Radio: Karjan And Smetana

Press, Volume CIV, Issue 30741, 4 May 1965, Page 10

Radio: Karjan And Smetana

Although he has relinquished control of the Vienna State Opera Herbert von Karajan still controls an impressive musical empire as principal conductor of the Berlin and Vienna Philharmonic Orchestras, and as musical director of Milan’s La Scala Opera House and the Salzburg Festival. He controls more major posts than have been gathered under one baton before and in Europe his activities, whether musical, social or sporting receive a high-pow-ered publicity that would impress any film star. Karajan, now aged 57, received his musical training in Vienna and became conductor of the Ulm Opera House. An enthusiastically received performance of “Tristan” in Berlin in 1936, conducted from memory with his eyes closed, led to his eventual rise to the highest musical post of the Third Reich, that of Staatskapellmeister, and to the broadening of his repertory to include the standard German symphonies. His prominence made Kara-

jan suspect after the war, and he was reduced to conducting only reheasals until Walter Legge of EMI secured deNazification for him.

Legge saw in Karajan the gifted orchestral trainer needed to shape his new London recording orchestra, the Philharmonia, and when the combination began making recordings Karajan’s reputation grew again. His records were praised for the combination of traditional approaches with orchestral discipline. After the death in 1955 of Wilhelm Furtwangler, Karajan became principal conductor of the Berlin Philharmonic and re-established himself in Europe. In the sixties Karajan has been recording again many of the standard symphonies Although the traditional approach has been replaced by a more personal approach, which means, therefore, more idiosyncrasies, these performances are highly regarded, even by those who prefer other interpretations. On Wednesday evening 3YC will broadcast Karajan’s read-

ing of Beethoven’s Ninth Symphony, which has been described as the climax of his recent Beethoven cycle. Modelling his approach on Toscanini’s recording, Karajan stresses the drama and grandeur of the work and instead of the customary German communion with the infinite he ventures into an exciting, almost operatic world. And on Friday evening 3YC will broadcast Karajan’s reading of Stravinsky’s “Rite of Spring.” Both recordings were made with the Berlin Philharmonic Orchestra. Czech Opera A succession of Czech musicians is widening New Zealand’s acquaintance with Czech music so the broadcast Of a potted version of “Dalibor,” a cornerstone of the Czech operatic repertory, should be greeted with interest. The excerpts were recorded when the Prague National Theatre visited the Edinburgh Festival last year and will be heard on Saturday evening.

“Dalibor,” the third of Smetana’s eight operas, was written in 1867, the year after the famous "Bartered Bride,” and has the status of a heroic national opera.

The opera is set in fif-teen-century Prague where its hero, the mythical Dalibor, motivated by love for a slain friend, rebels against a provincial governor and kills him and then is arrested and tried by the wise and reasonable king. Milada, sister of the dead ruler, falls in love with Dalibor and through a Fideliostyle disguise as a gaoler's assistant helps Dalibor escape. But unlike “Fidelio" this opera has not a happy ending; Dalibor is betrayed and sentenced to death and although Milada leads a rescue attack on the castle both are slain.

On one level “Dalibor” is a dramatic tale; on another it hymns friendship, freedom and heroic self-sacrifice. Most of all, it is an unceasing stream of lyrical music, spontaneous and finely organised.