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Black History Month and opera

The New Orleans Opera has had the privilege of performing with some of the most talented and accomplished opera singers in the world, including a number of black opera singers. In conjunction with Black History Month, following are a few of the illustrious singers of color who have performed with the NOOA.

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Native New Orleanian Shirley Verrett (pictured here in a 1983 NOOA performance of Tosca) filled in as Carmen for the NOOA in 1980, making her the first black singer to perform the role with NOOA. She had previously been the first black singer to perform the role at the Bolshoi Theatre in Moscow.

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Bass-baritone Alfred Walker has become an international superstar since he graduated from Loyola’s master’s program in 1996. Walker won the Regional Metropolitan Opera Council Audition and made his Metropolitan Opera debut as Grégorio in Roméo et Juliette in 1998. He has performed with NOOA in Macbeth and Elektra (1994); Madama Butterfly (1995); Andrea Chénier (1996); Rigoletto (1997); and La Bohème (2014). He is pictured above in Loyola’s 1996 performance of Die Fledermaus.

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Another Loyola alum, Giovanna Joseph, has performed supporting roles in Salome and Porgy and Bess with NOOA. In 2011, Joseph founded Opera Creole, a nonprofit company dedicated to discovering and performing music written by nineteenth century New Orleans Creole men and women of color. She is pictured above (left) with her daughter Aria Mason (right) and singer Hope Briggs (middle) in NOOA’s 2010 Porgy and Bess; this performance marks the first time a mother and daughter both had singing roles in the same NOOA production (image courtesy of Givonna Joseph).

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Mezzo-soprano Débria Brown was another trailblazing New Orleans native who battled prejudice to become an international opera star. Brown graduated from Xavier University and began her professional career with the New York City Opera opposite Loyola alum and fellow New Orleanian Norman Treigle. She later achieved success singing in Germany and Vienna before becoming a professor of voice at the University of Houston Moores School of Music. Brown performed with NOOA in Un Ballo in Maschera (pictured above in 1981) and Eugene Onegin (1995).

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Opera soprano Marquita Lister performed two of her signature roles in Porgy and Bess and Salome with NOOA in 2002. Lister has also served as the national spokesperson for the Negro “Spiritual” Scholarship Foundation.

A large portion of the New Orleans Opera Association Archives are Artists’ Files. These include head shots, press kits, and correspondence, in many cases sent by artist management companies, for artists who performed with NOOA as well as many who didn’t. These files contain beautiful graphic materials for  some of the most famous opera singers of the 20th century, including many of the world’s leading black singers.

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LaVergne Monette

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Barbara Hendricks

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Simon Estes

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Barbara Conrad

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Vinson Cole

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Grace Bumbry

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Betty Allen

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Donnie Ray Albert

Many if not all of these singers faced intense racial prejudice in establishing the rights of black singers to perform with regional, national, and international opera companies. Alison Kinney’s “As the Met Abandons Blackface, a Look at the Legacy of African Americans in Opera” details struggles faced by black American opera singers as well as the use of white singers to portray black characters, as does Naomi Adele André’s Blackness in Opera (available for checkout from the Monroe Library).

The materials pictured above, and many more like them, are available for research in the New Orleans Opera Association Archives at Special Collections & Archives‘ Booth-Bricker Reading Room Monday – Friday from 9am-4:30pm.

Collection Spotlight: Norman Treigle Papers

In memoriam of the anniversary of Norman Treigle’s death on February 16th, 1975 we are spotlighting our Norman Treigle Papers collection.

Adanelle Wilfred (Norman) Treigle was born in New Orleans on March 6, 1927, the youngest of five children born to Wilfred and Claudia (Fischer) Treigle. His introduction to music was through his mother, who played both piano and organ, and his singing career began as a boy soprano in a church choir.

Determined to pursue a musical career, Treigle entered Loyola University where he studied with Elisabeth Wood for seven years. He won the New Orleans Opera House Auditions of the Air in 1947 and made his operatic debut with the company as the Duke of Verona in Roméo et Juliette. Over the next six years he developed a repertoire of twenty-two roles with the New Orleans Opera and studied both drama and ballet to prepare for his career as a singing actor. He sang solos at religious services of all denominations, performed with the New Orleans Pops and the New Orleans Philharmonic Orchestra, and hosted a radio show on WWL. According to his daughter Phyllis, the proprietors of WWL suggested that he change his name from “Addie” to a more professional stage name, and after studying various names, Treigle finally chose “Norman,” the name previously bestowed on his son.

