Glyndebourne: The Untold History Page #3
- Year:
- 2014
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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.
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,
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."
I shut my mouth and said, "Well,
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,
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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