THOMAS HOLLIDAY
870 S. Garfield St.
Denver, Colorado 80209
Tel. 303/778-8474
FAX 303/778-1519
Cell: 303/957-6962
E-mail: THHSMS@AOL.com
Résumé of Writing/Musical/Theatrical Activities
Nonfiction
* "Falling Up: The Days and Nights of Carlisle Floyd;" first full-length, authorized biography of Carlisle Floyd, at request of composer. Published Syracuse University Press, January 2013
* "Verdi's Aida: The History of an Opera," collaboration/translation with Hans Busch, published University of Minnesota Press, 1978
Fiction
"Mozart and the Lost Tomb," Book I of The Counterfactual Mozart
"Mozart and the Gates of Hell, Book II of The Counterfactual Mozart
"Mozart and the Deaf Boy, Book III of The Counterfactual Mozart
"Mozart and the Labyrinth of Love, Book IV of The Counterfactual Mozart (in process)
"Mozart and the Four Graves, Book V of The Counterfactual Mozart (in process)
Published Essays, Articles
* "Horror and Grace," and other articles on The Passenger (Weinberg), for Lyric Opera of Chicago's Season Companion, 2014-2015
* "Theaters of Carlisle Floyd: The Briefer Biography," for South Caroliniana Library Columns, Winter 2012-2013
* "Bad Things Happening to Really Horrible People," and other articles on Elektra, for Lyric Opera of Chicago's Season Companion, 2012-2013
* "Voices in the Archives," on Carlisle Floyd's nationwide archival presence, for New York Archives, Fall 2012
* "Inventing Reality: Macbeth and Verdi's Quest for Music Theatre," and other articles on Macbeth, for Lyric Opera of Chicago's Season Companion, 2010-2011
* "All About Sex? Concealment and Revelation in Berg's Vienna," and other articles on Berg's Lulu, for Lyric Opera
* "Handel and the Triumph of the Senses," and other articles on Giulio Cesare, for Lyric Opera of Chicago's Season Companion, 2007-2008
* "Iphigénie and the Rite/Right of Sacrifice," and other materials on Iphigénie en Tauride, for Lyric Opera of Chicago's Season Companion, 2006-2007
* "Through Tippett's Looking Glass" and other materials on The Midsummer Marriage, for Lyric Opera of Chicago's Season Companion, 2005/2006
* "Wagner's Midlife Crisis" and other materials on Wagner's Siegfried, for Lyric Opera of Chicago's Season Companion, 2004/2005
* "Facing the Music: The Hubris of Prometheus, Don Juan and Faust," and other materials on Gounod's Faust, for Lyric Opera of Chicago's Season Companion, 2003/2004
* "Sirens, Sex and Subversion," other materials on Handel's Partenope; "Fundamentalism Observed: The Artist's Voice," other materials and interviews on Floyd's Susannah, for Lyric Opera of Chicago's Season Companion, 2002/2003
* "Plus ça change…War in Gaza," program notes for Samson et Dalila, Indianapolis Opera, 2002
* "Wagner's Three Rs: Risk, Renunciation, Redemption," other materials on Parsifal, for Lyric Opera of Chicago's Season Companion, 2001/2002
* "Wagner and the Risks of Romanticism;" "Giuseppe Verdi, Superpatriot," other materials on Der fliegende Holländer and Attila for Lyric Opera of Chicago's Season Companion, 2000/2001
* "The End of the Rainbow;" Book Corner, The Opera Journal; June 1990 issue
* "Opera as Religion;" Book Corner, The Opera Journal, Vol. XXII, No. 3, 1989
* "Amadeus: The Man in the Child, The Child in the Man," in The Opera Journal, Vol. XX, No. 3, 1987
* "Bizet's Don Procopio: Discovery and Delight," in The Opera Journal, Vol. XIV, No. 1, 1981
* "Man and His Music in Montreal," on Expo 67, for Your Musical Cue, Indiana University School of Music, 1968.