Although only 5’11” and 140 pounds, Treigle had a voice that belied his size and a dazzling acting ability. He was known for his dominating portrayals of Reverend Blitch in Carlisle Floyd’s Susannah, Grandpa Moss in Copland’s The Tender Land, Escamilio in Carmen and Mephistopheles in both Faust and Mephistofele as well the lead roles in Boris Gudonov, Figaro, Don Giovanni, and Gianni Schicchi. He and Beverly Sills often sang together in operas including Les Contes d’Hoffmann, Coq d’Or and Giulio Cesare that was produced to showcase Treigle in the City Opera’s premiere in new facilities at Lincoln Center in 1966.

Despite a vagabond career, he remained a New Orleanian. He and his second wife Linda lived near the lakefront with her daughter, Lisa, who Treigle adopted. His daughter Phyllis Susannah (born in 1961 and named after Phyllis Curtin, Treigle’s Susannah co-star) lived with her mother. He smoked constantly, drank Scotch, enjoyed wagering on the races at the New Orleans Fairgrounds, and was admired for his sense of humor and generosity.

On February 16, 1975, Treigle’s first wife, Loraine, found Treigle dead in his New Orleans apartment. The cause of death originally was thought to be result of a bleeding ulcer, but was later determined by the coroner to be an overdose of sleeping pills. Norman Treigle was forty-seven years old.

The Norman Treigle Papers consists of materials detailing the career and legacy of the opera singer. Press, programs, correspondence, contracts, photographs, costumes, and audio-visual materials are included in the collection. The bulk of the collection covers his years as a performer with some additional materials gathered after his death.

Treigle as Boito's Mefistofele

The collection is comprised of the following series:

Series I: Press & Programs

Series II: Correspondence

Series III: Contracts, Royalties & Financial

Series IV: Public Relations & Memorial Fund

Series V: Sheet Music –  Subseries I: Opera Scores – Subseries II: Oratorios and Cantatas – Subseries III: Art Songs & Popular Songs

Series VI: Educational Resources

Series VII: Photographs

Series VIII: Brian Morgan Research Files

Series IX: Scrapbooks & Oversized Publications

Series X: Audio-Visual Materials – Subseries I: Moving Images – Subseries II: Audio

Series XI: Costumes

You can view and research the Norman Treigle Papers Monday through Friday from 9-4:30 in the Special Collections & Archives of Monroe Library Loyola University New Orleans.

Special Collections Internship report

This internship report was written by music major Gloria Cosenza, Special Collections & Archives intern

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Gloria Cosenza with photos of Norman Treigle (directly behind Gloria) and her grandfather Arthur Cosenza (right) at Pascal's Manale, 2015. Image courtesy of Gloria Cosenza.

Music is so naturally united with us that we cannot be free from it even if we so desired.

Boethius (AD 480 – AD 524) is a philosopher best known for his treatise, Consolation of Philosophyand the most notable of his ideas is The Wheel of Fortune. However, he is most important to me because of the philosophy within his manuscript De institutione musica. Boethius identified what he considered “the threefold classification of music”. Musica mundana is the music of the spheres (planets and universes), which is soundless to the naked ear but can be felt more or less like goose bumps or butterflies in your stomach. Musica humana is the harmony sounded in between the physical and spiritual human body – the vibration and sound of OM in yoga is an example of this harmony. Musica instrumentalis is understood on the most basic level as instrumental music produced by something under tension (i.e. strings, wind, water, or percussion). The quote above is taken from this ancient manuscript.

I recognize music as a driving force in my life – as one I have run from and now a force with which I attempt to coexist. Music is the reason I decided to finish my undergraduate degree at Loyola, and my Cosenza family legacy with the university begins (and will soon end) with the art of opera. Arthur Cosenza, my operatic baritone of a grandfather, spearheaded the Loyola Opera Workshop in 1964. His instructor status at the university allowed for his sons (my dad and uncle) to earn – free of charge – not only their undergraduate degrees in English and Accounting, but also their law degrees. It was in the law classrooms of the Broadway campus where my parents met and fell in love. One of the reasons they fell in love was because of their shared passion for the arts.

[My mother recalls reading in Time magazine of Arthur’s work (before she ever met my father) with the New Orleans Opera Association during their 1972 opera season. The infamous season when soprano Carol Neblett, performing the role of Thais, revealed her nude self to an unsuspecting crowd in the Act I finale of the opera!]

