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| Colin Davis, a British Conductor Known For His Exuberant Approach, Dies at 85 | |
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| Colin Davis, one of the most acclaimed British conductors of the 20th century, who brought immense authority and an almost palpable zest to his music-making on both sides of the Atlantic, died on Sunday. He was 85. | Colin Davis, one of the most acclaimed British conductors of the 20th century, who brought immense authority and an almost palpable zest to his music-making on both sides of the Atlantic, died on Sunday. He was 85. |
| The London Symphony Orchestra announced his death without specifying the cause. Mr. Davis had been its longest-serving principal conductor, from 1995 until 2006, when Valery Gergiev took his place, and its president since 2007. | The London Symphony Orchestra announced his death without specifying the cause. Mr. Davis had been its longest-serving principal conductor, from 1995 until 2006, when Valery Gergiev took his place, and its president since 2007. |
| Mr. Davis, who lived in London, was one of a generation of distinguished conductors — among them Bernard Haitink, Kurt Masur and Wolfgang Sawallisch — who started out shortly before or soon after World War II. His passions ranged from Mozart to the 20th-century English composer Michael Tippett — anything, in fact, in which he could find joy and energy, the breath and muscle of life. | Mr. Davis, who lived in London, was one of a generation of distinguished conductors — among them Bernard Haitink, Kurt Masur and Wolfgang Sawallisch — who started out shortly before or soon after World War II. His passions ranged from Mozart to the 20th-century English composer Michael Tippett — anything, in fact, in which he could find joy and energy, the breath and muscle of life. |
| But he will doubtless be remembered most for two phases of his career, both well documented in recordings: that of his late 30s and 40s, when he revealed the full excitement of Berlioz, and that of his 60s and beyond, when, as if traveling on through the Romantic period, he arrived at compelling performances of Bruckner and Dvorak, Elgar and Sibelius. | But he will doubtless be remembered most for two phases of his career, both well documented in recordings: that of his late 30s and 40s, when he revealed the full excitement of Berlioz, and that of his 60s and beyond, when, as if traveling on through the Romantic period, he arrived at compelling performances of Bruckner and Dvorak, Elgar and Sibelius. |
| Mr. Davis had long and fruitful relationships with some of the world’s most renowned musical organizations, including the Royal Opera House at Covent Garden, the BBC Symphony and the English Chamber Orchestra. In the United States he was the principal guest conductor for the Boston Symphony from 1972 to 1983 and the New York Philharmonic from 1998 to 2003. | Mr. Davis had long and fruitful relationships with some of the world’s most renowned musical organizations, including the Royal Opera House at Covent Garden, the BBC Symphony and the English Chamber Orchestra. In the United States he was the principal guest conductor for the Boston Symphony from 1972 to 1983 and the New York Philharmonic from 1998 to 2003. |
| Mr. Davis was a dynamic figure on the concert platform, his upper body tense and his arm gestures large and decisive. But he also exuded an air of security and generosity that gave his performances a dignity that balanced their bounding exuberance. | Mr. Davis was a dynamic figure on the concert platform, his upper body tense and his arm gestures large and decisive. But he also exuded an air of security and generosity that gave his performances a dignity that balanced their bounding exuberance. |
| Though age had slowed his pace in recent years, he continued to bring vigor and passion to his craft. When he took the podium at St. Paul’s Cathedral in London last June to conduct the Berlioz Requiem, he “looked a little frail,” Anthony Tommasini wrote in The New York Times. | Though age had slowed his pace in recent years, he continued to bring vigor and passion to his craft. When he took the podium at St. Paul’s Cathedral in London last June to conduct the Berlioz Requiem, he “looked a little frail,” Anthony Tommasini wrote in The New York Times. |
| “But once he settled into his tall, swiveling conductor’s chair,” Mr. Tommasini added, “he exuded authority and stamina and drew a radiant, angelic and at times terrifying account of this challenging score from the orchestra and chorus.” | “But once he settled into his tall, swiveling conductor’s chair,” Mr. Tommasini added, “he exuded authority and stamina and drew a radiant, angelic and at times terrifying account of this challenging score from the orchestra and chorus.” |
| In private he was cerebral, courteous, good-humored and almost delicate in manner. Toward the end of his life he had become something of a sage, wont to puff on his pipe and knit — another of his passions — in quiet introspection at his elegant north London townhouse. | In private he was cerebral, courteous, good-humored and almost delicate in manner. Toward the end of his life he had become something of a sage, wont to puff on his pipe and knit — another of his passions — in quiet introspection at his elegant north London townhouse. |
| “Conductors,” he once said in an interview with The Times, “are paid to think, and that’s what the job should be about: sitting at home thinking: What is this piece? How can I set it up to sound its best and live on, because there’s nothing to replace it with just yet?” | “Conductors,” he once said in an interview with The Times, “are paid to think, and that’s what the job should be about: sitting at home thinking: What is this piece? How can I set it up to sound its best and live on, because there’s nothing to replace it with just yet?” |
