Rating: 
Summary: Gossip, but with a valid point
Review: Lebrecht is a journalist, and it shows. This is a gossipy, irreverent and sensationalistic tour through the lives of virtually all of the great Maestros of the 20th Century, seeking to debunk the "cult of the conductor" along the way. This it does quite effectively. Its style is breezy and engaging, not scholarly. It is entertaining and fun to read. Great vacation reading. But there is no depth to it. One theme is that most of these conductors were/are greedy, power-hungry egomaniacs. Hardly a revelation. It doesn't offer much psychological insight into the conductors considered. The most serious and important part of the book comes at the end, with an expose of the huge fees and cushy lives that the top conductors enjoy these days, particularly compared to the lives of their predecessors and the musicians they now conduct. Lebrecht makes a powerful case that things at the top are out of hand. His own indignation at this state of affairs comes across very clearly, and it is infectious. Conductors, he persuasively argues, have become part of the problem rather than the solution to the current malaise in classical music. Everyone who loves classical music should read this chapter. It makes the whole thing worthwhile. The rest is merely entertaining.
Rating:
Summary: Gossip, but with a valid point
Review: Lebrecht is a journalist, and it shows. This is a gossipy, irreverent and sensationalistic tour through the lives of virtually all of the great Maestros of the 20th Century, seeking to debunk the "cult of the conductor" along the way. This it does quite effectively. Its style is breezy and engaging, not scholarly. It is entertaining and fun to read. Great vacation reading. But there is no depth to it. One theme is that most of these conductors were/are greedy, power-hungry egomaniacs. Hardly a revelation. It doesn't offer much psychological insight into the conductors considered. The most serious and important part of the book comes at the end, with an expose of the huge fees and cushy lives that the top conductors enjoy these days, particularly compared to the lives of their predecessors and the musicians they now conduct. Lebrecht makes a powerful case that things at the top are out of hand. His own indignation at this state of affairs comes across very clearly, and it is infectious. Conductors, he persuasively argues, have become part of the problem rather than the solution to the current malaise in classical music. Everyone who loves classical music should read this chapter. It makes the whole thing worthwhile. The rest is merely entertaining.
Rating:
Summary: Gossip, but with a valid point
Review: Lebrecht's book on conductors begins with a short, yet interesting history of the beginnings of what we know as modern conducting and conductors. At the heart of the book is an examination of the motivations behind the men who conduct. Are they hungry for power? Money? Women? All of these aspects and many more are involved in the lives of many of the world's most famous conductors. When the author focuses on the theme of the book's subtitle, the book is very informative and interesting. Many times, however, Lebrecht takes the reader down "rabbit trails" that really have little to do with the given subject. Like another reviewer, I was surprised at the absence of several conductors, most notably the Chicago Symphony's Fritz Reiner. All in all, though, an interesting book.
Rating:
Summary: Delivers Most of the Time
Review: Lebrecht's book on conductors begins with a short, yet interesting history of the beginnings of what we know as modern conducting and conductors. At the heart of the book is an examination of the motivations behind the men who conduct. Are they hungry for power? Money? Women? All of these aspects and many more are involved in the lives of many of the world's most famous conductors. When the author focuses on the theme of the book's subtitle, the book is very informative and interesting. Many times, however, Lebrecht takes the reader down "rabbit trails" that really have little to do with the given subject. Like another reviewer, I was surprised at the absence of several conductors, most notably the Chicago Symphony's Fritz Reiner. All in all, though, an interesting book.
Rating:
Summary: Riveting, but deeply flawed.
Review: Norman Lebrecht's "The Maestro Myth" is one of the most unique and controversial books on classical music ever published. In it, Lebrecht chronicles the lives, careers and conflicts of several important maestros (many notable conductors are left out) from Hans von Bulow to Sir Simon Rattle. I can scarcely think of another book on classical music that is as unputdownable or consistently fascinating, yet I had some strong reservations after finishing "The Maestro Myth."Though the stories are invariably fascinating (with the exception of one excruciatingly dull chapter entitled "The Search for a Semi-Conductor"), there never seems to be an overall central idea or theme to "The Maestro Myth," despite its subtitle: "Great Conductors in Pursuit of Power." Very often, Lebrecht's writing is simply a collection of unflattering or embarrassing facts about various well-known musical personalities. Also, Lebrecht can be extremely inconsistent. Sympathetic towards Hans von Bulow, he follows it with an inexplicably nasty attack on Bruno Walter (who is portrayed generously and kindly in Sir Georg Solti's memoirs--and Solti was not one who minced words) and then ends with ten pages of bizarre sycophantic raving for Simon Rattle. In between, he compiles the usual litany of grievances against Toscanini and writes a hyperbolic and often blatantly dishonest thirty plus page attack on Herbert von Karajan. There are other examples. The bottom line is that Lebrecht often lets sensationalism interfere with fact. That is the biggest drawback to "The Maestro Myth." That said, "The Maestro Myth" is well worth reading, indeed required reading, for anyone interested in the politics and tumultuous insider dealing involved in the 20th century conducting world. Fascinating overall, "The Maestro Myth" needs to be read with a grain of salt.
