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Artur Bodanzky

Artur Bodanzky was a significant Austrian conductor, notable for fast, intense shows and a broad repertory. His early musical schooling was on violin with age 18, he joined up with the Vienna Hofoper orchestra (the Imperial Courtroom Opera, now referred to as the Vienna Condition Opera). In 1900, he got his initial conducting job, performing an 18-piece movie theater orchestra in the city of Ceske Budejovice within an operetta known as The Geisha. Gustav Mahler employed him to become his helper in 1903 on the Vienna Opera, which provided his profession a major increase. From then on, he rose quickly and received many guest performing engagements and became music movie director in Mannheim in 1909. He arranged a Mahler Celebration in his mentor’s honor in 1912, the entire year after Mahler’s loss of life, arranging 1,500 performers and orchestra players for the event. In 1914, he provided the first shows of Strauss’ Der Fledermaus in Paris and Wagner’s Parsifal in London. On the effectiveness of that functionality, he was employed to displace the departing Alfred Hertz on the Metropolitan Opera. His American premiere was leading Wagner’s Götterdammerung there in 1915 and thereafter, his profession was mainly located in NY. He was conductor of the brand new Symphony Orchestra from 1919 until 1922 (when it had been merged with the brand new York Philharmonic) and was the movie director of the Culture of Close friends of Music in NY from 1916 to 1931, while staying over the Metropolitan personnel. He was performing the infamous efficiency of Halévy’s La Juive, where Caruso, in his personal phrases, was “doubled over ahead like a dried out twig, screaming just like a madman” due to the discomfort he is at. While Bodanzky was referred to as a Wagnerian professional, he also led operas of Mozart, Gluck, Richard Strauss, Tchaikovsky, Meyerbeer, and Suppé. He carried out the American premiere of Krenek’s Jonny Spielt Auf. His orchestral premieres in the Close friends of Music included the 1st American shows of Honegger’s Ruler David, Mahler’s Das Lied von der Erde, and Janacek’s Glagolitic Mass. He also ready “useful editions” of particular repertory operas including spoken dialogue, and therefore he made up recitatives from their website. These included Oberon, Der Frieschütz, Fidelio, and Die Zauberflöte. His performing style was reported to be straight produced from Mahler’s with extreme, dramatic contrasts.

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