The History of Toledo Opera, ACT ONE, Scene Two
by Sally Vallongo

Entering the second decade, the Toledo Opera had established itself as a successful new company and Toledoans had come to know more intimately some of the favorite opera works: Tosca, Madama Butterfly, Carmen, Die Fledermaus, Rigoletto. Soprano Roberta Peters began what would be an ongoing relationship with the TO in April, 1970, in a production of Don Pasquale.

Freedman began to explore less well-known productions such as Robert Ward’s The Crucible. After watching opening night, the composer called Toledo’s production one of the most satisfying performances of his career. Paul Plishka and Klara Barlow starred in Lohengrin to close that 1970-71 season, the first to be presented in the new Masonic Auditorium, which became the main performing venue for the opera until 1999.

Other illustrious singers who appeared with the opera during the decade were Maralin Niska, Robert Merrill, James McCracken, Sandra Warfield, Martina Arroyo, Jerome Hines, Louise Russell, and James Morris. Famed conductor and composer Anton Coppola, uncle of filmmaker Francis Ford Coppola and actress Talia Shire, became a regular guest in the orchestra pit. The Toledo Opera Ballet continued to perform, now led by local choreographer Hanna Hauser.

PHOTO: Tenor Placido Domingo as Mario Cavaradossi in the 1966 Toledo Opera production of Tosca in the Peristyle. Domingo was 23 and was making his first U.S. opera tour to rave reviews. This picture ran in the Toledo Times.

Cue the celebrity supernumeraries.

In 1977, then Toledo Mayor Doug DeGood moved from his political hot seat to the dramatic spotlight in a walk-on as the Mayor for Carmen. Seen as a marvelous opportunity to perform great opera and rub elbows with great stars in rehearsals, the Toledo Opera Chorus flourished. Many of the area’s finest vocalists were regulars in productions of Rigoletto, Tosca, Manon, and Il Trovatore during this decade.This list is incomplete, but among many who spent countless volunteer hours rehearsing, learning lines and staging, and performing were Rita Sanchez, Jane Zbinden, David Carter, Antoinette Willey, Joan Layne, Constance Denham, Erik Johansen, Greg Thomas, Judith Hauman, Joe Scalzo, Gene Ballard, Mel Harsh, and Barbara Kondalski.Among the most faithful regulars was Douglas Cook, a local industrialist with a penchant for opera and a rich baritone voice to match. Not only was Cook involved as often as possible, but he also became the unofficial Toledo Opera photographer, assembling album after album of shots from backstage and onstage.

Seasons grew: in 1975-76 Toledo Opera presented five operas including the double bill, Il Tabarro/I Pagliacci. The second decade ended on an upbeat note, as Freedman’s connections to the star system continued to foster musical excitement in the Glass City and local support of his production needs climbed accordingly.

ACT ONE: Scene Three

Enter the villain. Cue strings agitato. Bring on the chorus. After two exciting decades unrest developed within the leadership. With expenses rising, income falling, and some personnel changes, the board began to reexamine what had appeared to be a solid operation. Many Toledoans seemed unaware of the Freedmans’ involvement with the Dayton Opera company. Even though it may have made financial sense in some ways, to a growing chorus of supporters it came to look like duplicity. Freedman’s stock fell sharply. He responded by rallying his supporters and a feud developed that would last into the next decade.

In 1983 the founder and long-time impresario was sent packing by the Toledo Opera board. (An embittered Freedman would continue to produce opera elsewhere, but never come to terms with Toledo’s rejection. He died of a stroke in 1994.)

In the interim, with only a regency of board members, various directors and conductors were employed, including Johan Van der Merwe and David Bamberger, to keep productions coming. The turmoil negatively affected fundraising and public support. Nonetheless, Toledo Opera continued to mount seasons of full productions including La Fanciulla del West with Maralin Niska and Ruben Domenguez in the 1980-81 season; La bohème with Maria Spacagna and Raymond Gibbs in 1981-82; Rigoletto with Louise Russell, Dmitri Nabokov, and Leonore Lanzillotte in 1982-83; and, in 1983-84, The Mikado with Tina Bunce, Fred Reeder, Elaine Bonazzi, and Jon Garrison, and Lucia di Lammermoorwith Gianna Rolandi and Joseph Evans.

Toledo Opera arrived at its quarter-century mark with a proud record of quality performances, community involvement, and support from individuals, corporations, and institutions in the region. But (cue the tympani) there was a growing debt. While $100,000 in the red may seem insignificant in these days of trillion dollar federal deficits, the local company knew it had to resolve its unpaid expenses to continue.

Enter the tenor.

The arrival of James Meena in June of 1986 signaled a period of growth and development for Toledo Opera. Meena, 34, had a solid musical background and a passion for opera. Pragmatic and determined, Meena turned the organization toward more community events, seeking to broaden its base and further popularize the art form, without sacrificing artistic quality. There were summer opera programs in the parks and winter programs in the public schools. Students were offered a summer opera camp. Amidst all that, Meena and the company continued turning out fine productions. His first seasons included Carmen, Don Pasquale, and La Traviata, the latter with Jon Garrison and Maria Spacagna, and La bohème, Die Fledermaus with Lauren Flanigan, and Abduction from the Seraglio with Costanza Cuccaro. An up-and-coming soprano, Renee Fleming, starred in Magic Flute, a highlight of the 1988-89 season. Once again, through shrewd casting, Toledo audiences had an early taste of what would become one of the most popular and eclectic soprano performers of the times.

PHOTO: Soprano Maralin Niska and tenor Ruben Dominguez starred in the 1981 TOA production of Puccini’s La Fanciulla del West (Girl of the Golden West). Various “unsavory” Toledo Opera Chorus members and supporting actors lurk in the background.

Continued...

Special Thanks to The Toledo Blade for opening their archives to Toledo Opera for this retrospective