Word: bing
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...Mister Bing is the king uncrowned here Though he rarely is on view And we do Just what Bing Tells...
Amidst loud cries of wounded pride and outrage, the new manager proceeded to drop 39 singers, including hitherto sacrosanct Heldentenor Lauritz Melchior, 60, whose wanderings from the score had been the bane of Met conductors for years. There were wild charges that Manager Bing, Vienna-born and German-trained, would try to force even more of the heavy dumpling of Wagner down the throats of audiences that are notably partial to lighter Italian and French fare. (Actually, Bing has little enthusiasm for Wagner.) When he signed famed Soprano Kirsten Flagstad to appear at the Met for the first time since...
Cross Your Fingers. It was Edward Johnson himself who first brought Rudolf Bing forward 23 months ago as a likely successor. The Met's directors were impressed by Bing's prewar experience with Britain's Glyndebourne Opera Company and the success he had made of the postwar Edinburgh Festivals. Bing's first acts as manager nonetheless made the 37 directors nervously cross their august fingers...
Oldtimers in the audience tried to remember when any general manager of the Met had won so jovial an accolade, finally gave up. After only nine weeks of his first season, Rudolf Bing looked like the best thing that had happened to the Met in many a day. Nobody expected Bing to take all the creaks out of the old place overnight, but he had already accomplished the near miracle of persuading his singers, his board of directors and his audiences that the Met was not doomed to creak forever along ways established back in the gaslight...
After the curtain went up on opening night, the firing diminished. Bing began with a brand-new production of Verdi's Don Carlo, rebuilt from scratch with brilliant new sets and costumes, and staged by bright Broadway Director Margaret Webster. He quickly followed that with an entirely new mounting of The Flying Dutchman, done almost equally well. To make a full season, Bing had to reach into the standard repertory (and the warehouse) for operas he had had neither time nor money to rebuild, e.g., Tristan, Faust, Trovatore, Traviata. But except for Traviata and Faust, which most critics panned...