Complete Biography of Carlos Kleiber (1930-2004)

Complete Biography of Carlos Kleiber (1930-2004)

3rd July 1930

Carlos Kleiber was born in Berlin as the second child of Erich Kleiber, the former General musical director of the State Opera “Unter den Linden,” and an American, Ruth Goodrich.

He was baptized as Karl Ludwig Bonifatius.

Spring 1935

Austrian citizen Erich Kleiber leaves Germany in protest against the Nazi regime and moves to the Mondsee near Salzburg.

1936 to 1940

Erich Kleiber’s hopes of a firm commitment in Austria shattered. Increasing guest-perfomances. Restless travels begin for him and his family, with stops in Lugano, Roquebrune-Cap-Marin, Monte Carlo and Geneva, as well as tours in the United States and the Soviet Union.

Erich Kleiber brings his wife Ruth and his children to Buenos Aires, Argentina in early 1940. Carlos, whose education suffered from the movements, displayed an early musical talent. Erich Kleiber applies for Argentine citizenship for himself and his family.

1940

After a short interim period, in May 1940 Erich Kleiber, Ruth and the children arrive in Chile, where Carlos Kleiber attends a boarding school in Santiago. Both children sorely missed normal family life. They spend only the holidays with their parents in Valparaíso near Santiago. Later, from time to time, the brother and the sister meet in Alta Gracia, in the Argentine Province of Córdoba, where Erich Kleiber bought a ranch, “La Fermata”. The siblings went to school for several years in Chile with some interruptions.

1945/1946

Erich Kleiber fostered the early artistic interests of his children, who were already attending performances of his father and his colleagues in Berlin. Carlos learns piano and tympani.

1946

Carlos visits his father in Buenos Aires and enthusiastically observes his perfomances at Teatro Colón. In autumn 1946, Ruth moves with the children to Havana in Cuba, where Erich Kleiber has commitments. Carlos gets to know Ernest Hemingway and starts to imitate him as a writer.

1947/1948

While his father was a guest-conductor at the NBC Orchestra, Carlos attended Riverdale Country School in New York. He enthusiastically watches again his father’s performances at Teatro Colón in Buenos Aires. He gets to know important artists and participates in his first opera: He swings the hammer in Wagner’s “Siegfried”. He hears, among others, Arturo Toscanini in New York. In Carlos’s desire matures, to follow his beloved and revered father and even to become a conductor. An extraordinary literary gift of his appears as a possible professional choice.

1948/49

After taking his final examinations, Carlos goes to Buenos Aires. His father, bearing in mind the precarious post-war situation, wants his son to learn a secure profession. Carlos goes to Zurich to study chemistry at the Swiss Federal Institute of Technology.

1950

Only after one semester, Erich Kleiber gives up and allows his son to cancel the study of chemistry. Erich engaged the best music educators in Buenos Aires to teach theory and piano to his son.

1951

Young Kleiber was fully optimistic about music and conducting, but had little enthusiasm for playing the piano. Only after serious guidance did he devote himself to more intensive studies, and begin to progress.

1952

First engagement as a pianist at the theatre in La Plata, capital of the Province of Buenos Aires.

1953

Carlos follows his father to Europe. Erich Kleiber celebrates 1952/53 triumphs at the Munich Opera Festival. His son gets a job as a coach at Munich gardener square.

1954

After a failure of a jobs wanted, Carlos accompanies his father to East Berlin. Erich Kleiber had promised to open the rebuilt Berlin Staatsoper in 1955 as the new musical director. On the initiative of the Ministry of Culture of the GDR, Carlos receives from Potsdamer Hans-Otto Theater an offer for bandmaster position.

1955

Carlos Kleiber studies his first stage play, a Carl Millöcker’s operetta “Gasparóne”. Carlos performs the successful premiere on 12 February 1955, yet as a host under the pseudonym of Karl Keller. Prior to this his debut as a conductor he had only sporadically conducted the orchestra of his father in Buenos Aires and conducted a small Radio Orchestra in Montevideo. Erich Kleiber is proud of his son’s performance. For political reasons, Erich Kleiber announced in March 1955 his withdrawal from East Berlin and left the city with his family. Carlos has the opportunity to conduct regularly.

