{"id":16579,"date":"2026-04-09T00:05:04","date_gmt":"2026-04-09T04:05:04","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?p=16579"},"modified":"2026-04-07T11:59:57","modified_gmt":"2026-04-07T15:59:57","slug":"apr10-apr16","status":"publish","type":"post","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/2026\/04\/apr10-apr16\/","title":{"rendered":"April 9th-16th: Milestone production of “The Marriage of Figaro”"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1729268983292{background-color: #ffffff !important;}”]Published on Apr 10th, 2023<\/em><\/p>\n

Back to This Week at Eastman<\/a><\/p>\n

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Seventy-five years ago this week, on April 10th and 12th, 1948, Mozart\u2019s beloved comic opera The Marriage of Figaro <\/em>was staged in Kilbourn Hall, marking the Eastman School\u2019s first complete production of this opera.\u00a0 The production actually constituted a dual milestone, for not only was it Eastman\u2019s first complete experience with Figaro, <\/em>but it also marked the Eastman directorial debut by newly appointed Dramatic Director Leonard Treash,[1]<\/a><\/sup> who had spent the academic year introducing numerous innovations into operatic training at Eastman.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1680897179693{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 40px !important;background-color: #f4f4f4 !important;}”][vc_column width=”2\/3″ css=”.vc_custom_1669830733727{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column_text css=”.vc_custom_1729268529449{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]The Marriage of Figaro, <\/em>Mozart\u2019s beloved comic opera based on the play of the same title by French playwright Pierre Augustin Caron de Beaumarchais (1732-1799), requires no introduction. One of the most beloved and most frequently performed works in the operatic literature, it is readily accessible as a performance vehicle for university and college forces.\u00a0 Further, with its abundant hilarity derived from its humorous and gently satiric treatment of the social order of its day, the story boasts immediate audience appeal; paired with Mozart\u2019s immortal music, this opera is a certain guarantee of an enjoyable evening or matin\u00e9e.\u00a0 Although there had been to date no complete production at Eastman, the Opera Department\u2019s legacy of Mozart performances during the school\u2019s first quarter century (1921-1946) was nevertheless substantive.\u00a0 Besides frequent presentations of scenes from Mozart operas each semester,[2]<\/a><\/sup> four Mozart operas had been staged in their entirety, together with selected acts from two others.\u00a0 Don Giovanni, <\/em>opera buffa in two acts, was staged in Kilbourn Hall (with orchestra) in 1929.\u00a0 Bastien and Bastienne, <\/em>an early Singspiel in one act, was staged in Kilbourn Hall (with orchestra) in 1931 on a double bill with Donizetti\u2019s Il Campanello (The Night-bell), <\/em>and was staged again in 1942 on a double bill with Jules Offenbach\u2019s The Enchanted Fife.\u00a0 The Disguised Gardener (La finta giardiniera), <\/em>opera buffa in three acts, was staged in Kilbourn Hall in 1939 on a double bill with The Deceived Kadi <\/em>by Gluck.\u00a0 The Impresario (Der Schauspieldirector), <\/em>comic Singspiel in one act, was staged in Kilbourn Hall (with orchestra) in 1946 on a double bill with Solomon and Balkis (The Butterfly that Stamped) <\/em>by Randall Thompson.\u00a0 The Impresario <\/em>was repeated that same semester, in May, 1946, on a double bill with act I of Richard Wagner\u2019s The Flying Dutchman.\u00a0 <\/em>Besides these four operas, Eastman also enjoyed the first act of Cosi fan tutte, <\/em>staged in Kilbourn Hall in 1939 on a double bill with Pergolesi\u2019s Serva Padrona (The Maid Mistress), <\/em>and on two separate occasions, selected acts from The Marriage of Figaro: <\/em>act II in 1941 on a double bill with Gilbert and Sullivan\u2019s Cox and Box; <\/em>and act I in 1944 (with orchestra) on a double bill with scenes from Gluck\u2019s Orfeo. <\/em>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″ css=”.vc_custom_1729268511601{padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”16580,16581,16582,16583,16584″ img_size=”370×570″ css=”.vc_custom_1729268628749{margin-top: 10px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column_text css=”.vc_custom_1709917759490{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: -10px !important;padding-bottom: 0px !important;}”]<\/p>\n

