Carlo maria giulini biografia
His Verdi, from La Traviata in with Callas, a performance phrased with such naturalness and intelligence, through to an unusually powerful, though often persuasive live Rigoletto with a young Pavarotti, and Falstaff , languidly, and beautifully conducted in , all testify to an opera conductor of unusual sensitivity and gifts. Giulini may well have been the most gifted Italian conductor of Italian opera in the twentieth century, but given the clarity of time it is arguable that the greatest conductor of Italian opera was an Austrian, Herbert von Karajan.
Carlos kleiber
Opening every subscription season with the Philharmonia Orchestra for some years with performances of the work, they became legendary events. Until recently, his magnificent studio recording with an almost impossibly distinguished line-up of soloists, seemed unassailable. But over the past couple of years, a number of BBC performances have been issued which reveal even greater authority and distinction.
They remain probably his greatest recorded legacy, amongst the most vital performances to have ever been committed to disc. Giulini the man was a beguiling figure. This kind of affection was universal. It was frequently said that Giulini had no enemies and perhaps because he had trained as a viola player and played under conductors such as Strauss, Toscanini, Klemperer and Walter his empathy with orchestral players was almost unanimously positive and instructive.
Carlo maria giulini discography
If he had one problem as a conductor it was that his downbeat was almost unrecognizable; and yet, orchestras followed him preternaturally. In return, orchestras gave their best to him. And in an age when conductors are paid massive fees, for often second-rate performances, Giulini was almost embarrassed to accept payment.
For him, music was something that he loved making; it was up to his astute wife to ensure that Giulini received what he deserved, especially in Los Angeles, which he left only when his wife fell ill. The simplicity of his life, an almost cloistered one, which involved extended breaks during his musical year to indulge in his passions of walking, reading and travel, recalls that of another great conductor, Carlos Kleiber.
Four years later he was involved in the founding of the Milan Radio Orchestra, working with them from to , as well as with the RAI's Rome orchestra. Although Giulini conducted La traviata for Italian radio in , [ 1 ] he conducted his first staged opera in in Bergamo. It was La traviata and he returned the following year, this time with Maria Callas and Renata Tebaldi alternating in the role of Violetta.
His work in Bergamo came to the attention of Arturo Toscanini , who asked to meet the young conductor, and the two men formed a deep bond. Toscanini recommended Giulini for the musical directorship at La Scala ; Giulini had also won the attention and support of Victor de Sabata , the principal conductor of La Scala, who engaged him as his assistant.
Giulini conducted his first opera at La Scala, Falla 's La vida breve , in February [ 7 ] and succeeded De Sabata as its music director in after a heart attack caused the older man to leave the position. It was at this period that Giulini was first able to work with colleagues who shared his views about the relationship of music and the stage in opera, and the results were spectacular: the Traviata , originally scheduled for four performances in , had to be allotted another 17 in the following season.
Though highly admired, he resigned after members of the audience jeered Maria Callas during a run of operas from 16 February to 27 April In , Giulini conducted a highly acclaimed production of Verdi 's Don Carlos at the Royal Opera House , Covent Garden directed by Visconti , [ 1 ] where it was also noted that "what emerged under Giulini's baton was a consistent, convincing masterpiece of astonishing power and lyrical tension.
Almost without exception from then on, he concentrated on orchestral works. As illustrated, his relationships with opera managements were not always of the best: The Telegraph reported that "he rebelled against the decor and production of a Don Giovanni at the Edinburgh Festival , conducting it with a minimum of scenery; and in , after a production of Mozart's The Marriage of Figaro in Rome, he became so disenchanted with the management of opera that he was not seen in an opera house for 14 years.
Carlo Maria Giulini - Wikipedia
The New York Times summed up Giulini's approach to working in the area of operas as follows:. By the late s, Mr. Giulini had grown disheartened with working in opera houses, where he said he had to contend with insufficient rehearsal time, musically obtuse directors and too many singers interested more in jet-setting international careers than in substantive work.
He restricted his appearances, and even the Metropolitan Opera was never able to engage him. Giulini expanded his repertoire at a careful pace, not conducting the symphonies of Mozart and Beethoven until the s. During the s, he was in great demand as a guest conductor of leading orchestras around the world, and made numerous well-received recordings with the Philharmonia Orchestra of London and several others.
In he had made his American debut with the Chicago Symphony Orchestra , leading to a year association with the orchestra; he was its Principal Guest Conductor from to , although he continued to appear with them regularly until 18 March In addition to his role in Chicago, he was music director of the Vienna Symphony from to From to , he served as principal conductor and music director of the Los Angeles Philharmonic , launching his tenure there with performances of Beethoven 's 9th Symphony.
In he returned once more to opera, conducting a widely acclaimed production of Verdi's Falstaff with the Los Angeles Philharmonic.
Item 1 of 1: Carlo Maria Giulini Cavaliere di Gran Croce OMRI (Italian pronunciation: [ˈkarlo maˈriːa dʒuˈliːni]; 9 May – 14 June ) was an Italian conductor. From the age of five, when he began to play the violin, Giulini's musical education was expanded when he began to study at Italy's foremost conservatory, the Conservatorio Santa.
Overall, his impact on the musical world of the mid-to-late 20th century is summed up by Anthony Tommasini in his New York Times obituary of Far from being an autocratic conductor or a kinetic dynamo of the podium, Mr. Giulini was a probing musician who achieved results by projecting serene authority and providing a model of selfless devotion to the score.
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Discografia parziale [ modifica modifica wikitesto ]. Onorificenze [ modifica modifica wikitesto ]. Cavaliere di gran croce dell'Ordine al merito della Repubblica italiana. Nel la sua ultima registrazione operistica con la RAI di Milano, un Barbiere di Siviglia filmato in studio da Franco Enriquez, fu il primo melodramma integralmente trasmesso dalla televisione italiana.
Carlo maria giulini biografia
Altrettanto significative furono le sue presenze al Maggio fiorentino per le prime riproposte moderne della Didone di Francesco Cavalli , del Don Sebastiano di Donizetti e degli Abenceragi di Luigi Cherubini , come per Euryanthe e Il franco cacciatore di Weber. I funerali si tennero tre giorni dopo in forma privata a Bolzano; fu sepolto nel cimitero di Oltrisarco.
In oltre mezzo secolo di carriera Carlo Maria Giulini fu soprattutto un direttore di musica sinfonica. Indimenticabili furono le collaborazioni con celebri solisti, fra le quali quella del a Milano con Vladimir Horowitz nel Concerto per pianoforte K ; ma come interprete mozartiano fu apprezzato soprattutto nelle Nozze di Figaro e nel Don Giovanni. Jacobson, C.