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13.11.2008 16:53 - Complete Biography of Carlos Kleiber - Alexander Werner - Part One
Автор: kleiber Категория: Музика   
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Последна промяна: 08.05.2012 15:34

                           Complete Biography of Carlos Kleiber (1930-2004).

3 July 1930 - 13 July 2004

Carlos Kleiber was born in Berlin as the second child of Erich Kleiber, the General musical director of the State Opera “Unter den Linden,” and an American, Ruth Goodrich. He was baptized as Karl Ludwig Bonifatius.

Spring 1935

Austrian citizen Erich Kleiber leaves Germany in protest against the Nazi regime and moves to the Mondsee near Salzburg.

1936 to 1940

Erich Kleiber’s hopes of a firm commitment in Austria shattered. Increasing guest-perfomances. Restless travels begin for him and his family, with stops in Lugano, Roquebrune-Cap-Marin, Monte Carlo and Geneva, as well as tours in the United States and the Soviet Union.

Erich Kleiber brings his wife Ruth and his children to Buenos Aires, Argentina in early 1940. Carlos, whose education suffered from the movements, displayed an early musical talent. Erich Kleiber applies for Argentine citizenship for himself and his family.


After a short interim period, in May 1940 Erich Kleiber, Ruth and the children arrive in Chile, where Carlos Kleiber attends a boarding school in Santiago. Both children sorely missed normal family life. They spend only the holidays with their parents in Valparaнso near Santiago. Later, from time to time, the brother and the sister meet in Alta Gracia, in the Argentine Province of Cуrdoba, where Erich Kleiber bought a ranch, “La Fermata”. The siblings went to school for several years in Chile with some interruptions.


Erich Kleiber fostered the early artistic interests of his children, who were already attending performances of his father and his colleagues in Berlin. Carlos learns piano and tympani.


Carlos visits his father in Buenos Aires and enthusiastically observes his perfomances at Teatro Colуn. In autumn 1946, Ruth moves with the children to Havana in Cuba, where Erich Kleiber has commitments. Carlos gets to know Ernest Hemingway and starts to imitate him as a writer.


While his father was a guest-conductor at the NBC Orchestra, Carlos attended Riverdale Country School in New York. He enthusiastically watches again his father’s performances at Teatro Colуn in Buenos Aires. He gets to know important artists and participates in his first opera: He swings the hammer in Wagner’s “Siegfried”. He hears, among others, Arturo Toscanini in New York. In Carlos’s desire matures, to follow his beloved and revered father and even to become a conductor. An extraordinary literary gift of his appears as a possible professional choice.


After taking his final examinations, Carlos goes to Buenos Aires. His father, bearing in mind the precarious post-war situation, wants his son to learn a secure profession. Carlos goes to Zurich to study chemistry at the Swiss Federal Institute of Technology.


Only after one semester, Erich Kleiber gives up and allows his son to cancel the study of chemistry. Erich engaged the best music educators in Buenos Aires to teach theory and piano to his son.


Young Kleiber was fully optimistic about music and conducting, but had little enthusiasm for playing the piano. Only after serious guidance did he devote himself to more intensive studies, and begin to progress.


First engagement as a pianist at the theatre in La Plata, capital of the Province of Buenos Aires.


Carlos follows his father to Europe. Erich Kleiber celebrates 1952/53 triumphs at the Munich Opera Festival. His son gets a job as accompanist at Munich Opera Festival.


After a failure of a jobs wanted, Carlos accompanies his father to East Berlin. Erich Kleiber had promised to open the rebuilt Berlin Staatsoper in 1955 as the new musical director. On the initiative of the Ministry of Culture of the GDR, Carlos receives from Potsdamer Hans-Otto Theater an offer for Kapellmeister position.


Carlos Kleiber studies his first stage play, a Carl Millцcker’s operetta “Gasparуne”. Carlos performs the successful premiere on 12 February 1955, yet as a host under the pseudonym of Karl Keller. Prior to this his debut as a conductor he had only sporadically conducted the orchestra of his father in Buenos Aires and conducted a small Radio Orchestra in Montevideo. Erich Kleiber is proud of his son’s performance. For political reasons, Erich Kleiber announced in March 1955 his withdrawal from East Berlin and left the city with his family. Carlos has the opportunity to conduct regularly.


On 27 January 1956, Erich Kleiber died suddenly at "Dolder" Hotel in Zurich at the age of 65. He had found a job for his son as accompanist at the Vienna Volksoper. Carlos says good-bye to his father at the Zurich Hцnggerberg funeral and returns to Vienna.


