After 50 years as a Symphonic and Operatic conductor, Myer Fredman is now utilising his considerable experience to enlarge the orchestral and symphonic wind repertoire by arranging, orchestrating and/or transcribing works by such composers as Bach, Handel, Tchaikovsky and Elgar who, like Mozart, Ravel and Britten were pre-eminent in this genre. Operatic extracts (without voices) are also included. Some of Myer's early orchestration work includes scoring parts of the film music for Exodus and Lawrence of Arabia.
After formal studies, Myer Fredman worked at Glyndebourne from 1959 to 1974 initially as Chorus Master, then Conductor culminating in the position of First Conductor & Head of Music Staff. He was instrumental in the formation of Glyndebourne Touring Opera (now Glyndebourne on Tour) and was appointed it's initial Music Director concurrent with conducting engagements in Ireland, Belgium, France, Poland, Romania, Germany, Scandinavia and Canada.
After making his debut with the Australian Opera in 1974 in the recently opened Sydney Opera House, he was engaged by the New Opera Company in Adelaide, South Australia as it's first Music Director and after it became The State Opera of South Australia he conducted the Australian premieres of Tippett's Midsummer Marriage (in the presence of the composer), and Britten's Death in Venice at consecutive Adelaide Festivals.
From 1980 to 2000 he was Head of the Opera School at the Sydney Conservatorium and regularly conducted the six Australian symphony orchestras in both concerts and recordings as well as conducting for the Australian Opera (now Opera Australia) later becoming one of its Artistic Associates. Myer is currently Adjunct Professor at the University of Tasmania's Conservatorium of Music.
He has also recorded Puccini's Le Villi (producer John Culshaw), the Partita for Double String Orchestra by Vaughan Williams, The Prima Donna by Arthur Benjamin, works by Britten and Delius for Naxos with the New Zealand Symphony Orchestra, Respighi's Piano Concerto Concerto in Modo Misolidio, and others.
The Conductor's Domain; a guide for aspiring maestri.
From Idomeneo to Die Zauberflote; A conductor's commentary.
The Drama of Opera: exotic and irrational entertainment.
Maestro, Conductor or Metro-gnome? Reflections from the Rostrum.