Performances + Events
Boris Goldovsky
Boris Goldovsky was born on June 7, 1908 in Moscow, the son of famed violinist Lea Luboshutz and the nephew of pianist Pierre Luboshutz.
From 1918-1921, Goldovsky studied piano with his uncle and took courses at the Moscow Conservatory. At the age of 13, Goldovsky made his debut as a pianist appearing with the Berlin Philharmonic. He continued his studies with Artur Schnabel and Leonid Kreutzer at the Berlin Academy of Music from 1921 to 1923. Subsequently, he studied with composer Ernst von Dohnanyi at the Liszt Academy of Music in Budapest.
Boris Goldovsky’s History
In 1930, Goldovsky moved to Philadelphia to study at the Curtis Institute of Music, where his mother was on the faculty. While at Curtis, Goldovsky became an assistant to conductor Fritz Reiner and also worked as an opera coach. (He would return to teach at Curtis in the late 1970s until 1985) In 1936, Goldovsky was offered a position directing the opera program at the Cleveland Institute of Music, where he remained for six years. Goldovsky moved again in 1942, to Boston, where he held the position of opera director at the New England Conservatory until 1965.
During the summers of 1946-1962, Goldovsky also served as the director of the opera program at the Berkshire Music Center at Tanglewood, where he worked with renowned conductor Serge Koussevitzky. In addition to these positions, Goldovsky founded the New England Opera Theater in 1946, which later became known as the Goldovsky Opera Theater in 1962. This ensemble produced operas in Boston and toured throughout the United States until 1984. Goldovsky was a strong advocate for operas being produced in English, and he himself wrote translations for many libretti. Renowned baritone Sherrill Milnes described Goldovsky as “one of the most important popularizers of opera in our time.”
Goldovsky, however, was probably best known to the American public for his Texaco-sponsored radio broadcasts of intermission commentary (the Texaco Opera Quiz and Opera News on the Air) during Saturday matinee performances of the Metropolitan Opera. Goldovsky had his Met broadcast debut in 1943; his last would be nearly fifty years later in 1990. In 1954 Goldovsky received a Peabody Award for Outstanding Contributions to Radio Music.
Boris Goldovsky married opera singer Margaret Codd on December 30, 1933. The couple had two children: Michael, born in 1937 and Marina, born in 1939. Mr. Goldovsky died at his home in Brookline, MA on February 15, 2001 at the age of 92.
“Boris Goldovsky”, Wikipedia [accessed 11 June 2008]
Tommasini, Anthony. “Boris Goldovsky, 92, Musician and Opera’s Avid Evangelist,” The New York Times, Obituaries section, February 18, 2001.
Archival Collection
The Boris Goldovsky Papers consist of four manuscript boxes and two drop front boxes; approximately 2 lin. ft. made up of paper records and photographs.
The Boris Goldovsky collection was acquired by the New England Conservatory’s Director of Libraries after the death of Mr. Goldovsky in 2001.
Access to the Boris Goldovsky Papers is granted by the Archivist, New England Conservatory of Music. View an online exhibit about Goldovsky.
All copyrights to this collection belong to the New England Conservatory. Permission to publish materials from this collection is granted by the Archivist. This collection should be cited as NECA 19.12. Boris Goldovsky Papers, New England Conservatory Archives, Boston, MA.
The Boris Goldovsky Paper are organized into eight series:
- Performance records/Programs
- Administrative records
- Press/Publicity records
- Correspondence
- Writings/Libretti
- Photographs
- Subject files
- 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. Also included are 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; Notes 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 entitled “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 an interview with Goldovsky 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 General 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.”