Published Program Annotations
(NB: similar titles represent earlier versions)
* "Cold Sassy Tree: Life as Lived," program notes for Amarillo Opera, April 2008
* "In Conversation," program notes for Otello, Sacramento Opera, 2007
* "First Person Singular," program notes for Arizona Opera's Susannah (Floyd), April 2007
* Madama Butterfly, program notes for Sacramento Opera, 2005
* "Parallel Lives: Olive Ann Burns, Carlisle Floyd and Cold Sassy Tree," program notes for Opera Carolina, 2003
* "Life Lessons," program notes for Così fan tutte, Lamont Opera Theatre, University of Denver, 2001
* "The Happy Bohème," program notes for Bohemios (Vives), Opera Colorado Artist Center, 2000
* "The Price of Hubris: Prometheus, Don Juan and Faust," program notes for Indianapolis Opera, 2000
* "The Problem Child," program notes for Candide, Lamont Opera Theatre, 2000
* "Puccini's Il Tabarro: Concealment and Revelation," program notes for Opera Colorado Artist Center, 1999
* "Mozart in the Garden," program notes for La finta Giardiniera, Lamont Opera Theatre, University of Denver, 1999
* "The Bat Unmasked," program notes for Die Fledermaus, Lamont Opera Theatre, University of Denver, 1998
* "Falstaff: Fertility, Folly, Frolic," program notes for The Merry Wives of Windsor, Lamont Opera Theatre, University of Denver, 1997
* "A Merry Widow Primer," program notes for Indiana University Summer Festival, 1996
* "Getting Away," program notes for Albert Herring, Oklahoma City University, 1994
* Baby, program notes for Lamont Summer Musicals, 1994
* "A Merry Widow Primer," program notes for Baton Rouge Opera, 1991
* "Lucy's Escape," program notes for Lucia di Lammermoor, University of Tennessee, Knoxville, Opera Theatre, 1990
* "Love, Wine and Dreams," program notes for "L'elisir d'amore, Sacramento Opera, 1989
* "Literature as Opera," program notes for University of Tennessee, Knoxville, Opera Workshop, 1989
* "The Lessons of Così," program notes for Così fan tutte, University of Tennessee, Knoxville, 1989
* "Hide and Seek: The Humanity of Smetana," program notes for The Bartered Bride, Sacramento Opera, 1988
* "'Ham and Eggs,' or The Realist's Breakfast," program notes for Cavalleria rusticana and I Pagliacci, Sacramento Opera, 1988
* "Charm and Terror: Don Giovanni's Family Tree," program notes for Sacramento Opera, 1987
* "A Merry Widow Primer," for Jacksonville Lyric Theatre, 1987
* Love in the Garden, program notes for Berkshire Opera Company, 1987
* "Everyday Things," program notes for University of Tennessee Opera Workshop, 1987
* The Reformed Drunkard, program notes for College-Conservatory, University of Cincinnati, 1986
* "The Dance of Illusion," program notes for Alcina, College-Conservatory, University of Cincinnati, 1986
* "A Merry Widow Primer," for Sacramento Opera, 1986
* Iolantha, program notes for College-Conservatory, University of Cincinnati, 1985
* "Director's Notes," for L'Italiana in Algeri, Pennsylvania Opera Theater, 1985
* Ariadne auf Naxos: A Who's Who, program notes for Glimmerglass Opera, 1984
* The Marriage of Figaro, program notes for Ash Lawn Summer Festival, 1984
* "A Mozart Evening," program notes for Crane Opera Theater, 1983
* Love in the Garden, program notes for La finta Giardiniera, Ash Lawn Summer Festival, 1983
* A Contract of Marriage, program notes for Il Signor Bruschino, Ash Lawn Summer Festival, 1983
* "Getting Away," program notes for Albert Herring, Crane Opera Theater, 1982
* An Evening With the Monroes (World Premiere), program notes, Ash Lawn Summer Festival, 1983, 1984
* "All the World's a Stage," program notes for University of Tennessee, Knoxville, Opera Theatre, 1982
* The Four Note Opera (Johnson), program notes for Ash Lawn Summer Festival, 1982
* The Apothecary (Haydn), program notes for Ash Lawn Summer Festival, 1982, 1983
* The Reformed Drunkard, program notes for Ash Lawn Summer Festival, 1982
* America Independent, program notes for Ash Lawn Summer Festival, 1982
* "The Lessons of Così, or At School with Lorenzo and Wolfgang," program notes for Così fan tutte, Crane Opera Theater, SUNY Potsdam, 1982
* "A Merry Widow Primer," program notes for Crane Opera Theater, SUNY Potsdam, 1981
* "The Ways of the World," program notes for North Texas State University Opera Workshop, 1981
