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Joseph Keilberth Zum 100. Geburtstag Am 19. April 2008

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Joseph Keilberth Zum 100. Geburtstag Am 19. April 2008 2 2008 JOURNALDie Münchner Opernfreunde 27. Jahrgang „Das Dirigieren ist nur ein Hilfsmittel, nie Selbstzweck“ – Joseph Keilberth zum 100. Geburtstag am 19. April 2008 ur die älteren Opern- und chend“, um z. B. das gewaltige Elektra- Ein synchrones Taktschlagen mit bei- Konzertbesucher unter den Orchester zu der vom Komponisten den Armen kam bei ihm ebenso wenig NLesern werden Joseph vor, wie ein Anfeuern des Orches- Keilberth noch erlebt haben und ters, wenn es ohnehin schon seine sich seiner erinnern. Interessier- größte Lautstärke erreicht hatte. ten Jüngeren ist er vielleicht durch War er nach der Vorstellung oder Veröff entlichungen seiner Diri- einem Konzert ausgepumpt, dann gate und Rundfunksendungen be- nicht wegen seines körperlichen kannt. Eine Rückbesinnung auf das Einsatzes, sondern vielmehr we- künstlerische Leben des unspekta- www.klassika.info Foto: gen der geistigen Anspannung und kulären und dennoch großen Diri- der ungeheuren Konzentration, genten ist Anliegen dieses Artikels. die nötig ist, um jeden Mitwirken- den geleitend und begleitend stän- Äußerlich fi el an Keilberth sein dig im Bewusstsein zu haben. So weißhaariger Schädel auf, durch dirigierte er im Sinne von Richard dessen Ausdruck sich mancher an Strauss, den er auch selbst als sein Beethoven erinnert fühlte, ferner dirigentisches Vorbild bezeichne- die von seinen gedrungenen Schul- te. Zu seinem Tun sagte Keilberth tern ausstrahlende Kraft, die Zart- vor einer Schulklasse in Berlin: heit seiner relativ kleinen Hände „Wenn ich dirigiere, kann ich mich und die Ästhetik, mit der er sich dem Moment nicht hingeben. Ich beim Gestalten der Musik bewegte. habe aber dann etwas anderes: Die Stellung seiner Beine veränderte er Unbestechlicher Musiker nämlich die Freude des Gestaltens. Ge- kaum, wiegte zuweilen den Oberkör- selbst gewünschten und empfohlenen staltung ist im Beruf des Dirigenten al- per zum Beschleunigen des Tempos, „Elfenmusik“ zu bewegen. In der Oper les, ich meine Gestaltung als Aussage, manchmal wendete er sich den Strei- schwebte Keilberth ein Klangbild vor, und die Kraft der Gestaltung ist eine chern links oder rechts von sich direkt das er selbst als „klingendes Piano“ be- seltene Gabe.“ (2. Dezember 1965) zu. Er benutzte nur sehr dünne Takt- zeichnete. Es bettete die Singstimme stöcke und auch diese erst dann, wenn ein, deckte sie aber nie zu und nötigte Keilberth begann seine Karriere am er festgestellt hatte, dass ihre Spitze sie dadurch auch nie zum Forcieren. Badischen Staatstheater in Karlsruhe, beim Schlagen vibriert; denn haupt- Natürlich gab es an passenden Stel- wo er sich das gesamte gängige Opern- sächlich mit dieser Spitze dirigierte len auch Ausbrüche, die dann desto repertoire erarbeitete und innerhalb er illustrierend und trotzdem deutlich beeindruckender wirkten. Stets di- von zehn Jahren zum GMD aufstieg. den Taktschlag angebend. Dies mit klei- rigierte Keilberth in ganz lockerer Nach fünf Jahren in dieser Position nen und nur sehr selten ausladenden Haltung und optisch unaufdringlich, verlängerte er seinen