Series 1: Performance records/Programs
Box 1 – Folder 1
- Programs, New England Opera Theater, 1946-1949
Box 1 – Folder 2
- Concert Programs, New England Opera Theater, 1950-1955
Box 1 – Folder 3
- Concert Programs, New England Opera Theater, 1956-1958
Box 1 – Folder 4
- Concert Programs, New England Opera Theater, 1960-1962
Box 1 – Folder 5
- Concert Programs, Goldovsky Grand Opera Theater
Box 1 – Folder 6
- Programs, Other
Box 1 – Folder 7
- Repertoire/casts, New England Opera Theater, 1946-1962
Box 1 – Folder 8
- Souvenir book & libretto, New England Opera Theater, The Barber of Seville
Box 1 – Folder 9
- Souvenir book and libretto, New England Opera Theater, Don Pasquale
Box 1 – Folder 10
- Souvenir book & libretto, New England Opera Theater, The Secret Marriage
Box 1 – Folder 11
- Souvenir book, New England Opera Theater, The First Fifteen Years
Box 1 – Folder 12
- Souvenir book, Goldovsky Grand Opera Theater, La Boheme
Series 2: Administrative Records
Box 1 – Folder 14
- New England Opera Theater, Articles of Incorporation/By-Laws
Box 1 – Folder 15
- New England Opera Theater, Contracts
Box 1 – Folder 16
- New England Opera Theater, Meeting Minutes, 1962
Box 1 – Folder 17
- New England Opera Theater, Meeting Minutes, 1963
Box 1 – Folder 18
- Goldovsky Opera Institute, By-Laws
Box 1 – Folder 19
- Goldovsky Opera Institute, Contracts
Box 1 – Folder 20
- Goldovsky Opera Institute, Correspondence/Memoranda
Box 1 – Folder 21
- Goldovsky Opera Institute, Financial statements
Box 1 – Folder 22
- Goldovsky Opera Institute, Meeting minutes, 1963
Box 1 – Folder 23
- Goldovsky Opera Institute, Meeting minutes, 1964-
Box 1 – Folder 24
- Goldovsky Opera Institute, Reports
Series 3: Press/Publicity Records
Box 1 – Folder 25
- Newspaper/Magazine Articles, 1935-1962
Box 1 – Folder 26
- Newspaper/Magazine Articles, 1963-1979
Box 1 – Folder 27
- Newspaper articles, 1980-
Box 1 – Folder 28
- Posters/Flyers
Series 4: Correspondence
Box 2 – Folder 1
- Biographical materials
Series 5: Libretti/Writings
Goldovsky Libretti:
Box 2 – Folder 2
- The Bartered Bride
Box 2 – Folder 3
- Carmen
Box 2 – Folder 4
- Idomeneo/Mozart (2 copies)
Box 2 – Folder 5
- La Traviata
Box 2 – Folder 6
- The Turk in Italy/Rossini (2 copies)
Other Libretti:
Box 2 – Folder 7
- The Death of a Fascist by Wallace Dace (libretto to Puccini’s Tosca)
Box 2 – Folder 8
- Verdi’s Falstaff – translation from the vocal score. Ricordi & Co. (1893). Reprinting 1944. [With handwritten annotations]
Memoir: My Road to Opera:
Box 2 – Folder 9
- Chapter 1: “Childhood in Russia,” draft
Box 2 – Folder 10
- Chapter 1: “Childhood in Russia,” draft, excerpt
Box 2 – Folder 11
- Chapter 2: “From Moscow to Berlin”
Box 2 – Folder 12
- Chapter 2: From Moscow to Berlin, draft, excerpt
Box 2 – Folder 13
- Chapter 3: “With Dohnayi in Budapest”
Box 2 – Folder 14
- Chapter 3: “With Dohnayi in Budapest,” draft, revisions
Box 2 – Folder 15
- Chapter 4: “Josef Hofmann and the Curtis Institute of Music”
Box 2 – Folder 16
- Chapter 4: “Josef Hofmann and the Curtis Institute of Music,” draft, excerpt
Box 2 – Folder 17
- Chapter 5: “Fritz Reiner’s Great Opera Season”
Box 2 – Folder 18
- Chapter 6: “My First Years with Rodzinski”
Box 2 – Folder 19
- Chapter 7: “A Three Ring Opera”
Box 2 – Folder 20
- Chapter 8: “From Tanglewood to Koussevitzky”
Box 2 – Folder 21
- Chapter 9: “Two Mozart Triumphs,” excerpts, drafts
Box 2 – Folder 22
- Chapter 10: “Farewell to Uncle Sergei”