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Arthur Cosenza (standing, right) rehearsing with Loyola Opera Workshop singers Carl Kauffman (left) and Judith Fischer (middle), and accompanist Eugenie Passera. Image from the Loyola University Archives.

I am the third of four children my parents have together. My oldest sister graduated summa cum laude with degrees from Loyola in Mass Communications and political science. Since I am not married, and my youngest sister is graduating from LSU, I will be the last Cosenza with a degree, as a “Cosenza”, from Loyola.

The operatic sound is one of the many frequencies, which makes up my own musical chemistry. We listened to operatic recordings on vinyl; my grandfather would occasionally sing; and eventually, I saw my very first live performance when I was about nine years old. I experienced the opera at the Mahalia Jackson Theater of the Performing Arts with my grandfather while he was still the Artistic Director of the New Orleans Opera Association. The production was The Ballad of Baby Doe, and I ate too many chocolate covered raisins. Truthfully, my first heartfelt operatic experience was many years after my first opera, but several months after my grandfather passed away. Up late studying for a high school geography exam and strung out on caffeine, I was playing music I found on an old computer. Puccini’s “O Mio Babino Caro” sung by Maria Callas started to play, and I cried. I played it a few more times in order to witness myself emoting through a classical piece of music. I was sure the aria’s text was of overcoming hopelessness and sadness, but alas it is not. Though sometimes I still cry when I hear that recording, in spite of the text – just because it makes me think of Arthur.

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Arthur Cosenza. Image from the New Orleans Opera Association Archives.

“If they don’t let me in, I won’t go anywhere else.” That’s what I told my parents when I decided to audition for Loyola’s School of Music. I was a twenty-three year old yoga teacher/nanny/full time employee at Whole Foods Market in Baton Rouge, “with a dream”. The Loyola voice faculty made a strange decision, and they accepted me into their program. I have been studying classical voice and the art of operatic performance for over three years now. This summer I was given the opportunity to study the business of opera, and specifically the business my grandfather ran for almost 20 years at the New Orleans Opera Association. During my internship, I worked as an associate of the Special Collections and Archives department on the third floor of Monroe Library. My project for the summer was to layout a timeline based on the history of the New Orleans Opera Association (NOOA) in correlation to the one hundred boxes which make up the NOOA collection. On the first day, I was briefed on basic rules and practices of keeping and working in archives. I learned the layout of each collection and what kinds of information these collections had to offer in way of research aids.

Learning the basics of managing and maneuvering an archive seems to me a legitimate library science skill that I could use to persuade employers looking to hire someone for a basic library position or any position that would require book keeping or basic organization/ attention to detail qualities. I eventually created a digital timeline using software called TimelineJS.

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Click image above to go to timeline

Granted the software was very easy to use, it will be a great tool for future presentations and possibly an element to a kind of portfolio I might put together to impress employers. The last, important skill I learned while working as an intern this summer was how to work with new personalities. I pride myself in having known and worked with many different kinds of people, and this summer I met a couple of new attitudes I was otherwise not familiar. I regretfully admit that I am a people pleaser, first and foremost; but I feel like I made headway into reasons why being a stand up, reliable worker is the most important and usually the easiest way to gain anyone’s affection or approval. I don’t need to be “nice” or “cute” in order to be an asset to the team. What a team wants more than anything – for the sake of the individuals and the project at hand – is a clever, focused, confident worker. All of my colleagues have offered themselves as references for future job opportunities I may have. These women are eager to see me succeed in whatever I do, and they are some of the smartest, empowered, good-humored women I have met. I believe we will stay friends for quite some time.

