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13.11.2008 16:58 - Complete Biography of Carlos Kleiber - Alexander Werner - Part Two
Автор: kleiber Категория: Музика   
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Последна промяна: 09.05.2012 09:11

Complete Biography of Carlos Kleiber -  Part Two


Japan tour with the Milan La Scala. Kleiber, still an Argentine citizen, becomes an Austrian after problems with his passport. Scandal in Dresden: Kleiber leaves the current record production of “Tristan and Isolde” shortly before the end, because of a quarrel with Renй Kollo. The recording is synchronized without Kleiber, which leads to a strong quarrel. After the dispute, Kleiber releases the recording under DGG pressure only in 1982. Publication of significant Johannes Brahms’ Fourth symphony recording with Vienna Philharmonic Orchestra – a milestone for Brahms. His ungrounded reputation as a largely unforeseeable, difficult and willful decliner is reinforced. Further studio recordings planned for EMI and already announced do not come about. Kleiber notifies after the "Tristan" scandal that he will never enter another recording studio. The plans for rehearsals of two Mozart symphonies become invalid. A happy tour with the Vienna Philharmonic Orchestra in Mexico. Kleiber conducts dressed like Johann Strauss during the Carnival in Munich, and led in Milan for the first time the London Symphony Orchestra. After the second performance in London a scandal occurs. After hostile press reports Kleiber does not want to conduct the London Symphony Orchestra any more. When Karl Bцhm dies in Salzburg, Kleiber conducts at the mourning ceremony in Munich. Guess performance at the Slovenian Radio Symphony Orchestra in Ljubljiana. For many years Kleiber has spent holiday with his family in his wife’s native country.


Kleiber conducts the commemorative concert for Karl Bцhm in Munich and later releases a live recording of Beethoven’s 4th and 7th symphonies for a gramophone production at "Orfeo". “Otello” performance in Milan. The beginning of a slow withdrawal from the Bavarian State Opera. Despite a multitude of offers, they cannot persuade Kleiber into doing a new production. With the efforts of people responsible at the Berlin Philharmonic Orchestra, Kleiber accepts a series of concerts with television and a live recording production of Antonin Dvořбk’s 9th Symphony. After finding that the score had not been revised as he desired, Kleiber left Berlin disappointed shortly before the rehearsal began. Kleiber conducts a subscription concert that is introduction to a big production planned in Vienna with films and records of Beethoven’s 4th and 7th symphonies. A scandal flares up during a rehearsal in December: Kleiber leaves the rehearsal angry and departs. The consequence is a long breakup with the Berlin Philharmonic Orchestra.


Kleiber makes his debut at Concertgebouw Orchestra in Amsterdam with Beethoven program. The production label “Untitel” records for television. The video published later (Philips), becomes an euduring worldwide TV success for Kleiber. However, in spite of the Orchestra’s big hopes, no other concerts occur. Second guest performances in Chicago (June), with a new Mozart-Brahms program and a piece by George Butterworth. Kleiber conducts Haydn in Munich, his first performance of Beethoven’s 6th Symphony on his children’s initiative, which many years later will appear on a CD by "Orfeo".


In December the first night of “La Traviata” at Teatro Comunale in Florence with Franco Zeffirelli. While only rare Kleiber’s performances are celebrated in Munich, the Vienna State Opera intends to induce Kleiber to return.


The Vienna State Opera Director succeeds in involving Kleiber for “La Bohиme”. During the introductory rehearsal, the first meeting with the Vienna Philharmonic Orchestra since 1982, Kleiber’s triumphal success ends with a near-scandal during the third performance when he stops, refusing to budge. Only after microphones that had been installed without his consent for a later radio broadcast were removed, does Kleiber continue. However, a recording is agreed for the rehearsal of the second performance. Kleiber continues his performances in Munich to “Fledermaus” in the first week of Lent, and the next two years dressed like Guru Bagwan and the tennis star Boris Becker. After a disagreement with Lucia Popp, Kleiber discontinues the rehearsal and no longer conducts the opera in Munich. In May, the perfomances of “La Traviata” in Munich with Edita Gruberova and Neil Shicoff, are resumed. Beginning of the CD epoch: Kleiber observes the remastering of his recordings in Deutsche Grammophone Studio. The new Salzburg Festival General Secretary courts Kleiber with the Herbert von Karajan’s support. Negotiations about “Freischьtz” with Ingmar Bergmann as a director do not result.


