Word: rudy
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Dates: during 1950-1959
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...West Germany last week, Staffer Rudi Treiber of Düsseldorf's Communist daily Freies Volk got a geography lesson. Under the headline PISTOLS AND BRASS KNUCKLES IN CLASSROOM, WEST BERLIN SCHOOLS ARE GANGSTER STUDIOS, Treiber had pointed to the school in the Pankow area of Berlin as a horrible example of just how the West brings up and trains its schoolchildren. In the Pankow school, he wrote, children have been found armed with brass knuckles and guns, while others write lewd poems which they circulate through an organization they call the "Bureau of Love...
Journalist Treiber had made a dreadful mistake: Pankow is in the Russian sector of Berlin, not as he had thought in one of the Western sectors. When Freies Volk discovered Treiber's error, it quickly printed an abject retraction: "Rudi Treiber has been unmasked [and fired] ... as a liar and an agent provocateur." Said ex-Comrade Treiber lamely: "I just didn't know where Pankow...
Fans for Fledermaus. Now, running the world's No. 1 opera house, Rudi Bing is in his plain, southwest-corner office on the ground floor every morning by 10. He walks to work down Seventh Avenue from his apartment in fashionable Essex House, on the edge of Central Park. He travels home for dinner by subway, returns to the Met and seldom gets home again before midnight. The strain of twelve-hour days has already made Bing look a little more drawn and grey than when he took over last summer...
Hamstrung as he is by lack of money, Rudi Bing thinks that the most he can do is "to try to build up the stock repertory in a contemporary way." Says he: "I think we must do away with 40-year-old productions even if they were great in their day." He believes that "new productions must not be thought of as a luxury that one may indulge in if one happens to strike a gold mine. New productions are as important to have as singers and an orchestra. I may want eight and get only four, but I cannot...
...Rudi Bing, the paradox of the old Met is the fact that, despite the old sets and old costumes, standbys such as Traviata and Trovatore "still sell out the house." His task, he thinks, is "to get the public to demand new and better productions." He has to admit, from box-office records, that so far "the public just does not care." But, says Rudi Bing, with the look of a man setting out to do something about it: "I do care...