The Boris Goldovsky collection is organized into eight series:

  1. Performance records/Programs
  2. Administrative records
  3. Press/Publicity records
  4. Correspondence
  5. Writings/Libretti
  6. Photographs
  7. Subject files
  8. Recordings   

The performance records/programs series includes programs from the New England Opera Theater and the Goldovsky Opera Theater; souvenir booklets (with libretti) for the NE Opera Theater productions of The Barber of Seville and The Secret Marriage; a souvenir booklet for the Goldovsky Grand Opera Theater production of La Boheme; a souvenir booklet dedicated to the first fifteen years of the New England Opera Theater; and performance/cast lists for the New England Opera Theater and the performance list from the opera workshop at Tanglewood. The last folder in the series contains a schedule the set-up (scenery, props etc.) for Cosi fan tutte, blueprints of set designs for The Trojans, and a Fall 1980 tour itinerary for the Goldovsky Grand Opera Theater’s production of The Barber of Seville, and a thank you card from the company’s manager.

Series two contains administrative records for the New England Opera Theater, including articles of incorporation, by-laws, meeting minutes (1962-1963) and contracts. Also found in this series are the Administrative records for the Goldovsky Opera Institute, including articles of incorporation, by-laws, meeting minutes (1963-1964), contracts, correspondence, financial statements and reports.

The third series consists of press/publicity Records. These include newspaper articles spanning the years 1932-1982, with the majority being from the late 1950s to the early 1980s. These articles are primarily reviews of opera productions or articles advertising the productions. There are also several articles about Goldovsky himself. Also included are posters/flyers advertising Goldovsky recitals, opera productions, and lectures, as well as a brochure for the piano duo Luboshutz and Nemenoff and a few advertisements for stagecraft.

The fourth series simply consists of one folder of correspondence. The majority of this correspondence is in regards to Goldovsky's 80th birthday in 1988.

The fifth series consists of Writings/Libretti, most of which were written or translated by Goldovsky himself. Goldovsky’s own libretti in English translation include: The Turk in Italy, The Bartered Bride, Idomeneo, Carmen, and La Traviata. There are two additional libretti in this collection that were not translated by Goldovsky: The Death of a Fascist and Falstaff.

Chapter drafts, a typed and edited complete manuscript, and a proof copy of Goldovsky’s memoir My Road to Opera are contained in this series. Other writings include: The Riddle of Musical Tempo; History in Opera, a Verdi Trilogy; Note on Rigoletto; a booklet titled, The Story of the Goldovsky Opera Institute; articles entitled “Opera in English,” and “Touring the Opera”; a draft of and master copy of  “Good Afternoon Ladies and Gentlemen: Intermission Scripts from the Met Broadcasts"; and a typewritten essay, “Forgettable Characters I Meet.”

The largest series in this collection is made up of photographs. The
photographs have been organized into several categories: press photos/head shots of Goldovsky; candids of Goldovsky; professional and social occasion photos; personal and family photos; rehearsal and tour photos; press photos of individual singers (organized alphabetically by the singer’s last name); opera production photos; scene sketches; set design and construction photos; historical opera character sketches; historical opera singer photos; and photos of composers (color illustrations from a publication.)

The opera production photos are organized into three categories: identified photos, photos with possible identification, and unidentified. The photos that are categorized as identified are those that had information written on the back of the photograph or the exact image was located in a publication (generally one of the souvenir booklets). Photos with possible identification were labeled by comparison to the identified photos, consultation with the repertoire lists of the New England Opera Theater and Tanglewood, information from souvenir booklets, and the location of the photographer’s studio. While some of these are certainly correct, the identifications of others may be mistaken. These two categories of photographs, those with positive identification and possible identification, are organized alphabetically by the name of the opera. There are three folders of unidentified opera production photographs. The last of these three folders most likely contains photos from Tanglewood performances as they have the Whitestone photographer’s stamp on them and this studio was based in Lenox, MA.

The first of the subject files contains biographical information about Goldovsky including two biographical sketches (one of which also includes a biographical entry for composer Jan Meyerowitz), a faculty questionnaire from NEC, the citation for Goldovksy’s Peabody award, and a Distinguished Service Award from the Rotary Club. Several folders document the sale of the Goldovsky Opera Library to Northwestern University, and subsequent additions to that library. Finally, there is one folder containing the will, and related materials, of Pierre Luboshutz, Goldovsky's uncle.

The recordings in this collection primarily relate to the Goldovsky Centennial Celebration that was held at New England Conservatory in October 2008. These include "Remarks for Boris Goldovsky's Memorial Event by Irene Goldovsky Wolf"; "Boris Goldovsky Centennial Program"; "Boris Goldovsky Memorial Video"; and Boris Goldovsky, interview from the CBS Sunday Morning show from February 20, 1983 that was shown at the Centennial event. Included with these recordings are programs and flyers from the Centennial event.  Other recordings include a performance of "Il Pescoballo: Opera seria in un Atto" presented by the Harvard Musical Association on February 6, 1959 in which Goldovsky plays the role of Gen. Panjandrum Fac Totum.  There is also a recording entitled "Mr. Opera: Recollections of the Metropolitan Opera/Texaco Intermission Broadcasts with Boris Goldovsky", as well as one other recording entitled "Boris Goldovsky's companion to Bizet's Carmen."