Mitropoulos, Dimitri. (1896–1960). Signed Program. Signed program of an orchestral concert at the Edinburgh International Festival with the great Greek-American conductor on the rostrum, August 23, 1951. Signature to page [1]. 8 x 5 inches (20.4 x 12.7 cm). Vertical fold; small stains to blank back cover; else in fine condition.
Mitropoulos "shared the directorship of the New York PO with Stokowski for a season (1949–50), then became sole musical director until his resignation in 1958, when he was replaced by his former protégé, Leonard Bernstein... His achievements in the opera pit were considerable, beginning with a legendary Metropolitan Opera Salome in 1954 and continuing for every subsequent season until his death; in 1958 he conducted the première of Barber's Vanessa at the Metropolitan. Throughout his life he retained an almost missionary zeal for music that other conductors deemed too difficult or too obscure. His continual advocacy of Mahler and other unfashionable composers alienated conservative listeners but were a revelation to more adventurous ears." (William S. Trotter, Grove Music Online)
Mitropoulos, Dimitri. (1896–1960). Signed Program. Signed program of an orchestral concert at the Edinburgh International Festival with the great Greek-American conductor on the rostrum, August 23, 1951. Signature to page [1]. 8 x 5 inches (20.4 x 12.7 cm). Vertical fold; small stains to blank back cover; else in fine condition.
Mitropoulos "shared the directorship of the New York PO with Stokowski for a season (1949–50), then became sole musical director until his resignation in 1958, when he was replaced by his former protégé, Leonard Bernstein... His achievements in the opera pit were considerable, beginning with a legendary Metropolitan Opera Salome in 1954 and continuing for every subsequent season until his death; in 1958 he conducted the première of Barber's Vanessa at the Metropolitan. Throughout his life he retained an almost missionary zeal for music that other conductors deemed too difficult or too obscure. His continual advocacy of Mahler and other unfashionable composers alienated conservative listeners but were a revelation to more adventurous ears." (William S. Trotter, Grove Music Online)