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Correspondence concerning the confirmation of Beaton's commitment to the production of 'La Traviata'. Bing writes that he of course wants Beaton to do the set and costumes for 'La Traviata' and that his doing it at Covent Garden would not in the least way interfere with Bing inviting him to do so. Beaton replies that he does not know if the Covent Garden production will go ahead, but that he should let Lasker know in any case. Beaton adds that he is interested to hear that they are going to stage 'Adrienne Le Couvreur', but also rather disappointed by the news that, having worked so carefully on the designs, they are going to use a readymade production.

Typescript letter in response to Bing's letter dated 29 November. Beaton writes that he is sorry he was unable to speak to Bing during his visit to New York, but that it was rather rushed and made difficult by the President's assassination. He would very much like to work with Alfred Lunt on a new production of 'La Traviata' and plans to begin some preliminary sketches shortly.

Typescript letter from Beaton, acknowledging Bing's letter dated 6th March, but requesting leave to answer it when he has had time to acquaint himself with "Adriana Lecouvreur" more fully, after which he will respond to Bing more fully.

A typewritten letter, in which Hose asks whether Bing would confirm that he would like Beaton to complete his set and costume designs for 'Turandot' by April 1960. If so, then he must hear from Yoshio Aoyama straight away, with his suggestions and complete dress chart.

Typescript letter, in response to Bing's letter dated 6th March, regarding his involvement in producing the stage designs for "Adriana Lecouvreur". Beaton writes that he wanted a short break after having worked on "Turandot", but having done some preliminary work and having developed a greater appreciation of the music through conversations with his neighbour, the music critic, Desmond Shawe-Taylor, he is eager to progress further with "Adriana Lecouvreur". He would, however, prefer to set the opera in the Edwardian period, rather than the eighteenth century, which Beaton feels has been "over-done". He also proposes a meeting with Nathaniel Merrill [stage director for the Met between 1956 and 1985], for further discussions before he becomes engaged in other summer activities.

Handwritten note, in which Beaton expresses his distress in having heard that Barbara Karinska has not yet been fully commissioned to create the costumes for 'La Traviata'. Beaton writes that Karinska is an artist and should be treated with great deference; she is unhappy with the present situation.