The first day of my internship was May 23, and though I stopped working twenty hours a week on August 1. I am still working with the team, though they could only take me on at ten hours a week instead of twenty to meet their budget. On August 23, I will have been with SC&A for three months. I am not sure I can articulate all of the amazing new ideas I’ve had in such a short time. These new ideas range from how the past can shed light on a successful future for the opera as a thriving art form in New Orleans, to the necessary facets of my own projects as an up and coming artist in the world – and how I can make a thriving career for myself as a performing artist. I kept a notebook while working in the archives. This notebook is full of lists of things to do for the exhibits and places where I can find what I need, etc. However, in and throughout my notes, I have scribbles of marketing ideas for myself – equipment I need to purchase, ideas for a kind of press package, thoughts on head shots, possible day jobs for when I graduate, lists of repertoire I need to learn, quotes and special places of beautiful photos of my grandpop. One of the most amazing parts of this New Orleans Opera Association project was reading about how all of these famous musicians made it to the top. I picked up on a few key points that have kept me thinking forward into my own future. The first is passion for the music and for the art of performance – a passionate dedication to beauty, precision, and honesty when making opera. Second, there is a teacher who believes in the student or artist. It seems strange that dependence does in fact exist especially in a world where individualism is strong and we believe that the individual can do whatever he or she puts their minds to… But the truth is, with an art such as voice, a quality teacher is a necessary for the progress of the vocalist – a teacher who believes in the student’s possible career and a teacher who can articulate breathing technique, freedom of muscles, sound and creative expression. The third quality is diligence. I think diligence encompasses perseverance at a steady pace, thorough and quality preparation, and a promise to live up to his or her vocal talent. By this I mean, never taking for granted the natural vocal gift that exists, taking good care of it and looking forward to expressing it.

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Gloria working in the archives, summer 2016. Image courtesy of Gloria Cosenza.

One of my music business advisers strongly recommended I register for the internship course within the music industry curriculum. He has always told me that if I am going to try for an operatic performance career that I will need some kind of a back up plan in order to supplement my income. This summer I learned that though my grandfather had a unique vocal talent and stage presence, he was also an incredible businessman. Because he was a performer, he was able to communicate with many different kinds of people and those people wanted to be around him. All summer I read of how he had never imagined he would spend fifty years of his life stage directing and managing a professional opera house. He loved opera and everything else happened from that passion. Where my own career is concerned, I believe I have a significant chance of making a living as a singing actor. If this is not the case, I will remain content as long as I am surrounded by music and according to Boethius I always will be.

SCA’s Newest Detective

In 1962, Domingo performed with the New Orleans Opera House Association for the first time as Lord Arturo Bucklaw. This was only his second performance in America (after his U.S. debut at the Dallas Civic Opera)! In this same program, is one of the shortest "artist bios" ever to be written under his now internationally famous name. Come and see it for yourself when you visit us in the SCA (third floor of Monroe Library)!

One of my more exciting projects this summer is working in the Loyola Special Collections & Archives department at Monroe Library. I first learned how to navigate a library via the Dewey Decimal System during my kindergarten year at Hynes Elementary School in Lakeview. There is nothing quite like the thrill of researching, seeking, and finding sources in the library. Those moments when you get lost in shelves because there are more books than you thought there would be on your topic or even a topic you had not considered; the sounds of silence; the scents of the books…I could go on forever about the joys of ‘the library’! Monroe Library at Loyola is an unforgettable one. There has always been a special little place in my heart, where I’ve imagined myself a librarian. Here I am. Tucked away on the third floor, in a quiet and magical place is: The Special Collections and Archives Department. I was hired to take on this part time position as a student worker and am receiving a music industry internship credit. The people I work with are as lovely as they are intelligent (and librarians are very smart, duh!). We all wear sweaters not because sweaters complete the “adorable librarian” look, but because most of the collections in our in our department are extremely old and in order to best preserve them, temperatures are set very low.

Floyd is famous for his operatic composition of Susannah (an opera in two acts). The composer wrote Susannah and Markheim essentially for the specific voice and character of international and local star Norman Treigle. The world premiere of Markheim took place in March 1966 after Treigle insisted it happen in his hometown of New Orleans! The performance captured national coverage and was a huge success.

My journey in the archives began and will end with the New Orleans Opera Association. My primary job this summer is to search through the extensive New Orleans Opera Association archives and find interesting photos, documents, programs, etc. to display in the New Orleans Opera Association exhibit coming this Fall 2016! What seemed a daunting and vague task (as SA&C has almost 100 boxes of NOOA historical content) has turned into one of the most interesting and exciting research projects I’ve ever encountered! The timeline I am working with is from February 1943 – the beginning of the New Orleans Opera House Association – to the early 2000′s. This collection is over flowing with unique photographs, hand painted or sketched set designs, amusing correspondence, quaint scrapbooks, and reel to reel recordings of performances as old at 1947!

This watercolor set design of a 1966 production of Carmen is one of many hand painted or sketched plans in the NOOA collection. It is most fascinating to hold up the planned set next to the realized black and white photo of the stage!

A single page from one of the NOOA Women's Opera Guild Scrapbooks. The twenty-fifth anniversary season of the NOOHA was all about the big names in opera. For this particularly spectacular performance, Tito Capobianco staged an inventive production of Les Contes d'Hoffmann, featuring Beverly Sills (pictured here), John Alexander, and Norman Treigle.

