Word: kubelik
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...were often florid, sometimes shockingly inaccurate-she once confused Haydn with Prokofiev-but rarely dull. After seeing Olivia de Havilland in Candida, she wrote: "A pallid, one-dimensional heroine in a kind of comic-strip Shaw. When she enters, she is an interruption, nothing more." She dismissed Conductor Rafael Kubelik: "The symphony was as shapeless as his curious beat, being distorted by arms stiff as driving pistons or limp as boiled spaghetti...
...insisting, however, that he was "no believer?till I see for myself." The work is wildly dramatic, the bold musical motives deriving partly from the sounds of the ancient Church Slavonic language ("Glagolitic" is the name given to its written form). From the first brassy fanfare, Czech Conductor Rafael Kubelik leads the Bavarian Radio Orchestra and Chorus in a rousing performance, with brilliant singing by Soprano Evelyn Lear and Tenor Ernst Haefliger...
...lecherous old swindler in RCA Victor's Falstaff, amply supported by the other singers and by Conductor Georg Solti. In Rigoletto (Deutsche Grammophon), Dietrich Fischer-Dieskau. best known for his sorrowful lieder. proves himself equally expressive as the tragic hunchback in a powerful performance led by Rafael Kubelik...
HAYDN: MASS IN TIME OF WAR (Deutsche Grammophon). This is the first of Haydn's six last Masses, those great, sturdy monuments of faith that look backward musically to Handel and forward to Beethoven. Rafael Kubelik and the Bavarian Radio Symphony Orchestra and Chorus perform the superb work so deliberately that it seems staid at first but builds slowly to an impressive climax in the Agnus Dei, with its insistent rolls of drums that give the work its popular title, the Paukenmesse or Drum Mass...
...audience was attentive, respectful, but clearly puzzled by both text and music. Showing signs of Schoenberg's restless groping for a new musical language, Jacob's Ladder called for a chamber chorus, two choirs, and the 100-man Cologne Radio Symphony under Czech Conductor Rafael Kubelik. Spotted about the hall were speakers through which-in accordance with a marginal note made by Schoenberg in 1944-the distant, taped sounds of two orchestras and a choir were heard. Although there were occasional moments of sustained melody, Jacob's Ladder was for the most part a deliberately unmelodic complex...