1956

On 27 January 1956 Erich Kleiber died suddenly at Dolder Hotel in Zurich at the age of 65. He had found a job for his son as a coach at the Vienna Volksoper. Carlos says good-bye to his father at the Zurich Hönggerberg funeral and returns to Vienna.

1957

With the failure of the promised conductorship at the Volksoper, a disappointed Carlos Kleiber gives notice that he will cancel his contract before its expiration in August 1957.

In the interim he conducts several repertory performances and guest concerts in Salzburg, Hamburg and Nurnberg, all almost imperceptible. In autumn he takes up the post of a coach at the German Opera on the Rhine.

1959

While Carlos Kleiber waits in vain for his first conducting at the German Opera on the Rhine, he considers a change and takes the offensive with guest performances. With his mother’s cooperation ,Carlos Kleiber’s official opera debut occurs in February with Smetana’s “The bartered bride” as a Guest at Salzburg provincial theatre, and at the end of November there Puccini’s “La Bohème” follows. Only now does he call himself Carlos in public.

1960

In February Carlos conducts “La Bohème” at the Hamburg State Opera and in May with Verdi’s “La Traviata”, at last, his first Opera in Düsseldorf. Further performances in December also for the first time follow in Duisburg. After a radio recording of Telemann’s “Table music” with Northern German Radio in Hamburg at the beginning of December, Carlos conducts his first guaranteed orchestra concert with works of Telemann, C.F.E. Bach, de Falla and Martinu in the series “Platform of the youth” with the Hamburg Radio Orchestra. During the break, Kleiber gives what turns out to be probably his only recorded interview.

1961

Carlos Kleiber conducts henceforth as a bandmaster from 1961/62 season a rich repertoire in the field of opera, operetta and ballet, including Verdi’s “Rigoletto”, Leoncavalo’s “Edipo Re”, Lortzing’s “ Weaponsmith”, Henze’s “Undine”, Puccini’s “La Boèhme and “Madame Butterfly”, Humperdink’s “Hansel and Gretel”, Egk’s “ Revisor”...

In October in Düsseldorf, Carlos marries the Slovenian ballet dancer Stanislava Brezovar, born in Zagorje near Ljubljana.

1962

Carlos successfully conducts with 61 performances, twice as many as in the previous year. In February he conducts “Daphne” by Richard Strauss, only one time in his career. It is followed by Delibes’ ballet “Coppélia”, Lehár’s “Merry Widow”, and a new production, for the first time studied on the Rhine “3x Offenbach”, three one-act plays united in one triptych by Jacques Offenbach and “The tales of Hoffmann”.

1963

Carlos Kleiber conducts Verdi’s “Othello”, “I due Foscari”, Egk’s “Abraxas”, Ravel, and Offenbach’s “The beautiful Helena”.

1964

First undertaking of Strauss “Der Rosenkavalier”. Kleiber keeps looking for a better position. He quarreled after a “Traviata” guest performance with the manager Grischa Barfuss in Wuppertal, who replaced Hermann Juch in Düsseldorf as Manager and notified Kleiber. Kleiber had again cancelled a contract in Cologne. He goes now with Juch to the Zurich Opera from the season 1964/65. An appointment as a guest conductor at the Würtemberg State Opera fails due to loss-trial conditions. He conducted at the Frankfurt Opera in the autumn, first for the season opening in Zurich in September, then the first night of Johan Strauss’s “Vienna blood” and Pjotr Tchaykovsky’s ballet “Sleeping Beauty”. The only Carl Maria Weber’s “Oberon” undertaking.