Arthur G. Cosenza

This is my Grandfather. He is one of my most favorite people and he was active with the New Orleans Opera Association for over thirty-five years. From the 1953-54 season as a supporting baritone role; through the 60′s, 70′s, and 80′s as stage and/or artistic director; and from 1998 until his death in 2005 he served as the Emeritus Director of the association. What a handsome guy! Though he always told me, “Everyone looks better when they’re younger.”

This project has only just begun. I am looking forward to another month in the Monroe Library researching, seeking, and finding…

Written by Student Worker and Intern, Gloria S. Cosenza.

Lorraine “Lorena” Dureau

Lorraine Dureau Newsham graduated from Loyola University New Orleans in 1955 with a Bachelor of Music. She had become somewhat of a local celebrity, praised for her ability to be both a wife and student, but more importantly for her voice.  She was an up and coming opera singer, having performed with Norman Treigle during the 1940s and an active member of NORD (New Orleans Recreation Department), and was accepted to perform at the Metropolitan Opera House after finishing her time at Loyola but was unable to attend after suffering from a broken rib that put her out of work for the opera season.
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Devastated by her missed opportunity she sought out other options and was encouraged by Miguel Bernal, the dean of the College of Music at the time, to try her hand in Mexico where the opera scene was growing in popularity and was performing year round.  It is not clear by our records the exact time she left, but by 1957 Lorraine was in Mexico, apparently leaving everything behind, including her husband at the time, John Newsham. Her collection is full of photos and articles from her time in Mexico, giving us a picture of what her life was like and all of the people she met and grew close to.
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In Mexico she became a star and her music career soared while earning herself a new name in the process, Lorena Dureau. She preferred performing repertoire of her favorite songs rather than complete operas but excelled in both, appearing on stage, radio, and television, all while also furthering her career as a writer.

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She wrote articles for many publications around the world both during her time in Mexico and after returning to New Orleans in 1978. She had been writing short stories and poems since she was a little girl and took up the skill again as she led her singing career away from performing and in the direction of teaching and turned to novels.  While her first unpublished manuscript was titled By the Sword (date unknown) and written under the pen name Lorry Newman, her first published work was a book titled The Last Casquette Girl (1981), starting her on the trend of romance novels that would follow which included Lynette (1983), Iron Lace (1983), and Beloved Outcast (1987).


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After returning to New Orleans she captured the attention of a local businessman by the name of George Lehleitner, famous for his work both in the New Orleans community and his actions in helping both Alaska and Hawaii achieve statehood. George had seen an article about Lorraine that was written by an old family friend and contacted the friend to say that he was interested in meeting this fascinating woman. Persistent in his desire to meet Lorraine she eventually accepted his offer for lunch, starting the beginning of a wonderful relationship as the two were soon married and lived our their lives with each other, traveling to many places together as Lorraine also re-visited Mexico many times.

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Interesting cannot even begin to describe this woman as her collection takes you on a wild tale of one woman’s journey through life. From her days at NORD and Loyola to Mexico and opera, writing of romance novels and articles on voodoo, dolls, Mexican culture, and more.

This information is from the Lorraine Dureau collection, which is currently being processed at Loyola University New Orleans in the Special Collections & Archives by students.

Blog Post by Caitlin Page, a Special Collections Student Worker.

New Norman Treigle exhibit

Treigle as Boito's Mefistofele

Dr. Valerie Goertzen’s Intro to Graduate Studies class has been hard at work this semester researching the life and career of Loyola graduate and local and international opera star Norman Treigle with archivists Trish Nugent and Elizabeth Kelly. The culmination of this project is the exhibit “The Golden Voice of New Orleans,” now available for viewing outside Special Collections & Archives on the third floor of the library.

The students in Intro to Graduate Studies did original research using the manuscript materials in the Norman Treigle Papers as well as secondary research using Brian Morgan’s biography Strange Child of Chaos: Norman Treigle.

There will be an Opening Reception Wednesday, 11 November 2015, 11:30 a.m., outside Special Collections, Monroe Library 3rd floor. All are welcome to join us for snacks.

Treigle studied at Loyola from 1949-1951 and went on to an illustrious career in North America and Europe. The exhibit explores Treigle’s career as well as his personal life through the variety of materials in his collection including journals, performance scores, costumes, images, correspondence, and more.

