Karl August Leopold Böhm (August 28, 1894 – August 14, 1981) was an Austria… Read Full Bio ↴Karl August Leopold Böhm (August 28, 1894 – August 14, 1981) was an Austrian conductor.
Born in Graz, Austria, Böhm studied law and earned a doctorate on this subject. He later studied music at the Graz Conservatory. On the recommendation of Karl Muck, Bruno Walter engaged him at Munich's Bavarian State Opera in 1921. Darmstadt (1927) and Hamburg (1931) were the next places he resided as a young conductor, before succeeding Fritz Busch as head of Dresden's Semper Opera in 1934. He secured a top post at the Vienna State Opera in 1943, eventually becoming music director.
Böhm's career prospered after the war, with his native country usually the focus of his work. The Vienna Philharmonic and the Salzburg Festival featured prominently. He additionally resumed ties in Dresden, at the Staatskapelle.
In 1957, he made his debut at the Metropolitan Opera in New York, conducting Don Giovanni, and quickly became one of the favorite conductors of the Rudolf Bing era, conducting, all told, 262 performances, including the house premieres of Ariadne auf Naxos and Die Frau ohne Schatten (which was the first major smash success in the new house at Lincoln Center), and many other major productions such as Fidelio for the Beethoven bicentennial, Die Zauberflöte, Tristan und Isolde (including the house debut performance of Birgit Nilsson in 1959), Otello, Der Rosenkavalier, Salome, Wozzeck, Elektra and others. He conducted at Bayreuth in 1966 and 1967, resulting in critically acclaimed recordings of the entire Ring cycle and also Tristan und Isolde.
Late in life, he began a guest-conducting relationship with the London Symphony Orchestra (LSO) in a 1973 appearance with the LSO at the Salzburg Festival.[1] He was given the title of LSO President, which he held until his death.
Perhaps his greatest contribution to music lay in bringing to life the operas of his close colleague Richard Strauss. Böhm led the premieres of Strauss's late works Die schweigsame Frau (1935) and Daphne (1938), of which he is the dedicatee, recorded all of the major operas (often making cuts to the scores), and regularly revived Strauss's operas with strong casts during his tenures in Vienna and Dresden, as well as at the Salzburg Festival.
Böhm was praised for his rhythmically robust interpretations of the operas and symphonies of Mozart, and in the 1960s he was entrusted with recording a full cycle of the symphonies with the Berlin Philharmonic. Böhm's brisk and plain way with Wagner won adherents, as did his readings of the symphonies of Brahms, Bruckner and Schubert. His 1971 recorded cycle of Beethoven's symphonies with the Vienna Philharmonic likewise drew high regard. On a less common front, Böhm championed and made recordings of Alban Berg's operas Wozzeck and Lulu before they gained a position in the repertory.
He received numerous honours, among them first Austrian Generalmusikdirektor in 1964. He was widely feted on his 80th birthday, ten years later; his colleague Herbert von Karajan presented him with a clock to mark that occasion.
Böhm died in Salzburg. Actor Karlheinz Böhm, the conductor's son, is known for his role as Ludwig van Beethoven in the Walt Disney film The Magnificent Rebel; the young Emperor Franz Joseph in the three Sissi movies; and for playing Jakob Grimm opposite Laurence Harvey's Wilhelm Grimm, in the 1962 MGM-Cinerama spectacular The Wonderful World of the Brothers Grimm.
Born in Graz, Austria, Böhm studied law and earned a doctorate on this subject. He later studied music at the Graz Conservatory. On the recommendation of Karl Muck, Bruno Walter engaged him at Munich's Bavarian State Opera in 1921. Darmstadt (1927) and Hamburg (1931) were the next places he resided as a young conductor, before succeeding Fritz Busch as head of Dresden's Semper Opera in 1934. He secured a top post at the Vienna State Opera in 1943, eventually becoming music director.
Böhm's career prospered after the war, with his native country usually the focus of his work. The Vienna Philharmonic and the Salzburg Festival featured prominently. He additionally resumed ties in Dresden, at the Staatskapelle.
In 1957, he made his debut at the Metropolitan Opera in New York, conducting Don Giovanni, and quickly became one of the favorite conductors of the Rudolf Bing era, conducting, all told, 262 performances, including the house premieres of Ariadne auf Naxos and Die Frau ohne Schatten (which was the first major smash success in the new house at Lincoln Center), and many other major productions such as Fidelio for the Beethoven bicentennial, Die Zauberflöte, Tristan und Isolde (including the house debut performance of Birgit Nilsson in 1959), Otello, Der Rosenkavalier, Salome, Wozzeck, Elektra and others. He conducted at Bayreuth in 1966 and 1967, resulting in critically acclaimed recordings of the entire Ring cycle and also Tristan und Isolde.
Late in life, he began a guest-conducting relationship with the London Symphony Orchestra (LSO) in a 1973 appearance with the LSO at the Salzburg Festival.[1] He was given the title of LSO President, which he held until his death.
