Carlos Kleiber in Agony
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- Опубликовано: 30 сен 2024
- Enigmatic conductor Carlos Kleiber considers killing himself during a less-than-perfect performance of Der Rosenkavalier. Nevertheless, he fails to miss a beat.
Wiener Staatsoper, 1994
andres.soto.composer 
Видеоклипы
I love it how the lady in the second row seems to be having the time of her life.
Yes. Unlike Kleiber, she is highly amused.
🙃
Notice the lady in the second row on the left being pretty amused by the situation ... as Kleiber mimics the « plunging knife » she starts chuckling ...
Probably she heard him talking...
Or she heard the results 🤷.
@@gaetanomariapiscopo5637,
sie sieht ihn ja nur von hinten.
Yeah, and?
@@Blaze05100 Nice!
I attended an under-rehearsed performance of Messiah where the conductor had to contend with half the orchestra playing "Rejoice greatly" in 6/8 and the other half in 4/4. It was only the pained expression of the soloist ("Shall I split the difference and sing in 5/4?", her eyes seemed to be asking) that convinced the conductor to give up and start again.
It does my heart good that someone on Kleiber's left in the audience actually noticed that. =)
Don't worry, we've all been there, Carlos.
I love it when he stabs his heart! What a Drama Queen !
It means they messed up really bad, idk about the drama part
It's so amazing that he can still conduct with his baton while he's having a conversation with one instrument player
"instrument player" = "musician" fyi.
@@cloudambient language is arbitrary and changes constantly as it is shuffled between changing cultures and societies. The combination of symbols that make up a word have no intrinsic association with the object they are referring to, FYI
@@rossmerchant8435 Cool story bro. An instrument player is called a musician. K?
@@rossmerchant8435 You're gastronomological red. Seeing the hiccup being flibberty rouse soup. The goose in Nantucket is sloob and makes you greediness for #, FYI.
@@andyneem5066 Exactly. We were able to understand what the OP meant even if they didn't use the "correct" term. Your post is gibberish. Doesn't matter what words you use, as long as you're able to convey the meaning you intended
@about :32 he stabs himself in the heart! At least he kept going. He walked out of a rehearsal with the CSO and went straight to the airport.
I've heard about this, but not exactly sure of the incident. Do you happen to know what happened?
He's like dude what are you guys doing lol
I think he's more like "dude, this is just breathtaking! I love my job."
Yeah, like, man, dude, like yur right, dude, man, like thats such a cool way of presenting yourself verbally in public, dude, like lol so articulate, like wow.
@@plekkchand LOL.
so, Kurt Moll is lightly anticipating the beat at 232 ("verjuengt"), but I don't understand why this disappoints Kleiber that much. On the other hand, what happens at 233, with the chorus of Ochs' servants being late an entire beat for two whole bars, is a true nightmare.
I wanted to understand what went wrong and now I kind of do and agree with you. The chorus is way off and seems like Kleiber adapts to them right after... (I compared to ruclips.net/video/3D7abQTy71I/видео.html at around 2:04:15). But what I don't understand after comparison is Kleiber has a somewhat lengthy drag when rapidly swiping/wrapping (sorry I'm not just an average Joe) and strings also seem to be confused and have gone off beat, no?
In fact Moll is anticipating the first "enflamiert", not "verjüngt". But the real problem here is the Ochs Servants who are completely out of rythm, and Kleiber is doing big gestures to out the orchestra back with the singers. At the third bar of the chorus they are back together ("wart dich hau' i' z'samm") He is in agony because they did the same 2 minutes before
@@arrau08 yes, I have the feeling that he tries to do the first thing that comes to his mind, with a sudden stop on the upbeat, but it's working only with the chorus, cause they waited for Kleiber beat, the orchestra didn't. Of course it's such a stressful moment that it's really unfair to judge Kleiber, but I think he was neither clear in what he was doing (waiting for the chorus an extra beat), neither clever in choosing this solution.