Seefehlner is shocked after receiving Kleiber’s refusal for four nearly agreed “La Traviata” performances in Vienna. His successor Claus Helmut Drese tries in vain to engage Kleiber for productions in Vienna. Milestone television production of “Fledermaus” in Munich is released. Instead of an originally planned Japan tour with the Vienna State Opera, Kleiber goes to the Far East to frantically celebrated concert guest performances with the Bavarian State Orchestra. In the 80s he conducts numerous concerts with the Bavarian State Orchestra, also in Pompei, Madrid, Cologne, Milan and Rome.


Sensational successes with “Otello” in London and Milan. After a quarrel with singer Renato Bruson at the Scala, Kleiber continues the series with Pietro Cappuccilli and decides after that not to conduct any longer in Milan. He declines two concerts in the city.


A late but sensational Kleiber debut at the Metropolitan Opera in New York after many years of unsuccessful attempts to draw him; it was partially due to Pavarotti. Rumours about enormous, unusual salaries. Kleiber’s last performance at the Bavarian State Opera during the first week of Lent, he conducts “Fledermaus” dressed like a laborer. Later Bavarian efforts to attract Kleiber are fruitless. Kleiber alienates himself from the Repertoire theatre. Tour to Japan with the Milan La Scala performing “La Bohиme.” A return to the concert stage in Vienna confirms Kleiber’s final reconciliation with the Vienna Philharmonic Orchestra.


Kleiber conducts the New Year’s concert in Vienna and is celebrated as a new “Waltz King”. The new Sony Classical Label receives a supplement for the CD publication. Thanks to the initiative of the Federal President Richard von Weizsдcker, Kleiber also stays for the first time a “Federal President Concert” at the conductor’s stand of the Berlin Philharmonic Orchestra. The press and the audience enthusiastically celebrated the late sensational debutant. Most musicians hoped in vain for Kleiber to succeede Herbert von Karajan. They elected Claudio Abado to convince him to do guest performances. “La Traviata" in New York. When Edita Gruberova became ill, Kleiber prematurely interrupted the series. Kleiber visits Wladimir Horowitz and both intend to rehearse Beethoven’s 3rd piano concerto. The untimely death of the pianist frustrates the collaboration.


The traditional order of merit “Pour le Mйrite for Science and Arts” with simultaneous membership of the Elite Order was conferred on Kleiber at the initiative of Richard von Weizsдcker. Kleiber’s last guest performance in London with “Otello”. After, he conducts five performances of this opera at the New York Met. Plans for a CD production of “Otello” with the Bavarian State Orchestra are frustrated. Kleiber takes leave of the Met with a series of Strauss “Rosenkavalier”. 


A concert tour with the Vienna Philharmonic Orchestra, which was recorded by “Unitel” for Television and later was published on video, must prepare a jubilee tour of this orchestra with Kleiber with stops in Paris and Japan. However, Kleiber, who in December directs the Federal Army concert and the New Year’s concert, declines -- to the horror of all Vienna -- because of an illness.


Kleiber replaces the deceased Leonard Bernstein at the New Year’s concert. In November, Kleiber conducts the Philharmonic Orchestra in Vienna at the presentation of the book: “Democracy of the Kings” by Clemens Hellsberg. He declines further engagements for the New Year’s concert. A legendary meeting between Kleiber and Sergui Celibidache, Head Conductor of the Munich Philharmonic Orchestra, on the plane from Tokyo to Munich. Kleiber is again a subject of conversation as a conductor with Munich Philharmonic Orchestra, but after Bernstein’s death he never again appeared at the conductor’s stand.


Kleiber conducts in Vienna Mozart’s Symphony No 33 and “Ein Heldenleben” by Richard Strauss. Kleiber suddenly and, in everyone’s opinion unreasonably, withdraws permission to release the already cut CD for Sony. Kleiber is further intensively occupied with work. Sir Peter Jonas, a friend of Kleiber, takes up the management of the Bavarian State Opera but does not succeed in involving Kleiber again.