* "Song as Source: Musings on the Birth of a Texas Orpheus," program notes for Orpheus in Pecan Springs (World Premiere), North Texas State University Opera Theatre, 1980
* "Young at Heart and Voice," program notes for North Texas State University Opera Workshop, 1980
* "Homage to Mozart," program notes for North Texas State University Opera Workshop, 1980
* "Delius, America and Opera," program notes for Koanga, Louisiana Opera Festival, 1980
* "Opera Gala," program notes for North Texas State University Opera Workshop, 1980
* "Discovery and Delight," program notes for Don Procopio (Bizet—U.S. Premiere), North Texas State University Opera Theatre, 1980
* The Hunted (Martin Mailman), program notes for Symposium of Contemporary Music, Texas Tech University, 1980
* "Schubert as Opera Composer," program notes for The Friends from Salamanca (U.S. Premiere), North Texas State University Opera Workshop, 1979
"A Tapestry of Dreams," program notes, North Texas State University Opera Workshop, 1979
* "Kronos's Craft, Orpheus's Art," program notes for Le Nozze di Figaro, North Texas State University Opera Theatre, 1979
* "The Virgin Queen in Love and Death," program notes for Roberto Devereux, Louisiana Opera Festival (Shreveport Symphony), 1979
* "Mary Stuart, Schiller's Other Joan," program notes for Maria Stuarda, Louisiana Opera Festival (Shreveport Symphony), 1979
* "Donizetti as Musical Historian," program notes for Anna Bolena, Louisiana Opera Festival (Shreveport Symphony), 1979
* The Reformed Drunkard, program notes for North Texas State University Opera Workshop, 1978
* "Women In and Out of Love," program notes for North Texas State University Opera Workshop, 1978
* "The Shape of Dreams," program notes for A Midsummer Night's Dream (Britten), North Texas State University, 1978
* "Tosca: The Meeting-Ground of Art and Life," program notes for Louisiana Opera Festival (Shreveport Symphony), 1978
* "Donizetti's Search for Light," program notes for Don Pasquale, Louisiana Opera Festival (Shreveport Symphony), 1977
* "The Logic of La Bohème," program notes for North Texas State University Opera Theatre, 1977
* "The Bat Unmasked," program notes for North Texas State University Opera Theatre production of Die Fledermaus, 1977
* "Mozart and La finta Giardiniera," program notes for North Texas State University Opera Theatre, 1976
* "In Defense of The Magic Flute," program notes for Indiana University Opera Theater, 1973
* "Figaro and Fils Caron," program notes for The Barber of Seville, Indiana University Opera Theater, 1971
* "An Evening of International Opera, " program notes for Friends of Opera in Washington, 11/1970
* "Manon Lescaut and Manon," program notes, Indiana University Opera Theater, 1967
* Cavalleria rusticana, program notes for Indiana University Opera Theater, 1967
Librettos/Scripts
* The Trial of Sherlock Holmes, for Mystery Writers of America, Rocky Mountain chapter, 2011
* Wacky Warblers, Daffy Divas, an original Puppet Opera featuring music from Madama Butterfly, Lucia di Lammermoor and Der Rosenkavalier, centered around issues of self-esteem, for Grades K-6. Approximately 80 performances through Opera Colorado, for 10,000 audience members of all ages in metropolitan Denver, 1993-94
* The Bearber of Seville, a Puppet Opera based on Rossini's Il Barbiere di Siviglia, for Grades K-6.
Approximately 50 performances through Opera Colorado, for mixed audiences in metropolitan Denver, 1992-93.
* La Boham, a Puppet Opera based on music from Acts One and Two of Puccini's La Bohème, for Grades K-6.
Approximately 40 performances through Opera Colorado, for elementary school audiences in Denver metropolitan area, 1991-92 season.
* An Evening With the Monroes, an Essay in Theatrical Biography. Versions in one and two acts, written for and performed at the Ash Lawn Summer Festival, Charlottesville, Virginia, in 1983 and 1984. All musical arrangements also by T.H.
* Euphonia, a Tale of the Future, based on the 25th chapter of Berlioz' Evenings With the Orchestra; Larry Austin, composer. World Premiere of selected scenes at SUNY, Potsdam, N.Y., 5/83. Further performances by Electric Phoenix, 1988-1997, in chamber version, as Euphonia 2344.