Rating:
Summary: Riveting, but deeply flawed.
Review: Norman Lebrecht's "The Maestro Myth" is one of the most unique and controversial books on classical music ever published. In it, Lebrecht chronicles the lives, careers and conflicts of several important maestros (many notable conductors are left out) from Hans von Bulow to Sir Simon Rattle. I can scarcely think of another book on classical music that is as unputdownable or consistently fascinating, yet I had some strong reservations after finishing "The Maestro Myth." Though the stories are invariably fascinating (with the exception of one excruciatingly dull chapter entitled "The Search for a Semi-Conductor"), there never seems to be an overall central idea or theme to "The Maestro Myth," despite its subtitle: "Great Conductors in Pursuit of Power." Very often, Lebrecht's writing is simply a collection of unflattering or embarrassing facts about various well-known musical personalities. Also, Lebrecht can be extremely inconsistent. Sympathetic towards Hans von Bulow, he follows it with an inexplicably nasty attack on Bruno Walter (who is portrayed generously and kindly in Sir Georg Solti's memoirs--and Solti was not one who minced words) and then ends with ten pages of bizarre sycophantic raving for Simon Rattle. In between, he compiles the usual litany of grievances against Toscanini and writes a hyperbolic and often blatantly dishonest thirty plus page attack on Herbert von Karajan. There are other examples. The bottom line is that Lebrecht often lets sensationalism interfere with fact. That is the biggest drawback to "The Maestro Myth." That said, "The Maestro Myth" is well worth reading, indeed required reading, for anyone interested in the politics and tumultuous insider dealing involved in the 20th century conducting world. Fascinating overall, "The Maestro Myth" needs to be read with a grain of salt.
Rating:
Summary: Riveting, but deeply flawed.
Review: Norman Lebrecht's "The Maestro Myth" is one of the most unique and controversial books on classical music ever published. In it, Lebrecht chronicles the lives, careers and conflicts of several important maestros (many notable conductors are left out) from Hans von Bulow to Sir Simon Rattle. I can scarcely think of another book on classical music that is as unputdownable or consistently fascinating, yet I had some strong reservations after finishing "The Maestro Myth." Though the stories are invariably fascinating (with the exception of one excruciatingly dull chapter entitled "The Search for a Semi-Conductor"), there never seems to be an overall central idea or theme to "The Maestro Myth," despite its subtitle: "Great Conductors in Pursuit of Power." Very often, Lebrecht's writing is simply a collection of unflattering or embarrassing facts about various well-known musical personalities. Also, Lebrecht can be extremely inconsistent. Sympathetic towards Hans von Bulow, he follows it with an inexplicably nasty attack on Bruno Walter (who is portrayed generously and kindly in Sir Georg Solti's memoirs--and Solti was not one who minced words) and then ends with ten pages of bizarre sycophantic raving for Simon Rattle. In between, he compiles the usual litany of grievances against Toscanini and writes a hyperbolic and often blatantly dishonest thirty plus page attack on Herbert von Karajan. There are other examples. The bottom line is that Lebrecht often lets sensationalism interfere with fact. That is the biggest drawback to "The Maestro Myth." That said, "The Maestro Myth" is well worth reading, indeed required reading, for anyone interested in the politics and tumultuous insider dealing involved in the 20th century conducting world. Fascinating overall, "The Maestro Myth" needs to be read with a grain of salt.
Rating: 
Summary: Superb expose of the classical music industry
Review: Perhaps Lebrecht has an ax to grind, but he does it so well, soon you will too. The classical music world, like any other professional art, is cut throat and has its hacks. Lebrecht's intimate knowledge of 20th century conductors offers an informative, entertaining, and fascinating insight into this citadel. It is akin to reading a profiles article in the New Yorker. Very well done!
Rating:
Summary: An often hilarious review of the personal side of conductors
Review: The public rarely gets to hear about the personal and often embarassing side of orchestral conductors' lives. If you hold conductors like Toscanini, Beecham, and Karajan in the same light as gods, you might want to pass on this. Highly recommended.
Rating:
Summary: A fine insight into the art and business of conducting
Review: Through his realism and curmudgeonliness, Lebrecht evaluates many (and eviscerates several) world famous classical conductors. I am aware that he is feared in the music business for his honest pronouncements, but his style is so deft and his prejudices so well-founded (and coincidental to mine), that he leaves his readers wanting more of his views. As a music critic, I recommend this work unreservedly to those interested in the subject
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