Perhaps his greatest contribution to music lay in bringing to life the operas of his close colleague Richard Strauss. Böhm led the premieres of Strauss's late works Die schweigsame Frau (1935) and Daphne (1938), of which he is the dedicatee, recorded all of the major operas (often making cuts to the scores), and regularly revived Strauss's operas with strong casts during his tenures in Vienna and Dresden, as well as at the Salzburg Festival.
Böhm was praised for his rhythmically robust interpretations of the operas and symphonies of Mozart, and in the 1960s he was entrusted with recording a full cycle of the symphonies with the Berlin Philharmonic. Böhm's brisk and plain way with Wagner won adherents, as did his readings of the symphonies of Brahms, Bruckner and Schubert. His 1971 recorded cycle of Beethoven's symphonies with the Vienna Philharmonic likewise drew high regard. On a less common front, Böhm championed and made recordings of Alban Berg's operas Wozzeck and Lulu before they gained a position in the repertory.
He received numerous honours, among them first Austrian Generalmusikdirektor in 1964. He was widely feted on his 80th birthday, ten years later; his colleague Herbert von Karajan presented him with a clock to mark that occasion.
Böhm died in Salzburg. Actor Karlheinz Böhm, the conductor's son, is known for his role as Ludwig van Beethoven in the Walt Disney film The Magnificent Rebel; the young Emperor Franz Joseph in the three Sissi movies; and for playing Jakob Grimm opposite Laurence Harvey's Wilhelm Grimm, in the 1962 MGM-Cinerama spectacular The Wonderful World of the Brothers Grimm.
Don Giovanni : Atto primo
Karl Böhm Lyrics
We have lyrics for these tracks by Karl Böhm:
Also Sprach Zarathustra: Einleitung Rain was your birth Gathered deep Beneath the earth. Search …
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Irina Agafonova
@HisMastersVideoI suppose that Donna Anna let him enter the house voluntarily, without knowing who he was of cause (he wore a mask); maybe she was deceived by his false promises of a modest behavior, or she was enchanted by his flatters, but voluntary. But than the things got wrong. In fact she calls him in the first scene "traditore" - "traitor" ("Gente! servi! al traditore!"). This is a strange definition for a person who you find suddenly in your house in the night whatever he is going to do there! Then we can see during the opera how he acts with other women to seduce them (Donna Elvira - her first aria told us about it: "In casa mia entri furtivamente, a forza d’arte, di giuramenti e di lusinghe, arrivi a sedurre il cor mio" ("You sneak into my house, by dint of art, oaths and flattery, you get to seduce my heart"), Zerlina - remember un bel duetto "Là ci darem la mano", Donna Elvira's maid - la canzonetta "Deh, vieni alla finestra", well, we can see that he does not begin from a violence), then it is difficult to image Don Giovanni forcing the lock! And Donna Anna seems as if she feel guilty, no she feels guilty in what had happened. Why she says to Don Ottavio when he is trying to help her : "Fuggi, crudele, fuggi!
Lascia che mora anch’io,
ora ch’è morto, oh Dio,
chi a me la vita diè." ("Flee, cruel, flee!
Let me die too,
now that he's dead, oh God,
who gave me life.") Even if she loved her father why should she want to die with him? Maybe because of sense of guilt? Than she repeats, to D.O.: "Sol la morte, o mio tesoro,
il mio pianto può finir." ("Only death, oh my darling,
my crying can stop.") (the scene with Donna Elvira e Leporello). Then in her aria "Non mi dir, bell’idol mio" there are words: "Forse un giorno il cielo ancora
sentirà pietà di me." ("Maybe one day the sky again
will feel pity on me.") So, now the sky do not feel pity on her? Why? (Quindi, adesso il cielo non sente pietà per lei? Perché?) Always the sense of guilt? Of cause this is only my version)) Thanks for patience in reading it and sorry for possible mistakes in English.
James RouillardJas
This performance is thrilling! First time view.
More comment maybe later,
But for now
Saints & Angels! It revives me
after Covid, Famine, War
Mozart & von Karajan
Immortal
Sublime
Лима Лерантович
Самая красивая опера Моцарта, грандиозная во всех отношениях, лучшая из лучших!
Janice Hegeman
I love this production-Samuel Ramey & Ferruccio Furnaletto make a great team as the Don & Leporello! I remember seeing this performance on PBS in the late 80s & wishing for it to be rebroadcast. Thanks for granting my wish!
Matthew Weflen
What a gift to post a complete performance like this. Bravo!
Günhter Menold
@AlbertAlbert Üü
AlbertAlbert
Bravo bravo!
Antonio Calderara
❤️
Wolfgang Amadeus Mozart
Rest in peace Wolfgang Amadeus Mozart, Lorenzo Da Ponte and Herbert von Karajan. Three geniuses.
Gian Luca Ianutolo
@TSビートフレンド qwqqwwo
Giulia Muglia
@federico malipiero
..
Ivano F
First of all Karajan wasn't a noble and he add von at the family name but in the Public Register he was only Karajan. Second Karajan was perfect for Wagner but not for Mozart. When he directed Mozart I heard a military march not the genius of Mozart. His music is a joke, a light joy of life not a prussian military march