ruclips.net/video/yPK0Vn-oHiY/видео.html here, at 20:14 he has the same problem just few bars before, still with the chorus (4 bars before 228), but also here I think what Kleiber tries to do to "put the stuff together" is not working and not very clear
@@etienne186f after a better look, Moll's mistake was that Ochs' "was mich so" should be right after the horns, not together
The poor man, he is just suffering ;) the lady in the 2nd row is enjoying :D
I heard Kleiber conduct Der Rosenkavalier at the Met (a pirated recording of one of those performances is available). He wasn't in agony, he seemed quite pleased, as was the audience.
Those Met Rosenkavaliers were joyful. I played the stage band and stayed to watch him conduct 4 of the performances, twice on backstage monitors, once in the hall, and once from the organ bench in the pit. He brought his own parts, intricately marked for dynamics. I can truthfully say that the orchestra has never played better. It was magic. Please see the video of the 3rd Act from the Vienna production: ruclips.net/video/A9di4OoE7FE/видео.html
met orchestra is better than staatsoper
@@たぼもちやんこ not really
@@たぼもちやんこ not really AT ALL
Hearing Kurt Moll is always a pleasure
Ich habe den Meister der Dirigenten noch nie so aus der Fassung erlebt. Er ist ja nahezu dabei, aus dem Graben zu springen und es selbst zu singen ...
Einmal in Japan hat er wirklich gesungen einen ganzen Akt (bei der Probe). Er bekam grosses Applaus vom Orchester und Chor.
@@shonnyno gibt es eigentlich eine Aufnahme?
@@esejsnake1503 sehr sehr unwahrscheinlich. Ein mitwirkender Saenger berichtete davon.
arogance @ its finest
Kurt Moll as Baron Ochs.
Not a single person in my beloved hillbilly family tree would have any idea that something was off. We'rz a learnin tho!
I absolutely adore Maestro Kleiber 😆
0:30 to 0:36. Dude, i never learned the thecnical side of music, but the orchestra and the singers are so cleary out of synchrony, the tempos are so discrepant that everyone on that theater should be dying too xD
Heard a performance of "Tristan" at Bayreuth many years ago conducted by Kleiber. I still have the program.
Love Kleiber's 1974 bayreuth Tristan.
AMAZING KLEIBER conducting the whole Rosenkavalier from memory
He always did. Kleiber's score knowledge was profound.
the music is not that hard to memorize, I did it. this ain't no gotterdammerung.
It must be hard to be so clear and still singers get lost.
Who came here from Two Set Violin?
Meeee ahahaha
Not me
me
@@illyaismaili6413 Definitely not me.
What's toothsex violins btw ?
Robinson Matthew Jackson Margaret Taylor Elizabeth
The best conductor, ever. Hands down.
I was at this performance and remember that Ochs’s lackeys were slovenly but not just in the way that Strauss and Hoffmansthal intended. I was also a little disappointed by Kurt Moll, but that was related to the - imho - unsubtle way that Ochs was portrayed by Otto Schenk’s production. I prefer to remember Moll for his incomparable Gurnemanz at Covent Garden, which is happily preserved in Karajan’s recording. The greatest bass I ever heard, RIP.
Yes, he was the greatest. Heard him in many roles onstage but unfortunately not Ochs.
I don't agree, if you don't mind. I absolutely love the way this performance portrayed the character of the baron, taking seriously his name, actually. He is unsubtle indeed. According to this concept his nastyness is not merely strongly contradictionary with his 'courtesy' , but also gives more reason to the happenings of the second act in general. And of course, I adore Kurt Moll's whole performance - also the incomparable glissandos of the orchestra, but first of all Kleiber...
@@RegE1974 Thanks for that, I shall watch the DVD again with fresh eyes.
