Showing 16 results

Typescript letter, regarding a possible collaboration between Beaton and Lunt on the new production of 'La Traviata'.

Typewritten copy of letter, in which Bing asks when they can possibly meet to discuss the costumes for 'La Traviata'. He writes that the costumes need to be created on a vastly simplified scale, since Bing cannot agree to the one hundred and fifteen thousand dollar bid Karinska has proposed, and yet he would still like to work with her if she is prepared to enter into negotiations.

Typescript letter in which Bing writes that he expects the building and painting of the new sets for 'La Traviata' to commence during the summer of 1965; he would hope, therefore, to see some preliminary sketches in the fall.

A typewritten letter, in which Bing asks whether Beaton would be interested in producing the stage and costume designs for Adriana Lecouvreur, the first performance of which is intended to be February 16, 1962. He outlines rough dates for when these designs will need to be complete, together with a suggestion for a preliminary meeting in late March / early April.

Typescript letter, in which Bing expresses his consternation with respect to the revised bid proposed by Barbara Karinska for the creation of the 'La Traviata' costumes. After a period of 'simplifying', Karinska has reduced her bid from one hundred and fifteen thousand dollars to one hundred and seven thousand dollars, approximately seven hundred dollars per costume. Bing states that he is both unwilling and unable to pay that. Never in the history of the Metropolitan has anything even approached the amount that has been suggested for this one production. Bing is aware that Beaton's designs deserve careful and considerate execution, but he had estimated a total cost of sixty thousand for the costumes and asks Beaton to therefore contact Karinska to discuss the necessary changes that would need to be made for a thirty or thirty-five thousand dollar reduction in the price.

A typewritten letter, in response to Beaton's request for his designs to be used for a forthcoming production of 'Turandot' in Covent Garden. Bing writes that he is not entirely happy with Beaton's suggestion, but concedes that were the designs used, then he would ideally like a credit line to be included, indicating that the designs were used by courtesy of the Metropolitan Opera.

Typewritten letter in which Bing confirms that they now intend to proceed with "Adriana Lecouvreur", as a way of attracting the soprano, Renata Tebaldi, back to the company. However, he indicates that, as they intend to produce it at a much lower cost than before, they will not be using Beaton's designs.

Typescript letter, concerning a new production of 'La Traviata'. Bing explains that the production cannot be staged in the forthcoming season, as an earlier version was staged at the Metropolitan Opera in 1956. However, Bing writes, 'La Traviata' can and should be done over the next two or three years, and he would like Beaton to be involved. He adds that he has contacted Mary Lasker [American philanthropist and health activist] in order to enlist her support for the production. Lasker has confirmed that she would be willing to lend her support, on the condition that Beaton agree to design the set and costumes. Bing requests that Beaton contact Lasker to confirm that he does not feel as if Lasker would be breaching any commitment to him if she agrees to subsidize the Metropolitan Opera's upcoming production of 'Otello'. Small, handwritten note attached to the front of the original letter, from Beaton to Lasker, in which he writes that he is naturally proud to have Lasker's patronage, but does not feel that he can influence her one way or the other. He adds that he would, incidentally, have loved to have done 'Otello'.

Typescript letter, in which Bing states that he has never heard of anyone charging as much for costumes as Barbara Karinska proposes to charge for the creation of the costumes for 'La Traviata'. He concedes that everything that is possible will be done to make the show as phenomenal as Beaton intends, but that this will need to be within the limits of the Metropolitan Opera.

Typewritten letter, regarding the sum of money paid to Beaton for his scenic and costume designs for "Adriana Lecouvreur" and official confirmation of the annulment of the contracts drawn up between the two parties.