* Orpheus in Pecan Springs, a Ballad Opera, based on an incident from Texas history; William Latham, composer; World Premiere in Denton, Texas, 12/80.
*A Madrigal Dinner, a sixteenth-century entertainment (two versions); performed 1991-1993 by Opera Colorado; 1977-79, North Texas State University, Denton, TX.
* "Front Page Salute," script for U.S. Army Chorus program honoring recipients of the Presidential Medal of Freedom, White House, 4/1970
* "America Sings, The Musical Heritage of the United States," script for U.S. Army Band/Chorus presentation for Sixth Meeting of North Atlantic Treaty Organization Nuclear Planning Group, Warrenton, VA, 11/1969
Opera Performing Translations
Alcina (Handel) (College-Conservatory of Music, University of Cincinnati), 1986
Anna Bolena (Louisiana Opera Festival , 1979; Albuquerque Opera, 5/87; and Morley College, London, 5/83)
The Apothecary (Lo Speziale, Haydn) (Ash Lawn Summer Festival, 1983; Auburn University Opera Workshop, 4/87
Ariadne auf Naxos (Glimmerglass Opera Theater, 1984; C.W. Post College, Long Island, 5/86
Bohemios (Vives) (Opera Colorado) 11/00-5/01)
Così fan tutte (University of Denver, 2001; University of Tennessee, Knoxville, 1989; Crane School of Music, SUNY Potsdam, 1982; Millikin College, Illinois, 85-86)
Don Giovanni (Sacramento Opera, 1987)
Don Procopio (Bizet) (North Texas State University, 1980)
L'Equivoco stravagante (Rossini)
La finta Giardiniera (as "Love in the Garden") (University of Denver, 1999; Ash Lawn Summer Festival, 1983; Berkshire Opera Company, 1987; North Texas State University, 1976; Cleveland Lyric Opera, 1992; Dickinson State College, North Dakota, 1986; Academy of Vocal Arts, Philadelphia, 1983; Mozart Opera Project at Mannes College, N.Y., 1982; SUNY Stony Brook, N.Y., 1978)
Die Fledermaus (University of Denver, 1998; Crane School of Music, SUNY Potsdam, 1983; North Texas State University, 1977; Drake University, 99-00; Cameron State University, Lawton, Oklahoma, 1978)
Die Freunde von Salamanka (Schubert) (North Texas State University, 1977)
Hansel and Gretel (University of Colorado, Boulder, 1995)
The Impresario (Der Schauspieldirektor) (Opera Colorado, 1998-99; Ash Lawn Summer Festival, 1985, Crane School of Music, SUNY Potsdam, 1983;North Texas State University, 1981; University of Tennessee, Knoxville, 1982 )
Iolanta (Tchaikovsky) (University of Cincinnati, College-Conservatory of Music, 1985; Indiana University Opera Workshop, 1968)
L'Italiana in Algeri (Pennsylvania Opera Theater, 1985)
King and Collier (Dvorak); for Millikin University, IL, Opera Workshop, 1998-99
Maria Stuarda (Louisiana Opera Festival, 1979 )
Maskarade (Nielsen) (Bronx Opera, 1983 )
The Merry Widow (Lehar) (Indiana University Opera Theatre, 1996; Opera North Carolina, 2005; Emerald City Opera, 2005; Western Kentucky University, 1997)
The Miracle of Our Lady (Martinu); for Millikin University, IL, Opera Workshop, 1998-99
The Portrait of Manon (Massenet) (Indiana University Opera Workshhop, 1967)
The Reformed Drunkard (L'Ivrogne corrigé, Gluck) (Ash Lawn Summer Festival, 1982; College-Conservatory of Music, University of Cincinnati, 1986; North Texas State University, 1978)
Roberto Devereux (Louisiana Opera Festival, 1979; Euterpe Opera, California, 2/82)
Il Signor Bruschino (Ash Lawn Summer Festival, 1984;Metropolitan Opera Studio, 1999—production cancelled due to labor dispute; Boston Conservatory, 1986; Wolf Trap Opera, 1985 )
Supertitle Translations
* Il Barbiere di Siviglia (Opera Colorado, 5/93)
* The Bartered Bride (Sacramento Opera, 11/88)
* La Bohème (Opera Colorado, 5/92)
* Bohemios (Vives) (Opera Colorado, 11/00)
* Così fan tutte (University of Tennessee, 3/89)
* Don Carlo (Opera Colorado, 5/91)
* L'Elisir d'amore (Opera Colorado, 5/91)
* Lucia di Lammermoor (Opera Colorado, 5/94)
* Madama Butterfly (Sacramento Opera, 3/05 (1904 La Scala original version) ; Opera Colorado, 2/94 (1906 version)
* Die Meistersinger von Nürnberg (Opera Colorado, 5/92)
* Le Nozze di Figaro (Opera Colorado, 5/93)
* Otello (Sacramento Opera, 11/07; Opera Colorado, 11/91)
* Rigoletto (Opera Colorado, 11/92)
* Der Rosenkavalier (Opera Colorado, 5/94)
* Il Tabarro (Opera Colorado, 6/99)
Lectures
* Opera and Myth: A Multimedia Excursion into the Union of Image, Word and Music; 6 parts, 22 hours, presented by University of Denver Humanities Institute, February 1993.
