Ludwig Strakosch News
Austrian baritone (1855-1919)
Commemorations 2025 (Birth: Ludwig Strakosch)
- baritone
- Austria-Hungary
- singer, opera singer
Last update
2024-04-25
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The Boston Musical Intelligencer
2024-02-08 18:08:24
Dance Music of the Germania Musical Society
[…] Germans. The second season at New York began and ended with nothing eventful to record. At the close of the summer, the season of 1850-51 was again passed in Baltimore, where a second series of thirty concerts had been subscribed for. At the close of these concerts, which were fully as successful as those of the previous winter, the orchestra went on a four weeks’ trip to the Southern States with Parodi, Amalia Patti, and Strakosch. Following this engagement was one with Jenny Lind, for whom they played in nearly thirty concerts, and when these were concluded, the repaired to Newport for the third summer. At the close of the subscription concerts in Baltimore, Mr. Lenschow, the original director of the orchestra, had tended his resignation, and Mr. Wilhelm Schultze, the leader of the violins, was chosen conductor ad interim. This arrangement continued with excellent results until the beginning of […]
Norman Lebrecht - Slipped disc
2015-08-24 12:24:05
Trending: Italy finally opens up to foreign arts directors
[…] long while (and the guy who dared giving young Leonard Bernstein his first chances…). So what…? If we look in the history, in the field of orchestra and opera management – luckily – this has always been rather common, since centuries… Lorenzo Da Ponte and Giacomo Montrésor were among the ones who started opera business in New York. Domenico Barbaja was for a number of seasons the impresario of Theater an der Wien. Moravian Maurice Strakosch would manage extensively opera business in both France and North America. And the list could continue, including the likes of Haendel, Hasse, Salieri, Paisiello, who at some point in their lives were not only musicians, but also kind of impresarios… Therefore, why in Italy is now the ‘national identity’ perceived as a more sensitive issue when it is about museum managers, than when it is about managing classical music…? Maybe because classical music is […]
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