He made an unrivalled contribution to the development of opera-conducting in Australia and was, in Roger Covell's words, the 'first Australian-born musician to excel in this genre'.
As an orchestral conductor, he was judged a 'good all-round man': he was well regarded for his enthusiasm, clarity and economy of gesture, but he was not associated with inspiring or challenging musicianship.
He severed his connection with the conservatorium, did some conducting with Sir Benjamin Fuller's Royal Grand Opera Company and visited Europe in 1935.
Whilst driving through Bairnsdale on a roadtrip from Melbourne to Sydney in 1937, Post was involved in a car crash and sustained slight injuries.
[3] Post served in World War II as a lieutenant, acting major, and commandant of the transshipment centre at Terowie, South Australia, an important staging point on the overland supply route to Darwin.
[4] In 1950 he went to Britain on exchange with Charles Groves, conductor of the British Broadcasting Corporation's Northern Orchestra (now the BBC Philharmonic).
In 1945 he had submitted a proposal to the ABC to establish the Victorian Symphony Orchestra on a full-time basis, but he was twice overlooked for the position of principal conductor.
He conducted the trust's first opera production, Mozart’s The Marriage of Figaro, in 1956, but resigned next year to return to the ABC as assistant director of music.
At a time when most Australian classical musicians depended on success abroad, Post built a public career in Australia.
He was proud of his efforts to promote 'Australian' composers, releasing recordings of Raymond Hanson's Concerto for Trumpet and Orchestra (1948) and Robert Hughes's Xanadu (1954).
He eventually put considerable effort into the conservatorium's opera school, but limited his wider involvement to consolidating initiatives begun by Heinze.
Increasingly dogged by ill health, Post resigned from the conservatorium in late 1971 and moved to the Gold Coast, Queensland.