Word: leinsdorf
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...everyone gets the best seat in the house," says Conductor Erich Leinsdorf. "That is proper for a democracy, is it not?" The "best seat" is a living room sofa facing a wall equipped with two speakers six to eight feet apart. If listener and speakers are positioned correctly, there seems to issue from the wall a wave of what is known as stereophonic sound. Nothing has so excited listeners and record makers since, more than a decade ago, the long-playing disk ushered in the Age of High Fidelity. Stereophony's extra clarity and depth have...
Puccini: Madame Butterfly (Anna Moffo, Cesare Valletti, Rosalind Elias, Renato Cesari. Fernando Corena; Rome Opera House Orchestra and Chorus, conducted by Erich Leinsdorf; RCA Victor, 3 LPs). A young cast attempts to filter the turgid dramatic tars so often found in Puccini's graceful "thread of smoke." as he called it. The result is a bright and bracing version, full of rarely realized charms. Soprano Moffo's Cio-Cio-San is vocally arresting, more woman than Japanese doll...
Tosca and Butterfly (both conducted by Erich Leinsdorf) were recorded on alternate days, and between them they required more than 40 hours of taped singing. Inside the opera house, the red plush boxes were empty, dust covers lined the balustrades. A 62-piece orchestra was spread over the stripped main floor, and a 30-voice chorus was onstage. The principals stood at the music stand in bright cotton prints or sports shirts and slacks. In the control foyer Music Director Richard Mohr and the technicians hunched over the controls...
...suspect anyone who is a little different, to equate nonconformity with wrongdoing and evil." More important, it also proved him able to fashion vocal music that is eminently singable - and listenable. The recipient of a Guggenheim fellowship this year, Floyd plans to spend it composing and writing. Director Erich Leinsdorf, who deserves credit for a fine discovery, can almost surely count on a full house at the New York City Center for Floyd's next work...
...English by the New York City Opera Company last week. The stylishly scant scenery (including a tricky, tilted revolving stage) is handsome; the staging is often funny; and the music is as charming as it was 100 years ago. Under the firm and concise direction of Vienna-born Erich Leinsdorf, 44, who left the Rochester Philharmonic to become the City Center's new musical director, the brilliant score is beautifully played. The trouble with Orpheus is its new libretto, which seemed determined to turn this charming opera buffa into a crude opera boffola...