Word: leinsdorfs
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Dates: during 1960-1969
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...Erich Leinsdorf to the contrary notwithstanding [Aug. 23], we have more first-class Wagnerian singers now than we had in the Melchior-Flagstad era. In the last few years the Metropolitan Opera has offered us such topnotch artists as Birgit Nilsson, Leonie Rysanek, Gladys Kuchta, Inge Bjoner, Regine Crespin and Anita Valkki, sopranos; Jon Vickers, Sandor Konya and Jess Thomas, tenors; Jean Madeira, Nell Rankin and Irene Dalis, mezzos; George London, Hermann Prey, Walter Cassel and Eberhardt Wachter, baritones; and Jerome Hines, Giorgio Tozzi and William Wilderman, bassos...
...looking like a headless sphinx wrapped in a Persian shawl, when clad in the rich and diversified autumnal foliage of its woods." To the lush beauty of nature, Tanglewood added the spare beauty of modern architecture in 1938 with the 6,037-capacity Music Shed. This is Conductor Erich Leinsdorfs first season in the Shed, and he made his opening-week debut both bold and orthodox by performing a clutch of Mozart concertos and divertimenti never before played at Tanglewood. Says Leinsdorf: "There is nothing wrong in playing Kismet or Rosemarie for a while, but when it becomes a MUST...
...concert brought to a close a week of Mozart programs at Tanglewood. Mozart's final composition, the Requiem was not completed when the composer died in 1791, and had to be finished by his pupils. Leinsdorf dedicated the Sunday performance to the memory of Pope John XXIII, who, like Mozart, "was interrupted at the height of his powers...
Despite the sacrifices required by the daily four hour practice sessions, members of the chorus seemed satisfied with the heavy expenditure of time. They reported that Miss Hiatt "conveyed a profound sense of the music" to the group. After hearing the chorus Conductor Leinsdorf declared Hiatt was a "miracle worker...
Although the chorus was only able to rehearse with Leinsdorf for three hours, the members found singing under his direction an "exhilarating" experience. Said one student, "He is a fine, clear, economical conductor. He knew exactly what he wanted from the chorus and how to get it from them...