Glyndebourne: The Untold History Page #3

Genre: Documentary
Director(s): Robin Bextor
Actors: Mark Everist
Year:
2014
49 Views


red pencils and even his red ink,

which, to my horror - he used to

write on musical scores in red ink

to show that it was for all time.

Fritz Busch suggested this whole

notion of having a producer,

which was completely alien

because there was no such role in

the British opera world at the time.

Fritz Busch had worked with

Carl Ebert in Berlin

and so he contacted Carl.

Carl Ebert was one of the leading

figures in 1920s German theatre.

He was not Jewish,

but since he was to the left,

he was regarded as

a persona non grata

and when the opera house he was in...

the director of was the opera house

that Goebbels took control

of as the Gauleiter of Berlin,

so he was basically removed.

Carl Ebert thought the idea was

completely mad, but came over

anyway to meet with John Christie

and had a look at the theatre,

discovered there was no fly tower,

so all the scenery changes

involved pulling everything out

onto the grass outside the theatre,

but realised that what they

were going to get out of this,

because they sat down the three

men and talked about the budget,

they talked about what

their principles were

and what they wanted to achieve

and they realised

they were going to get

the rehearsal period they needed,

the concentration, the devotion

to producing the best

possible opera

and they both signed up for it.

This man's idea was a real new one.

He said, "I would like to

give my country, in this specific

"kind of art, the kind of perfection

which is unknown up to these days."

And he said, "I want to give my

country something on my expenses."

That made me really quiet -

I shut my mouth and said, "Well,

"if somebody really wants to

sacrifice

"quite a fortune for this reason,

"then I have to contribute

with all my strength,"

and so did my friend Fritz Busch,

too.

And they revolutionised

opera in this country.

And introduced a lot more

drama into opera.

Before that, the singers hadn't

needed to act

and there was no demand for that.

Ebert and Busch brought dramatic

intensity into the operas.

The most important thing, of course,

is to improvise the words.

Really feel that it's the first time

she is dictating a letter,

she had only generally in mind

what she wanted to say,

so let's have it again - come on.

SHE SINGS:

All the visions are coming

from outside,

I'm nearly haunted by visions

to see how people move, what

kind of facial expression they have,

what kind of gestures they have.

I rush up and down,

I make the gestures,

I time carefully the steps,

how to go in, how to go out.

The position of the singers

must be to see the conductor.

Our singers have to be together,

they can see that they

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Submitted on August 05, 2018

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