Paul Jackson presents a rich and detailed history of the broadcasts at the The Metropolitan Opera in New York from their inception in 1931, when the imperious Gatti-Casazza ruled, on through the trouble regime of the more affable Edward Johnson.

American baritone Lawrence Tibbett created an overnight sensation at the Metropolitan Opera in 1925 when the audience stopped the performance of Falstaff to honor their compatriot for his exceptional talent. Tibbett's now legendary curtain call foreshadowed a startling new era for classically trained native singers who rarely received the public recognition or respect given to their European colleagues. In this absorbing work, Victoria Etnier Villamil chronicles the extraordinary time from 1935 to 1950 when American artists, who felt intensely inferior to foreign performers, journeyed from being unappreciated in their own country to standing without apology on stages at home and abroad. Drawing on exhaustive primary research and extensive interviews, Villamil tells the remarkable story of a generation of American opera singers whose profession, image, and art were forever altered by the upheavals of World War II, as well as sweeping cultural and technological changes. The author's in-depth look at these breakthrough years explores such defining factors as Edward Johnson's drive to "Americanize the Met" in his first seasons as general manager, the impact of the microphone on singers and singing styles, and the importance of radio and motion pictures in introducing classical music voices to wider audiences. Villamil also considers how travel restrictions imposed on European artists during the war unlocked opportunities for American artists, and the role of political and Jewish refugees in enriching music education and training in this country. In addition, the author discusses thoroughly the founding of the New York City Opera, the rise of regional and smaller opera companies, including the enterprising and popular Lemonade Opera, and advancements for African American classical singers. Brimming with entertaining anecdotes and colorful figures, both famous and little remembered, the fascinating book concludes with an examination of this crucial period's legacy for the American classical music scene in the 1950s and beyond. From Johnson's Kids to Lemonade Opera contains an invaluable appendix that provides biographical sketches of the over 250 opera and radio singers, as well as art song specialists, featured in this illuminating study.

"Kenneth Morgan, who began collecting Reiner's recordings while still a schoolboy, has consulted printed and archival resources and undertaken new interviews with Reiner's associates, critics, and family. Fritz Reiner, Maestro and Martinet also offers the first close and systematic look at Reiner's recordings, interpretations, and musicality, vividly characterizing Reiner's distinctive qualities as a conductor."--Jacket.

A history of the Metropolitan Opera in New York City traces the offstage and onstage workings of the institution, surveying notable composers, actors, and performances since 1883.

Detailed examination of the vocal and interpretive artistry of the great Jussi Björling.

(Amadeus). In this first of three volumes, Paul Jackson begins a rich and detailed history of the early years of the Metropolitan Opera broadcasts, bringing to life more than 200 recorded broadcasts.

In this new work, Paul Jackson examines the decade that saw the move from the old house uptown to the technological marvel at Lincoln Center. There Rudolf Bing's final six years give way to four seasons of management turmoil until 1976, when James Levine was named music director and took hold of the Met's artistic future.