I get like that listening to Der Rosenkavalier.
grande signore del podio
This is from Strauss Der Rosenkavalier Act 2, Da lieg'ich
Kleiber fenomeno assoluto:anche in questo!
Poor Carlos!
ahahah Kleiber!
This is AMAZING!
This is hilarious. The pit must've been chuckling (I feel bad for the winds and horns). LOL
Non ho capito cosa egli fails? Qualora si trattasse dei Wiener 1994 allora sappiate che al suo medico curante disse che questa interpretazione è risultata a suo giudizio insuperabile e "echt wienerisch" fino al più piccolo "zweiunddreissigstel". Non a caso (come accadde per Boheme con La Scala in Japan) dopo questo non diresse mai più Rosenkavalier.
Ho appena postato il mio commento. Non si tratta della recita del 1994 che io ritengo sia "di riferimento" anche se il finale in forma di concerto con la direzione di Abbado e con Renee Fleming, Frederica von Stade, Kathleen Battle è insuperabile. Kleiber era di una eccentricità estrema. Noto ai melomeni fu il grande litigio a Milano perché voleva far cantare Domingo alle otto di mattina. Il tenore rinunciò alle recite.
Ciao, ho controllato sul DVD "pirata": trattasi del 1994, non so quale
recita (magari non quella ripresa dalla ORF per la Deutsche Gramm.). Pare
che Kleiber sia assai deluso perché il tenorino (ce l'ha con lui) fa di
testa sua, indi l'impareggiabile Berlinese (in realtà Viennese, non conta il
luogo di nascita) - massimo interprete dell'ironia socratica, essere
contemporaneamente dentro e fuori - esce dall'estasi e non si fa scrupoli a
sfogarsi col primo che capita (il Konzertmeister) sul fatto di ..."non
capire", ma NON come interpreta infelicemente il proprietario del canale
(che evidentemente non sa chi sia Kleiber) di "non capire un punto della
partitura" (non capiva un punto della partitura di Manon Lescaut IV, per
questo nell'intera sua vita non osò dirigerla, pur amandola; figurarsi se
Egli dirige un'opera in cui un punto gli era rimasto oscuro!!!) bensì di
"non capire" sto tenorino stupidino, come dire "ma guarda sta testa di rapa,
e pure dopo tante prove e dopo le mie raccomandazioni...non capisco, non
capisco davvero come si possa essere così antimusicali! dimmi tu
Konzertmeister ché io non capisco prorpio". Il suo medico rivelerà che
attorno al 2000 (prima di decidere di non toccare mai più la bacchetta) Egli
aveva in mente un cantante assai particolare nel ruolo del tenorino, e
doveva essere gay. Insomma ci teneva molto a questo ruolo del tenorino
italiano e aveva in mente qualcuno in particolare che mai sapremo.
Diciamo un eccentrico meticolosissimo e puntiglioso, progettava tutto nel
dettaglio ma adorava anche "correre richi", altrimenti si annoiava.
Curiosità pedantesca: assieme a Boehm e Sawallisch è l'unico direttore (non
so dire di Toscanini per mancanza di viventi che suonarono con lui!) e saper
rispondere alle domande traboccheto dei cornisti; essi usavano (spero lo
facciano ancora!) mettere alla prova il direttore simulando dubbi sulla
partitura e chiedendo "scusi in questo punto che nota devo suonare io?".