1965

Triumphal guest-performance in Stuttgart with “Rosenkavalier”. Kleiber signs a contract as the first conductor at the Würtemberg State Opera and directs “Falstaff” in Zurich. First night of Smetana’s “The bartered bride”. Birth of his son Marko. Kleiber visits the “Elektra” rehearsal in Salzburg by his revered colleague Herbert von Karajan, which irritates Juch, because he refused the first night of Carl Zeller’s operetta “The Bird Seller”. Hard negotiations with Stuttgart because of a guest first night in spring 1966. Guest performance in Geneva. Kleiber conducts on New Year’s Eve repeated performances of “Fledermaus" at Grand Theatre in Geneva.

1966

Guest performance in Stuttgart with Puccini’s “Madame Butterfly” and study of Alban Berg’s “Wozzeck” directed by Günter Rennert as preparation for a guest performance of the Würtemberg State Opera at the Edinburgh Festival. Conducting of Verdi’s “Don Carlos” in Zurich. He suffered a serious accident on the way to Zurich. Kleiber still conducts as a guest in Stuttgart the enthusiastically celebrated first night of “Wozzeck”, with affected health. Scandal in Edinburgh: Kleiber refuses the second performance during the festival because of an illness and thus causes a crisis in the Stuttgart Opera. Move to Stuttgart. After several months’ break Kleiber conducts again in Stuttgart, in December only.

1967

The first night of Weber’s “Freischütz" directed by Walter Felsenstein, which created sensation and was a triumph for Kleiber. Kleiber declines an offer for the 1968 Bayreuth Festival. Constant discrepancies in Stuttgart in working conditions and repertoire. Kleiber conducts Verdi’s “Rigoletto’, “Madame Butterfly”, “Rosenkavalier” and “La Traviata”. Orchestra guest performances at the Munich Philharmonic with Haydn, Liszt and Schumann and during Vienna Festival with works by Mozart and Mahler (for the first and last time). His mother Ruth Kleiber dies suddenly without warning. Salzburg remains a second residence through Kleiber’s life.

1968

A new contract in Stuttgart. Guest performance at the Prague Spring Music Festival with works by Schumann, Beethoven and Dvořák. A difficult study of Georges Bizet’s “Carmen” in Stuttgart. First appearance at the Bavarian State Opera with “Rosenkavalier”, followed by “Othello” and “La Traviata”. The triumphal success spread rumors that Kleiber will move to Munich and that negotiations are under way for the post of the General Music Director in Stuttgart. Kleiber conducts “Madame Butterfly” in Munich for the last time in his career.

Music study of Richard Wagner’s “Tristan and Isolde” in Stuttgart with Wolfgang Windgassen and Ingrid Bjoner. First recordings at South German Radio. Carlos Kleiber now has the reputation as the most talented conductor of his generation.

1970

Guest performance at the Munich German Museum with the Bavarian State Orchestra and pianist Alfred Brendel with a Beethoven program. Kleiber rehearses and conducts for the SDR-TV series “Observed at work” overtures of Strauss and Weber. Sensational first night of Berg’s “Wozzeck” directed by Rennert at the Munich National Theatre.

1971

Stuttgart: Tremendous new staging of Strauss “Elektra”. The recording of “Carmen” under the Kleiber’s conducting fails repeatedly due to a casting question. He does not respond to a profitable offer from the USA. Kleiber becomes the father of a daughter.

1972

Productions for South German Radio with works by Wagner and Alexander Borodin (Second Symphony). Kleiber refuses new recoding of “Tristan” in Stuttgart after a hard disagreement. At the end of the era of manager Walter Erich Schafer, who leaves Stuttgart after the 1971/72 season, Kleiber’s slow farewell to the State Opera begins with a reduced conducting schedule. Celebrated first night in Munich of “Rosenkavalier” new staging, directed by Otto Schenk. the beginning of the close friendship between Kleiber and Schenk. A brilliant guest-performance at West German Radio in Cologne with orchestral works by Haydn, Berg and Beethoven, and concert excerpts from “Tristan” in Bern. Guest performance in Hamburg with the Philharmonic Orchestra.

1973

Kleiber gives a concert in Hamburg with Arturo Benedetti Michelangeli. Recording in Dresden of Weber’s “Freishütz” with a superb cast demonstrates a new musical way. Debut at the Vienna State Opera with “Tristan and Isolde”. Kleiber moves to Grünwald near Munich.

