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Mitropoulos, Dimitri. (1896–1960). Signed Photograph. Signed Susan Hoeller of New York photograph of the American conductor, pianist and composer of Greek birth, shown in a contemplative pose seated beside an open score. Inscribed to Rev. and Mrs. Robert Gillespie, and signed "Very gratefully, D. Mitropoulos / 1944." 8 x 10 inches. A few very light surface creases, some nicks along the right margin, overall a fine example.


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 Online)

Mitropoulos, Dimitri. (1896–1960) Signed Photograph

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Mitropoulos, Dimitri. (1896–1960). Signed Photograph. Signed Susan Hoeller of New York photograph of the American conductor, pianist and composer of Greek birth, shown in a contemplative pose seated beside an open score. Inscribed to Rev. and Mrs. Robert Gillespie, and signed "Very gratefully, D. Mitropoulos / 1944." 8 x 10 inches. A few very light surface creases, some nicks along the right margin, overall a fine example.


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 Online)