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Nor does he see any problems in the much criticized ending, of which he prefers the earlier, longer, quietly mysterious version. Is it the ghost of Charles V that appears, or the Monk disguised as Charles V? 'Oh, it is Charles V, for Verdi it was Charles V' (true, the Emperor abdicated, Titurel-like, in favour of his son, and lived in seclusion in the monastery where Act S is set; he died when the historical Don Carlos and Elisabeth de Valois were both 13 years old but, as Verdi very well knew, '[the real] Don Carlos was a fool, a madman, an unpleasant fellow. Elisabeth was never in love with Carlos. Posa is an imaginary this drama there is nothing of history'). And Abbado approvingly quotes Toscanini: '"One of my little mistakes was not to conduct Don Carlos often enough" - I shall not make that mistake. '
Uploaded by Angus Webster 0% found this document useful (0 votes) 54 views 8 pages Description: Abbado Interview with Deutche Grammaphone Date uploaded Dec 07, 2013 Copyright © Attribution Non-Commercial (BY-NC) Available Formats PDF, TXT or read online from Scribd Share this document Did you find this document useful? Is this content inappropriate? Report this Document 0% found this document useful (0 votes) 54 views 8 pages Uploaded by Angus Webster Description: Abbado Interview with Deutche Grammaphone Full description
'The great difficulty is for the chorus to learn it in French. The soloists have more time to do this, and besides, Ruggero Raimondi, our King Philip, lives in Monte-Carlo and speaks very good French, so does Lucia Valentini Terrani, who's singing Eboli, and for the other singers we have a French coach, Janine Reiss. ' (She, incidentally, has her own music-stand on the platform in the recording studio with the soloists, and is kept very busy advising on those so un-Italian vowel-sounds and persuading the chorus not to abandon the French 'heureux' in favour of something much closer to 'ere' the moment they turn their backs on her - which they do frequently while recording the Fontainebleau act, in order to give a suggestion of distance. ) Abbado stoutly denies that Italian singers think French is bad for their bel canto, but don't they really mind all those eu, an, en sounds? 'Oh, maybe they mind... ' Meanwhile Katia Ricciarelli, singing the role of Elisabeth, stares fixedly at Janine Reiss (who mouths silently back at her) in a fierce attempt to remember that in French the name of the tenor hero she is so passionately addressing ends in 's' (Carlos, not Carlo, and the accentuation is different, too), and a comprimario singer, announcing 'Le Grand Inquisiteurrrrr' with a flamboyantly rolled 'r', is derisively echoed by a concerted trill from the brass section.
'Italian orchestras, ' says Abbado, choosing his words with care, 'don't normally have great discipline, but this one has great concentration: when it comes to a take, they give. ' In fact when I arrived, by mistake, half-an-hour early for a session, most of the orchestra (a conspicuously young orchestra, by the way; some of them recruited from Abbado's European Community Youth Orchestra) was already there and practising. The concentration that Abbado is so conscious of is necessary in recording: it is striking to watch orchestra and singers repeating a build-up of tension. At one point, for purely technical reasons, the climactic passage of the Act I duet has to be repeated no fewer than six times. Each time Ricciarelli reproduces the effect of long-pent intensity, each time Plácido Domingo (Don Carlos) turns to her encouragingly and she smiles back with slightly nervous relief; each time it sounds perfectly fine to me. Again one is reminded of what different lives singers lead from the rest of us.
Necessarily polyglot, they joke among themselves in three or four languages at once. They live to a different clock: the sessions run from 3pm until 6pm in the afternoon and from 8. 30pm until 11. 30pm in the evening, and when Domingo suddenly proposes pasta at 6. 15pm it is not an outlandish request, simply lunch. As a session slowly proceeds, they can be kept for hours waiting to sing, but must then be instantly ready. Because of a last-minute cast change and a consequent rapid re-drawing of the schedules Leo Nucci (Posa) sits around the studio for eight hours and is finally not required to sing at all that day; he smiles good-humouredly and goes home. Ann Murray (Thibault), having driven from Munich (in order to spend a few hours en route with her husband Philip Langridge - himself on the way to Monte-Carlo for the Don Giovanni rehearsals for which Raimondi is already overdue) eventually gets to sing a line and a half, approximately, at 11. 15pm. That day's sessions were planned to cover six-and-a-half minutes of Act 1, just over three minutes from Act 4 and nine minutes from Act 2.
