Word: concerting
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Dates: during 1960-1969
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Preaching that an appearance on the Met stage is a unique honor, Bing insisted that the principal singers-who in the past were repeatedly lured away by the more lucrative concert circuit-either sign up for a longer season or none at all. The public responded in kind; in Bing's 16-year tenure, the Met season has expanded from 18 to 31 weeks, and the number of subscribers has grown from 5,000 to 17,000, with another 3,000 waiting longingly in line to get into a house that was 97% sold out last season...
...happened, his employer operated a concert agency on the side, and it was not long before the child of the muses began musing on the music business. He took to it like Barnum to bun kum. Once he billed a sorry troupe of dancers as terpsichorean exponents of "Vice, Horrors and Ecstasy," then hurriedly had to schedule extra performances to accommodate the crowds. Among his clients were Soprano Lotte Lehmann, a young redheaded violinist named Eugene Ormandy, and a troupe of Russian modern dancers, one of whose members, a slim, dark-eyed blonde named Nina Schelemskaya-Schelesnaya, later shortened...
...begin where other managers end. We sit in with the artist and develop ideas. Our interest is the same as his: to bring people to the concert hall...
...concert manager worth his 10% feels the same way, but when Jay Hoffman and George Schutz speak of their work, there is a decided absence of self-serving tone. Hoffman, 32, and Schutz, 28, comprise one of the busiest, most imaginative and most unorthodox management teams in New York. They have just wound up a highly successful month-long Mozart Festival at Manhattan's Philharmonic Hall under the sponsorship of Lincoln Center. Skeptics would have considered Mozart box-office suicide during a dreary New York summer. Yet the festival presented 26 consecutive concerts featuring more than 100 orchestra, chamber...
Full Houses, P.D.Q. For four years, Hoffman and Schutz have been producing offbeat concerts successfully on the premise that there is a sizable audience willing to buy programs first and names second. To reach that audience, they adopt tactics that would horrify conventional concert managers, who like to play it safe by riding war horses. Typically, they select the music first, then find accomplished but lesser-known performers to play it. Their first venture, in 1962, was a concert of all six Brandenburg concertos, which one critic forewarned them was nothing but "a lot of Bach and potatoes...