Ebbene i direttori citati furiono gli unici a rispondere giusto, mentre
tutti gli altri celebri al massimo rispondevano in suoni reali, cioè che al
cornista non frega minimamente. Insomma uno che sapeva ragionare come
ragionano i cornisti, e non è poco. Fulminante il Donauwalzer (Capodanno
1992, anche se io sceglio il Donauwalzer 1989) in cui applica il suo
istinto: alle ortiche la tecnica (parole sante!) e via di divertimento;
inquesto caso tale improvvisazione ha creato scompiglio tra gli strumentini
ed egli un secondo dopo (ripetizione) cambia modo di dirigere diventando più
scolastico. Io lo osservo sempre alla moviola e a raffica Kleiber, fino a
mandare in crash il player perché ho necessità di fargli la radiografia. Non
sarà casuale anche che il suo Fledermaus 1989 (Capodanno) fu definitivo, per
tutti (lasciamo stare la tosse del pubblico e la sbavatura dei Primi,
mitigata dagli ingegneri Sony, live è live): era il brano d'obbligo tutti
gli anni precedenti per qualsiasi direttore; dopo di lui hanno attesto 13
anni preima di proporre, per non rischiare il confronto. Peccato che nessuno
(nessuno) si sia mai ispirato a lui, non dico clonarlo, ma almeno non fare
l'opposto di lui. Fortunatamente in qualche caso rifiutò le edizioni
critiche (alcune sono penose), ben sapendo che edizione critica non
significa edizione giusta come volle il compositore. Del resto i filologi
tedeschi hanno commesso tantissime falsificazioni al solo scopo di avere
sempre ragione, e non solo in musica. Per tutta la vita ebbe (ingiustamente)
soggezione di Karajan, meno male che quando si recò a lezione in quel di
Anif per studiare Elektra fu Karajan a ringraziare lui; ma niente da fare,
nonstante gli assegni in bianco (scriva lei la somma desiderata!) mai salì
sul podio del Festspielhaus, mostrando anche umiltà. Chissà quanto Kleiber
ci fosse nella Goetterdaemmerung di Muti alla Scala, so che gli chiese lumi
(come del resato per il Capodanno 2004), ma non so fino a che punto.
Eccentrico nel senso che dedicava una settimane intere per scegliere la
campana che doveva ricordare "quella di chiesette croate" mentre dedicava
due secondi per pretendere l'accelerando nell'incipit di Fledermaus
comportante enormi virtuosismi dei Primi e degli Oboi. Riguardo Boheme e la
lite (forse anche fisica) con Bruson non sapremo mai niente; l'unica
testimone fu la Freni ma non aprì mai bocca. A dire il vero Bruson (che
certo non ha peli sulla lingua) non ha mai fatto cenno, mai, forse si
sentiva in torto. E tanti begli aneddoti quando incontrai Giombi che
ammirava Kleiber con la giusta devozione e partecipò con lui alla tournee in
Giappone. Peccato non esista la registrazione proprio della recita che
Kleiber reputò insuperabile e infatti non diresse mai più Boheme; io ho la
VHS di NHK in Giappone ma non di questa specifica recita credo Yokohama,
peccato. E pensare che adesso i direttori dirigono davanti allo
specchio...ma non per vanità uhhhh giammai...per "affinare la tecnica". Per
questo non seguo più l'opera ed anche perché non mi interessa minimamente le
interpretazioni dei registi: io voglio vedere esattamente quello che Wagner
voleva ci ofsse sul palco, non Brunilde sulla sedia del dentista. Per adesso
mi occupo di musica greca e dei sorprendenti ritmi macedoni che mi lasciano
senza fiato, pazzeschi, al confronto Stravinsky pare un apprendista,
spaventoso dico solo. Scusa questi pensieri in libertà (con youtube che non
mi funziona da due settimane, devo andare col telefono di mio papà, misteri
informatici), sarà la quarantena che mi fa scrivere. PS: Chissà se sentirò
prima o poi tutti i CORNI del Tristano come li intendeva Wagner??? io credo
mai! chissà quanto era differente ciò che il Lipsiense aveva
concepito...sicuramente corni a valvole ma con diteggiatura intesa non come
diteggiatura dei singoli suoni ma come ritorte virtuali, quindi suonato come