( Part 2 is here) Mussorgsky: Khovanschina, Act IV Ghiaurov/Atlantov/Semchuk/Burchuladze/Vienna State Opera, 1989 Mussorgsky was one of the less obvious composers whom Abbado fervently championed, and he conducted stage productions of both of the complete operas, though only Act IV of his Khovanschina seems to be available on video. Mahler: Symphony No 6 Lucerne Festival Orchestra, 2006 So many of Abbado's Mahler performances from the last decade of his life with the orchestra that he created are available on disc that choosing just one is very hard, but the focus and sense of wholeness of this account of the Sixth make it one of the very best. Beethoven: Symphony No 6 Berlin Philharmonic, 2000 All of Abbado's final Beethoven cycle with the Berlin Philharmonic was released on DVD, and this performance of the Pastoral Symphony is typical of its mixture of warmth and precision. Tchaikovsky: The Tempest Lucerne Festival orchestra, 2008 Though it's rarely mentioned, Abbado's Tchaikovsky was very fine, and as well as the symphonies and concertos he conducted some of the less familiar works too, like this rarely played symphonic fantasia, based on Shakespeare.
7 Artist Claudio Abbado Label Deutsche Grammophon Released 2002 Your purchase helps support NPR programming. How? iTunes
© Peter Fischli Biography Claudio Abbado, a visionary conductor Abbado's statement of intent has been borne out in a lifetime of revelatory performances and recordings. Familiar music, whether by Beethoven, Mussorgsky or Debussy, has been given fresh colour, clarity and rhythmic vitality, while neglected scores by Verdi, Rossini and others have taken their rightful place in the repertoire again. Anti-autocratic, profoundly human and supremely musical, Abbado has striven to place music within the wider artistic context as well as championing 20th-century figures from the giants of the Second Viennese School to the leading composers of modern Italy and making his personal exploration of the symphonic world of Mahler. Read more All videos related to Claudio Abbado (60)
BBC Radio 4 - Desert Island Discs, Claudio Abbado Roy Plomley's castaway is conductor Claudio Abbado. Favourite track: Kommt Ihr Tochter by Johann Sebastian Bach Book: Divine Comedy by Dante Alighieri Luxury: Writing materials Last on Ludwig van Beethoven Symphony No. 9 in D minor 'Choral' Orchestra: Berlin Philharmonic Orchestra Conductor: Wilhelm Furtwängler Claude Debussy Fêtes (from Nocturnes) Orchestra: Boston Symphony Orchestra Conductor: Pierre Monteux Castaway's Favourite Johann Sebastian Bach St Matthew Passion - Kommt, ihr Töchter Orchestra: Philharmonia Orchestra and Chorus Conductor: Otto Klemperer Franz Schubert String Quintet in C major Soloist: Issac Stern, Alexander Schneider, Milton Katims, Pablo Casals, Paul Tortelier Anton Bruckner Symphony No. 7 in E major Wolfgang Amadeus Mozart The Magic Flute Orchestra: Columbia Symphony Orchestra Conductor: Bruno Walter Gustav Mahler Symphony No. 9 in D major Orchestra: Vienna Philharmonic Orchestra Liebestod (from Tristan und Isolde) Soloist: Kirsten Flagstad Orchestra: Philharmonia Orchestra Book Choice Divine Comedy - Dante Alighieri Luxury Choice Show more / Show less Role Contributor Presenter Roy Plomley Interviewed Guest Claudio Abbado Archive 1976-1980 — Desert Island Discs Guests are invited to choose the eight records they would take to a desert island Eight Desert Island Discs to make you feel hopeful Eight castaways whose moving stories left us with a little more hope than we had before.