| “This is what absorbs the mind,” he said. “Especially in old age.” | “This is what absorbs the mind,” he said. “Especially in old age.” |
| Colin Rex Davis was born on Sept. 25, 1927, in Weybridge, on the southeast fringe of London, the fifth of his family’s seven children. His father was a bank clerk who loved classical music, and Colin derived his early musical education from his parents’ substantial record collection. | Colin Rex Davis was born on Sept. 25, 1927, in Weybridge, on the southeast fringe of London, the fifth of his family’s seven children. His father was a bank clerk who loved classical music, and Colin derived his early musical education from his parents’ substantial record collection. |
| In 1938 he became a pupil at the Christ’s Hospital boarding school, where he took up the clarinet and developed ambitions to be a conductor. When he went on to the Royal College of Music, however, he was barred from the conducting class — he did not have the required keyboard skills — and so made clarinet his principal study. One advantage of this was that he was able to spend his military service (1946-48) in the band of the Life Guards at Windsor Castle, close enough to London for him to attend concerts given by Thomas Beecham, Eduard van Beinum and Bruno Walter. | In 1938 he became a pupil at the Christ’s Hospital boarding school, where he took up the clarinet and developed ambitions to be a conductor. When he went on to the Royal College of Music, however, he was barred from the conducting class — he did not have the required keyboard skills — and so made clarinet his principal study. One advantage of this was that he was able to spend his military service (1946-48) in the band of the Life Guards at Windsor Castle, close enough to London for him to attend concerts given by Thomas Beecham, Eduard van Beinum and Bruno Walter. |
| Mr. Davis began conducting in earnest in 1949 with the Kalmar Orchestra, a band of fellow Royal College graduates. That same year he married April Cantelo, a soprano, and began expanding his résumé. In 1950 he was named conductor of the newly formed Chelsea Opera Group, a semiprofessional outfit; in 1952 he conducted ballet at the Royal Festival Hall; in 1957 he received his first professional appointment, as assistant conductor of the BBC Scottish Orchestra in Glasgow. He later became principal conductor of Sadler’s Wells Opera (later the English National Opera). | Mr. Davis began conducting in earnest in 1949 with the Kalmar Orchestra, a band of fellow Royal College graduates. That same year he married April Cantelo, a soprano, and began expanding his résumé. In 1950 he was named conductor of the newly formed Chelsea Opera Group, a semiprofessional outfit; in 1952 he conducted ballet at the Royal Festival Hall; in 1957 he received his first professional appointment, as assistant conductor of the BBC Scottish Orchestra in Glasgow. He later became principal conductor of Sadler’s Wells Opera (later the English National Opera). |
| His big break came on Oct. 18, 1959, when he substituted for the great German conductor Otto Klemperer at a concert performance with the London Philharmonic of Mozart’s “Don Giovanni,” an opera he had conducted at the Edinburgh Festival shortly before. | His big break came on Oct. 18, 1959, when he substituted for the great German conductor Otto Klemperer at a concert performance with the London Philharmonic of Mozart’s “Don Giovanni,” an opera he had conducted at the Edinburgh Festival shortly before. |
| Enthusiastic reviews in both Edinburgh and London and in another acclaimed outing, when he substituted for Beecham in “The Magic Flute” at the Glyndebourne opera festival in 1960, brought him international notice. He made his American debut with the Minneapolis Symphony later that year and appeared at Carnegie Hall for the first time with the London Symphony in 1964. He made his debuts at Covent Garden with the Royal Opera in 1965 (“Figaro) and at the Metropolitan Opera in New York in 1967 (“Peter Grimes”). | Enthusiastic reviews in both Edinburgh and London and in another acclaimed outing, when he substituted for Beecham in “The Magic Flute” at the Glyndebourne opera festival in 1960, brought him international notice. He made his American debut with the Minneapolis Symphony later that year and appeared at Carnegie Hall for the first time with the London Symphony in 1964. He made his debuts at Covent Garden with the Royal Opera in 1965 (“Figaro) and at the Metropolitan Opera in New York in 1967 (“Peter Grimes”). |
| For a time he was in the running to become chief conductor of the London Symphony, but the post went to Istvan Kertesz, and Mr. Davis took over the BBC Symphony. | For a time he was in the running to become chief conductor of the London Symphony, but the post went to Istvan Kertesz, and Mr. Davis took over the BBC Symphony. |
| The BBC post (1967-71) put him in more regular contact with new music. It also required him to conduct the Last Night of the Proms, concluding the annual London concert festival, from which his attempt to drop Elgar’s first “Pomp and Circumstance” march, known with lyrics as “Land of Hope and Glory,” caused an uproar and had to be rescinded. | The BBC post (1967-71) put him in more regular contact with new music. It also required him to conduct the Last Night of the Proms, concluding the annual London concert festival, from which his attempt to drop Elgar’s first “Pomp and Circumstance” march, known with lyrics as “Land of Hope and Glory,” caused an uproar and had to be rescinded. |
