Canadian voice student, Carmen Lasky, whom he met in Vienna. Conducting career 1960s During 1960 and 1961, Mehta was asked to substitute for celebrated maestros throughout the world, receiving high critical acclaim for most of those concerts. In 1960, he conducted a series for the Vienna Symphony and later that summer made his New York conducting debut leading the New York Philharmonic. In 1960, with the help of Charles Munch, Mehta became the chief conductor and Music Director of the Montreal Symphony Orchestra, a post he held until 1967. By 1961, he had already conducted the Vienna, Berlin and Israel Philharmonic orchestras. In 1962, he took the Montreal Symphony on a concert tour to Russia, Paris and Vienna. Mehta was most apprehensive about his concert in Vienna, which he said was considered the "capital of Western music". His single concert there received a 20-minute ovation, 14 curtain calls, and two encores. In 1961, he was named assistant conductor of the Los Angeles Philharmonic (LAP), although the orchestra's music director designate, Georg Solti, was not consulted on the appointment, and resigned in protest. The orchestra had been without a permanent conductor for four years when Mehta started directing it. Mehta was named Music Director of the orchestra and held the post from 1962 to 1978. When he began his first season with the orchestra in 1962, he was 26, the youngest person ever to hold that title. As he had also conducted the Montreal Symphony during those early years, he became the first person ever to direct two North American symphony orchestras at the same time. As the LAP's first conductor in four years, Mehta worked to polish its overall sound to something closer to the Vienna Philharmonic's. He succeeded in making its sound warmer and richer by fostering competition among the musicians, shifting assignments, giving promotions and changing seating arrangements. He also inspired the musicians; 21-year-old cellist Jacqueline du Pré said, "He provides a magic carpet for you to float on." Cellist Kurt Reher recalls Mehta's first rehearsal with the orchestra: "within two beats we were entranced. It seemed this young man had the ability, the musical knowledge of a man of 50 or 55." In 1965, after Mehta's debut with the Metropolitan Opera's performance of Aida, music critic Alan Rich wrote, "Mehta brought to the conducting of the score a kind of bedazzlement that has no peer in recent