Opera Pacific Patrons Have a Ball in Anaheim

Opera gloves, opera-length strings of pearls and an authentic opera cape were all in view, but an opera ball gown was a rare sight in the crowd at Opera Pacific’s Opera Ball.

Mostly sequined, beaded and feathered preholiday outfits adorned the women in the crowd of 500 opera buffs, who arrived at the Disneyland Hotel in Anaheim on Saturday night to the heralding by trumpets.

Donna Bunce, a patron of the ball, was one of the very few who came in an honest-to-goodness, full-skirted ball gown of the kind usually imagined for waltzing; hers was strapless and black velvet.

“I’ve always wanted to look like this,” Bunce admitted. “But I couldn’t find one in a store. I had to have it made.”

Proceeds had not been officially tallied as of Monday morning, but ball chairwoman Rose Smedegaard said the affair was expected to earn Opera Pacific $50,000.

Smedegaard’s husband, Norm, made a definite statement in men’s formal attire.

How would Hugh Saddington, Opera Pacific board chairman, describe Norm Smedegaard’s coat?

“I won’t,” he replied.

Hawaiian-Patterned Tuxedo

Standing tall above the crowd, Norm Smedegaard explained that he bought his red velvet, Hawaiian-patterned tuxedo coat in Honolulu.

“I bought it for the holidays,” Smedegaard said, “but this (event) was close enough. I was at the Ala Moana (shopping center) and this man came running out of the store yelling: ‘You wear 46 long--you’re the one I’ve been looking for.’ I had it converted to a formal coat with satin lapels.”

Elaine Strucker of Santa Ana attracted attention in her full-length, crushed black leather cape trimmed with black and white fox fur. She attended with her brother, Bob James of Palm Springs, who “came to see what was happening in the big city.”

“We have to have opera here (in Orange County),” James said. “The area justifies it. We have a little (opera company) in Palm Springs performing in the local high school auditorium.

“Then we also have the Bob Hope (Cultural) Center 13 miles away, scheduled to open in 1986.”

Carl Princi, for 32 years host of radio station KFAC’s “World of Opera” and “Opera House” programs, was master of ceremonies.

During the reception, Princi said he was amazed at the growth of Opera Pacific.

“In an area that is virtually green as far as opera is concerned,” Princi said, “for 500 people to be attending an event like this after only three years is incredible.”

Future Challenge

Princi said that one of the challenges facing Opera Pacific will be to get “the caliber of singers, the experienced kind, the ones that attract attention” on the funds available to “a smaller company.”

Princi introduced vocalist Marni Nixon, best known for her off-screen talent of “dubbing” for such actresses as Deborah Kerr (“The King and I”), Audrey Hepburn (“My Fair Lady”) and Natalie Wood (“West Side Story”).

“I allowed (the studios) to make me a ghost,” Nixon said from the stage. “I’m here to tell you I’m back and ready for the big wide screen.”

Armed with water spray and honey backstage to swath her throat if needed, Nixon sang such show tunes as “Tonight,” “Wouldn’t It Be Loverly” and a sultry rendition of “Someone to Watch Over Me.”

“Even with women’s lib, it’s nice to know that women still die for their men,” Nixon said as she introduced “Poor Butterfly,” after which the singer tackled an aria from the opera “Madame Butterfly.” Missing a high note at the end of the aria, Nixon said: “I can’t stand leaving you that way.” She sang the last phrase again and reached the note.

A Peacock Theme

Nixon was accompanied by pianist Lincoln Mayorga and the Opera Pacific Overture Company.

Hobbyist-florist Charles Paap, who donated his time and talents, chose a peacock theme for stage and table decorations. The Opera Pacific logo, the focal point of the center stage, was flanked by a panel on which two 19-foot peacock feathers had been painted.

For centerpieces, Paap’s son Darren had glued 500 peacock feathers back-to-back to get a double “eye” effect to complement the dendrobium orchids, spider mums and votive candles.

The Murray Korda’s Monseigneur Orchestra rendition of “Puttin on the Ritz” beckoned dancers to the dance floor for the remainder of the evening.

“I love it, I love it!” said a happy Ruth Ding, underwriting chairwoman and Opera Ball founder, in reaction to the success of the evening.

Among those enjoying the evening were the Opera Pacific’s general director, David DiChiera, and his wife, Overture Company director Karen DiChiera.