "Scenes from Tanglewood" 1989 by Andrew L. Pincus, Northeastern University Press

973: 363:

Women were very important in overcoming these setbacks, but they faced some challenges.

1291: 1259: 1192: 1109: 1093: 1087: 1065: 1019: 986: 943: 903: 804: 765: 750:

Seiji Ozawa re-introduced opera at Tanglewood on an equal basis with the other genres.

650: 457: 1210:

and others. Among the highlights of her career, she mentions performing in Japan with

2048: 1667:

p. 22,193 "The Selected Correspondence of Aaron Copland" Yale University Press (2006)

1229: 1223: 1120: 1104: 1005: 730: 605: 534: 523: 448: 146: 107: 35: 1994:, Dec 14, 1977, review of the Pettitt production of "Mephistopheles" by Sue Cromwell 1452:

Having been director of COG for two years, Louise also became director of Wheaton's

1140: 1098: 613: 552: 1170:. She sang with the New York Metropolitan Opera early in her career. She had her 845:, and many famous and lesser known requiems and masses. Her favorite requiem was 761:"Sarah Caldwell, Indomitable Director of the Opera Company of Boston, Dies at 82" 123:

She was lucky to come from a school with a very strong music program. Opera star

1747: 1453: 1433: 1211: 981: 808: 114: 113:

Her father—Charles Albert Staples—was a classical cellist who played in various

800:

lionized Mrs Pettitt and her company for their efforts in the 1990 production.

1638:"Margaret Hillis, 76, Conductor; Led Chicago Symphony Chorus (Published 1998)" 1030: 435: 431: 213:

Louise performed in small theatre, opera scenes, and light opera nonetheless.

184: 95: 1728: 803:

Among the professional performers onstage in the 1990 Pettitt production was

120:

She was a high school valedictorian and mastered the cello, like her father.

1176: 836: 634: 360:

Chicago also had an "opera drought" of about eight years beginning in 1946.

293:

that had been built by Parkman Haven and Eben Jordan (who also built nearby

807:(ibid). Deborah was born in Boston, and having worked with Mrs Pettitt and 690:

named Deborah O'Brien may have also drawn some of the additional interest.

718:

Peter Feldman, who had toured six times with the Goldovsky Institute (see

1038: 888: 666: 566:(1974), and the third woman ever to lead an American opera company" (see 537:

by many years. Sills took over as General Director of the NYCO in 1980.

164:

from 1939 to 1941. Several of Miller's students went on to sing for the

1964: 1759:

presumably the other two are Mary Garden and Carol Fox, both in Chicago

1181: 792: 781: 662: 654: 626: 544: 216:

One of her earliest acting credits was a minor local production called

173: 1236:

Benjamin Cox, Jeanine Kelley, and Jack Bates were all from Caldwell's

686:, December 7, 1973). The frequent participation of a photogenic young 1215: 1206:

She has appeared in numerous European television specials, alongside

1196: 1011: 992: 670: 578: 242: 165: 142: 530:, Sat Feb 23, 1991, by Nancy C Doyle ). This praise was half right. 1935:

Measure by Measure: A History of New England Conservatory from 1867

2030:

preview of 'Song of Norway' November 8, 1964, by Gertrude McBrien.

1082: 875: 658: 646: 630: 526:

directed opera companies, there was Louise Pettitt in Attleboro" (

391: 366:

When Caldwell successfully created and staged a new production of

92: 1970: 434:, and who attracted so many great artists and performers to both 286:

Opera was expensive, and money was tight in the 1930s and 1940s.

1950:, by Quaintance Eaton, Appleton-Century Press, (1965) New York. 522:

wrote that "Long before Sarah Caldwell in Boston or New York's

172:, Gertrude Erhardt, and others. She gradually became a leading 1384:

Records of the New England Conservatory, Boston Globe Obituary

811:, she has moved on to become a celebrated European performer. 682: 604:

By 1964, Mrs Pettitt was able to incorporate members of the

2012:

William Miranda's review of "Otello" in , Thur Jun 30, 1977

1686:

Robert Pettitt's Boston Globe Obituary, September 12, 2010

910:

Her conducting credits with Chaminade include the following

187:

in the summers. And eventually, she became a member of the

1222:

under his direction with the Boston Symphony Orchestra at

1910:, by Daniel Kessler, The Scarecrow Press, Inc, (2008). 1163: 1921:

My Road to Opera: the Recollections of Boris Goldovsky

625:

Her later productions still included works by Mozart,

516:

Thirty two years after the founding of Chaminade, the

787:

With the support of the City of Boston, the federal

596:

Her choices later become more daring and ambitious.

