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Obviously he had selectively omitted the past or more likely was being politically correct. To bring this episode to its conclusion, years later, just before the war, Kondrashin returned as a professional conductor. Seeing the advertisements outside the Conservatoire bearing Kondrashin’s name, Staroselsky approached his former student affectionately: “Kirochka! 44 NOTES 1. V. G. Razhnikov, Kirill Kondrashin rasskazyvaet o muzike i zhizni (Moscow: Sovetsky Kompositor, 1989), 4. 2. V. A. Yusefich, Sergey Koussevitsky tom perviy russkiye gody (Moscow: Yazyki Slavyanskoy Kultury, 2004), 172.

The chairman continued to depict Golovanov as favoring “stronger” singers and to aver that artists depended on him as he directed most of the opera repertoire at the theater. He continued, “We need to relieve N. S. Golovanov from his work at the theater. This will relieve the atmosphere. The theatre director comrade Mutnykh . . ”27 Further, Kerzhentsev suggests as replacements Samosud or Pasovsky: “Both are magnificent conductors and great authorities on our opera culture. But S. A. 29 Kerzhentsev suggested a Georgian opera by Zakhary Paliashvili—Absalom and Eteri.

38. K. P. Kondrashin, Mir Dirizhera, 21. 39. K. P. Kondrashin, O dirizherskom Iskusstsve, 149. 40. Natalia Satz, the founder of a special children’s school and the first children’s theater. Satz was incarcerated in a labor camp following her husband’s arrest in 1937; although, she survived to manage her theater in the postwar period. 41. K. P. Kondrashin, Kirill Kondrashin rasskazyvaet, 23–24. 42. K. P. Kondrashin, Kirill Kondrashin rasskazyvaet, 20–21. 43. K. P. Kondrashin, Kirill Kondrashin rasskazyvaet, 21.

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