Word: rudy
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...owner of the bookstore, who added a concert bureau on the side, soon transferred the artistically inclined Rudi to that branch of his business. Bing found he "loved selling," could sometimes let his enterprising imagination run wild. Once he billed a faltering troupe of dancers as "Dancers of Vice, Horror and Ecstasy," had to give extra performances to accommodate the crowds. Among the agency's clients were Soprano Lotte Lehmann, Conductor Fritz Busch, a young violinist named Eugene Ormandy, and a troupe of Russian dancers which included Nina Schelemskaya-Schelesnaya, who later shortened her name to Mrs. Rudolf Bing...
...give his career its most important and lasting twist walked in the agency door. Famed (in Germany) Actor-Director Carl Ebert-(TIME, Sept. 4) had just been appointed artistic director of the Darmstadt State Theater. Among other things, he wanted a bright young man for his assistant. Rudi Bing told him brightly: "I know an excellent man. Take...
...Rudi Bing now thinks of his five years at Glyndebourne as the best of his life. The idyl was shattered by World War II. Glyndebourne shut up shop; Bing went to work in a London department store (Peter Jones in Sloane Square) as a coupon clerk, eventually worked his way up to manager. Technically, he was an enemy alien; he had applied for British citizenship in 1939, but the war had prevented his papers from going through. He was never interned. Moreover, he was able to bring his aging parents from Austria to England...
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...