\u25ba Printed program for the Eastman School\u2019s 1948 production of The Marriage of Figaro. Director Treash\u2019s own copy of the program included this two-page insert outlining in detail the opera\u2019s action, but it\u2019s unclear as to whether the Concert Office provided this insert generally to the entire audience.
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These brief items in the Rochester press gave publicity to the Eastman production of Figaro. Together with the Eastman School\u2019s 1948 yearbook, the press items represent the only extant photographs from this production.<\/span><\/p>\n

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Leonard Treash considered The Marriage of Figaro <\/em>an ideal instructional piece, as noted in comments (presumably his own) that were printed in the 1948 program.\u00a0 So as to maximize the shared experience of as many students as possible, Eastman\u2019s 1948 production was triple-cast for three performances, each with an independent cast, although a few selected singers reprised their roles in more than one performance.\u00a0 Musical accompaniment for the production was provided by the Eastman School Senior Orchestra, conducted by Carl Fuerstner.[3]<\/a><\/sup> \u00a0The principals in the three casts were the following students:<\/p>\n

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Nancy Bramlage (Susanna) [later Mrs. Nancy Ewing], BM \u201850<\/p>\n

Lois Winter (Susanna), BM \u201948, PC \u201949, MAS \u201850<\/p>\n

Antoinette Arnould (Susanna) [later Mrs. Toni Foglesong], BA \u201948, PC \u201849<\/p>\n

Robert Waterstripe (Figaro), BM \u201949, MAS \u201850<\/p>\n

Samuel Jones, Jr. (Figaro), BM \u201950<\/p>\n

Sherwin Levine (Figaro), BM \u201850<\/p>\n

Jeanne Folsom (The Countess) [later Mrs. Jeanne Pavlock], BM \u201847<\/p>\n

Jessie R. (Robin) Allardice (The Countess), BM \u201948, PC \u201849<\/p>\n

Denise Miller (The Countess) [later Mrs. Denise Apel], BM \u201947 piano<\/p>\n

Ken Ballenger (The Count), MM \u201848<\/p>\n

Shepard Ryman (The Count), BM \u201849<\/p>\n

Dick Morris (The Count), enrolled only in 1947-48 <\/em><\/p>\n

A survey of the later careers of the cast members of Eastman\u2019s 1948 Figaro <\/em>indicates that many went on to academic life, some of them eventually attaining emeritus status at their institutions.\u00a0 At least one became a professional orchestral conductor, and numerous others became private music teachers.\u00a0 Some left musical circles altogether and entered the business world, and one enjoyed a career at Newsweek<\/em>.<\/p>\n

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\u25ba This two-page spread profiled the 1948 production of The Marriage of Figaro in the Eastman School\u2019s 1948 yearbook. Note that the feature appropriately recognized newly appointed Dramatic Director Leonard Treash.
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In keeping with standard practice at the Eastman School, the 1948 production of Figaro <\/em>was recorded.\u00a0 Each of the three performances was captured on 16\u201d instantaneous discs, and the analog content was later re-formatted to preservation tape during extensive preservation work that commenced in the late 1980s.\u00a0 The extant photographic evidence of the performance is limited to the few images that were published in the Eastman School\u2019s yearbook and in the Rochester press, all of which content is displayed here. \u00a0As of this writing in 2023, there have been 11 productions of Figaro <\/em>at Eastman; the most recent was in April, 2016.<\/p>\n

The 1947 appointment of Leonard Treash ushered in a new era of operatic training and production at the Eastman School.\u00a0 After Vladimir Rosing, founder of the Opera Department, had left the Eastman School\u2019s employ in 1926, the department had been re-structured to be conducted along the lines of an academic department at the dictates of Director Howard Hanson.\u00a0 In 1947, amidst the tremendous social changes that followed World War II and a re-evaluation of American strength in all cultural and artistic realms both at home and abroad, the Eastman School embarked on a new method in opera.\u00a0 Mr. Treash\u2019s most significant contribution was the introduction of the Opera Workshop as the center of activity.\u00a0 A brief summary of the Opera Workshop\u2019s philosophy (almost certainly written by Mr. Treash) was printed in the program of the 1948 Figaro\u00a0 <\/em>production.\u00a0 That statement articulated the goal that the performers would \u201c. . . learn to synchronize action with music of high dramatic content in almost every type of ensemble and solo form.\u201d\u00a0 Further, the Opera Workshop would provide training for performers \u201c. . .which will help to fit them for a new era in opera in this country, either as singers, technicians, or perhaps more enthusiastic and intelligent listeners and patrons.\u201d Ultimately, the Opera Workshop would strengthen efforts to enable opera \u201cto reach the masses and become good entertainment\u201d and to make opera \u201c. . .intelligible with emphasis upon the perfection of the ensemble, both in acting and singing, and with the use of understandable English translations.\u201d<\/p>\n