1974

Kleiber refuses the new staging of “Falstaff” at the Hamburg State Opera, but conducts concerts in that city. Guest performance at Tonnhalle Orchestra in Zurich. Debut at Covent Garden with “Rosenkavalier”; with “Tristan and Isolde” in Bayreuth and at Vienna Philharmonic Orchestra with concerts in Bratislava and Göteborg. The concert in Bratislava is broadcast live on television to the whole of Czechoslovakia. Negotiations and a later contract with the TV production company “Unitel”. Kleiber rehearses Beethoven’s Fifth Symphony with the Vienna Philharmonic Orchestra. The recording is celebrated as a milestone - the best recording ever. Guest performance in Japan with the Bavarian State Opera. On New Year’s Eve the first night of “Fledermaus” directed by Otto Schenk. Kleiber has the reputation as a new star on the conductor’s horizon. The mountain of profitable offers from all over the world does not excite him and his fans increase as a cult begins to form in respect for the maestro. Meanwhile, in declining every firm appointment Kleiber confines to a a diminishing repertoire.

1975

The gramophone recording of Beethoven’s 5th piano concerto fails during the rehearsal with the Berlin Rias-Orchestra because of differences between Kleiber and Michelangeli. Beginning of Beethoven’s 7th symphony recording with the Vienna Philharmonic Orchestra - again a recording milestone. Rehearsal of “Fledermaus” with the Bavarian State Orchestra for the Deutsche Gramophon. Kleiber conducts the new staging of “La Traviata” directed by Otto Schenk but accompanied by disputes. Return to Bayreuth for “Tristan und Isolde”. Rumours about Kleiber’s engagement in Salzburg. So far Kleiber had firmly refused to conduct at the Festival. In fact, Karl Böhm had offered his 1978 “Rosenkavalier” appointment to Kleiber but the negotiations failed.

1976

A majestic debut at the Milan La Scala with “Rosenkavalier” and “Othello” with Plácido Domingo directed by Franco Zeffirelli. The beginning of a close friendship between Kleiber and the singer, as well as Claudio Abbado and Mauricio Pollini. Gramophone recording for “La Traviata” with Domingo and Ileana Cotrubas in Munich. After the failure of a Kleiber and Swjatoslaw Richter joint performance due to the pianist’s illness, both play a Dvorak piano concerto for EMI. A planned EMI-rehearsal of Wagner’s “Ring des Nibelungen” with Bavarian Radio stops. Kleiber leaves the Bayreuth Festival after a scandal about Patrice Cherau and Pierre Boulez’ “Ring” production as well after a break in relations with Wolfgang Wagner and his daughter Eva. Keiber never returns to Bayreuth.

1977

“Elektra” at Covent Garden with Birgit Nilsson. Kleiber regularly conducts in Munich. Negotiations about first nights, which, however, turn out to be difficult. Again a planned production of “Les contes d’Hoffmann” with Ingmar Bergmann and “Freischütz”, “Don Carlos”, “Tristan and Isolde” and “Wozzeck”. In October he conducts the disputed new staging of “Othello” with John Neumeier. Kleiber refuses “Othello” at the Opera in San Francisco.

1978

Kleiber appears as a replacement for the conductor at “La Bohème” in Munich. First collaboration with Luciano Pavarotti and Mirella Freni.

A fine recording of Franz Schubert’s Third and Eighth symphonies with the Vienna Philharmonic Orchestra for the Deutsche Gramophon. New staging of “Tristan and Isolde” with Wolfgang Wagner at the Milan La Scala. Kleiber receives the City of Munich cultural prize. Kleiber’s refusal shortly before of “Othello” at the Munich Opera Festival creates a stir. The press reaction makes Kleiber decide not to conduct “Otello” again in Munich. His first appearance with the Chicago Symphony Orchestra, a sensational production with a worldwide TV broadcast of Bizet’s “Carmen” with Domingo directed by Zeffirelli. Kleiber absolutely avoids the press and society, just as before.

