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Carlos Kleiber 1966年、エジンバラ音楽祭の「ヴォツェック」

1966年、シュトゥットガルトで 「ヴォツェック」を指揮したクライバーは、その年のエジンバラ音楽祭にシュトゥットガルトの歌劇場とともに参加します。

8月27日の1回目の公演は大好評だったようですが、9月3日の最後の2回目の公演はキャンセルします。

Edinburgh Fest Book
Eileen Miller : "The Edinburgh International Festival 1947-1996" , Scolar Press , 1996. (ISBN 1-85928-153-2)

エジンバラ音楽祭についての本 "Edinburgh International Festival 1947-1996" には以下の記述があります。以下、同書pp.67-68からの引用です。

The young Carlos Kleiber (whose father, Erich, had conducted the premiere in 1925) won great critical acclaim for his first conducting of Wozzeck, in which he used his father's notes, but Edinburgh was destined to see only one performance. A capacity audience was assembled in the King's Theatre eagerly awaiting the rise of the curtain for the second and final performance when it was announced that there would be a short delay as the conductor was unwell. Half an hour later there was another more devastating Intimation that, as there was no other conductor available, there would be no performance. Diamond* had been informed at 4.30 p.m. that Kleiber was ill and although a doctor was summoned he felt too ill to conduct. It was too late to fly in another conductor from Stuttgart and only conductor available in Edinburgh who knew the score was the Director of the company, Ferdinand Leitner. Despite fervent pleas from Diamond he refused to take over with the excuse that he did not have his own score, but there was little doubt that his refusal had more to do with professional jealousy. Later the Company made a payment of 2,250 ? to the Society in compensation for the lost performance.

補足説明
* : Diamond Peter Diamond 当時のエジンバラ音楽祭の監督(1966-1972)

突然のキャンセルで、代わりの指揮者も見つからず公演は中止。その後の活動の中で同じようなことがありますが、この場合は上記の文章を読む限り本当に病気だったようです。

(以下 2007年1月11日 追記)
と書いていますが、亡くなった後に、スコットランドの新聞のサイト "The Herald" (2004年8月2日付け)に、エジンバラ在住の評論家、Conrad Wilson が追悼記事に以下のように書いています。

The first performance had passed without incident. But on the day of the second performance, a week later, Kleiber secretly flew out, leaving singers, orchestra and a large audience to fend for themselves in a conductorless Diamand's contingency plan seemed doomed. Leitner, it turned out, had no intention of deputising for a junior conductor. Could someone else be recruited in time?

It so happened that Walter Susskind, who knew Berg's complex score by heart, had flown in for a concert with the National Youth Orchestra of Canada just as Kleiber's plane was taking off. If Alexander Gibson could be persuaded, at the last minute, to take over Susskind's concert, the evening could be saved. But Gibson was not at home ?? he was sitting in the King's Theatre, along with everyone else who cared about the opera, waiting to hear Kleiber conduct Wozzeck.

As Edinburgh's resident music critic, I received a letter two days later from Ruth Kleiber, the conductor's mother, explaining his maverick departure. He had been unhappy, she said, with Gunther Rennert's production, with the decision to cast a tenor, Gerhard Stolze, in the baritone title role, and with Stolze's insistence that the unsuitable Irmgard Seefried should be the soprano lead.

Though the flaws were partly concealed by Kleiber's superb conducting, he had decided it was time to escape from a production in which he had no faith. It was his only Edinburgh date, and it helped to explain his subsequent preference for productions which were already tried and tested.

プログラム冊子
Wozzeck Pro 01 Wozzeck Pro 02 Wozzeck Pro 03 Wozzeck Pro 04 Wozzeck Pro 05
(左:表紙、左から2番目:キャスト1、真ん中:キャスト2、右から2番目:キャスト3、右:写真)