OPERA ASSN. ANSWERS A FEW NAGGING QUESTIONS

Press conferences sometimes raise as many questions as they answer. The recent media gathering at which Music Center Opera Assn. announced its production plans was such an event.

Two issues raised at that recent press conference dealt with: (a) the continuing relationship of MCOA consultants Placido Domingo and Richard Gaddes and (b) the use of titles above the proscenium in future opera seasons at the Music Center. Peter Hemmings, executive director of MCOA, had responded to questions on these issues, but even some careful listeners came away confused.

From John Howlett, director of public affairs for MCOA and one of Hemmings’ first lieutenants, here is further clarification:

“Both Mr. Domingo and Mr. Gaddes are continuing to serve as consultants to the association. Mr. Domingo has recently been involved in the auditions for the Emerging Artists program. He has also assisted us in contacting international artists, helping us to secure their services for future seasons.

“Mr. Gaddes’ expertise in the area of younger artists, and American artists in particular, has been most appreciated. Although he talks about moving back to England, we will continue to seek his advice.”

One question remains: Since Domingo has now been announced as a performer--singing the title role in Verdi’s “Otello” in the fall of 1986, and conducting Verdi’s “Macbeth” the following year--both MCOA productions--does not his continued role as consultant pose a possible conflict of interest?

“I see no conflict of interest there,” was Howlett’s immediate reply.

“Let’s compare this situation with James Levine’s (artistic directorship) at the Metropolitan Opera. It would be silly for Levine not to hire himself as a conductor. Here, it would be silly for us not to use Domingo as a performer.

“Of course, Domingo, who used to be a member of our board, has removed himself from that position. But, as a consultant, he is needed, as the source of another perspective.”

Regarding the use of above-proscenium titles in future opera productions at the Music Center, Howlett said: “There are no definite answers at this point. While we have had very favorable audience response to the use of titles in the recent Deutsche Oper production of ‘Die Tote Stadt,’ and some complaints that they were not used in ‘Le Nozze di Figaro,’ we have yet to formulate a policy. For now, let’s say that we are investigating the matter.”

SCARLATTI SATURDAY: Plans have been announced for an eight-hour marathon concert in New York City celebrating the 300th anniversary of the birth of Domenico Scarlatti.

“Scarlatti Saturday” will occupy Symphony Space, at Broadway and 95th Street, from 2 to 10 p.m. on that day. Among the performing participants will be harpsichordists Louis Bagger, Edward Brewer, Kenneth Cooper, Arthur Haas, Joyce Lindorff, Charlotte Mattax, Lionel Party, Charles Sherman, Colin Tilney, Fernando Valenti and Wendy Young.

Also, pianists Artur Balsam, John Bayless, Ivan Davis, Anthony di Bonaventure, David Golub, Gilbert Kalish, Robert Taub and Ilana Vered.

A highlight of the free concert should be a performance of Scarlatti’s cantata “Con qual cor,” for soprano and continuo, by soprano Julianne Baird and harpsichordist Colin Tilney. The unpublished work has been transcribed by Tilney from a manuscript located at the British Library in London; this presentation is thought to be its New York premiere.

AROUND TOWN THIS WEEK: Mezzo-soprano Frederica von Stade returns to Royce Hall, UCLA, tonight at 8; her program lists songs and arias by Faure, Strauss, Rossini and others. In addition to pianist Martin Katz, Stade will be assisted by guitarist Michael Newman in songs by Schubert and Hungarian-born composer Matyas Seiber.

Chamber Music in Historic Sites opens its year with an organ recital by Joseph Payne at St. Matthew’s Church in Pacific Palisades today. The news here is the West Coast premiere of 10 of the 33 recently discovered chorale preludes of Bach. Payne is organist in one of the first recordings of the complete collection, made recently for Harmonia Mundi.

San Francisco Pocket Opera makes three local appearances this week and next: Friday and Saturday nights at 8, Donald Pippin’s 24-member operatic troupe performs in University Theater at Cal State Long Beach. Friday, the company offers Offenbach’s “Orpheus in the Underworld”; Saturday, it gives “Pick of the Pockets,” a showcase of highlights from its repertory. Oct. 9, the troupe appears at UC Irvine, again giving the Offenbach work.

Avo Kouyoumdjian, the 23-year old pianist who won the International Beethoven Competition in Vienna in 1981, will appear as soloist with the Armenian Philharmonic, Edward Hosharian, conducting, tonight at 7 in Pasadena Civic Auditorium.