Temporoc/o Grande

With Europe's erstwhile summer music festivals gone with the wind of war, South America's big winter season, the temporada grande, is drawing U.S. musicians and dancers like flies to a jam pot.

Buenos Aires' opera house, the Teatro Colon, is one of the two or three best in the world. Bigger and grander than Manhattan's aged and drab Metropolitan, it has a much longer season: from May through October. This year the Colon's director, Floro Meliton Ugarte, signed Arturo Toscanini (see above} for six concerts with the opera orchestra. Meantime:

P:In Rio de Janeiro's Teatro Municipal, an audience of 3,000 saw the first U.S. ballet troupe that ever invaded South America. Tall, truculent Lincoln Kirstein, reviving his barnstorming Ballet Caravan, had assembled a company of 52, 60 crates of scenery and costumes, a repertory of 14 ballets. On opening night, Rio saw Estacion Gasolinera (by Choregrapher Lew Christenson, Composer Virgil Thomson, Painter Paul Cadmus), which the U.S. knew as Filling Station.

Balletomane Kirstein's tour is strictly business. If South America doesn't like it, all right. If it does, the Caravan will dance until Christmas, or until the gunpowder comes out at the heels of its shoes. Last week Mr. Kirstein unbent, cabled his Manhattan office: OPENING GREAT SUCCESS LOVE.

In Buenos Aires, a program of moderately modernistic dances by Miriam Winslow, Back Bayster, and her Atlanta-born partner, Foster Fitz-Simons, set Latin feet atap.

P:Latins find U.S. glee-club singing even more exotic than U.S. dancing. South American universities have nothing resembling the Yale Glee Club, which set sail last week for a seven-week tour of a dozen South American cities.

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