Shorter Writings:
Box 2 – Folder 23
- “The Story of the Goldovsky Opera Institute”
Box 2 – Folder 24
- “The Riddle of Musical Tempo”
Box 2 – Folder 25
- History in Opera, a Verdi Trilogy; Note on Rigoletto
Box 2 – Folder 26
- Other Writings
Box 3
- Typed, edited manuscript of My Road to Opera
- Proof copy of My Road to Opera
- “Good Afternoon Ladies and Gentlemen: Intermission Scripts from the Met Broadcasts,” Draft and related materials
- “Good Afternoon Ladies and Gentlemen: Intermission Scripts from the Met Broadcasts.” Master Copy
Series 6: Photographs
Photos with Goldovsky:
Box 4 – Folder 1
- Goldovsky Press Photos/headshots
Box 4 – Folder 2
- Goldovsky Press Photos/headshots
Box 4 – Folder 3
- Goldovsky at the piano
Box 4 – Folder 4
- Goldovsky candids
Box 4 – Folder 5
- Groups/Rehearsal photos
Box 4 – Folder 6
- Groups/Rehearsal photos
Box 4 – Folder 6b
- Groups/Cast/Tours
Box 4 – Folder 7
- Professional/Social events
Box 4 – Folder 8
- Family/personal photos
Box 4 – Folder 9
- Miscellaneous photos
Individual Press Photos/Headshots:
Box 5 – Folder 1
- Photographs ‘A’: Mildred Allen; Edward Alley, conductor (2 photos – 2 copies of one); John Arab, tenor
Box 5 – Folder 2
- Photographs ‘B’: Marcia Baldwin, mezzo-soprano; Francis Barnard; Jacqueline Bazinet (2 copies); William Beck, baritone (2 copies); Anne Marie Belier, soprano (2 copies); Ara Berberian, bass; Carol Bergey (2 copies); Richard Best; Naomi Blake (2 copies)
Box 5 – Folder 3
- Photographs ‘C’: Thomas Clerke, tenor; Carol Courtman, soprano
Box 5 – Folder 4
- Photographs ‘D’: Eric Davis, tenor (2 copies); J. B. Davis, bass; Luisa De Sett (2 photos – 2 copies each); Enrico di Giuseppe
Box 5 – Folder 5
- Photographs ‘E’: Rosalind Elias, mezzo-soprano; Lucille Englebright, lyric soprano
Box 5 – Folder 6
- Photographs ‘F’: Naomi Farr, soprano; Maria Ferriero, dramatic soprano (2 copies); Constance Fisher, soprano; Norman T. Foster
Box 5 – Folder 7
- Photographs ‘G’: Lila Gage, soprano; Marguerite Gignac, soprano (2 copies); David Giosso; Frank Guarrera, baritone; Norma Guisti, soprano (2 copies)
Box 5 – Folder 8
- Photographs ‘H’: Donna Maria Hankla, soprano; Ewan Harbrecht, soprano; Lansing Hatfield, baritone; Paul Hickfang, bass; Ronald Holgate, tenor (4 photos- 2 copies of one)
Box 5 – Folder 9
- Photographs ‘L’: James Lawrence, Jr., President of NE Opera Theater Inc., portrait by Patricia Tate; Gwen Little; David Lloyd, tenor, 9 photos
Box 5 – Folder 10
- Photographs ‘Mc- Mi’: Marjorie McCleary; John McCollum, tenor (2 photos); Evelyn Mekelatos; Sherrill Milnes, bass-baritone (2 copies)
Box 5 – Folder 11
- Photographs ‘Mo-Mu’: Marquita Moll (2 copies); Mac Morgan, baritone, 2 photos (one a photo of a painting by Norman Rockwell (Duplicates of each); Mildred Mueller (2 photos – one in duplicate- postcards)
Box 5 – Folder 12
- Photographs ‘O-P’: Lucien Olivier, baritone; Eugenia Patryk, autographed; Robert Paul; Thomas Paul, bass/baritone; Mary Beth Peil, soprano
Box 5 – Folder 13
- Photographs ‘R’: Benjamin Rayson, baritone (2 copies); Francesca Roberto, soprano (2 copies); Martin Rudel, bass
Box 5 – Folder 14
- Photographs ‘S’: George Shirley, autographed; Nancy Stokes, soprano)
Box 5 – Folder 15
- Photographs ‘ U’: Paul Ukena (2 copies)
Box 5 – Folder 16
- Photographs ‘W’: James Wainner, tenor (2 copies); Marguerite Willauer, soprano, 2 photos in duplicate; Nancy Williams, mezzo-soprano, 2 photos in duplicate; Shirley Winston.
