Sir Colin Rex Davis (25 September 1927 – 14 April 2013) was an English conductor, known for his association with the London Symphony Orchestra, having first conducted it in 1959. His repertoire was broad, but among the composers with whom he was particularly associated were Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett.
Davis studied as a clarinetist, but was intent on becoming a conductor. After struggling as a freelance conductor from 1949 to 1957, he gained a series of appointments with orchestras including the BBC Scottish Orchestra, the BBC Symphony Orchestra and the Bavarian Radio Symphony Orchestra. He also held the musical directorships of Sadler's Wells Opera and the Royal Opera House, where he was principal conductor for over fifteen years. His guest conductorships included the Boston Symphony Orchestra, the New York Philharmonic and the Staatskapelle Dresden, among many others.
As a teacher, Davis held posts at the Royal Academy of Music, London, and the Landesgymnasium für Musik "Carl Maria von Weber" (preparatory school for music) in Dresden. He made his first gramophone recordings in 1958, and his discography over the next five decades was extensive, with many studio recordings for Philips Records and a substantial catalogue of live recordings for the London Symphony Orchestra's own label.
Davis was born in Weybridge, Surrey, the fifth of seven children, to Reginald George Davis (a bank clerk) and Lillian Constance (Colbran) Davis. The family was musical, and he was exposed to music from an early age. He recalled:
"I can still see Sargent conducting the first concert I ever attended. I can still hear Melchior in the final scene of Siegfried – an old 78 playing on my father's gramophone. … I can also remember the moment I decided to make music my life. I was 13 or 14 at the time and the performance was of Beethoven's Eighth. Doors were suddenly opened. I became totally involved, even obsessed by music, although I was frightfully enclosed by my likes and dislikes. Today I'm game for anything."
With financial assistance from his great-uncle, Davis was educated at Christ's Hospital in Sussex and then won a scholarship to the Royal College of Music in London, where he studied the clarinet with Frederick Thurston. His fellow-students included Gervase de Peyer, but Davis developed a greater interest in conducting. He was, however, not eligible for the conducting class at the college, because he could not play the piano.
Following compulsory military service and completing his studies at college, Davis served as a clarinettist in the band of the Life Guards. Stationed at Windsor, he had continual opportunities to attend concerts in London under conductors including Sir Thomas Beecham and Bruno Walter. In 1949, he began his career as a freelance musician (the "freelance wilderness", in his own phrase) where he remained until 1957. His first conducting work was with the Kalmar Orchestra, which he co-founded with other former students of the Royal College. He was subsequently invited to conduct the recently founded Chelsea Opera Group in Don Giovanni. In the early years of his career, he also took some engagements as an orchestral clarinettist. What seemed at first to be a full-time conducting appointment, for the Original Ballet Russe in 1952, ended abruptly after three months, when the company collapsed. In between sparse conducting engagements, Davis worked as a coach and lecturer, including spells at the Cambridge University Musical Society and the Bryanston Summer School, where a performance of L'enfance du Christ awakened his love of Berlioz's music.
His first breakthrough came in 1957 when, at his third attempt, he secured the post of assistant conductor of the BBC Scottish Orchestra (now the BBC Scottish Symphony Orchestra). The chief conductor of the orchestra generally chose to conduct the standard repertoire pieces himself, and left Davis with modern works and non-standard repertoire works, including those of Berlioz. By 1959, Davis had developed to the extent that, after a concert of Stravinsky and Mozart with the London Mozart Players, the chief music critic of The Observer, Peter Heyworth, wrote:
"Mr Davis conducted two works in a manner that showed that he is not only outstanding among our younger conductors, but probably the best we have produced since Sir Thomas Beecham, his senior by forty-eight years."
Davis first found wide acclaim when he stood in for an ill Otto Klemperer in a performance of Don Giovanni, at the Royal Festival Hall in 1959. A year later, Beecham invited him to collaborate with him in preparing The Magic Flute at Glyndebourne. Beecham was taken ill, and Davis conducted the opera. After the Don Giovanni, The Times wrote, "A superb conductor of Mozart declared himself last night at the Festival Hall…. Mr Davis emerged as a conductor ripe for greatness." Neville Cardus in The Guardian was less enthusiastic but nevertheless considered that he "had his triumphs" in the performance. After The Magic Flute, The Times called Davis "master of Mozart's idiom, style and significance", although Heyworth in The Observer was disappointed by his tempi, judging them to be too slow.
In 1960, Davis made his début at the Proms in a programme of Britten, Schumann, Mozart and Berlioz. In the same year, he was appointed chief conductor of Sadler's Wells Opera, and in 1961 he was made musical director of the company, with whom he built up a large repertoire of operas, conducting in London and on tour. Grove's Dictionary of Music and Musicians wrote of this period, "He excelled in Idomeneo, The Rake's Progress and Oedipus rex, and Fidelio; his Wagner, Verdi and Puccini were less successful. He introduced Weill's Mahagonny, and Pizzetti's Assassinio nella cattedrale to the British public and conducted the première of Bennett's The Mines of Sulphur (1965)." Together with the stage director Glen Byam Shaw, he worked to present operas in a way that gave due weight to the drama as well as the music. In his early years, Davis was known as something of a firebrand with a short fuse in rehearsals, and his departure from Sadler's Wells in 1965 was not without acrimony.
After he left Sadler's Wells, and being passed over as principal conductor of the London Symphony Orchestra, Davis was named chief conductor of the BBC Symphony Orchestra (BBC SO), effective September 1967. At first, in the general view of the public, his tenure was overshadowed, at least during the Proms, by the memory of Sir Malcolm Sargent. Compared to the "suave father figure" image of Sargent to the promenaders, it took some time for the much younger Davis to be accepted. The BBC's official historian of the Proms later wrote, "Davis never really identified himself with the Proms in the way that Sargent had done. Davis was uncomfortable with the traditional hullabaloo of the Last Night of the Proms and attempted, unsuccessfully, to modernise it. The BBC's Controller of Music, William Glock, was a long-standing admirer of Davis, and encouraged him to put on adventurous programmes, with a new emphasis on modern music, both at the Proms and throughout the rest of the orchestra's annual schedule. Following his tenure as BBC SO chief conductor, Davis served as chief guest conductor of the BBC SO from 1971 to 1976.
In 1970, Sir David Webster, who ran the Royal Opera and the Royal Ballet companies at Covent Garden, invited Davis to succeed Sir Georg Solti as principal conductor of the opera. At about the same time, the Boston Symphony Orchestra invited him to become its musical director, but Davis felt that if Covent Garden needed him, it was his duty to take on the post. Webster's vision was that Davis and the stage director Sir Peter Hall, formerly of the Royal Shakespeare Company, would work in equal partnership as musical director and director of productions. After early successes together, including the première of Michael Tippett's The Knot Garden in December 1970, Hall left to succeed Laurence Olivier as director of the National Theatre. Webster had retired by that time, leaving Davis, together with Webster's successor as General Administrator, Sir John Tooley, to run the Royal Opera.