With the failure of the promised conductorship at the Volksoper, a disappointed Carlos Kleiber gives notice that he will cancel his contract before its expiration in August 1957.       In the interim he conducts several repertory performances and guest concerts in Salzburg, Hamburg and Nurnberg, all almost imperceptible. In autumn he takes up the post of accompanist  at the German Opera in Rhine.


While Carlos Kleiber waits in vain for his first conducting at the German Opera in Rhine, he considers a change and takes the offensive with guest performances. With his mother’s cooperation ,Carlos Kleiber’s official opera debut occurs in February with Smetana’s “The bartered bride” as a Guest conductor at Salzburg provincial theatre, and at the end of November there Puccini’s “La Bohиme” follows. Only now does he call himself Carlos in public.


In February, Carlos conducts “La Bohиme” at the Hamburg State Opera and in May with Verdi’s “La Traviata”, at last, his first Opera in Dьsseldorf. Further performances in December also for the first time follow in Duisburg. After a radio recording of Telemann’s “Tafelmusik” with Northern German Radio in Hamburg at the beginning of December, Carlos conducts his first guaranteed orchestra concert with works of Telemann, C.F.E. Bach, de Falla and Martinu in the series “Platform of the youth” with the Hamburg Radio Orchestra. During the break, Kleiber gives what turns out to be probably his only recorded interview.


Carlos Kleiber conducts henceforth as a Kapellmeister from 1961/62 season a rich repertoire in the field of opera, operetta and ballet, including Verdi’s “Rigoletto”, Leoncavalo’s “Edipo Re”, Lortzing’s “ Weaponsmith”, Henze’s “Undine”, Puccini’s “La Bohиme" and “Madame Butterfly”, Humperdink’s “Hansel and Gretel”, Egk’s “ Revisor”.

In October in Dьsseldorf, Carlos married the Slovenian ballet dancer Stanislava Brezovar, born in Zagorje near Ljubljana.


Carlos successfully conducts with 61 performances, twice as many as in the previous year. In February he conducts “Daphne” by Richard Strauss, only one time in his career. It is followed by Delibes’ ballet “Coppйlia”, Lehбr’s “Merry Widow”, and a new production, for the first time studied in Rhine “3x Offenbach”- three one-act plays united in one triptych by Jacques Offenbach, and “The tales of Hoffmann”.


Carlos Kleiber conducts Verdi’s “Otello”, “I due Foscari”, Egk’s “Abraxas”, Ravel (orchestral works), and Offenbach’s “The beautiful Helena”.


First undertaking of Strauss “Der Rosenkavalier”. Kleiber keeps looking for a better position. He quarreled after a “La Traviata” guest performance with the manager Grischa Barfuss in Wuppertal, who replaced Hermann Juch in Dьsseldorf as Manager and notified Kleiber. Kleiber had cancelled a contract in Cologne. He goes now with H.Juch to the Zurich Opera from the season 1964/65. An appointment as a guest conductor at the Wьrtemberg State Opera fails due to loss-trial conditions. He conducted at the Frankfurt Opera in the autumn, first for the season opening in Zurich in September, then the first night of Johan Strauss’s “Vienna blood” and Pjotr Tchaykovsky’s ballet “Sleeping Beauty”. The only Carl Maria Weber’s “Oberon” undertaking.


Triumphal guest-performance in Stuttgart with “Rosenkavalier”. Kleiber signs a contract as the first conductor at the Wьrtemberg State Opera and conducts “Falstaff” in Zurich. First night of Smetana’s “The bartered bride”. Birth of his son Marko. Kleiber visits the “Elektra” rehearsal in Salzburg by his revered colleague Herbert von Karajan, which irritates H. Juch, because he refused the first night of Carl Zeller’s operetta “The Bird Seller”. Hard negotiations with Stuttgart because of a guest first night in spring 1966. Guest performance in Geneva. Kleiber conducts on New Year’s Eve repeated performances of “Fledermaus" at Grand Theatre in Geneva.


