(continued from page 6)

"I use it for my own edification and amusement," he relates. "Sometimes I play for the fun of it, but sometimes it's to pick apart scores." He also uses it for accompaniment when auditioning singers for upcoming productions.

Rudel, who grew up in Vienna but left Austria after its annexation in 1938, made his formal professional debut in 1944 when he conducted The Gypsy Baron for the New York City Opera. He was named general director of the City Opera in 1957, and oversaw its move into Lincoln Center in 1966 before taking over directorial duties at the new John F. Kennedy Center in 1969. His debut at the Met was in 1978, and he took over the Buffalo Philharmonic Orchestra in 1979.

Today, Rudel travels extensively. Following his Buenos Aires engagement, he will plan productions at the Met in New York, and he's soon to visit Vienna and Chicago before returning to New York to work with young opera artists at the Juilliard School.

"I enjoy working with young singers who have great potential, are just starting out and can use some help in matters of style, phrasing, and endurance," Rudel muses. "I'm just as happy to work with seasoned artists, mind you. But I enjoy passing on the traditions of the past to younger generations. I'm just a musician who loves his craft."

"The hall I played in has a tendency to deaden the sound, but this piano was ideal." Dr. Debra Torok - regarding a March 18th concert, playing a CFIIIS, in PA. "The sound and tone were perfect." Millie Ries - regarding an August concert by Marc Davidson, utilizing a CFIIIS in Newport Beach, CA. "I enjoyed playing the piano so much; great to hear such clarity in the different registers and to have Mozart as effective as Piazzolla to the crowd." Hannah Reiman - regarding a CFIIIS she played at an upscale private memorial service held in an artist loft in June. "I'm happy to say that this was definitely one of the finest, most satisfying small grand pianos I've ever encountered. It had a remarkable clarity and depth of tone — two qualities which aren't usually together in a smaller instrument. There was a bell-like quality for all of the notes. If I were able to afford it, that's what I would buy" John J. Cimino — regarding a C2 he played in July at a Yamaha supported event in Washington DC.