Artur Martin Rother (12 October 1885 – 22 September 1972) was a German conductor who worked mainly in the opera house.
Subsequently, he was a guest conductor of the RIAS Symphony Orchestra and the Städtische Oper Berlin.
Artur Rother's recordings include excerpts from operas by Beethoven (Fidelio), Bizet (Carmen), Boieldieu (La dame blanche), Glinka (Ruslan and Ludmila), Flotow (Alessandro Stradella), Gluck (Iphigénie en Aulide), Gounod (Faust), Humperdinck (Hänsel und Gretel), Leoncavallo (Pagliacci), Mascagni (Cavalleria rusticana), Mozart (The Magic Flute, The Marriage of Figaro), Nicolai (The Merry Wives of Windsor), Offenbach (The Tales of Hoffmann), Puccini (La bohème, Madama Butterfly), Richard Strauss (Salome), Tchaikovsky (Eugene Onegin, The Queen of Spades), Verdi (Don Carlos, The Sicilian Vespers, Simon Boccanegra, Il trovatore), Wagner (Lohengrin, Die Meistersinger von Nürnberg, Rienzi, Tannhäuser), and Weber (Der Freischütz, Oberon).
[1][2] Singers who sang under his baton included: Peter Anders, Erna Berger, Walter Berry, Kim Borg, Maria Cebotari, Dietrich Fischer-Dieskau, Josef Greindl, Hans Hotter, James King, Margarete Klose, Tiana Lemnitz, Max Lorenz, Christa Ludwig, Walther Ludwig, Martha Mödl, Helge Rosvaenge, Heinrich Schlusnus, Karl Schmitt-Walter, Rita Streich, Ludwig Suthaus, Wolfgang Windgassen and Fritz Wunderlich, He conducted an early experimental stereo recording using magnetic tape during late 1944 or early 1945 of Beethoven's "Emperor" Concerto with Walter Gieseking in which anti-aircraft guns can be heard firing during the quiet passages; it is one of only three such recordings known to survive.
A decade later, at the beginning of the commercial stereo era, he accompanied pianist Jakob Gimpel in recordings for Ariola of piano concertos by Beethoven (No.4), Grieg and Schumann.