1410: 1408: 74: 66: 58: 50: 42: 28: 21: 1552:see Walter Muir Whitehill's "Topographical Boston" 676:And her ability to draw bright young talent grew. 1841: 1839: 1595: 1593: 1496:Archives of the New England Conservatory of Music 1483: 1481: 1471: 1469: 1317: 1315: 1313: 1311: 1309: 791:, and Community Development Block Grant money, 699:newspaper compared Mrs Pettitt's production of 612:, an opera about the famous European composer, 241:She gave regular solo performances of arias in 1717:"Beverly Sills, Acclaimed Soprano, Dies at 78" 1676:"My Road to Opera" by Goldovsky 1979, page 379 2042:reviews are too numerous to fully list here. 1254:Peter Feldman. Peter toured six seasons with 8: 1166:. Deborah was born in Boston and studied at 106:Florence Louise Staples Pettitt was born in 2006:review of "Tales of Hoffmann" Jan 5 1979 W5 729:In 1985 and 1987, Louise directed baritone 540:But Louise was a contemporary of Caldwell. 456:Copland's in the 1930s, became a mentor to 320:It stood at 343 Huntington Avenue, between 189:National Association of Teachers of Singing 759:See an explanation of her difficulties in 138:This enthusiasm for opera never left her. 18: 2080:20th-century American women opera singers 1531:, Appleton-Century Press, (1965) New York 1262:and Boris Goldovsky. He performed at the 1139:by Robert Wright and George Forrest (see 547:, beginning in 1954, Fox was running the 2085:20th-century American conductors (music) 1908:Sarah Caldwell: The First Woman of Opera 1891:Challenges: A Memoir of My Life in Opera 1585:Sarah Caldwell: The First Woman of Opera 1572:Sarah Caldwell: The First Woman of Opera 1276:Opera Department under legendary mentor 1272:Randall Kulunis. Randall studied at the 722:), played the title role in Chaminade's 1897:), Wesleyan University Press, (2008). 1305: 91:, was one of the first American female 705:favorably to those of Sarah Caldwell ( 430:, the European impresario who created 353:shifting and uncertain circumstances. 256:Boston Opera at a low point: 1933–1958 600:1964–1990: Innovation and Exploration 7: 2018:review of "Mikado", Wed Dec 9, 1992; 1866:Boston Globe obituary, April 2, 2006 1626:Records of The Chaminade Opera Group 1321:Records of the Chaminade Opera Group 2000:review of "Otello" by Roberta Furie 789:Economic Development Administration 1954:1894 Attleborough - Attleboro 1978 1948:The Boston Opera Company 1909–1915 1525:The Boston Opera Company 1909–1915 233:She played soprano roles in other 14: 2060:American women conductors (music) 1715:Tommasini, Anthony (2007-07-02). 1636:Kozinn, Allan (6 February 1998). 483:Founding of Chaminade Opera Group 160:in Boston, Massachusetts, at the 1978:including a minor "in memorium". 1875:Records of Chaminade Opera Group 1648:from the original on 2023-01-10. 1587:, page 28. Scarecrow Press, 2008 1574:, page 94. Scarecrow Press, 2008 1199:, inter alia; She sang with the 376:—long after Fritz Reiner helped 220:( performed January 24, 1936 ). 