Word: rudel
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...Vienna, Conductor Julius Rudel spent endless hours building miniature theaters and staging puppet operas-Salome in a shoe box, Parsifal in a packing crate. The training proved to be apt preparation for his job as director of the New York City Opera. For the past eight years, operating on a budget that would pass for carfare at the Metropolitan Opera, he has been nurturing his company in a glorified Manhattan shoe box called City Center. Last week, like slum kids transported to the country, Rudel and his 200-member troupe moved into the spacious luxury of the New York State...
...with splashes of percussion. In total, the score failed to achieve the delineation of character and dramatic thrust that distinguish great opera from good. Don Rodrigo was nonetheless an adventure worthy of the underwriting (by Mrs. John D. Rockefeller Jr.), and no company could have done it better than Rudel...
...this cause, Julius Rudel has been tireless. A Viennese refugee from Hitler, he fled to the U.S. in 1938, earned a degree in conducting from Manhattan's Mannes College of Music. When the New York City Opera got going, so did Rudel, then 22. He was everything from rehearsal pianist to curtain puller to stand-in for ailing members of the chorus. In 1957, after a clash between the opera board and Erich Leinsdorf (who followed Halasz and Joseph Rosenstock) left the company without a conductor, Rudel was appointed director. The decision was made, says one board member, partly...
...with the aid of a $100,000 Ford Foundation grant, Rudel presented a season of no fewer than ten American operas. Three years later, he initiated a program of commissioning U.S. composers. The project has so far produced eight new works, including such well-received productions as Douglas Moore's The Wings of the Dove and Robert Ward's The Crucible. Using enthusiasm to stretch his financial resources, Rudel is able to mount first-rate productions for one-tenth the cost of more elaborate opera companies. His singers represent the finest of the younger U.S. crop; at least...
...that. Off to New Orleans they went to soak up some local color, only to belatedly discover that it "just wouldn't work." How about changing the locale to Hollywood, with the conflict between an actress and her understudy? "No," said New York City Opera Director Julius Rudel. Hmm. Why not just keep it straight Strindberg...