Box 5 – Folder 17
- Photographs, Individuals, Unidentified
Photographs – Opera Productions – Identified:
Box 6 – Folder 1
- Opera Productions – Identified
- Angelique/Ibert, Tanglewood?
- Ariadne auf Naxos, 1951, Tanglewood
- The Barber of Seville, February 1962? (Jerry Sien)
- The Barber of Seville, February 1962? (Eugene Green as Bartolo)
- The Barber of Seville, February 1962? (Justino Diaz as Basilio)
- The Barber of Seville, February 1962? (Vera Scemmon as Rosina)
- The Barber of Seville, February 1962? (James Wainner as the Count)
- The Barber of Seville, February 1962? (Alexander Gray as Figaro)
- The Barber of Seville, February 1962 (Anne Marie Belier as Marcellina)
- The Barber of Seville, February 1962? (Paul Hickfang as Basilio)
- The Barber of Seville, February 1962? (Paul Hickfang as Dr. Bartolo), 2 photos
- The Barber of Seville (2 copies) (Rosina, Count Almaviva, Figaro)
- The Barber of Seville (2 copies) (Rosina, Marcellina, Count Almaviva, Don Basilio)
- The Barber of Seville (2 copies), Rosina and Dr. Bartolo
- The Barber of Seville (2 copies) (Figaro, Count Almaviva, Rosina)
- The Barber of Seville, February 1962? (Jeannette Scovotti as Rosina; James Wainner as Count)
- The Barber of Seville, February 1962? (Dr. Bartolo and Marcellina)
- The Barber of Seville, February 1962? (Crowd scene), 2 copies
Box 6 – Folder 2
- Opera Productions – Identified
- La Boheme, 1964?, Crowd Scene (2 copies)
- La Boheme, 1964?, Crowd Scene (2 copies
- La Boheme, Goldovsky Grand Opera Theater
- Cosi fan tutte, 4 characters, Tanglewood?
- Don Giovanni, 1961 Tour (Spiro Malas as Leporello)
- Don Giovanni, 1961 Tour (Marguerite Willauer as Donna Anna; James Wainner as Don Ottavio)
- Don Pasquale, 1965? (Therman Bailey as Don Pasquale)
- Don Pasquale, 1965? (Mac Morgan as Dr. Malatesto; Robert Gay as Don Pasquale)
- Don Pasquale, 1965? (Earl Williams as Ernesto)
- Don Pasquale, 1965? (Jacqueline Bazinet as Norina)
- Don Pasquale (Norina, Ernesto, and Don Pasquale)
- Don Pasquale, Group scene with cake (2 copies)
Box 6 – Folder 3
- Opera Productions: Identified
- L’enfant Prodigue (Debussy), 1953, Tanglewood
- An Incomplete Education, 1953, Tanglewood
- L’Incoronazione di Poppea, NEC, 1950?