* Opera in History and on Stage: for the novice and experienced operagoer alike, an overview of opera's first four hundred years, and an in-depth look at two operas that trace the theme of cultural clash, with tragic results: Puccini's Madama Butterfly and Bizet's Carmen. Lectures to culminate with Opera Colorado productions of both works. Offered (prepared but not presented) by Naropa Institute, Boulder, February/March 1998.
* The World's Most Dangerous Art: a lighthearted, user-friendly introduction to the often bewildering world of opera, a complete synthesis of all the arts, a high-wire balancing act. Presented by the Rocky Mountain School of the Arts, Colorado Springs, June 1997; and various outreach events of Opera Colorado, 1993-4.
* Opera and the Media: the "Icon Job" that is opera. Assembled and presented from a loving but whimsical perspective; video clips from films, sitcoms and commercials illustrate opera's subtly shifting images and provocatively shimmering facets. Presented by University of Denver, 1999-2000, Rocky Mountain School of the Arts, June 1997.
* Sound as Sense: a history of world music from the ancient world to the present; 8 parts, 10 hours, presented by University of Colorado at Denver, August-September 1994
* Opera: The Grand Mirror; a history of opera from a critical/historical perspective, showing the uses to which the medium has been put by the various cultures in which it has appeared; 8 parts, 10 hours, presented by University of Colorado, Denver, November 1994
* A Funny Thing Happened on the Way to the Opera; a lighthearted look at Hollywood's uses of opera in film; presented by Women's Library Association, University of Denver, April 1993
Opera Stage Direction
COMPANIES
1. American Institute of Musical Studies, Graz, Austria
2. Ash Lawn Summer Festival, Charlottesville, Virginia
3. Baton Rouge Opera, Baton Rouge, Louisiana
4. Berkshire Opera Company
5. Bronx Opera Company
6. Center for Contemporary Opera, New York City
7. Central City Opera
8. College-Conservatory of Music, University of Cincinnati
9. Crane School of Music, State University College at Potsdam, N.Y.
10. Des Moines Metro Opera (Assistant Director & Apprentice program)
11. Ensemble Experience, Lamont School of Music, University of Denver, CO
12. Glimmerglass Opera Theater, Cooperstown, N.Y.
13. Hamburg State Opera, West Germany (Abendspielleiter, Regieassistent, Beleuchtungsrepetitor)
14. Hollybush Opera Theatre, Glassboro, New Jersey
15. Indiana University Opera Theatre and Workshop
16. Indianapolis Opera Company
17. Jacksonville Lyric Theatre
18. Knoxville Opera Company
19. Louisiana Opera Theatre, Shreveport
20. North Texas State University Opera Theatre and Workshop, Denton, Texas (now University of North Texas)
21. Oklahoma Opera and Music Theater Company, Oklahoma City University, OK
22. Opera Colorado (Director of Joseph and Loretta Law Artist Center, 1998-2001; Assistant to General Director, 1991-1994)
23. Opera Jacksonville
24. Opera on the Sound, Commack, Long Island, New York
25. Pennsylvania Opera Theater, Philadelphia
26. Sacramento Opera
27. Shreveport Opera
28. Stadttheater Klagenfurt, Austria
29. University of Colorado, Boulder
30. University of Denver, Lamont School of Music
31. University of Tennessee at Knoxville
Fully-Staged Productions
(Numbers in parentheses indicate performing organizations as listed above, followed by dates of productions.)
