Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 48

due to distaste with the business aspects of the position (TIME Magazine, 1956). The
same year Erich Leinsdorf, an established conductor was appointed by NYCO to take
the place of Rosenstock (TIME Magazine, 1956). Leinsdorf was perhaps the most
progressive of the early creative directors of NYCO, staging avant garde premieres that
were not successful enough to have a suitable return on investment for the company,
and critics did not look favorably upon many of his creative choices (TIME Magazine,
1956).
Julius Rudel was selected to replace Leinsdorf in 1957 as someone who had
“risen through their ranks.” (New York Times, 2006). Mr. Rudel had begun his career out
of college in 1943 as a rehearsal pianist, “working his way up from there.” (New York
Times, 2006). Upon his appointment, Rudel elected to conduct Puccini’s momentous
Turandot. The Times believes this selection to be, “the best indication of Mr. Rudel’s
taste,” due to his inclination to “not merely hit the audience over the head with pieces he
considers great, but rather creates an engaging dramatic experience.” (New York Times,
2006). He staged Macbeth by Giuseppe Verdi two years before its premiere at the Met
as well as sublime works by Shostakovich, Weill, and Handel (New York Times, 2006).
Keeping with the tradition of the company, Rudel chose to invest time and efforts into
the developme nt of young American singers—particularly Samuel Ramey and Beverly
Sills (New York Times, 2006). Sills would become a leading soprano for the company
and earn international acclaim and recognition for her performances, however, she
remained a regular performer at NYCO until Rudel’s resignation in 1979 when she
would become the director of the company (New York Times, 2006).
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