Vertrag nicht. Bewegungen. Den linken Arm hielt er um die Aufmerksamkeit der Besucher Durch eine Empfehlung Wilhelm Furt- gewöhnlich leicht angewinkelt. Von nicht von der Musik und dem Büh- wänglers fand er zum Deutschen Phil- dieser Grundstellung aus gebrauchte nengeschehen abzulenken. Musikern harmonischen Orchester in Prag, dem er ihn zum Modellieren der Musik, und Sängern ließ er ein gewisses Maß er von 1940 bis 1945 vorstand. Mit etwa mit geballter Faust ein Fortissimo eigenen Gestaltens, auf das er sofort diesem Orchester, aus dem später die auslösend oder mit fl acher Hand vor eingehen konnte. Dadurch wirkte sein Bamberger Symphoniker hervorgin- allem Blech und Pauken abdämpfend – Musizieren so lebendig. Ein „so und gen, erwarb und vervollkommnete er manchmal dabei bis „unters Pult krie- nicht anders“ gab es bei ihm nicht. sein Konzertrepertoire. Nach lebens- JOSEPH KEILBERTH ZUM 100. GEBURTSTAG bedrohlicher er freilich INHALT Internierung der Tendenz wurde er mit seiner Zeit seiner Familie e n t g e g e n , nach Dresden die den Spe- 1/2 Joseph Keilberth abgeschoben. zialisten mit zum 100. Geburtstag Zum GMD a u s g e t ü f - 3 Veranstaltungen der Staats- telten, im- 4 Rudolf Buchbinder kapelle und mer gleich 5 Sonia Prina Oper beru- bleibenden 6/7 Wolfgang Brendel fen, gab er am W i e d e r - Mitgliederversammlung 2008 16. Juli 1945 gaben be- 8 Franz Crass zum 80. Geb. sein erstes v o r z u g t e . 9 Kurt Böhme zum 100. Geb. Konzert. Er 10 Rudolf Nurejew blieb bis 1950 In der Oper zum 70. Geburtstag in Dresden, d i r i g i e r t e 11 Verschiedenes ü b e r n a h m Keilberth al- 12 La Rondine in Landshut aber parallel les von Hän- Die Pilger von Mekka dazu 1948/51 del bis Hin- in München die musika- demith, im 13 Macbeth / Eugen Onegin lische Leitung Konzert von der Berli- J. S. Bach bis in Ulm ner Staats- Alban Berg, 14 Buch- und DVD-Besprechungen oper. Nach einem Gastspiel 1949 wur- sogar Ausfl üge zu Karl Amadeus Hart- 15/16 Buch-Besprechungen de Keilberth 1950 Chefdirigent der mann gab es (WDR Köln). Auff allend Bamberger Symphoniker und blieb an Keilberth war auch sein beständi- dies bis zu seinem Tod 1968. 1951 und ges Ringen um Ausgewogenheit. Be- 1959 leitete er als Hamburgischer GMD sonders im symphonischen Bereich, IMPRESSUM - IBS JOURNAL das Philharmonische Staatsorchester, wo er nicht von den Möglichkeiten 1959 trat er seine Position als Baye- einer Singstimme abhängig war, konn- rischer GMD an. Im Unterschied zu sei- te man bemerken, dass nie ein Tempo Zeitschrift des Interessenvereins des nen Kollegen Hermann Levi und Felix für sich abstrakt im Raum stand, jedes Bayerischen Staatsopernpublikums e.V. Mottl, die von Karlsruhe direkt nach Forte und jedes Piano stets im Verhält- im Eigenverlag München gekommen waren, musste nis zum ganzen Werk wiedergegeben Herausgeber: Der Vorstand Redaktion: Vesna Mlakar Keilberth diesen Umweg nehmen. Im wurde. Dies beraubte ihn zwar leicht Layout: Ingrid Näßl nachhinein empfand mein Vater dies wahrnehmbarer Eff ekte, gab aber da- Erscheinungsweise: 4 x jährlich aber als wichtig für seine Entwicklung. für seiner Art der Interpretation die Der Bezugspreis ist im Mitgliedsbeitrag enthalten. Als Gast der Berliner Philharmoniker Geschlossenheit der Form und die Jahresabonnement für