The exhibit will be on display through the end of the Fall semester. Thank you to the first-year Master of Music in Performance students for their great work on this project.

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Intro to Graduate Studies class with Special Collections staff

New Orleans Opera Association Archives

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“The date of the very first staging of opera in the New Orleans cannot be firmly established and seems forever lost to music historians, but it can safely be stated that since 1796, in the final decade of the Spanish colonial era, New Orleans has had operatic performances on almost a yearly basis. With few exceptions throughout the nineteenth century, each year the city hosted a resident company which was engaged for its principal theatre and which could be depended upon for performances throughout an established operatic season…

Welcome though these sporadic appearances were, what the city needed was a return to a permanent company, with a fixed operatic season. Determined to meet this challenge, in February 1943 a group of music lovers, led by Walter L. Loubat (1885-1945), drew up a charter creating the New Orleans Opera House Association. An inaugural summer season of open air performances, billed as “Opera under the Stars”, in City Park stadium was planned. The inaugural bill of Cavalleria rusticana/Pagliacci (June 11/12, 1943) was followed by three other works.  Amelio Colantoni served as artistic director; former Metropolitan Opera conductor Louis Hasselmans was recruited from nearby Louisiana State University’s faculty; and Lelia Haller, a New Orleanian who had danced with the Paris Opéra ballet, began the training of a resident corps de ballet.   The initial season scored a success, but the ever present threat of evening showers in semi tropical New Orleans prompted a move indoors to the Municipal Auditorium that autumn.  The concert hall of the Auditorium remained home for the Opera Association until the inauguration of the Theatre of Performing Arts in 1973.”

Jack Belsom, “A History of Opera in New Orleans.”

Here at Monroe Library’s Special Collections and Archives, we house a huge collection of programs, donated by the New Orleans Opera Association, dating back to that first performance “under the stars” in 1943. I have been lucky enough to have been allotted the task of digitizing this collection. Flipping through the beautifully vintage pages of these programs, one can recognize Loyola Alums credited as both chorus members and singing roles. Sarah Jane McMahon (’02), Norman Treigle (51’) and Bryan Hymel (’01) are just a few of the many recognizable names you can find. You can even find the names of superstars like Walter Cassel, Robert Weede, Eugene Conley, Lawrence Tibbett, Gabor Carelli and many more. Each program includes bios about the composers, conductors and singers involved in each performance, as well as a synopsis of the opera(s) being performed, and provides a neat insight to the life of those musicians. They also include some very hip ads from the time: a piano company that was based in New Orleans, local restaurants and eateries, clothing and jewelry stores, home radios, cars, theatres, etc…

Once the collection is digitized it will be made available and accessible through the SCA webpage. In the meantime, if you desire to hold one of these pieces of operatic history in your own hands, the same pieces of paper that were held by the hands of who-knows-who (perhaps a few of today’s New Orleans-hailing opera stars from their student days), then come by the Booth-Bricker Special Collections and Archives Reading Room on the third floor of Monroe Library to consult with one of our archivists. We will be happy to help!

This post was compiled by student worker Dylan J. Tran.

Found in the Archives is a recurring series of crazy cool stuff found in the Monroe Library’s Special Collections & Archives.

The Money Box

Starting March 8th, Loyola’s Department of Theatre Arts and Dance will present the world premiere of the musical “The Money Box.” Based off Moliere’s “The Miser,” New Orleans native Ricky Graham adapted the story to be set in the 1960s. The Money Box is a Bourbon Street club owned by Midas Harpagon. The musical tells the satirical story of the challenge between Harpagon and his children. When seeking marriage, Harpagon seems to focus on earning money, while his children look for true love.

In 1932, The New Orleans Conservatory of Music moved onto Loyola’s campus and became what was known as the Loyola College of Music. At the time, it was the only Jesuit college of music in the United States. Since then, The College of Music and Fine Arts has launched the careers of many accomplished alumni, including opera star Norman Treigle.

Below is a vintage photograph from the Loyola University Photographs Collection of students in the former Loyola Performing Arts Theatre. To read more about Loyola’s history visit Loyola’s Special Collection & Archives and check out Founded on Faith, a comprehensive history of Loyola University New Orleans by Dr. Bernard Cook.

Blog post by Kristen Blomeyer, Special Collections work-study student and Social Media and Outreach Intern.

Found in the Archives is a recurring series of crazy cool stuff found in the Monroe Library’s Special Collections & Archives.