The Eastman School\u2019s published annual catalogues make clear the distinction between the previous approach and the Opera Workshop.\u00a0 The 1945-46 annual catalogue defined the curriculum for a Major in Voice with Minor with Oratorio and Opera as a program of study in which voice students would, in their junior and\u00a0 senior years, divide their time equally between opera and oratorio.\u00a0 Apart from the requisite instruction in English Diction and French Diction, the operatic-intensive component of the curriculum was comprised, in the junior and senior years, of courses in Dramatics for four semesters, together with the course Coaching in Roles, Song Literature, and Oratorio.\u00a0 Following the appointment of Mr. Treash, however, there was a new approach.\u00a0 The 1949-50 annual catalogue still defined the Major in Voice as having a Minor in Opera and Oratorio, but in both the junior and senior years, the degree candidate would now elect the Opera Workshop for six hours per week each semester, amounting to two units per semester.\u00a0\u00a0 The annual catalogue promoted the Opera Workshop as \u201can integrated course based upon the idea that opera is an all-inclusive art embracing music, drama, design, and the crafts.\u00a0 It provides stimulation and practice for potential musical and stage directors, designers, and craftsmen, as well as for singing actors.\u201d Further, the annual catalogue promoted that within the Opera Workshop, the students would perform every task concerned with opera presentation.\u00a0 Those tasks were defined as including body movement and facial and emotional expression; conducting; and set design, from sketches through isometric drawings and scale models to actual construction of sets for full production under the supervision of the scenic design director.\u00a0 The prospective student was advised that \u201cby the end of the course. . . he [sic] should be well equipped to become a figure for the cause of Opera in America, either as a singing actor, a musical or stage director, a technician, or as a more intelligent and enthusiastic patron.\u201d<\/p>\n

Essentially, all of this underscored the philosophy that had been promoted by Opera Department founder Vladimir Rosing, who had stressed the need a truly holistic training in the art and craft of opera.[4]<\/a><\/sup>\u00a0 One visible manifestation of the shift was on display to audience members by way of the printed programs.\u00a0 Whereas the programs had previously announced \u201cThe Opera Department presents. . .\u201d, from 1947 onwards the programs announced \u201cThe Opera Workshop presents . . ..\u201d[5]<\/a><\/sup><\/p>\n

At the upper administrative level, Director Howard Hanson singled out Mr. Treash\u2019s work in his Annual Report to the President of the University for academic year 1947-48.\u00a0 Hanson was normally loquacious in any of his speaking and writing, and certainly in his annual reports to the President of the University, he was inclined to provide copious details with free-flowing accompanying prose descriptions.\u00a0 By contrast, in his 1947-48 report to Dr. Alan Valentine, Hanson dispensed with a recitation of the achievements of each of the Eastman School\u2019s academic departments in favor of singling out Leonard Treash and the Opera Workshop exclusively:<\/p>\n

\u201cThis report would reach to an inordinate length if an account were given of the accomplishments of each department.\u00a0 It is not inappropriate, however, to speak of the splendid work of the newly organized opera department under its new dramatic director, Leonard Treash, and its musical director, Carl Fuerstner.\u00a0 This departmental has been re-organized as an operatic workshop in which the students learn the entire technic [sic] of stage presentation from the designing and building of stage sets to dramatic and musical direction.\u00a0 The three delightful performances of Mozart\u2019s Marriage of Figaro <\/em>\u00a0with three independent casts pointed up admirably both the quantity and quality of work being accomplished.\u201d[6]<\/a><\/sup><\/p>\n

