His British debut was conducting Berg's Wozzeck at the Edinburgh Festival in 1966. From 1968 to 1978 he was a conductor at the Bavarian State Opera in Munich.ĭuring this period he made notable guest appearances. From 1964 to 1966 he was a conductor at the Zürich Opera, then first conductor at the Württemberg State Theater in Stuttgart (1966-1968). He attained another répétiteur position in 1956 at the Deutsche Oper am Rhein in Düsseldorf and was promoted to conductor in 1958. He made his debut conducting Millöcker's Gasparone in Potsdam in 1954. Carlos settled in Europe in 1952 to become a repétiteur at the Theater am Gärtnerplatz in Munich. He was interested in music from an early age, despite opposition from his famous father, the conductor Erich Kleiber. The New York Times called him "the most venerated conductor since Arturo Toscanini." Carlos Kleiber was born in Berlin, but was raised in Argentina. Was one of the legendary conductors of his time, famous for his infrequent, but supreme interpretations of a limited repertory. It is wonderful to have these two legendary performances so expertly restored and placed together on one disc for the first time. Freshly refurbished, this Kleiber Seventh would go right to the top of my short list of recommendable Sevenths. Great recordings of the Seventh, greatly played and greatly conducted, but with first and second violins divided left and right, are as rare as gold-dust. In some ways this is a more important document than the famous Fifth. What the Original-Image Bit-Processing has done to it, I wouldn't begin to know, but the result is a performance of genius that now speaks to us freely and openly for the first time. What, though, of the Seventh Symphony, an equally distinguished performance though always perceptibly greyer-sounding on LP, and on CD? Well, it too is superb.
The recording of the Fifth, always very fine, comes up superbly in the new transfer. (Early Klemperer, that is: the Klemperer of the famous 1956 Philharmonia Fifth or his even earlier Vox recording-5/93, nla-of which The Record Guide-Collins: 1955-wrote, 'Klemperer treats the work as if he had just discovered its greatness.') I had forgotten, for instance, how steady-Klemperer-like, almost-the Scherzo and finale are. The performance doesn't stale, though it is the first movement that stays most vividly in the memory. There is, after all, more than a hint of triplet-rhythm in Carlos Kleiber's conducting of the opening motto, a point-eagerly seized on by some German reviewers-which I had omitted to mention in my 1, 000-word encomium. In Germany, they would probably have spiked the review. I still remember the sinking feeling I experienced-a mere tiro reviewer on Gramophone-when I dropped into the post-box my 1, 000-word rave review (they had asked for 200) of what struck me as being one of the most articulate and incandescent Beethoven Fifths I had ever heard. Among other things, he had recorded a famous Beethoven Fifth in 1953 (Decca, 9/87-nla).
It is interesting to reflect that in 1974 there was not a single entry under the name 'Kleiber, Carlos' in The Gramophone Classical Record Catalogue.'Kleiber, Erich': certainly.
5 & 7 from 1976 performance of Carlos Kleiber directing the Wiener Philharmoniker. The legendary recording of the Beethoven Symphonies Nos.
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