1979

Kleiber stands in for Karl Böhm at the Orchestra Dell’Accademia di Santa Cecilia in Rome. Because of the illness of the pianist Mauricio Pollini, the debut at the Bavarian Radio Symphony Orchestra fails. Concerts in Vienna. New staging of Puccini’s “La Bohème” in Milan with star presence and television broadcast. Kleiber interrupts the recording over organizational defects. TV production of “Rosenkavalier” in Munich. “La Bohème” at Covent Garden.

1980

An outstanding production of “Othello” in London as a replacement of “La Traviata” planned initially. Kleiber refuses to conduct for a new staging of “Les contes d’Hoffmann” with John Schlesinger in London. The difficult recording sessions for “Tristan and Isolde” begin in Dresden. Kleiber conducts the Vienna Philharmonic Orchestra on the occasion of the 100th Anniversary of the Austrian Länderbank. Klieber's 50th birthday on July 3.

1981

Japan tour with the Milan La Scala. Kleiber, still an Argentine citizen, becomes an Austrian after problems with his passport. Scandal in Dresden: Kleiber leaves the current record production of “Tristan and Isolde” shortly before the end, because of a quarrel with René Kollo. The recording is synchronized without Kleiber, which leads to a strong quarrel. After the dispute, Kleiber releases the recording under DGG pressure only in 1982. Publication of significant Johannes Brahms’ Fourth symphony recording with Vienna Philharmonic Orchestra – a milestone for Brahms. His ungrounded reputation as a largely unforeseeable, difficult and willful decliner is reinforced. Further studio recordings planned for EMI and already announced do not come about. Kleiber is notified after the Tristan scandal that he will never enter another recording studio. The plans for rehearsals of two Mozart symphonies become invalid. A happy tour with the Vienna Philharmonic Orchestra in Mexico. Kleiber conducts dressed like Johann Strauss during the Carnival in Munich, and led in Milan for the first time the London Symphony Orchestra. After the second performance in London a scandal occurs. After hostile press reports Kleiber does not want to conduct the London Symphony Orchestra any more. When Karl Böhm dies in Salzburg, Kleiber conducts as the mourning ceremony in Munich. Guess performance at the Slovenian Radio Symphony Orchestra in Ljubljiana. For many years Kleiber has spent every holidy with his family in his wife’s native country.

1982

Kleiber conducts the commemorative concert for Karl Böhm in Munich and later releases a live recording of Beethoven’s 4th symphony for a gramophone production at Orfeo. “Othello” performance in Milan. The beginning of a slow withdrawal from the Bavarian State Opera. Despite a multitude of offers, they cannot persuade Kleiber into doing a new production. With the efforts of people responsible at the Berlin Philharmonic Orchestra, Kleiber accepts a series of concerts with television and a live recording production of Antonin Dvořák’s 9th Symphony. After finding that the score had not been revised as he desired, Kleiber left Berlin disappointed shortly before the rehearsal began. Kleiber conducts a subscription concert that is introduction to a big production planned in Vienna with films and records of Beethoven’s 4th and 6th symphonies. A scandal flares up during a rehearsal in December: Kleiber leaves the rehearsal angry and departs. The consequence is a long breakup with the Berlin Philharmonic Orchestra.

1983

Kleiber makes his debut at Koninklijk Concertgebouw Orchestra in Amsterdam. The production firm “Untitel” records for television. The video published later (Philips), becomes an euduring worldwide TV success for Kleiber. However, in spite of the Orchestra’s big hopes, no other concerts occur. Second guest performances in Chicago with a new Mozart-Brahms program and a piece by George Butterworth. Kleiber conducts Hayden in Munich, his first performance of Beethoven’s 6th Symphony on his children’s initiative, which many years later will appear on a CD by Orfeo.

1984

In December the first night of “La Traviata” at Teatro Comunale in Florence with Franco Zeffirelli. While only rare Kleiber’s performances are celebrated in Munich, the Vienna State Opera intends to induce Kleiber to return.

