Actually, the Boy had to move to fresh air. But he just didn’t want to get up from the wing. In his parents ‘ living room he ploughed operas through piano reductions of Wagner. If the grandmother shoved because of the necessary oxygen supply, if necessary, when you open the patio door.
The classmate at the Gymnasium Steglitz, considered Christian Thielemann with mixed feelings: “I was regarded as a miracle animal, half as a leper,” he in his autobiography, “My life with Wagner”. And both have it identified nothing.
after high school, he can start as a rehearsal pianist at the Deutsche Oper, Easter 1980, he assisted Karajan in Salzburg, when “Parsifal”, in 1981 Barenboim at the “Tristan” in Bayreuth. According to the classic slog through the province, from Gelsenkirchen, Germany via Karlsruhe, Hannover and Düsseldorf Thielemann is at the age of 29 as chief conductor in Nuremberg, Germany. In 1997, he then returns triumphantly to his home town, as General music Director of the Deutsche Oper.
“Only a small upper Franconian town of son-in-law is persistent”, – stated in the autobiography, “and that irritated me.” In the summer of 2000, he can make his debut, finally, finally got to play at the Bayreuth festival. Quickly Christian Thielemann is there a defining actor, since 2015, he bears officially the title of “music Director of the festival”.
The enormous ripening process is listening to
it is Only in Bayreuth, so says the conductor, in retrospect, was he, as an artist, really grown up. Just because he loves Richard Wagner’s works unconditionally, because he has fallen for the music of the “ultimate master of the witch’s kitchen” with every fiber of his body. “In the conflict with my musical sense of the budget I have kidney learned to MRP. I had to suddenly plan, think ahead, couldn’t leave it to just the moment.“
Who listens to the recordings from the years 1995 to 2013, the Deutsche Grammophon, on the occasion of Thiel’s current 60. Birthday summarised in a Box with twenty-one CDs, can the enormous maturation process, discretion, the the conductor has passed through alcoholic self-taught. What was at first often a has developed to the highest championship.
Thielemann’s Wagner interpretations are sacrosanct, the scores he performs an ability that he calls “sound-intensity-direction”. With the Dresden Staatskapelle, which he directs, in the meantime, in the seventh season, he has drilled in the deep layers of the German romanticism. After intensive study with Brahms and Bruckner have turned to these symbiotic partners last Robert Schumann, and the Fantastic, the Poetic, and the depths of the Biedermeier period, as it is formulated by Thielemann. As a belated birthday gift, Sony brings out on Friday, the four Schumann symphonies, in a live recording from Tokyo’s Suntory Hall last autumn.
What is meant when the traditional German sound is geraunt, you can understand. The density and the compactness of the interplay are important factors, any sound, it seems, is born out of the ground. Every sound has weight because he is important. The Dresden Staatskapelle is one of the oldest orchestras in the world, and this long, glorious history resonates with in the game of musicians. In the Detail you like less maneuverable, less responsive as more modern, more busy scissors orchestras such as the Berliner Philharmoniker, and the conductor has to pump a lot of energy into the Ensemble, the collective push to a certain extent. If the Dresden state chapel, but in motion, it unfolds a stirring emphasis, succeed in grandiose arcs of tension, melodies particularly inspired finished, the instrument lists as well as of the voting groups.
No Maestro, and the Gestures impressed
Touching old-fashioned this approach to Music making. A common Pride, to cultivate the musical heritage of the cultural nation of Germany to be heard, with the utmost seriousness, the orchestra is approaching the monuments of the art of music. The concerts back quite well at times in the vicinity of art religious consecration celebrations. The Staatskapelle Dresden is ideally suited to Christian Thielemann, who is also a self-confessed Traditionalist, himself as a Kapellmeister defined, therefore, as a servant of the scores, and not as the Maestro, impressed by a Display of Aura or even his elaborate Gestures of choreography.
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Dresdner Philharmonic, Palace of culture instead of the Semper Opera house
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“such kind of attitude or allure, I think,” emphasizes Thielemann in an Interview printed in the Booklet of the Schumann-double-CD. “Conductors are not comparable with film actors, the wear on the canvas of an audience of millions by their appearance or Charisma. My body I have always used in the sense of the thing. Conductors will only be through your love of music aesthetic.“
