Confiew Christian Thielemann (Berlin, 1959) that when he closes his eyes and thinks in Spain can not avoid seeing a cathedral. The Holy Family of Barcelona, where He will direct this Saturday to the hosts of the Philharmonic of Vienna, is not, but it complies with the Stendhalian precept. "The first time I entered I felt a chill on the back as I walked through the column forest," recalls the Master.
"It was hard for me to believe that the architectural genius was a single man's work." The most worthy heir of the great tradition of German directors, Karajan's assistant at the beginning of him, is not considered a man of faith. "Religion is a concept that covers too much, what does not mean that I do not overwhelm the mystery of creation. Until the most sublime work of art has an end. And yet, the universe continues to expand while we speak ».
It will be the first time that the professors of the prestigious Austrian orchestra, for many the best sound factory in the world, touch in the Gaudí Temple. "This type of atmospheres generates a special complicity among the musicians who retruded us at the beginning of the moment in which this music was conceived."
It refers to the fourth symphony of Bruckner, who served as a church organist before starting to compose. "You do not have to forget that the basilica and score began to be referenced around 1880 and that there are numerous parallels among its creators. In the same way that Bruckner's symphonies function as moving architectures, we can follow the trail of sound in the conception of Gaudí's space. " As an introduction, Elysium will premiere, "a kind of angelic concert" of the Canadian composer Samy Moussa.
It says Thielemann in his memories, my life with Wagner, who began to sing as a child to scare away the ghosts. "I have given everything to music, but I consider myself a happy person."
A few years ago, he suffered several nervous crises that forced him to lower the rhythm. "From the podium, things are lived with more intensity, and that can be detrimental to health. Every currency has its reverse and baton, if it is not used in the appropriate doses, it can be invoice. Then he reflects silently and adds: "In some moments of my career I have been locked in a gold cage, traveling from hotel in hotel without time to digest emotions well." In that sense, the confinement has given him a respite. "I have taken advantage to order my library, read poetry and enjoy Goethe Faust without remorse."
Thielemann precedes him, to hear, a certain fame of conservative. Contrary to the behaviors of certain composers (starting with the Wagner himself), he was criticized by his wink to the Overest Party Pegida when in 2015 he referred a letter to the weekly Die Zeit asking his fellow citizens who hear the demands of the patriots against the Islamization of the West. "That was a misunderstanding. At the exit of an essay I found myself surrounded by an enraged crowd. I just asked the authorities to take into account all that discomfort to prevent that anger from continuing to grow. "
Friend of Angela Merkel, who is not lost any of his premiere in Bayreuth, Thielemann does not dare with the forecast of the elections next September 26. "There are too many topics on the table and a lot of noise around. The world has become a kindergarten in which children scream and no adult places order ».
Immune to political correction ("Ni Karajan nor Helmut Schmitd would have survived the burning," he says), Thielemann represents the archetype of the director of the old school, although the new times have softened a bit of the character. "I do not recognize myself on the label or by tumor," he says the master of rigid superhero features and almost childish charisma. "I have always defended freedom of thought and tolerance of opinions, inside and outside the concert hall. If I had to define my work method, I would say that it looks a lot like a ping pong party. I threw the ball, they give them back and all so happy, "he removed.Updated Date: 21 September 2021, 06:41