corno naturale "vero", incredibile; chissà che suoni lugubri e spaventosi ed
inquietanti! mai li sentiremo, nessuno conosce questa tecnica. Wagner stesso
nell'Anello cambiò stile di scrittura per i corni. Inoltre il flauto in
metallo va cestinato, Wagner lo odiava, preferiva in legno pur con chiavi
metalliche...ecco Kleiber non va considerato filologo, accetta ciò che gli
offre l'orchestra; oggi però sembra che per essere direttori filologi basti
cestinare la tuba e comprare un cimbasso e sei verdiano! No no, io non metto
piede in teatro. Solo ad una prova ero presente, attaccato alla balaustra
che divide platea da orchestra, niente di niente, nessuna "vibrazione",
tutti burocrati ormai; solo l'arpa mi è piaciuta, una magia perché pur
vedendola non capivo da dove provenisse il suono, bello! Poi ho criticato
Chailly (dicembre 2019 Tosca) e devo dire che la sua assistente
(collaboratore al pianoforte)...non mi ha dato torto (!), pur
obbligatoriamente diplomatica, ma neanche ricordo ciò che ho detto; ho
scritto anche al curatore dell'edizione critica evidenziando qualche punto
inaccettabile (credo relativo alle famose campane) e conservo ancora la
risposta sconcertante tipo "oh non ci ho mai fatto caso, lei è andato molto
in profondità, ma in vista della ritampa approfondirò". Robe da matti. Be'
certo in profondità: con Google Maps ho confrontato la posizione cioè la
distanza delle chiese con la dinamica di Puccini e.....concludo con biasimo
verso i Wiener, ma considerata l'ora non lo motivo (biasimo sulla fiducia
haha), diciamo che rispetto i Wiener che ora sono in pensione o al
camposanto. Ma come si permettono di prenderci in giro con la Radetzky???
pensino a studiare il loro inno (Donauwalzwer) che è da anni che lo
deturpano da tanto sono distratti uff....eh niente se sei impegnato a
monetizzare non c'è tempo per altro. E lasciamo stare l'audio e la
tecnologia moderna oscena: pensavo fosse colpa della Rai, invece da Orf ho
recuperato concerti del passato, stesse musiche, stessa strumentazione, e
lì...si sente tutto! da anni orami a Vienna succede come a Sanremo: vedi
suonare uno strumento e non lo senti; poi protesti e scopri che il suono
passa attraverso una sessantina di filtri. Ah gli ingegneri del suono della
Columbia Records degli anni 50: loro sì che mi facevano sentire tutto. Bon
dopo queste invettive sparisco.
@@shonnyno lamadonna
0:34 😂😂😂
0:34 - someone kill me...... X_X LMAO!!!!
LOL great video of the Maestrissimo!
My reaction to the Rosenkavalier exactly. I did consider ending my life halfway having to sit through it. Richard Strauss had no mercy for mankind.
CARLOS KLEIBER...EL MAS GRANDE DE TODOS. UN.GENIO.
Singers being singers. ☕️
We've all been there, dear maestro.
The uploader has absolutely no idea what he is talking about.
どうしてこんなに美しいの。唖然。
Sounds like Kurt Moll as Ochs
Da lag er...
No fall ! That 's like SPECIAL sitting--step...
Genius, under-appreciated conductor.
Never under-appreciated, quite the contrary, adored, I would say.
00:33 :))))
😂😂😂 stupendo!
😂
Unprofessional diva given his behaviour. A lot of praise for him here but overrated given his little career output.
Great clip. Every clip I've always seen of him, he's either serene/composed or smiling. Does anyone know what he was specifically upset about? Was it the orchestra, the singing, or pacing?
It looks as if he's wincing at the singer, who sounds off and is not paying attention to Kleiber's direction. The singer never catches on and is out of sync.
Yep, that video displays Kleiber's real attitude and passion.
He always wanted to get it right, or even better than right, he wanted it to be perfect, thus he didnt conduct relaitvely much, especially in nineties. He was aware of music in a such extraordinary way, such a perfectionist! Perhaps he was too aware of music, in a way.
thank you both - great answers
Watch Maestro’s downbeat at 0:27. The orchestra comes in way before it.