- Le Jongleur de Notre Dame, 1961 (2 copies) (Tommy Roll as the Juggler; Spiro Malas as Boniface; Justino Diaz as the Prior)
- King Theodore in Venice, Act I, Scene 2
- King Theodore in Venice, Act II, Scene 5
- King Theodore in Venice, 1961, Tanglewood? (Theodore, Lisetta, Taddeo), Act II, Scene
Box 6 – Folder 4
- Opera Productions – Identified
- Marriage of Figaro, November 1946 (Nancy Trickey as Susanna; Mildred Miller (Mueller) as Cherubino)
- Marriage of Figaro, November 1947 (Robert Gay; Phyllis Curtin; Margaret Goldovsky; Francis Barnard)
- Old Maid and the Thief, January 1947 (Norman T. Foster, Margaret Goldovsky) (2 copies)
- Old Maid and the Thief, January 1947 (Evelyn Mekelatos as Miss Pinkerton)
- Pelleas et Melisande (2)
- Pique Dame (Queen of Spades), Tanglewood, July 1951, 3 photos, crowd scenes
- The Princess and the Pea, July 1954, Tanglewood
Box 6 – Folder 5
- Opera Productions – Identified
- Rigoletto, Fall 1966 (William McDonald as Duke, Laura Nilsen as Countess Ceprano)
- Rigoletto, Fall 1966 (Alexander Gray as Rigoletto; Lucille Perret as Gilda)
- Rigoletto, Fall 1966 (Seymour Schwartman as Rigoletto; Lucille Perret)
- Rigoletto (Adele Addison as Gilda)
- La Rondine, couple scene, November 1958
- La Rondine, November 1958 (2 copies)
- La Rondine, November 1958 (2)
- La Rondine, curtain call
- Le Roi d’Yvetot, 1950, American premiere
- Romeo and Juliet, 1955, Tanglewood
- The Secret Marriage, December 1956 (Adrianna Knowles as Fidalme)
- The Secret Marriage, December 1956?
Box 6 – Folder 6
- Opera Productions – Identified
- The Telephone, (Tanglewood?)
- Tosca, Act II
- La Traviata, crowd scene, 2 copies
- La Traviata, November 1958, 2 characters, 2 copies
- La Traviata, November 1958 (2 copies)
- La Traviata, 1962? (Eric Davis as Alfredo; Maria Ferreiro as Violetta; Benjamin Rayson as the elder Germont)
- La Traviata, 1962? (Violetta surrounded by her friends)
- La Traviata, 1962? (Mary Beth Peil as Violetta, surrounded by her friends), 2 copies
- La Traviata, 1962? (Norma Giusti as Violetta)
- La Traviata, 1962? (Norma Giusti as Violetta)
- La Traviata, 1962? (Norma Giusti as Violetta)
- La Traviata, 1962? (Norma Giusti as Violetta with ?)
- La Traviata, Violetta and Alfredo, 1962 tour?
- La Traviata, party scene, 1962 tour?
Box 6 – Folder 7
- Opera Productions – Identified
- The Trojans, March 1955, Crowd scene, 2 copies
- The Trojans, March 1955, Crowd Scene, 12 different photo
- The Trojans, March 1955, Ship
- The Trojans, March 1955, One female (3 copies)
- The Trojans, March 1955, Dido and her sister Anna(played by Marquita Moll and Judith Kelly)
- The Trojans, March 1955, 3 soldiers
- The Turk in Italy, 1962?
- The Turk in Italy, November 1948?, (David Lloyd as Narciso)
- The Turk in Italy, November 1948? (Arthur Schoep; Marshall Heinbaugh; June Garden, David Lloyd)
- The Turk in Italy, November 1948?, Adele Addison; Marshall Heinbaugh; Francis Barnard; June Garden; David Lloyd
- The Turk in Italy, 1961 (Arthur Schoep)
- Zaide, 1955, Tanglewood
Box 6 – Folder 8
- Opera Productions – Possible Identifications
- Albert Herring, group of children, August 1949, Tanglewood
- Albert Herring, August 1949, Tanglewood
- Albert Herring, August 1949, Tanglewood
- The Barber of Seville, 1954-1955 tour
- La Boheme, 1964 (Richard Allen as Marcello; Carol Courtman as Mimi)
- La Boheme, Tanglewood?
