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This dissertation traces the development of the supportive organization which kept the Metropolitan Opera from closing, in 1935, because of its need for financial assistance. The author of this dissertation has enjoyed, for many years, an interest in opera and opera education. She sang, over a period of twenty-one years, more than fifty different leading roles in opera. Later, she developed, in the school where she taught, an opera glee club, and administered, for twenty-four years, an Educational Membership in The Metropolitan Opera Guild, preparing children and parents to attend Metropolitan Opera Rehearsals and Student Performances.
Mr. Francis Robinson, Assistant General Manager of The Metropolitan Opera Association, recommended the author to Mrs. John DeWitt Peltz, Archivist of The Metropolitan Opera, and a founding member of the Guild. Mrs. Peltz extended research privileges to the author, who enjoyed the treasures of Metropolitan Opera Archives for five years. She spent an additional year of research at The Lincoln Center Library for the Performing Arts.
This dissertation includes information concerning the development of the Guild itself and its educational program over a period of forty years. The writing embraces six chapters, each of the four most voluminous dealing with the developments during a single decade. Each decade follows a similar outline and ends with information concerning new developments within the particular decade. There are eighty-seven tables presenting detailed information concerning Special Events, Annual Meetings, Working Rehearsals, Benefit Performances, Lectures, Lecture-Teas, In-Service Courses, Student Performances, Luncheons, Intermission Programs of Radio Broadcasts, and certain other opera-related social events, which served to interest members, bringing much-needed financial help to the Guild and the mother company.
This detailed information is the result of long-continued research by the author and is not readily available elsewhere. It is organized to reveal the remarkable development of The Metropolitan Opera Guild, which serves as a model of a highly supportive arts organization. The Guild, through the years, has depended largely on help from devoted and capable volunteers. Gradually, more hired workers have joined the team; however, the personal touch and pride in participation have remained.