Nichtmitglieder (ab 1936), der Wiener Philharmoniker Schlüssigkeit im gedanklichen Aufbau. € 15,-- einschließlich Zustellung. (ab 1944) und der Bayerischen Staats- Zur Zeit gültige Anzeigenpreisliste: oper (ab 1951) erntete er viele Lorbee- Joseph Keilberths dirigentisches Nr. 6, 1. März 2006 ren. Er arbeitete auch mit den Rund- Credo lautete: „Das Dirigieren ist Die mit Namen gekennzeichneten Artikel stellen funkorchestern in München, Stuttgart nur ein Hilfsmittel, nie Selbstzweck. die Meinung des Verfassers und nicht die Ansicht der Redaktion dar. und Köln. Als Höhepunkte seiner Lauf- Musizieren ist alles – je unauff älliger Nachdruck in anderen Druckwerken bahn dürfen wohl die Mitwirkung bei dabei dirigiert wird, desto schöner wird nur mit Genehmigung des Vorstandes. den Bayreuther Festspielen 1952/56, die Musik gestaltet sein und so unsere Druck: Druck & Medien Schreiber GmbH die auf zahlreichen CDs dokumentiert Seele berühren. Das mag der heutigen sind, und die Wiedereröff nung des Na- Mode widersprechen – eine ästhe- Kolpingring 3 tionaltheaters in München 1963 gelten. tische Wahrheit bleibt dies trotzdem.“ 82041 Oberhaching-München omas Keilberth Vorstand Charakteristisch für Keilberth war, Wolfgang Scheller Monika Beyerle-Scheller Richard Eckstein Hans Köhle Vesna Mlakar dass er für sich jegliche Spezialisierung Umfassendes Künstlerporträt Wulfhilt Müller Eva Weimer ablehnte. Auch musikalisch mochte er Thomas Keilberth: Ehrenmitglieder sich nicht festlegen und machte sich Joseph Keilberth. Ein Dirigentenleben Heinrich Bender, Inge Borkh, Sir Peter Jonas, daher auch kaum Einzeichnungen im XX. Jahrhundert Hellmuth Matiasek, Aribert Reimanm, Wolfgang in die Partitur. So blieb dem Akt der Apollon Musikoffi zin Austria, Wien, 2007 Sawallisch, Wolfgang Scheller, Peter Schneider, Nachschöpfung stets ein Funke von 794 S., 69,00 € Peter Schreier, Peter Seiff ert, Konstanze Vernon Neuschöpfung erhalten. Damit stand ISBN 978-3950119060 2 VERANSTALTUNGEN KÜNSTLERGESPRÄCHE KÜNSTLERGESPRÄCHE Alle Veranstaltungen fi nden im Künstlerhaus am Lenbachplatz statt. Nicole Cabell David Pountney Der neue Stern am Opernhimmel aus Dem britischen Regisseur gelang der Kasse und Einlass jeweils ½ Std. vor Kalifornien singt nach der Musette in internationale Durchbruch 1972 mit Beginn La Bohème (neben Anna Netrebko und Katja Kabanowa beim Wexford Festival. Kostenbeitrag: Mitgl. € 4,-- / Gäste € 7,-- Rolando Villazón) und einem Arienabend Anschließend war er zehn Jahre lang Schüler und Studenten zahlen die Hälfte. nun beim Sonntagskonzert des Münch- Chefregisseur der English National Ope- ner Rundfunkorchesters am 20. April ra. Regelmäßig arbeitet er an der Wiener KULTURELLER VORMITTAG 2008 im Gasteig die Rolle der Norina in Staatsoper, der Deutschen Oper Berlin, Don Pasquale von Gaetano Donizetti. der Met und am Opernhaus Zürich, wo er Blick hinter die Kulissen der Freitag, 18. April 2008, 19.00 Uhr zuletzt La Juive von Halévy herausbrach- Bayerischen Staatsbibliothek Gastmoderation: Michael Atzinger te. In München inszenierte er bisher Die Rund zweistündige Führung durch das (BR 4 Klassik) Ausfl üge des Herrn Brouček, Aida, Katja Haus und seine Abteilungen (geeignet Kabanowa, Faust und Schönbergs Moses nur
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