Box 6 – Folder 9
- Opera Productions: Possible Identifications
- Carmen
- Cosi fan tutte, January 1960
- Cosi fan tutte (3)
- Count Ory, August 1958, Tanglewood, full cast
- Count Ory, August 1958, Nuns, 2 copies
- Count Ory, August 1958 (scene w/ all women), 2 copies
Box 6 – Folder 10
- Opera Productions – Possible Identifications
- Don Giovanni, crowd, 5 x 7
- Don Giovanni, 3 x 5 (2)
- Don Giovanni, partial cast photo
- Don Pasquale (2)
- Esther/Meyerowitz, May 1958 (NEC), 4 characters
- Esther/Meyerowitz, May 1958 (NEC), 2 characters
- Griffelkin, Tanglewood, 1956 (2)
Box 6 – Folder 11
- Opera Productions – Possible Identifications
- Idomeneo, August 1947, Tanglewood
- Idomeneo, crowd scene
- The Marriage of Figaro, 1946-1947 (Mildred Miller as Cherubino)
(2) - Pelleas et Melisande, Dec. 1950 (2)
Box 6 – Folder 12
- Opera Productions – Possible Identifications
- Queen of Spades, Tanglewood
- Riders to the Sea
- Rigoletto, 1960?
- Rigoletto, 1966, 5 x 7 (3)
- Rigoletto?
Box 6 – Folder 13
- Opera Productions – Possible Identifications
- Tosca, 1963?, (Francesca Roberto as Floria with negative)
- Tosca, 1963? (Francesca Roberto as Floria; Dean Wilder as Mario
- Tosca, 1963? (Dean Wilder as Mario)
- The Turk in Italy, 1961-1962
- The Turk in Italy, 1961-1962, individual cast members, 5 photos
Box 6 – Folder 14
- Opera Productions – Unidentified photos (1)
Box 6 – Folder 15
- Opera Productions – Unidentified photos (2)
Box 6 – Folder 16
- Opera Productions – Unidentified photos, Tanglewood?
Box 6 – Folder 17
- Opera Production – Scene Sketches
Box 6 – Folder 18
- Opera Productions – Sets
Box 6 – Folder 19
- Opera Productions – Set construction
Box 6 – Folder 20
- Historic opera character sketches
- Agnes Schebest als Romeo
- Signora Bariti (Patti); Mutter der Adelina Patti als Romeo
- Miss Poole in the Opera of Fidelio
- Albanese Butterfly by Abshire
- Scene from Don Giovanni (catalog aria?)
- Costume design from Rigoletto
Box 6 – Folder 21
- Historic opera singer photographs – Identified
- Emma Calve – 4 ¼ x 7
- Sig. Del Puente – 2 ½ x 3 ¾
- Emma Eames – 4 ¼ x 6 ½
- Mme. Minnie Hauck – 2 ½ x 4
- Die Kammersangerinnen Viorica Ursuleac and Gertrud Runger in Cosi fan tutte – Clipping
Box 6 – Folder 22
- Historic opera singer photographs – Unidentified
Box 6 – Folder 23
- Image reproductions of famous composers
Gustav Mahler; Richard Strauss; G. F. Handel; Cesar Franck; Carl Maria von Weber; Felix Mendelssohn-Bartholdy; Franz Liszt; J. S. Bach; Robert Schumann; Ludwig van Beethoven; Franz Schubert; Richard Wagner; Joseph Haydn; Manuel de Falla (autographed); Claude Debussy; Frederic Chopin (from: Lamina correspondiente al libro. Historia Grafica Universal de la Musica por Kurt Pahlen. Individual plates)
Series 7: Subject Files
Box 7 – Folder 1
- Biographical materials
Box 7 – Folder 2
- Goldovsky Opera Library – Correspondence
Box 7 – Folder 3
- Goldovsky Opera Library – Agreements
Box 7 – Folder 4
- Goldovsky Opera Library – Additions
Box 7 – Folder 5
- Goldovsky Opera Library – Inventories
Box 7 – Folder 6
- Pierre Luboshutz – Will
Series 8: Recordings
Box 7 – Recordings
