Books (the sequel ...)

I have taken some more time to read the books I mentioned on an earlier post.

Of the three, I was left dry is on the one on George Szell. The author Michael Charry display a genuine respect for Szell but Szell beginning go too fast. One does not get a sense of how he developped. The other topic of Szell's famous dicatorial attitude is briefly mentioned but too cautiously (and can I remind readers of a Szell joke of him saying to the orchestra: let us rehearse the music and then we will rehearse the spontaneity ...)

This being said, it has made me buy the Grammar of Conducting, a book Szell recommended. I will keep you posted on it.

The one by Riccardo Muti on the other hand spends a significant time on his formative years. It really makes appreciate the value of the Italian conservatory systems and their teachers. Muti, very correctly, identifies what he ows to to all his professors who saw his potential and developped him. While one can have an image of a fairly over confident conductor, he comes out as more humane and profound. The parts on the later years may be less interesting as he is keen on not forgetting anyone ... but the beginning is revelatory. (On Muti, may I direct readers to the blog of Chicago critic Andrew Patner which includes a number of regular interviews of Muti. Highly recommended.)

Charles Barber's book on Carlos Kleiber is fascinating and I really recommend it.I am guessing that it was written by the author, ie, there was no ghost writer interviewing someone and putting words into a book. Baker became a regular penpal with Kleiber, probably because he reached out to him in a direct and unaffected manner and also because he seemed to share a similar sense of humor. Maybe, this was a breath of fresh air as everyone was probably bowing with the utmost respect to him.

he first part is as detailed description of Kleiber's life as one can read. I was unaware of many details, a fascinating one being the story of the recording sessions with Michelangeli.

The second part includes a significant part of the Baker - Kleiber's correspondance. It contains unique jewels as one can appreciate Kleiber's encyclopedic knowledge, quick wit, ... and understand some of his concerns (read the letters on the mistakes on Orchestral parts ...). There are also some great insights on Kleiber's commenting when to pre-beat.

Whether one will understand and graps Kleiber's genius is another story. Maybe like Kane's Rosebud, one should respect and "do not trespass".

When time allows for, I will try to write my own Kleiber stories of the 7 unforgettable Operas I heard him conduct from 1981 (Rosenkavalier in Munich Jones - Fassbaender - Popp - Moll) to 1994 (Rosenkavalier in Vienna Lott - Von Otter - Bonney - Moll). This will be another post.

Very quick bullet points on my 2011 Salzbourg stay

My day work has forced me to shorten my stay in Salzburg very significantly. I managed though to pack 4 performances in two days as well as see many friends from across the world and basically had a great time.

For the sake of swiftness, here are my quick takes on bullet point format just like last year:

• I love my blackberry ... It has something which Iphone afficionados do not have which is push technology (for the Iphone, you have to ask for your mail). So I got a mail informing me of the open rehearsal of the Rossignol/Iolanta open for booking and rushed to get tickets for family and friends. The Rossignol was somewhat tentative but the Iolanta, a one act Tchaikowsky Opera about a blind girl was simply stunning. Strong and varied music and vocal writing of the highest order. Netrebko sang the title role and gave one of her best performance I have had with her. Her tenor partner was P Beczala whom she shared a wonderful duo culminating with a genuine crescendo. There were three bass-barytones roles, each important and each getting a full aria. Of them, Alexey Markov is one to watch out for.
• After this, I have to confess being somewhat disappointed by the Salonen - Marthaler  "The Makropolous case". A Denoke has vocal chords made of steel and singing was very strong overall. The Orchestra played beautifully, perhaps too beautifully ... but the Marthaler staging did not work as his Katya did. Action was muddy with too many secondary characters disturbing the flow.
• Think of this, however. A friend told me that the Easter Festival Peter Grimes was far from being sold out whereas there were many "Suche Karte" on display for this more demanding work.
• Muti delivered his usual magic in the Verdi Requiem performance in the matinee concert. Wait, magic or craft ? Balance, color, rubatos, phrasing ... was present in ample abundance. So much to admire but a little less to experience. Stoyanova had an uneasy start but rose to her usual self, Borodina is impressive, ..., perhaps too much, Pirgu was a little light - is not this work a little too much for him, Abdrazakov was solid ( in the program notes, it was revealed that he is sponsored by the company that manaufactures his suits, no name there but does this really work ?). 
• Tons of applaudes. Muti knows exactly when to enter the stage a good 10 seconds after his soloists so that everyone can be aware of the specific greetings he gets. Also, when Karajan and Abbado played this work, were not there Austrian silence after this religious work ?
• I ended my 2 days with a concert by the ORF Radio Orchestra playing Hans Rott's Symphony. Yes, this work has been played in Salzbourg and deserves more hearing. For French readers, my comments on Concertonet.
• Needless to say, Salzbourg is much more than the music, it is the ability to see so many friends and take leisury time to discuss and enjoy their company. I hope I have more time next year.

and Elektra in some other quick bullet points ...

We were a little disappointed by this Elektra, perhaps were we expecting too much ..

• Main problem are Gatti's tempis, just too slow and not moving forwards enough. Yes, he brings a lot of details, but where is the support that Albrecht gave to his singers in Lulu or the team-ensemble of Muti in Prokofiev's Ivan the terrible the day before ? And why was the orchestra so consistently loud ?
• The Elektra should have been Irene Theorin but she was replaced by Janice Baird who had 1/2 day of rehearsal. She did actually quite well. She has the notes and can sustain them well. She was somewhat lacking  the full depth of the character but let us not forget that she stepped in. If Theonin is stilll unwell, then Baird could then stay and settle in. In any case, she definitely knows how to project her voice and has the notes and stamina for this sort of role.
• Westbroek was good although I had in mind she had a freer top when I heard her in this part in Paris, but then there was another conductor Dohnanyi who knows his Strauss well ... She is still special.
• Great performances by Waltraud Meier and René Pape. Both have outstanding techniques, lots of colors on the voice and a supreme capability with words. They project really well and make everyone aware of what they sing. No better praise can be said. (Was this really in 1983 that I first heard Meier doing her debut in Kundry ?)
• Average staging by N Lenhoff with no real ideas ... and the Grosses Festpielhaus is so big ... I miss Wernicke

It is late and I will try to find some time to write on why I have consistently returned to Salzburg for the last 30 years ...

Kids ...

Claudio Abbado has been admitted to a hospital following exhaustion. His short-term concerts including the Mahler 2nd at la Scala and the Mozart Prokovief Mendelssohn in Paris has not yet been officially cancelled but will be soon ...

We wish him the best and prompt recovery but never expected to see the name of Abbado in this ...

(31/05/2010: A quick udpate, there are plans to move the Pleyel concert in October 2010, so if you have tickets, do not try to get a refund too fast ...)