2065:New England Conservatory alumni 1247:Jon Berberian trained with the 608:company into her production of 422:Caldwell had been a protégé of 181:Isabella Stewart Gardner Museum 1971:Chaminade Opera Group web page 1965:The Boston Opera House records 1806:See Donald Wilkinson's website 958:(A Night in Venice) by Strauss 763:article by Anthony Tommasini, 404:), Sarah Caldwell started the 87:(1918 – March 25, 2006), born 1: 1599:page 115 "Measure by Measure" 1505:page 102 "Measure by Measure" 1487:page 99, "Measure by Measure" 398: 1617:Caldwell memoir 2008 page 23 1608:Caldwell memoir 2008 page 97 1180:. She was introduced to the 2090:21st-century American women 2004:Providence Journal-Bulletin 1998:Providence Journal-Bulletin 1788:Deborah was the 1971 winner 1330:Massachusetts Vital Records 1284:, intending to rebuild it. 471:Pettitt's hometown friend, 170:Harvard Musical Association 2106: 1893:, by Sarah Caldwell (with 1127:The Merry Wives of Windsor 693:In 1977, Greater Boston's 551:and engaging artists like 1923:(1979) Houghton Mifflin. 1542:Boston Opera House (1909) 1282:Boston Opera House (1909) 1201:London Symphony Orchestra 1034:by Gilbert & Sullivan 817:Boston Opera House (1909) 218:Aunt Emma Sees It Through 183:. She later also sang at 1290:Michael Popowich of the 1159:Chaminade actors include 533:Louise Pettitt preceded 338:Handel and Haydn Society 330:New England Conservatory 162:New England Conservatory 151:Providence, Rhode Island 62:New England Conservatory 2070:American opera managers 1238:Opera Company of Boston 683:Attleboro Sun Chronicle 568:Caldwell alumni profile 451:, who was a student of 406:Opera Company of Boston 89:Florence Louise Staples 23:Florence Louise Staples 1116:The Ballad of Baby Doe 1025:Gilbert & Sullivan 917:The Marriage of Figaro 78:Charles Albert Staples 1982:Boston Globe Obituary 1348:Boston Globe Obituary 963:The Tales of Hoffmann 955:Eine Nacht in Venedig 564:New York Philharmonic 528:Taunton Daily Gazette 519:Taunton Daily Gazette 16:American opera singer 1475:"Measure by Measure" 1168:Oberlin Conservatory 397:At about this time ( 368:La Finta Giardiniera 235:Gilbert and Sullivan 223:When the faculty of 176:in the Boston area. 158:Gladys Childs Miller 2010:The Jewish Advocate 1987:Newspaper Reviews: 1833:Kessler 2008 p. 177 1274:Boston Conservatory 1264:New York City Opera 1249:New York City Opera 392:Chicago Lyric Opera 340:from 1908 to 1958. 334:Boston Conservatory 326:Museum of Fine Arts 2040:Providence Journal 2028:Providence Journal 1721:The New York Times 1642:The New York Times 1459:2010-06-14 at the 1439:2010-06-14 at the 1195:, Los Angeles and 1137:The Song of Norway 1072:The Bartered Bride 885:Metropolitan Opera 782:the Strand Theater 707:The Patriot Ledger 688:Miss Massachusetts 619:Providence Journal 591:Marriage of Figaro 473:Robert Rounseville 428:Serge Koussevitsky 374:The New York Times 291:Boston Opera House 125:Robert Rounseville 1943:978-0-9648857-0-7 1929:978-0-395-27760-7 1916:978-0-8108-6110-7 1903:978-0-8195-6885-4 1845:Kessler 2008 p179 1824:Kessler 2008 p175 1778:978-0-87910-040-7 1583:Kessler, Daniel: 1570:Kessler, Daniel: 1214:, and performing 1189:Leonard Bernstein 1148:Hansel and Gretel 1001:The Pearl Fishers 868:Anthony Tommasini 641:, in addition to 575:Hänsel und Gretel 495:Hänsel und Gretel 156:She trained with 130:Tales of Hoffmann 82: 81: 2097: 1876: 1873: 1867: 1864: 1858: 1857:Jan 20, 1990 p11 1852: 1846: 1843: 1834: 1831: 1825: 1822: 1816: 1813: 1807: 1804: 1798: 1795: 1789: 1786: 1780: 1770:Kirsten Flagstad 1766: 1760: 1757: 1751: 1745: 1739: 1738: 1736: 1735: 1712: 1706: 1703: 1697: 1694: 1688: 1683: 1677: 1674: 1668: 1665: 1659: 1656: 1650: 1649: 1633: 1627: 1624: 1618: 1615: 1609: 1606: 1600: 1597: 1588: 1581: 1575: 1568: 1562: 1559: 1553: 1550: 1544: 1538: 1532: 1529:Quaintance Eaton 1521: 1515: 1512: 1506: 1503: 1497: 1494: 1488: 1485: 1476: 1473: 1464: 1450: 1444: 1430: 1424: 1421: 1415: 1412: 1403: 1400: 1394: 1391: 1385: 1382: 1376: 1373: 1367: 1364: 1358: 1355: 1349: 1346: 1340: 1337: 1331: 1328: 1322: 1319: 1266:, among others. 