Richard von Weizsдcker succeeds again to bring Kleiber to Berlin Philharmonic for his farewell concert. Vienna State Opera Director Ioan Holender triumphs after having engaged Kleiber for three performances of “Rosenkavalier” in Vienna followed by a Japan tour. After the celebrated tour, Kleiber takes final leave of the Opera stage. He receives the “Honorable Cross for Science and Arts” in Vienna, but one cannot convince him to conduct again in that city. Kleiber has long deliberated his final withdrawal.


Kleiber declines all offers. A leg fracture prevents him from conducting.


A guest performance with the Bavarian State Opera in Ingolstadt provides headlines worldwide. In the same year Kleiber’s enthusiastically celebrated concert for the 70th anniversary of media leader Leo Kirch is recorded for private television. Kleiber is bodily weakened.


Kleiber replaces his friend Ricardo Muti with the Bavarian State Orchestra at the Ravenna Festival in Italy. He conducts the Slovenia Philharmonic Orchestra in Ljubljana on the occasion of the European Month of Culture. The first signs of a serious disease.


Kleiber accepts a guest performance with the Bavarian Radio Symphony Orchestra. His last concerts in January 1999 in Las Palmas de Gran Canaria and Santa Cruz de Tenerife at the Festival de Mъsica de Canarias and in February in Valencia, Spain and Cagliari, Italy. Kleiber seems to like undertaking other guest performances with the Orchestra. The announcement that Kleiber will open the Festival centre in Baden-Baden with the Vienna Philharmonic Orchestra turns to be false. In December, he goes to Japan on holiday. His Japanese friend and impresario Tadatsugu Sasaki tries further in vain to convince Kleiber to do guest performances in Japan.


Despite further efforts of the both Munich Orchestras and Kleiber’s interest in a guest performance in Buenos Aires, no other concerts take place. Kleiber wants to participate in the Salzburg Festival with “Tristan und Isolde”. However, the responsible persons do not seem to take it seriously into consideration. Even hopes of inspiring him for recording projects with the Berlin Philharmonic Orchestra destroy. Kleiber’s 70th Anniversary is widely reported in the press. A rumour about Kleiber’s conducting Wagner’s “Rienzi” 2003/2004  at the New York Met turns out to be groundless.


A piece of news comes from Spain about so-called Kleiber’s engagement in the international Music Festival in Santander with the Bavarian Radio Orchestra.


New rumours, which soon dry out, about performances of Verdi’s “Falstaff” under Kleiber’s conducting at Teatro Real in Madrid. Increasing rumours circulate about Kleiber. Busy with private studies, correspondence and travel, Kleiber tears himself from the society. Kleiber’s health causes him concern. Only after his cancer aggravates does he take treatment. While nothing about his disease is known in public, a strange false announcement appears on the internet about Kleiber’s death.


The sudden death of his wife Stanislava just before Christmas, renders a lasting shock to Kleiber. Efforts of friends to encourage him, because of that, to work are fruitless in spite of attractive offers. Kleiber, meanwhile, a grandfather, almost completely retires to his family and close friends circle. He, however, further exchanges letters and regularly goes to Salzburg. 


Kleiber guards from acquaintances and friends and, of course, from the press that he would like to undertake “Rosenkavalier” at the Salzburg Music Festival. At this point conducting is no longer a possibility, even though strictly speaking his health would allow it. On 11 July, Kleiber sets off by his car for Slovenia and a little later is found dead in his vacation house at Konjśica. His burial in the grave next to his wife Stanka on the village cemetery occurs among the closest family circle. Only on 19 July, it is understood that Kleiber had passed away on 13 July. The music world reacts with horror and a flow of memorial speeches and articles appear and many of his colleagues write about him .


July: Vienna, Munich and Ljubljana celebrate Carlos Kleiber"s 75th birthday and mark the first Anniversary of his death with concerts.


June, 21st: Ljubljana celebrates Carlos Kleiber"s 80th birthday with VPO and his friend Riccardo Muti.


Тагове:   carlos kleiber,


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