Post by darkehmen on Jan 31, 2008 22:51:09 GMT 1
I found a page that lists the UPC of the forthcoming Unitel Karajan documentary called Beauty As I See It, here:
shop.klassikakzente.de/detailanz/produktanzeige.rt?prid=544705
And Unitel itself has a page offering a few details about this film:
tinyurl.com/3coxjh
Here's an excerpt from their description:
I have to say, I'm a bit skeptical. I'll buy it, of course, but except for brief moments, the various Karajan biopics thus far have not impressed me. I am far less interested in what was "behind" some supposed "facade" than I am in HvK's music making. One of the things that I always admired about Karajan was that he wasn't a tabloid celebrity, but kept his private life private, and instead kept the spotlight on his music. And what's this about "deepening the mystery?" What mystery? I find it odd whenever people claim that Karajan is mysterious or contradictory or enigmatic, because I find him extremely understandable -- self-explanatory, even -- with a very clear and consistent aesthetic point of view. I've yet to see a single Karajan contradiction.
I would prefer the video equivalent of EMI's audio documentary about Karajan's work (where musicians discuss his performance technique, and where a recording of his is compared to that of another conductor). I'd love to see a comparison of typically boring, static concert filming to a clip of Karajan's exciting Telemondial productions. And the most revealing film portraits of Karajan thus far have been his own Clouzot rehearsal sequences.
Also, I have to say, while some artists are very thoughtful in their reminiscences (e.g, Jansons), others are rather self-serving. I'll always remember Gramophone's 80th birthday tribute issue to Karajan, which featured a blurb from Abaddo. The most interesting thing that he could find to say about Karajan was that Karajan had once allowed him (Abaddo) to conduct a Mahler symphony instead of a mass! Same thing with Mirella Freni. In the Jan issue of Gramophone, her memories of Karajan mostly consist of her basically taking credit for the success of an opera that she performed with HvK! It's always, "Me, me, me -- Karajan is interesting because he worked with me." On the other hand, Anne-Sophie Mutter has never been self-centred in her comments, but genuinely appreciative of Karajan's genius, and I always look forward to what she has to say.
shop.klassikakzente.de/detailanz/produktanzeige.rt?prid=544705
And Unitel itself has a page offering a few details about this film:
tinyurl.com/3coxjh
Here's an excerpt from their description:
This documentary is the first to truly penetrate behind Karajan's regal façade. The program is structured along the personal recollections and interviews, the rehearsals and concerts of the maestro...This footage is supplemented by many candid and revealing comments by some of the men and women who accompanied him on his path to legendary status. The result is a multi-faceted, multi-layered portrait of the artist - a portrait that ultimately deepens the mystery of one of the greatest conductors of the 20th century.
I have to say, I'm a bit skeptical. I'll buy it, of course, but except for brief moments, the various Karajan biopics thus far have not impressed me. I am far less interested in what was "behind" some supposed "facade" than I am in HvK's music making. One of the things that I always admired about Karajan was that he wasn't a tabloid celebrity, but kept his private life private, and instead kept the spotlight on his music. And what's this about "deepening the mystery?" What mystery? I find it odd whenever people claim that Karajan is mysterious or contradictory or enigmatic, because I find him extremely understandable -- self-explanatory, even -- with a very clear and consistent aesthetic point of view. I've yet to see a single Karajan contradiction.
I would prefer the video equivalent of EMI's audio documentary about Karajan's work (where musicians discuss his performance technique, and where a recording of his is compared to that of another conductor). I'd love to see a comparison of typically boring, static concert filming to a clip of Karajan's exciting Telemondial productions. And the most revealing film portraits of Karajan thus far have been his own Clouzot rehearsal sequences.
Also, I have to say, while some artists are very thoughtful in their reminiscences (e.g, Jansons), others are rather self-serving. I'll always remember Gramophone's 80th birthday tribute issue to Karajan, which featured a blurb from Abaddo. The most interesting thing that he could find to say about Karajan was that Karajan had once allowed him (Abaddo) to conduct a Mahler symphony instead of a mass! Same thing with Mirella Freni. In the Jan issue of Gramophone, her memories of Karajan mostly consist of her basically taking credit for the success of an opera that she performed with HvK! It's always, "Me, me, me -- Karajan is interesting because he worked with me." On the other hand, Anne-Sophie Mutter has never been self-centred in her comments, but genuinely appreciative of Karajan's genius, and I always look forward to what she has to say.