| Much more to his taste was the music he was able to record with the London Symphony: a much-praised account of Handel’s “Messiah” (1966) and several Berlioz albums, one of which, a recording of “Les Troyens,” won Grammy Awards in 1970 for best opera recording and classical album of the year, a feat Mr. Davis was to repeat in 2001 with a second account of the same score. He won 10 Grammys in all. | Much more to his taste was the music he was able to record with the London Symphony: a much-praised account of Handel’s “Messiah” (1966) and several Berlioz albums, one of which, a recording of “Les Troyens,” won Grammy Awards in 1970 for best opera recording and classical album of the year, a feat Mr. Davis was to repeat in 2001 with a second account of the same score. He won 10 Grammys in all. |
| By his own admission, Mr. Davis was hotheaded and short-tempered in his younger years, and his relationships with musicians and musical organizations were often tempestuous. After succeeding the revered Georg Solti in 1971 at Covent Garden, he was booed by the audience and reacted by booing back and sticking out his tongue. | By his own admission, Mr. Davis was hotheaded and short-tempered in his younger years, and his relationships with musicians and musical organizations were often tempestuous. After succeeding the revered Georg Solti in 1971 at Covent Garden, he was booed by the audience and reacted by booing back and sticking out his tongue. |
| Mr. Davis was Covent Garden’s first British regular conductor since Beecham in the 1930s. With the noted stage director Götz Friedrich, he presented Wagner’s “Ring” (1974-6) and the British premiere of Berg’s “Lulu” in its complete form (1981), among other productions. He also led the company on triumphant tours to Japan and Korea (1979) and to Los Angeles (1984). He was knighted in 1980. | Mr. Davis was Covent Garden’s first British regular conductor since Beecham in the 1930s. With the noted stage director Götz Friedrich, he presented Wagner’s “Ring” (1974-6) and the British premiere of Berg’s “Lulu” in its complete form (1981), among other productions. He also led the company on triumphant tours to Japan and Korea (1979) and to Los Angeles (1984). He was knighted in 1980. |
| New works were not among Mr. Davis’s priorities, but he made an exception for Tippett. He conducted several of that composer’s premieres, including “The Knot Garden” (1970) and “The Ice Break” (1977), both at Covent Garden, and the Triple Concerto in London in 1980. | New works were not among Mr. Davis’s priorities, but he made an exception for Tippett. He conducted several of that composer’s premieres, including “The Knot Garden” (1970) and “The Ice Break” (1977), both at Covent Garden, and the Triple Concerto in London in 1980. |
| Mr. Davis was the first British conductor invited to the Bayreuth festival in Germany (conducting Wagner’s “Tannhäuser” in 1977), and he was music director of the Bavarian Radio Symphony in Munich (1983-93) and honorary conductor of the Dresden Staatskapelle (1990). After leaving Covent Garden in 1986, he was based in Germany for several years. | Mr. Davis was the first British conductor invited to the Bayreuth festival in Germany (conducting Wagner’s “Tannhäuser” in 1977), and he was music director of the Bavarian Radio Symphony in Munich (1983-93) and honorary conductor of the Dresden Staatskapelle (1990). After leaving Covent Garden in 1986, he was based in Germany for several years. |
| In 1992 he returned to London to become principal conductor of the Royal Philharmonic, and in 1995 he moved from that post to take up the one denied him 30 years before: music director of the London Symphony. Two years later he took the orchestra to New York to conduct its first residency at Lincoln Center. | In 1992 he returned to London to become principal conductor of the Royal Philharmonic, and in 1995 he moved from that post to take up the one denied him 30 years before: music director of the London Symphony. Two years later he took the orchestra to New York to conduct its first residency at Lincoln Center. |
| Mr. Davis’s marriage to Ms. Cantelo ended in divorce. They had two children. He subsequently married his family’s Iranian au pair, Ashraf Naini, known as Shamsi, in 1964. She died in 2010. They had five children. Information about his survivors was not immediately available. | Mr. Davis’s marriage to Ms. Cantelo ended in divorce. They had two children. He subsequently married his family’s Iranian au pair, Ashraf Naini, known as Shamsi, in 1964. She died in 2010. They had five children. Information about his survivors was not immediately available. |
| Mr. Davis continued to conduct the London Symphony regularly, notably in a 2009 concert to mark his golden jubilee. At his death, he was scheduled to conduct Britten’s “Turn of the Screw.” | Mr. Davis continued to conduct the London Symphony regularly, notably in a 2009 concert to mark his golden jubilee. At his death, he was scheduled to conduct Britten’s “Turn of the Screw.” |
| Mr. Davis was forthcoming about his own mortality, and even confessed to a British radio psychiatrist that hardly a day passed in which he did not think about his death. He chose to conduct Mozart’s Requiem for his 80th birthday concert. | Mr. Davis was forthcoming about his own mortality, and even confessed to a British radio psychiatrist that hardly a day passed in which he did not think about his death. He chose to conduct Mozart’s Requiem for his 80th birthday concert. |
| The British newspaper The Telegraph reported that he kept a life-size skeleton in the first-floor drawing room of his London townhouse. “Just a reminder,” he would tell visitors. | The British newspaper The Telegraph reported that he kept a life-size skeleton in the first-floor drawing room of his London townhouse. “Just a reminder,” he would tell visitors. |
Michael Schwirtz contributed reporting. | Michael Schwirtz contributed reporting. |