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Subject: Re: speaking of Erich Leinsdorf
From: RAYMOND GOUIN <[log in to unmask]>
Reply-To:RAYMOND GOUIN <[log in to unmask]>
Date:Tue, 8 Aug 2017 00:16:56 -0400
Content-Type:text/plain
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While young to the music scene at the time (sigh), I formed the impression that Leinsdorf was badly treated during his tenure with the Boston Symphony.  Whether it was deserved or not, I don't know.  But, at the end of his tenure, the treatment that he received was clearly shabby and unprofessional.

Whatever the man's personality, he wrote a wonderful and thought provoking autobiography.  Based upon the same, I commented that I would have liked to have him as a neighbor, which is pretty much the highest complement that I can make about an individual.

Get the book if you want a good read. 

Best.
Ray

***

> On August 7, 2017 at 1:49 PM ANGELO MAMMANO <[log in to unmask]> wrote:
> 
> 
> Leinsdorf did record many operas.  He was good at getting musicians to play
> 
> accurately and then record the operas without adding much expression.  Other
> 
> conductors might have wanted more rehearsal time and added a more personal
> 
> approach but that wasn't Leinsdorf's way.  At an open rehearsal for the BSO when
> 
> they were working on the best forgotten The Death of the Bishop of Brindisi with
> 
> London and Chookasian, he got so angry at one of the players that he picked up
> 
> the score and was on the verge of throwing it at him.  Toward the end of his tenure
> 
> at the BSO he tried to salvage the situation by being friendlier with the musicians
> 
> and taking some out to lunch but it was too late.
> 
> 
> I was at a talk on Leinsdorf by his daughter.  She told us that her father felt that he
> 
> was wrong to get married because it took time away from his career.  He would have
> 
> had a much more important career if he had been able to devote more time to it.
> 
> Or so he thought.  Of course we can be thankful for such as the 1912 Ariadne with
> 
> Sills,  now on DVD.  BTW, today at 2 PM  on TCM - Interrupted Melody.  Love it!
> 
> 
> 
> Angelo from Boston
> 
> 
> 
> 
> 
> 
> Angelo from Boston
> 
> 
> 
> 
> 
> 
> 
> 
> 
> > On August 7, 2017 at 12:51 AM Les Mitnick <[log in to unmask]> wrote:
> > 
> > 
> >     Perhaps some people on this Board can enlighten me.  Erich Leinsdorf began his career at the Met rather young, and had the opportunity to conduct Flagstad and Melchior in quite a few Wagner performances in the late 1930s.   He went on to conduct for Traubel and Melchior as well, and remained a Met mainstay.  He recorded tons of complete operas for RCA.  Yet --------  in more than a few books, I've yet to encounter anyone having a nice word for the man on a personal level.  He must have become a very difficult and high-maintenance person in his prime and later years and didn't appear to be at all well liked.  Can someone add something to this???????
> > 
> >                                                                                                     Les
> > 
> >         > > 
> > >         On August 6, 2017 at 5:59 PM ANGELO MAMMANO <[log in to unmask]> wrote:
> > > 
> > >         You're right of course. I was confusing the two Ferro's both as it
> > > 
> > >         turns out born in the same year. I don't actually recall the words
> > > 
> > >         spoken by either Leinsdorf or McEwen but it seems to me that
> > > 
> > >         Leinsdorf was unhappy with the performance so far and preferred
> > > 
> > >         not to remain until the send. As McEwen smiled, Leinsdorf scowled.
> > > 
> > >         Thanks for the correction.
> > > 
> > >         Angelo
> > > 
> > >             > > > 
> > > >             On August 6, 2017 at 12:52 PM Donald Levine <[log in to unmask]> wrote:
> > > > 
> > > >             I think you may be confusing Leonard Del Ferro with Daniel Ferro, a long time and noted New York voice teacher. Daniel Ferro, born in 1921, passed away in 2015. Leonard Del Ferro, born in Philadelphia in 1921, made his career in Europe and lived and worked in the Netherlands where he became a voice teacher. He passed away in 1991.
> > > > 
> > > >             Why did Erich Leinsdorf leave the Otello at OCB?
> > > > 
> > > >             Donald
> > > > 
> > > >             On Sun, Aug 6, 2017 at 7:43 AM, ANGELO MAMMANO <[log in to unmask] mailto:[log in to unmask] > wrote:
> > > > 
> > > >                 > > > > 
> > > > >                     > > > > > 
> > > > > >                     Two American Otellos that have not been mentioned are Leonard Del Ferro, who sang
> > > > > > 
> > > > > >                 > > > > 
> > > > >                 the role with Opera Company of Boston with Amara and Gobbi and Claude Heater who
> > > > > 
> > > > >                 appeared at OCB with Tebaldi and Vinay. Del Ferro became a noted New York
> > > > > 
> > > > >                 voice teacher if I am not mistaken. At the intermission of the Heater/Tebaldi Otello,
> > > > > 
> > > > >                 Leinsdorf who at that time was BSO music director, left with his wife and an obviously
> > > > > 
> > > > >                 disgruntled look. Terry McKuen (sic) tried unsuccessfully to pacify him so as to avoid
> > > > > 
> > > > >                 an unpleasant scene but Leinsdorf refused his entreaties and left in a huff.
> > > > > 
> > > > >                 Angelo from Boston
> > > > > 
> > > > >                 >
> > > > > 
> > > > >                     > > > > > 
> > > > > >                     On August 6, 2017 at 9:47 AM Rudi Van den Bulck <[log in to unmask] mailto:[log in to unmask] > wrote:
> > > > > > 
> > > > > >                     David Shengold wrote :
> > > > > > 
> > > > > >                     Other leading 20th century Otellos would include Giovanni Zenatello, Renato
> > > > > >                     Zanelli, Aureliano Pertile, Francesco Merli, Paul Franz, Ivan Ershov, Cesar
> > > > > >                     Vezzani, Wolfgang Windgassen, Charles Craig, Giuseppe Giacomini, Vladimir
> > > > > >                     Atllantov.
> > > > > > 
> > > > > >                     AFAIK Vezzani never sang Otello nor did the below mentioned Hans Kaart. I
> > > > > >                     heard Charles Craig as Otello and while he was okay I wouldn't call him a
> > > > > >                     leading 20th century Otello at all. Missed chances are of course Tucker and
> > > > > >                     Corelli but they were smarter than Bergonzi.
> > > > > >                     Charles Holland sang the role (without any success) and was probably the
> > > > > >                     first black singer to undertake the role. Lanza on record sounds much better
> > > > > >                     than 50% of the singers mentioned here.
> > > > > > 
> > > > > >                     Plus there were tenors who took it on (apparently) creditably enough, the
> > > > > >                     likes of Giuseppe Oxilia, Antonio Paoli, Carlos Guichandut, Hans Kaart,
> > > > > >                     Renato Francesconi, Zurab Anzhaparidze, the unique (speriam!) Frank
> > > > > >                     Mullings, Franz Voelker (offstage horses neigh) , Josep Gostic, Vladimir
> > > > > >                     Galouzine, James King, Max Lorenz, Pier Mirando Ferraro.
> > > > > > 
> > > > > >                     RvdB
> > > > > > 
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