Albert Herring (21, 11/94; 9, 11/82)
Alcina (Handel) (8, 2/86)
Amahl and the Night Visitors (14, 12/86)
Anna Bolena (19, 1/79)
The Apothecary (Lo Speziale) (2, 7/83; and 2, 8/82)
Ariadne auf Naxos (12, 7/84)
Baby (Musical by Maltby/Shire; 11, 7/94)
Il Barbiere di Siviglia (22, 5/93; 15, 12/71)
The Bartered Bride (26, 11/88)
La Bohème (26, 11/02; 22, 5/92; 20, 12/77)
Bohemios (Vives) (22; 11/00)
Candide (Chelsea version) (30; 4/00)
Cavalleria rusticana (26, 2/88)
La Cenerentola (12, 7/86)
Christopher Sly (Argento) (6, 1/87—first NY production)
Così fan tutte (30, 3/01; 31, 3/89; 12, 7/85; 9, 3/82)
Don Giovanni (26, 11/87; and 5, 5/84)
Don Pasquale (23, 2/82; and 19, 1/78)
Don Procopio (Bizet) (20, 2/80--first complete U.S. production)
L'Elisir d'amore (26, 11/89; and 28, 4/76)
Faust (16, 5/00)
La finta Giardiniera (30, 4/99; 4, 7/87; 2, 8/83; and 20, 12/76)
Die Fledermaus (30, 4/98; 9, 4/83; and 20, 12/76)
Der fliegende Holländer (18, 1/00; 16, 11/98)
Follies and Fancies (Judith Shatin) (2, 7/82)
The Four Note Opera (Tom Johnson) (2, 8/82)
Die Freunde von Salamanka (Schubert) (20, 6/79--U.S. Premiere; and 1, 8/77--Austrian Premiere)
Gianni Schicchi (20, 4/81)
Hansel and Gretel (29, 3/95; 14, 12/87; 19, 12/77)
The Hunted (Martin Mailman) (20, 11/79)
Iolanta (Tchaikovsky) (8, 11/85; and 15, 6/68)
L'Italiana in Algeri (25, 5/85)
L'Ivrogne corrigé (The Reformed Drunkard, Gluck) (8, 5/86; 2, 7/82; and 20, 10/78)
Lucia di Lammermoor (22, 5/94; 31, 3/90)
Die lustige Witwe (Lehar, The Merry Widow) (15, 7/96; 3, 7/91; 17, 11/87; 26, 11/86; and 9, 11/81)
Die lustigen Weiber von Windsor (Nicolai, The Merry Wives of Windsor) (30, 4/97)
Koanga (Delius) (19, 4/80)
Madama Butterfly (1904 La Scala original version) (26, 3/05)
Maria Stuarda (19, 2/79)
Maskarade (Nielsen) (5, 1/83--first N.Y. production)
A Midsummer Night's Dream (Britten) (20, 4/78)
Le Nozze di Figaro (3, 3/91; 2, 8/84; and 20, 3/79)
Of Mice and Men (Floyd) (26; 2009-10 season
Orpheus in Pecan Springs (William Latham) (20, 12/80--World Premiere)
Otello (26, 11/07; 18, 4/12)
I Pagliacci (26, 2/88)
Rigoletto (24, 9/81)
Roberto Devereux (19, 2/79)
Samson et Dalila (16, 5/02)
Der Schauspieldirektor (The Impresario) (22, 12/98-6/99; 9, 11/83; 31, 2/82; and 20, 4/81)
The Sorceror (Merrill Ellis) (20, 11/79)
South Pacific (15, 7/95)
Il Tabarro (22, 6/99)
Tosca (19, 2/78)
Twelfth Night (Amram) (30, 3/92)
The Wandering Scholar (Holst) (7, 8/72—first professional U.S. production)
Die Zauberflöte (27, 2/85)
Other Activities
Instrumental Music
* 19 years study and performance as brass instrumentalist (trumpet, baritone horn, trombone)
Voice
* Ten years experience as professional singer (Bass-baritone); 60 operatic and musical comedy roles with Washington Opera, Central City Opera, Wolf Trap Company, Indiana University, Curtis Institute of Music, others (complete listing and press available upon request).