Guest performance in Stuttgart with Puccini’s “Madame Butterfly” and study of Alban Berg’s “Wozzeck” directed by Gьnter Rennert as preparation for a guest performance of the Wьrtemberg State Opera at the Edinburgh Festival. Conducting of Verdi’s “Don Carlos” in Zurich. He suffered a serious accident on the way to Zurich. Kleiber still conducts as a guest in Stuttgart the enthusiastically celebrated first night of “Wozzeck”, with affected health. Scandal in Edinburgh: Kleiber refuses the second performance during the festival because of an illness and thus causes a crisis in the Stuttgart Opera. Move to Stuttgart. After several months  break Kleiber conducts again in Stuttgart, in December.


The first night of Weber’s “Freischьtz" directed by Walter Felsenstein, which created sensation and was a triumph for Kleiber. Kleiber declines an offer for the 1968 Bayreuth Festival. Constant discrepancies in Stuttgart in working conditions and repertoire. Kleiber conducts Verdi’s “Rigoletto", “Madame Butterfly”, “Rosenkavalier” and “La Traviata”. Orchestra guest performances at the Munich Philharmonic with Haydn, Liszt and Schumann and during Vienna Festival with works by Mozart and Mahler (for the first and last time). His mother Ruth Kleiber dies suddenly without warning. Salzburg remains a second residence through Kleiber’s life.


A new contract in Stuttgart. Guest performance at the Prague Spring Music Festival with works by Schumann, Beethoven and Dvořбk. A difficult study of Georges Bizet’s “Carmen” in Stuttgart. First appearance at the Bavarian State Opera with “Rosenkavalier”, followed by “Otello” and “La Traviata”. The triumphal success spread rumors that Kleiber will move to Munich and that negotiations are under way for the post of the General Music Director in Stuttgart. Kleiber conducts “Madame Butterfly” in Munich for the last time in his career.


Music study of Richard Wagner’s “Tristan and Isolde” in Stuttgart with Wolfgang Windgassen and Ingrid Bjoner. First recordings at South German Radio. Carlos Kleiber now has the reputation as the most talented conductor of his generation.


Guest performance at the Munich German Museum with the Bavarian State Orchestra and pianist Alfred Brendel with a Beethoven program. Kleiber rehearses and conducts for the SDR-TV series “Observed at work” overtures of Strauss and Weber. Sensational first night of Berg’s “Wozzeck” directed by Rennert at the Munich National Theatre.


Stuttgart: Tremendous new staging of Strauss “Elektra”. The recording of “Carmen” under the Kleiber’s conducting fails repeatedly due to a casting question. He does not respond to a profitable offer from the USA. Kleiber becomes the father of a daughter,Lillian.


Productions for South German Radio with works by Wagner and Alexander Borodin (Second Symphony). Kleiber refuses new recoding of “Tristan” in Stuttgart after a hard disagreement. At the end of the era of manager Walter Erich Schafer, who leaves Stuttgart after the 1971/72 season, Kleiber’s slow farewell to the State Opera begins with a reduced conducting schedule. Celebrated first night in Munich of “Rosenkavalier” new staging, directed by Otto Schenk - the beginning of the close friendship between Kleiber and Schenk. A brilliant guest-performance at West German Radio in Cologne with orchestral works by Haydn, Berg and Beethoven, and concert excerpts from “Tristan” in Bern. Guest performance in Hamburg with the Vienna Philharmonic Orchestra.


Kleiber gives a concert in Hamburg with Arturo Benedetti Michelangeli. Recording in Dresden of Weber’s “Freischьtz” for DGG with a superb cast demonstrates a new musical way. Debut at the Vienna State Opera with “Tristan and Isolde”. Kleiber moves to Grьnwald near Munich.


Kleiber refuses the new staging of “Falstaff” at the Hamburg State Opera, but conducts concerts in that city. Guest performance at Tonnhalle Orchestra in Zurich. Debut at Covent Garden with “Rosenkavalier”; with “Tristan and Isolde” in Bayreuth and at Vienna Philharmonic Orchestra with concerts in Bratislava and Gцteborg. The concert in Bratislava is broadcast live on television to the whole of Czechoslovakia. Negotiations and a later contract with the TV production company “Unitel”. Kleiber rehearses Beethoven’s Fifth Symphony for DGG with the Vienna Philharmonic Orchestra. The recording is celebrated as a milestone - the best recording ever! Guest performance in Japan with the Bavarian State Opera. On New Year’s Eve the first night of “Fledermaus” directed by Otto Schenk. Kleiber has the reputation as a new star on the conductor’s horizon. The mountain of profitable offers from all over the world does not excite him and his fans increase as a cult begins to form in respect for the Maestro. Meanwhile, in declining every firm appointment Kleiber confines to  a diminishing repertoire.