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Already at the mid-point of the fall semester in 1947, Director Treash had put the results of the Opera Workshop\u2019s work on display with a showcase of scenes in Kilbourn Hall.\u00a0 Formally promoted as The Opera Workshop presents A Demonstration of the Work of the First Six Weeks (program displayed here), it featured student performers in scenes from eight operas, ranging chronologically from Mozart to Menotti.\u00a0 Significantly, one aspect of the new method was prominently on view on the printed program: each of the dramatic directors and musical directors cited on the program were enrolled students.\u00a0 Here was another of Mr. Treash\u2019s innovations, to train students in direction by empowering them to assume the directorial roles themselves.<\/p>\n

Finally, the commitment to staging new works was a continuing dynamic under Leonard Treash.\u00a0 Since the 1920s and \u201830s the Opera Department had been staging new works by American composers in parallel with the American music initiatives launched by Howard Hanson; the Opera Workshop continued in that commitment with force.\u00a0 Future entries of \u201cThis Week at Eastman\u201d will feature some of those productions during the observance of Eastman Opera\u2019s centennial (2023-24).<\/p>\n

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In the meantime, apart from his work with the Opera Workshop, Mr. Treash was a faculty member in voice, charged with teaching degree candidates and performing the required annual faculty artist recital, just as dramatic director Nicholas Konraty had been before him.\u00a0 One month after the Demonstration of the Work of the First Six Weeks cited above, Mr. Treash gave a faculty recital in Kilbourn Hall (program displayed here), and in the following semester, two of his students performed their graduation recitals.<\/p>\n

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[1]<\/a>\u00a0 Leonard Treash (1909-1996), baritone and graduate of the College-Conservatory of Music at the University of Cincinnati, served on the Eastman School faculty 1947-76.\u00a0 He had been preceded as dramatic director by Nicholas Konraty (served in that capacity 1929-47), and would be succeeded by Richard Pearlman (served 1976-95).\u00a0 A collection of Mr. Treash\u2019s professional papers resides at the Ruth T. Watanabe Special Collections in the Sibley Music Library.<\/span><\/p>\n

[2]<\/a> During the Eastman School\u2019s early decades, the Concert Office routinely printed programs for the presentation of scenes, usually performed in Kilbourn Hall.\u00a0 In the school\u2019s first quarter century, scenes from Mozart operas were performed in May, 1926;\u00a0 December, 1926;\u00a0 December, 1927;\u00a0 June, 1931;\u00a0 January, 1939;\u00a0 and, March, 1947.<\/span><\/p>\n

[3]<\/a>\u00a0 Carl Fuerstner, conductor and pianist, served on the Eastman School faculty 1945-50.\u00a0 He was the designated musical director of opera during those years.<\/span><\/p>\n

[4]<\/a>\u00a0 Mr. Rosing\u2019s philosophy included an additional dramatic aspect which he energetically promoted: the concept of op\u00e9ra intime, <\/em>a method of staging and performing opera using reduced forces and minimal stage settings, thereby enabling presentation in smaller or otherwise unaccustomed venues.<\/span><\/p>\n

[5]<\/a> In 1976, with the appointment of Artistic Director Richard Pearlman, the nomenclature was changed again, this time to Eastman Opera Theater, by which the Eastman School\u2019s operatic endeavors continue to be known.<\/span><\/p>\n

[6]<\/a>\u00a0 Annual Report on the Eastman School of Music to Dr. Alan Valentine, President of the University of Rochester, 1947-48, signed by Howard Hanson, May 10, 1948.\u00a0 Typescript carbon copy in the Howard Hanson Collection, accession no. 2005\/3\/25, box 54, folder 26.<\/span><\/p>\n

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On April 10th and 12th, 1948, Mozart\u2019s beloved comic opera The Marriage of Figaro was staged in Kilbourn Hall, marking the Eastman School\u2019s first complete production of this opera.<\/p>\n","protected":false},"author":276,"featured_media":16670,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[26],"coauthors":[3],"class_list":["post-16579","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-april"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/16579","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=16579"}],"version-history":[{"count":1,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/16579\/revisions"}],"predecessor-version":[{"id":22952,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/16579\/revisions\/22952"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/16670"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=16579"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=16579"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=16579"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=16579"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}