It was pretty much falling apart. The singer and the orchestra weren't together, the various sections of the orchestra weren't in sync, nobody was following Kleiber's lead. These things happen now and then... but Kleiber's standards were extremely high, and he took it personally if the music wasn't up to par. You can see him wondering whether to shout out at the top of his lungs "ONE...TWO...THREE...FOUR".
But this was just an isolated rough night. The Vienna State Opera was (and is) one of the top companies and was a favorite of CK's; Rosenkavalier was an opera he had conducted a hundred times or more; and Kurt Moll was a soloist he had worked with countless times. This was near the end of his career as an active conductor -- from the mid-90s on he conducted only on rare special occasions.
Kleiber was perhaps one of those perfectionist Aspergers. No offence meant, he was a brilliant conductor.
Lazy observation to declare the maestro autistic. More and more people unable to observe genuine genius without resorting to an aspergers diagnosis.
They were very uncoordinated the singer and the orchestra
What was he saying at 0:38 ?
Uknatun it's difficult for me, but "Ich verstehe das nicht, ich versteh das einfach nicht" ( I don't understand, I just don't understand.) is said by Kleiber.
Nice, thank you for interpreting that for me.
🤣
Der Rossen kavalier ohhh
I suppose, maestro Cleiber did not want to go on the stage after the performance that night.
He was so dissatisfied with the set of Rosenkavaliers in Vienna and in the upcoming Japanese tour that he never conducted the Vienna Philharmonic or their State Opera again, despite invitations from them every year until his passing. He also never conducted this opera again. An opera which he conducted over 130 times.
I love this man the greatest Ever
Selten so gelacht.
das ist wirklich unfair, was der Kleiber da gemacht hat. Wenn's nicht läuft, sollte man es mit Fassung tragen, und die Leute auf der Bühne nicht noch mehr verunsichern.
Nein, das ist ein falsches Urteil, Sie kennen Carlos Kleiber, das lässt sich aus diesen Sätzen entnehmen, viel zu schlecht, um das beurteilen zu können!
klar, ich kenn ihn nicht nur schlecht, sondern überhaupt nicht. Mir missfällt nur, was ich da sehe....
Was ich von Kleiber höre an Aufnahmen, finde ich nur teilweise gut (Richard Strauss ja, Johann Strauß nein).Kleiber war wirklich genial darin, alles, was er dirgierte, mit so einer zerbrechlichen Kristallaura zu überziehen. Bei manchmer Musik passt das brillant, bei anderer gar nicht. Vielleicht kein Zufall, dass er am Ende nur noch ein sehr eingeschränktes Repertoire hatte. Ich glaube, dass sich die Aura, die ihn umgibt, verselbständigt und es Menschen gibt, die einfach alles an ihm überhöhen, weil es ein grundsätzliches Identifikationsbedürfnis gibt (Halo-Effekt), und man dann zwischen den Eingeweihten und denen, die nicht verstehen, unterscheidet. Ist ein generelles Merkmal am "Klassik"-Betrieb. Leider - weil die Musik bei so einer (elitären?) Grundhaltung auf der Strecke bleibt.
Sie sollten sich, bevor Sie hier so ahnungslos und teils wirklich nur dumm, rumquatschen, mit Kleiber und vor allem mit dem Rosenkavalier beschäftigen. So wüssten Sie nämlich, dass dies eine Passage ist, bei der der Sänger den Dirigenten nicht sehen kann, Kleiber so also "unbeobachtet" verzweifelt.
Weiterhin lese ich aus Ihrer Antwort, dass Sie mehr als nur ahnungslos sind.
"Ahnungslos", "dumm", "rumquatschen", "mehr also nur ahnungslos"..genau das meine ich. Die andere Seite von Identifikation ist Gehässigkeit.