The gramophone recording of Beethoven’s 5th piano concerto fails during the rehearsal with the Berlin Rias-Orchestra because of differences between Kleiber and Michelangeli. Beginning of Beethoven’s 7th symphony recording with the Vienna Philharmonic Orchestra - again a recording milestone. Recording  of “Fledermaus” with the Bavarian State Orchestra - both for Deutsche Grammophon. Kleiber conducts the new staging of “La Traviata” directed by Otto Schenk but accompanied by disputes. Return to Bayreuth for “Tristan und Isolde”. Rumours about Kleiber’s engagement in Salzburg. So far Kleiber had firmly refused to conduct at the Festival. In fact, Karl Bцhm had offered his 1978 “Rosenkavalier” appointment to Kleiber but the negotiations failed.


A majestic debut at the Milan La Scala with “Rosenkavalier” and “Othello” with Plбcido Domingo directed by Franco Zeffirelli. The beginning of a close friendship between Kleiber and the singer, as well as Claudio Abbado and Mauricio Pollini. Deutsche Grammophone’s  recording for “La Traviata” with Domingo and Ileana Cotrubas in Munich. After the failure of a Kleiber and Svjatoslav Richter joint performance due to the pianist’s illness, both record a Dvorak  piano concerto for EMI. A planned EMI-rehearsal of Wagner’s “Ring des Nibelungen” with Bavarian Radio stops. Kleiber leaves the Bayreuth Festival after a scandal about Patrice Cherau and Pierre Boulez’ “Ring” production as well after a break in relations with Wolfgang Wagner and his daughter Eva. Kleiber never returns to Bayreuth.


“Elektra” at Covent Garden with Birgit Nilsson. Kleiber regularly conducts in Munich. Negotiations about first nights, which, however, turn out to be difficult. Again a planned production of “Les contes d’Hoffmann” with Ingmar Bergmann and “Freischьtz”, “Don Carlos”, “Tristan and Isolde” and “Wozzeck”. In October he conducts the disputed new staging of “Otello” with John Neumeier. Kleiber refuses “Otello” at the Opera in San Francisco.


Kleiber appears as a replacement for the conductor at “La Bohиme” in Munich. First collaboration with Luciano Pavarotti and Mirella Freni. A fine recording of Franz Schubert’s Third and “Unfinished” symphonies with the Vienna Philharmonic Orchestra for the Deutsche Grammophon. New staging of “Tristan and Isolde” with Wolfgang Wagner at the Milan La Scala. Kleiber receives the City of Munich cultural prize. Kleiber’s refusal shortly before of “Othello” at the Munich Opera Festival creates a stir. The press reaction makes Kleiber decide not to conduct “Othello” again in Munich. His first appearance with the Chicago Symphony Orchestra (October). Vienna - a sensational production with a worldwide TV broadcast of Bizet’s “Carmen” with Domingo, directed by Zeffirelli. Kleiber absolutely avoids the press and society, just as before. 


Kleiber stands in for Karl Bцhm at the Orchestra Dell’Accademia di Santa Cecilia in Rome. Because of  illness of the pianist Mauricio Pollini, the debut at the Bavarian Radio Symphony Orchestra fails. Concerts in Vienna. New staging of Puccini’s “La Bohиme” in Milan with star presence and television broadcast. Kleiber interrupts the recording over organizational defects. TV production of “Rosenkavalier” in Munich, recorded on video; “La Bohиme” at Covent Garden.


An outstanding production of “Otello” in London as a replacement of “La Traviata” planned initially. Kleiber refuses to conduct for a new staging of “Les contes d’Hoffmann” with John Schlesinger in London. The difficult recording sessions for “Tristan and Isolde” begin in Dresden. Kleiber conducts the Vienna Philharmonic Orchestra on the occasion of the 100th Anniversary of the Austrian Lдnderbank. Klieber"s 50th birthday on July 3.

Тагове:   carlos kleiber,


1. kleiber - Making copies for non-commercial use is permitted!
15.07.2009 08:16
Over 100 000 entries! Thanks to everyone!
2. анонимен - /ello i am a orchretre conductor ...
20.12.2010 23:01
/ello i am a orchretre conductor chinese in paris.M. Carlos kleiber long times who can tell me them adress in Ljubljana?i want come look give flowers.... thanks
3. анонимен - SCqrAhFymdmh
29.05.2011 11:25
I bow down hublmy in the presence of such greatness.
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