5000 Nights at the Opera: The Memoirs of Sir Rudolf Bing

by Rudolf Bing

Doubleday.

Genres: Music, Nonfiction, Memoir, Autobiography, Biography

360 pages, Hardcover

First published January 1, 1972

About the author

Sir Rudolf Bing, KBE was an Austrian-born British opera impresario who worked in Germany, the United Kingdom and the United States, most notably being General Manager of the Metropolitan Opera in New York City from 1950 to 1972. He was naturalized as a British subject in 1946 and was knighted in 1971, although he spent decades living in the United States, where he died.

Born Rudolf Franz Joseph Bing in Vienna, Austria-Hungary to a well-to-do Jewish family (his father was an industrialist). Bing was an apprentice to a bookseller at the prestigious Viennese shop of Gilhofer & Ranschburg before moving on to Hugo Heller, who also ran a theatrical and concert agency. He then studied music and art history at the University of Vienna. In 1927, he went to Berlin, Germany, and subsequently served as general manager of opera houses in that city and in Darmstadt.

While in Berlin he married a Russian ballerina, Nina Schelemskaya-Schlesnaya. In 1934, with the rise of Nazi Germany, the Bings moved to the United Kingdom, where, in 1946, he became a naturalised British subject. There, together with Fritz Busch and Carl Ebert, he helped to found the Glyndebourne Festival Opera. After the war in 1947, he co-founded and was the first director of the Edinburgh International Festival in Scotland.

Reviews

[Lynne Fort · Rating 5 out of 5]

When I found this book, I saw it as more of a curiosity than anything. What it doesn't tell you in the summary is that Bing's life is fascinating both in his time before the Met and during his tenure at the Met. As an native Austrian, he gives a unique perspective on the rise of the Nazis and on what Europe was like in the interwar period, which I found really interesting. This book really exceeded my expectations; the subject matter is interesting, and Bing is a funny and capable narrator.

[Elsabe Retief · Rating 5 out of 5]

Brilliant, loved to be able to see how an individual can do such a complicated job making it an form of art in itself just because it was his passion. Inspiring to experience a person doing his job going above and beyond and more.
Such a pity that with computerization we are challenging ourselves less and less. I wonder how Sir R Bing would apply his skills today?

[Samantha · Rating 5 out of 5]

Outstanding! Important history for anyone interested in opera, and we’ll written. It is an easy read introducing the major stars of the mid-20th century and how the Met became the icon it is.

[Witoldzio · Rating 4 out of 5]

Jest to ksiazka autobiograficzna. Autor nie byl z zawodu pisarzem tylko generalnym menadzerem Metropolitan Opera w Nowym Jorku, ale jezykiem operuje sprawnie, umie zaplanowac calosc, rozdzialy sa spojne, narracja przejawia jasnosc myslenia. Ksiazka byla pisana w momencie kiedy wiele wystepujacych w niej osob jeszcze zylo, docenic wiec trzeba dyplomatyczny zmysl autora, ktory pisal szczerze ale i tez umiejetnie radzil sobie z trudniejszymi momentami w relacjach z przeroznymi osobami. Czasem ksiazka wydawac moze sie ciut sucha, w formie sprawozdania, ale w kazdym momencie uczymy sie z jakimi problemamy ma do czynienia nadzorca tak ogromnej instytucji. Jest orkiestra, chor, balet, solisci, akompaniatorzy, dyrygenci, zwiazki zawodowe, operatorzy sceny, swiatla, projektanci kostiumow, magazynowanie wszystkiego, problemy z planowaniem kalendarza i nastepnych sezonow, wydatkow, sprzedazy biletow, reklamy, sponsorzy, telewizja, konktrakty nagraniowe, negocjacje z artystami, niekonczace sie nigdy procesy sadowe, i tak bez konca. Dla mnie wiele innych aspektow ksiazki bylo ciekawych, co staje sie z czlowiekiem ktory tylko i wylacznie slucha najwiekszych spiewakow na swiecie? Innym aspektem ktory mnie zainteresowal bylo to jak kanon operowy, kultury niemieckiej i wloskiej, zostal nienaruszony wydarzeniami drugiej wojny swiatowej, juz w kilka lat po wojnie wystawiano w Nowym Jorku Wagnera. W Polsce musial poczekac. Ale i sam zespol, dyrygencki byl nienaruszenie niemiecki i mysle ze mozliwe ze dlatego wlasnie Rudolf Bing zostal dyrektorem, by ten niemiecki kanon kontynuowac. W Ameryce muzyka klasyczna miala niezwykle silne niemieckie korzenie.
Sama ksiazka przypomniala mi dziesiatki nazwisk wielkich artystow ktorzy odeszli. Na szczescie zostawili nagrania. Z innej strony patrzac, Bing byl dyrektorem w okresie kiedy muzyka klasyczna miala duzo wieksze znaczenie w kulturze amerykanskiej niz dzisiaj. Gdzies w latach 80tych muzyka klasyczna zaczela powoli odchodzic na bok, zastapiona muzyka popularna. Mozna to sprawdzic patrzac na programy muzyczne zaprzysiezen kolejnych prezydentow. Dzisiejsi milionerzy/miliarderzy czesto nie wiedza nawet co to jest muzyka klasyczna czy opera. Bing byl szefem w najlepszych czasach Metropolitan, nie wiem czy jest dzis w swiecie operowym ktos taki jak Maria Callas.