Wissen Sie, Sie müssen Kleiber weder mögen, noch verstehen, doch dann sollten Sie sich diese Videos nicht anschauen. Kleiber wurde nicht umsonst zum "Beliebtesten Dirigenten aller Zeiten" gewählt ... Von seinen Kollegen und die werden sicher mehr Ahnung haben, als Sie.
Where is this footage from?
Wiener Staatsoper
pobre cito Carlos !!! just try to get to the after party ASAP
His interpretations are incredible, but if I was singing on that stage I would have found it immensely off putting.
@@santiagobenitez1388
Did he ever say he would be? If he thought he was all that great, he wouldn't commented that. He would be singing in Vienna right now, so it's none of your place to say what he will be.
@@sageobrien6776 you literally said what i said but without being snarky. So. I deleated my comment. But you still get the point, if he was indeed a great singer, he would not have said that lol.
@@pisceas🤙🏻
Brilliant! The one and only Kleiber.
SHINZOU WO SASAGEYO!
I've heard more satisfying ice cream jingles than the tedious cacophony this guy's inflicting on his bemused listeners.
I love his conducting, but that kind of destructive behaviour is just a complete no-go for me when you're performing and especially if you're conducting goddamnit!
Truly one of the most weird, bizarre conductors of all time, with a technique that nobody can follow...completely nebulous...horrible. Did he even conduct anything out of the early 19th century...even like Mahler, Bruckner, or R. Strauss? Really, a horrible conductor. How did he even ever get a job? really...?
He is actually the no. 1 best Conducter ever. Google it! Yes he Conducted with the Wiener Philharmonic Strauss Rosenkavalier.
Kid, this opera is composed by Strauss
This is a very clever made fake video. If one look closely one sees that Kleiber is projected in the film of the audience. The public is sitting to close to Kleiber not to notice his behaviour....
That is absolutely hilarious!
Rosenkavalier is a long, complex opera. I’m not sure Kleiber’s up to it. It ain’t gonna be perfect!
He made it look so easy....
I would walk off
what's this?
So This is what Chancellor Palpatine did in his spare time?
No worries, the music is dull, even if played and sung well. HOW DARE I! Well, it is. Or not even music. It is babbling. Parlando, they may say. Whatever.
This opera does have some dull sections; but it also has some of the most meltingly beautiful music in existence.
Not to me it's not. One of the most beautiful operas ever written imo
One of the best operas ever written.
Didn't Kleiber rehearse this work? Because he had the power to protest those who were not up to the party. Once on the podium you have to suffer if you sing out of time or unprofessionally but don't express it so openly.
the success of orchestral concerts is pretty much assured by good rehearsals but with opera more can go wrong so luck comes into play. Nathalie Stutzmann compared it to driving a bad car compared to a Rolls Royce. You have to be super attentive super flexible reacting to emergencies
rehearsals with the orchestra are usually enough for a great conductor like Kleiber to eliminate problems of "attack" of the instruments. In general, orchestral players don't make any solfeggio mistake. The singers, on the other hand, yes and the rehearsals aren't enough to correct them. In the end the conductor has to ignore them. It is understandable that Kleiber expresses his disapproval. It is surprising that on stage there's a prominent name like that of Kurt Moll
this just happened one night, if you see the complete video recording from wiener staatsoper this same point of the opera on a different night was perfect
Unlike people from the orchestra, singers are singing by heart and they also have a lot of additional tasks at hand - moving, interacting with partners etc. Yes, sometimes singers might come in too early or too late. What's surprising is that Kleiber is not cueing the singers at all here, only being irritated at their mistakes... No wonder they don't come in on time if nobody is giving the cues, this is complicated music, and you need to have support from the conductor. Performance is certainly not the time to facepalm.
It all seems so stupid now to me. People would be happy just to perform. Nonessential.
Very understandable reaction😅 That singing is aweful😂😂😂