(b Bucharest, Oct 18, 1909; d Wabern, nr Berne, March 9, 1960). Swiss conductor . After studying at the Royal Academy in Bucharest and the Berlin Hochschule für Musik, he became Kapellmeister at the Düsseldorf Opera House, and in 1932 chief Kapellmeister and opera director at the German Theatre in Brno. He was chief Kapellmeister at the Berne Municipal Theatre (...
(b Hinsbourg, Jan 4, 1904; d Illkirch-Graffenstaden, Sept 7, 1984). French conductor, composer and opera administrator . He studied in Strasbourg with Erb and in Paris with Koechlin and Gédalge. He joined the Strasbourg Opera in 1933 as a répétiteur and stayed until he retired in 1972, being successively chorus master (1933–6), conductor from 1936, co-director (with Ernest Bour) from 1955 to 1960 and director (1960–72).
Adam sought to create a balanced repertory of French, German and Italian classics, together with contemporary works (such as Jean Martinon’s Hécube, 1956, which was specially commissioned) and revivals of rarely given masterpieces such as Les Troyens (1960) and Roussel’s Padmâvatî (1967). He gave the first French performances of Bizet’s Don Procopio (1958), Françaix’s L’apostrophe (1958), Dallapiccola’s Il prigioniero (1961), Strauss’s Die Frau ohne Schatten (1965), Britten’s ...
(b S. Ukraine, 15/May 27, 1846; d Moscow, Feb 17, 1919). Ukrainian conductor . He studied at the St Petersburg Conservatory with Anton Rubinstein and Nikolay Zaremba. He was chorus master at the Kiev Opera from 1868 and conducted Tchaikovsky’s Oprichnik there shortly after its St Petersburg première in ...
(b London, July 2, 1922; d Beaconsfield, February 24, 2007). English conductor . After studies at the RAM, in 1947 he joined the New London Opera Company at the Cambridge Theatre as a répétiteur; he made his début there that year conducting Carl Ebert’s production of Rigoletto. He went to Glyndebourne as a répétiteur in 1950, returning (1953–8) as chorus master and associate conductor, working closely with Vittorio Gui on the Italian repertory. During that period he was also principal conductor at the Wexford Festival. In 1959 he became a resident conductor at Covent Garden, where he remained until 1965, giving over 200 performances of 16 operas. He toured with the English Opera Group to the USSR and Portugal, conducting Albert Herring and A Midsummer Night’s Dream. From 1963 to 1967 he was music director of the WNO. He first conducted the Sadler’s Wells Opera in 1957...
Xoán M. Carreira
(b Colmenar Viejo, Madrid, March 12, 1884; d El Ferrol, Coruña, Nov 4, 1938). Spanish composer and conductor He studied the flute and composition at the Madrid Conservatory, where he was a pupil of Tomás Bretón. After playing in chamber groups and touring abroad (1906–9), he was appointed director of music of a regiment in El Ferrol, where he spent the rest of his life except for a period in Africa, 1915–17. As well as a large amount of military music, three dramatic scenes and five symphonic poems, he composed many zarzuelas (alone and in collaboration), of which few survive. In 1928 he conducted the première of his opera Cantuxa, whose success led to further performances in Spain and at the Teatro Colón. A story of jealousy (including a death quarrel at a local folk festival) in rural Galicia, the opera exemplifies verismo in its continuous melodic tension, vocal characterization, immediacy of emotion and the anguish of its brutal ending. Of Baudot-Puente’s other opera, ...
(b Bitonto, Bari, Feb 17, 1888; d Rome, Feb 8, 1964). Italian conductor . At the Naples Conservatory he studied with Alessandro Longo, Nicola d’Arienzo and Giuseppe Martucci. He made his début at the S Carlo with Aida in 1908, and as music director of the Caramba-Scognamiglio Operetta Company, 1912–16, he toured Italy. In 1917 he went to the Teatro Colón, Buenos Aires, and for some years alternated between South America and Europe. He first appeared at Covent Garden in 1926, conducting Boito’s Mefistofele at Shalyapin’s Covent Garden début and participating in Melba’s farewell performance. From 1926 to 1930 he was a regular conductor of the Italian repertory at Covent Garden, during which time he conducted the British première of Turandot (1927) and the London débuts of Ponselle (1929) and Gigli (1930), and from 1926 to 1935 he was also guest conductor at the Metropolitan. In ...
Elvidio Surian and Noël Goodwin
(b Caprese Michelangelo, Arezzo, May 8, 1933). Italian conductor . He studied the violin and composition in Florence and Padua, and conducting in Perugia and Hilversum, winning a prize in the 1961 Italian Radio international competition which brought him to the attention of Tullio Serafin. His début was at Bologna in ...
(Paul Dallon )
(b London, Aug 26, 1939). English conductor , son of Warwick Braithwaite. He studied conducting with Maurice Miles at the RAM (1957–61), with Hans Swarowsky in Vienna (1961–3), and at the Bayreuth masterclasses. His professional début was with the WNO in Don Pasquale (1966), and after an auspicious début with Sadler’s Wells Opera in a new production of Les contes d’Hoffmann (1970) he was appointed resident conductor with the company (1971–2) and associate principal conductor (1972–4). During that time he was much admired for his well-paced and expressive conducting of Bizet, Puccini and Verdi, and for the British première of Penderecki’s The Devils of Loudun (1973), shortly after his Covent Garden début with Tannhäuser. He was music director for Glyndebourne Touring Opera, 1976–80, and for Stora Teater Opera, Göteborg, 1981–4. In the mid-1980s he began to be active in Australia, where he became chief conductor of the Adelaide SO in ...
(b Dunedin, Jan 9, 1896; d London, Jan 18, 1971). New Zealand conductor . After study at the RAM from 1916, he joined the O’Mara Opera Company (a British touring company) as a conductor in 1919, and thereafter was associated with opera for most of his career. After a period at the BBC’s West Region he became a regular conductor of the Vic-Wells (later Sadler’s Wells) Opera from 1932 to 1940, conducting the company’s first productions of such works as Fra Diavolo, Die Meistersinger and Don Carlos. He moved to Covent Garden as conductor of ballet and later (1950–53) of opera and was artistic director of the Australian National Opera in its 1954 and 1955 seasons. From 1956 to 1960 he was musical director of the expanding WNO (conducting Rimsky-Korsakov’s May Night and Boito’s Mefistofele, among other works), and then rejoined Sadler’s Wells Opera, retiring in 1968...
(b Melbourne, Jan 28, 1883; d St Albans, Jan 25, 1970). Australian conductor . He studied in London with August Wilhelmj and in Leipzig with Arthur Nikisch. After engagements in Breslau and Görlitz he settled in England and was engaged by the Moody-Manners Opera Company (1914–16) and the Beecham Opera Company (1916–17 and 1919–20). When the latter went into liquidation in 1920, Buesst was one of the prime movers in establishing the British National Opera Company, which he conducted from 1922 to 1928; at Covent Garden in January 1923 he conducted the company’s performance of Hänsel und Gretel, one of the first opera broadcasts. He also conducted the first London performance of Boughton’s Alkestis in 1924. In 1933 he was appointed assistant music director of the BBC and he later taught at the three main London music colleges. He wrote the excellent analysis Richard Wagner: the Nibelung’s Ring: an Act by Act Guide to the Plot and Music...