1230:Donald Wilkinson 1050:L'Elisir D'Amore 769:March 25, 2006. 731:Donald Wilkinson 403: 400: 390:founded the new 19: 2105: 2104: 2100: 2099: 2098: 2096: 2095: 2094: 2045: 2044: 1895:Rebecca Matlock 1884: 1879: 1874: 1870: 1865: 1861: 1853: 1849: 1844: 1837: 1832: 1828: 1823: 1819: 1814: 1810: 1805: 1801: 1796: 1792: 1787: 1783: 1767: 1763: 1758: 1754: 1746: 1742: 1733: 1731: 1714: 1713: 1709: 1704: 1700: 1695: 1691: 1684: 1680: 1675: 1671: 1666: 1662: 1658:Caldwell memoir 1657: 1653: 1635: 1634: 1630: 1625: 1621: 1616: 1612: 1607: 1603: 1598: 1591: 1582: 1578: 1569: 1565: 1560: 1556: 1551: 1547: 1540:Records of the 1539: 1535: 1522: 1518: 1513: 1509: 1504: 1500: 1495: 1491: 1486: 1479: 1474: 1467: 1461:Wayback Machine 1451: 1447: 1441:Wayback Machine 1431: 1427: 1422: 1418: 1413: 1406: 1401: 1397: 1392: 1388: 1383: 1379: 1374: 1370: 1365: 1361: 1356: 1352: 1347: 1343: 1338: 1334: 1329: 1325: 1320: 1307: 1303: 1256:Boris Goldovsky 1161: 1061:The Merry Widow 928:The Magic Flute 912: 893:Boris Goldovsky 823:collaboration. 747: 720:Boris Goldovsky 602: 485: 453:Nadia Boulanger 424:Boris Goldovsky 401: 378:Margaret Hillis 357:improvement'." 258: 225:Wheaton College 104: 59:Alma mater 38: 33: 24: 17: 12: 11: 5: 2103: 2101: 2093: 2092: 2087: 2082: 2077: 2072: 2067: 2062: 2057: 2047: 2046: 2032: 2031: 2025: 2019: 2013: 2007: 2001: 1995: 1992:Patriot Ledger 1985: 1984: 1979: 1976:Norton Singers 1973: 1968: 1958: 1957: 1951: 1945: 1932: 1918: 1905: 1883: 1880: 1878: 1877: 1868: 1859: 1847: 1835: 1826: 1817: 1808: 1799: 1790: 1781: 1761: 1752: 1740: 1707: 1698: 1689: 1678: 1669: 1660: 1651: 1628: 1619: 1610: 1601: 1589: 1576: 1563: 1554: 1545: 1533: 1516: 1507: 1498: 1489: 1477: 1465: 1454:Norton Singers 1445: 1434:Norton Singers 1425: 1416: 1404: 1395: 1386: 1377: 1368: 1359: 1350: 1341: 1332: 1323: 1304: 1302: 1299: 1292:Santa Fe Opera 1260:Sarah Caldwell 1193:Rio de Janeiro 1164:Deborah Sasson 1160: 1157: 1156: 1155: 1144: 1134: 1123: 1112: 1101: 1094:Mephistopheles 1090: 1079: 1068: 1057: 1046: 1035: 1027: 1020:The Gondoliers 1016: 1008: 997: 989: 978: 970: 959: 951: 944:Die Fledermaus 940: 936:Così Fan Tutte 932: 924: 911: 908: 904:Sarah Caldwell 872:New York Times 859:New York Times 851:German Requiem 842:Carmina Burana 805:Deborah Sasson 766:New York Times 746: 743: 724:Mephistopheles 702:Mephistopheles 696:Patriot Ledger 639:Johann Strauss 610:Song Of Norway 601: 598: 583:Cosi Fan Tutte 484: 481: 458:JoAnn Falletta 257: 254: 103: 100: 85:Louise Pettitt 80: 79: 76: 72: 71: 68: 64: 63: 60: 56: 55: 52: 48: 47: 46:March 25, 2006 44: 40: 39: 34: 30: 26: 25: 22: 15: 13: 10: 9: 6: 4: 3: 2: 2102: 2091: 2088: 2086: 2083: 2081: 2078: 2076: 2073: 2071: 2068: 2066: 2063: 2061: 2058: 2056: 2053: 2052: 2050: 2043: 2041: 2037: 2036:Sun Chronicle 2029: 2026: 2023: 2020: 2017: 2016:Sun Chronicle 2014: 2011: 2008: 2005: 2002: 1999: 1996: 1993: 1990: 1989: 1988: 1983: 1980: 1977: 1974: 1972: 1969: 1966: 1963: 1962: 1961: 1955: 1952: 1949: 1946: 1944: 1940: 1936: 1933: 1931:OCLC: 4516063 1930: 1926: 1922: 1919: 1917: 1913: 1909: 1906: 1904: 1900: 1896: 1892: 1889: 1888: 1887: 1881: 1872: 1869: 1863: 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Florence Louise Pettitt

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