* Vocal study with Eileen Farrell, Todd Duncan, Charles Kullman
* Musical and dramatic coaching with Frank Corsaro, Max Rudolf, Tibor Kozma, Robert Lewis
Composition
* 80 songs for voice and piano
* Mixed choral pieces, chamber works, incidental music
* Three-act comic opera, Luigi (Librettist: Paul Highby)
* Private study with Juan Orrego-Salas, Indiana University (complete catalog of compositions available upon request)
Administrative/Teaching Positions
(NB: university/conservatory positions involved directing productions, conducting, teaching stage direction and acting for singers:
* Director, Joseph and Loretta Law Artist Center, Opera Colorado, Fall 1998-Spring 2001
* Director of Opera, University of Denver; Fall 1998-Spring 2001
* Creator/Director of opera studies program, Hartwick College Summer Music Festival and Institute, Oneonta, New York, Summer 1998
* Creator/Director of Dramatic Studies/Stage Director, Rocky Mountain School of the Arts, Summer 1997
* Visiting Professor of Opera, Northwestern University, Evanston, Illinois, Fall 1995
* Visiting Professor of Opera, University of Colorado, Boulder, Spring 1995
* Adjunct Professor of Music, University of Colorado at Denver, Fall 1994
* Assistant to General Director, Opera Colorado, Fall 1991-Spring 1994
* Visiting Professor of Opera, University of Tennessee at Knoxville, 1989-90, 1988-89, 1987, 1982
* Adjunct Professor of Music (class voice, private voice, vocal pedagogy), Lehman College, CUNY, 1984-85
* Director of Opera/Music Theatre, Crane School of Music, State University College at Potsdam, N.Y., 1981-83
* Stage Director, apprentice scenes; assistant director, Lucia di Lammermoor, Des Mointes Metro Opera, 1981
* Director of Opera Theatre, North Texas State University (now University of North Texas), Denton, Texas, 1976-81
* Stage Director, Acting Instructor, American Institute of Musical Studies (AIMS), Graz, Austria, 1977
* Stage Director, Assistant Director, Stadttheater Klagenfurt, Austria, 1975-76
* Assistant Stage Director (Abendspielleiter), Lighting Assistant (Beleuchtungsrepetitor), Hamburg State Opera, West Germany, 1973-75
Miscellaneous
* Judge for Metropolitan Opera District Auditions (Knoxville, 1982; Tulsa, 1981)
* Invited participant in National Opera Institute Colloquium "Creators and Producers," Houston, 1981
* Seven years' experience as radio announcer/producer, Bloomington, Indiana (WFIU) and Denton, Texas (KNTU)
* Producer, singer, U.S. Army Chorus, Ft. Myer, Virginia, 1968-71
* Proficiency in speaking and/or reading, writing and translating German, Italian, French, Russian, Spanish, Czech, Danish (in order of fluency)
Education
* Master of Science in Opera Stage Direction (w. highest honors), Indiana University, 1971-73
* Bachelor of Music, Opera Voice; Bachelor of Science in Opera Stage Direction (both w. highest honors), Indiana University, 1964-68
* The American University, Washington, D.C., 1963-64
* Curtis Institute of Music, spring semester 1971
* Member of Pi Kappa Lambda, Music Honorary Fraternity
REFERENCES AVAILABLE UPON REQUEST
Thomas Holliday's first significant writing credit—at which time he was better known as "Tommy," or "Tomcat"—was the editorship and feature writing for the Audubon Society's newsletter Chirping Chats, at New Jersey's Glenwood Elementary School. Following a reasonably complete education in music and drama—including brass instruments, voice, stage direction and composition—he continued to write program notes and articles for professional opera journals. His authorized biography Falling Up: The Days and Nights of Carlisle Floyd, was published by Syracuse University Press. He has not returned to nature writing, but has inaugurated a series, The Counterfactual Mozart. To date, four volumes are complete—if unpublished or represented—and a fifth is in process. Allied with supernatural powers of a nonmusical nature, Mozart, while revealing himself as the most phenomenal musician of that or any other age, also solves crimes, eludes murderers, and contributes to the general improvement of humanity.