[Steve · Rating 4 out of 5]

I was expecting a little more 'gossip' concerning the stars of opera circa the '50s and '60s, but this book is more of a litany of problems (financial and otherwise) in mounting a successful opera season. I was surprised to learn that Bing's dismissal of Maria Callas had more to do with a question of prestige between her and Renata Tebaldi than anything else. It was interesting to hear firsthand of Leonard Warren's death onstage and Jussi Bjorling's poor working habits as well as Bing's time in Europe in the '30s and the purging of Jewish musicians from Germany under the National Socialists. (A number of conductors and singers were not welcome at the Met after the war due to their involvement, tangential or otherwise, with the Nazis. Elements within the opera-going public and a number of media figures would not hear of it, but it did not seem to be a very large problem with Bing who was often desperate for talent).

At various points Bing relates how much singers, musicians and conductors were paid, and at one point he mentioned that one particular conductor at the Met was making $700 a week for rehearsals up through the production of the opera at hand. I thought that seemed a bit of a lowball salary, but I looked it up and that $700 in 1967 is nearly $7,000 in 2025 money.

One of the more interesting aspects of the Metropolitan Opera is that they sent a company out on tour throughout the United States when the New York season was inactive. (Callas refused to go out on tour and perform in sub-standard theaters). Bing does say the conditions were not optimal in most venues, but he particularly enjoyed the Southern hospitality of Atlanta.

One thing I got out of reading this book was discovering the recordings of the mezzo-soprano Sigrid Onegin, whom Bing worked with and praises. And I am very curious to learn more of the soprano Gertrud Bindernagel, who was shot dead during a performance...

I read the hardcover edition of this book and the photos inside are quite good.

[CRISTINO · Rating 3 out of 5]

«Había escuchado por primera vez el trabajo de Karajan cuando Walter Legge, el ejecutivo de la compañía discográfica inglesa que es marido de Elisabeth Schwarzkopf, lo trajo a Londres para su Philharmonia Orchestra, y por supuesto comprendí desde el principio que Karajan era un director de extraordinaria calidad. Sin embargo, en 195os me había arrogado en el Metropolitan la autoridad de decidir quién había estado y quién no había estado demasiado tocado por el pincel nazi para trabajar en Nueva York. Sabía que Flagstad no había hecho nada malo; Furtwängler había sido absuelto, para mí, por Yehudi Menuhin, en cuyo juicio confiaba profundamente. De Schwarzkopf y Karajan me habían dicho que habían hecho más de lo necesario».

THE MEMOIRS OF SIR RUDOLF BING: 5000 NIGHTS AT THE OPERA de Rudolf Bing

[Skip Jennings · Rating 4 out of 5]

If you love opera - and I do - this book is a must read. Rudolph Bing was a key figure in opera production from the 1930s into the 1970s. He oversaw the Metropolitan Opera in NYC from 1950-1972, including the move from the "Old Met" to Lincoln Center. The book is chock full of great stories about the leading singers and conductors of the day. There is also a surprising amount of humor in the book, too.

[Eileen McCauley · Rating 4 out of 5]

Bing not only covers his time running the Metropolitan Opera, but also his youth in music administration in Europe in the 1920s and 30s. I had no idea that he started the Edinburgh Festival to bolster Glyndebourne which he was also running. His wit and dry humor are delightful. A must for those interested in classical music in the 20th century. For opera fans this is a 5.

[Grace Elizabeth · Rating 4 out of 5]

A great start to my personal study of opera! Discusses the shift post war into revising musical classics and the general theatergoing public. Written by an opera house manager, creating a realistic picture of what it is like to staff, stage, and attract an audience to the opera house. This is a great launch point to anyone looking to study opera and its intricacies.

[Bunny]

On page 60

[Rebecca · Rating 4 out of 5]

Read this years ago

[James · Rating 5 out of 5]

I enjoyed this autobiography very much. Rudolf Bing was the general manager of the Metropolitan Opera from 1950 to 1972, a very pivotal period in the company's history. In fact, IMO it is no exaggeration to say that HE, HIMSELF WAS THE PIVOT who made all the great accomplishments of the MET during this period possible. Mr. Bing came to the Met at a time when it was in dire financial straits. He revamped the ticketing system, strived to instill a sense good customer service at the box office which had been all but absent prior to his arrival, was always willing to roll up his sleeves and pitch in to do the dirty work backstage when required, had the vision to move the company to a new modern home in Lincoln Center, and with his strong European contacts, brought some of the finest international singers and conductors to the Met stage. Contained in this memoir are many correspondences between him and these singers, conductors and their agents and representatives, revealing the pain-staking process of contracting these huge-egoed personalities to bring their talents to America and as well as ensuring they keep their sides of the agreements in the process. My impression of Mr. Bing is that he was a very down-to-earth man, whose wry sense of humor is always evident in these pages and contributes greatly to making this book a most enjoyable read. Highly recommended for music lovers.

[Marisa · Rating 5 out of 5]

Editing to add:
If you fancy yourself an opera fan, you must, must, MUST read this book. Scandalous in the way that only a true gentleman can be, a page-turner from start to finish.

Oh, my god...
Every page is a treasure... Right now WWII is unfolding through the eyes of someone who is not yet the General Director of the Met. It's swiftly becoming one of the best books I've ever read.

[Clifford Browder · Rating 4 out of 5]

Impressive. A real insight into the endless complications of running a major opera company.

[Patrick · Rating 4 out of 5]

A fascinating read! These colourful memoirs of Sir Rudolf Bing reminds us how the music world has changed from just a few decades ago.