Haddad was born in
Canton, Ohio, on November 9, 1936, and grew up in
Akron. She graduated from the
Eastman School of Music at the
University of Rochester in 1958. She subsequently worked in the classical music division of
Columbia Records, and at
The New York Times radio station
WQXR. From 1960 until the early 1970s she worked at the
Festival of Two Worlds in
Spoleto, Italy. She wrote surtitles or subtitles for the
Washington National Opera,
La Scala in Milan, and the
Public Broadcasting Service's series
Great Performances. and was a research associate for the magazine until her death in 2004. Throughout that time she remained living in the Gershwin Building in Manhattan's Upper West Side.
Brian Kellow said of her in an obituary in
Opera News that "As a titlist, her standards were high: she took pains to avoid the cute, the coy, the anachronistic; her titles were as precise and elegant and clearly thought out as her own prose." He goes on to argue that Titling challenges titleists and the houses that employ them not only to translate but to make the best case for awkward and weak librettos. The brief, repetitious texts and credulity-straining plots of the bel canto repertory, with their attenuated melodic lines and spectacular runs, can pose more challenges to a titleist than do the complex texts of an opera by Strauss or Wagner. Titling, like any aspect of performance, is a dynamic technical skill, and a titleist may return to an opera in subsequent seasons, adjusting and refining both word choice and the technical aspects of delivery. However the titleist resolves these questions, the resulting version becomes the audience's live-time reading matter. and
I vespri siciliani;
Richard Strauss's
Capriccio;
Rossini's
La donna del lago;
Mozart's
Così fan tutte and
Don Giovanni;
Pergolesi's ''
Lo frate 'nnamorato'' and
Conrad Susa's
The Dangerous Liaisons. == References ==