1985

The State Opera Director succeeds in involving Kleiber for “La Bohème”. During the introductory rehearsal, the first meeting with the Philharmonic Orchestra since 1982, Kleiber’s triumphal success ends with a near-scandal during the third performance when he stops, refusing to budge. Only after microphones that had been installed without his consent for a later radio broadcast, were removed does Kleiber continue. However, a recording is agreed for the rehearsal of the second performance. Dressed as a prostitute, Kleiber continues his performances in Munich to “Fledermaus” in the first week of Lent, and the next two years dressed like Guru Bagwan and the tennis star Boris Becker. After a disagreement with Lucia Popp, Kleiber discontinues the rehearsal and no longer conducts the opera in Munich. In May, again a recording of “La Traviata” in Munich with Edita Gruberova and Neil Shicoff. Beginning of the CD epoch: Kleiber observes the remastering of his recordings in the Gramophone Studio. The new Salzburg Festival Secretary General courts Kleiber with the Herbert von Karajan’s support. Negotiations about “Freischütz” with Ingmar Bergmann as a director do not result.

1986

Seefehlner is shocked after receiving Kleiber’s refusal for four nearly agreed “Traviata” performances in Vienna. His successor Claus Helmut Drese tries in vain to engage Kleiber for productions in Vienna. Television production of “Fledermaus” in Munich is released. Instead of an originally planned Japan tour with the Vienna State Opera, Kleiber goes to the Far East to frantically celebrated concert guest performances with the Bavarian State Orchestra. In the 80s he conducts numerous concerts with the Bavarian State Orchestra, 1987 also in Pompei, Madrid, Cologne, Milan and Rome.

1987

Sensational successes with “Othello” in London and Milan. After a quarrel with singer Renato Bruson at the Scala, Kleiber continues the series with Pietro Cappuccilli and decides after that not to conduct any longer in Milan. He declines two concerts in the city.

1988

A late but sensational Kleiber debut at the Metropolitan Opera in New York after many years of unsuccessful attempts to draw him; it was partially due to Pavarotti. Rumours about enormous, unusual salaries. Kleiber’s last performance at the Bavarian State Opera during the first week of Lent, he conducts “Fledermaus” dressed like a laborer. Later Bavarian efforts to attract Kleiber are fruitless. Kleiber alienates himself from the Repertoire theatre. Tour to Japan with the Milan La Scala performing “La Bohème.” A return to the concert stage in Vienna confirms Kleiber’s final reconciliation with the Berlin Philharmonic Orchestra.

1989

Kleiber conducts the New Year’s concert in Vienna and is celebrated as a new “Waltz King”. The new Sony Classical Label receives a supplement for the CD publication. Thanks to the initiative of the Federal President Richard von Weizsäcker, Kleiber also stays for a “Federal President Concert” at the conductor’s stand of the Berlin Philharmonic Orchestra. The press and the audience enthusiastically celebrated the late sensational debutant. Most musicians hoped in vain for Kleiber to succede Herbert von Karajan. They elected Claudio Abado to convince him to do guest performances. “La Traviata" in New York: When Edita Gruberova became ill, Kleiber prematurely interrupted the series. Kleiber visits Wladimir Horowitz and both intend to rehearse Beethoven’s 3rd piano concerto. The untimely death of the pianist frustrates the collaboration.

1990

The traditional order of merit “Pour le Mérite for Science and Arts” with simultaneous membership of the Elite Order was conferred on Kleiber at the initiative of Richard von Weizsäcker. Kleiber’s last guest performance in London with “Othello”. After, he conducts five performances of this opera at the New York Met. Plans for a CD production of “Othello” with the Bavarian State Orchestra are frustrated. Kleiber takes leave of the Met with a series of Strauss “Rosenkavalier”.

1991

A concert tour with the Vienna Philharmonic Orchestra, which was recorded by “Unitel” for Television and later was published on video, must prepare a jubilee tour of this orchestra with Kleiber with stops in Paris and Japan. However, Kleiber, who in December directs the Federal Army concert and the New Year’s concert, declines -- to the horror of all Vienna -- because of an illness.

1992

Kleiber replaces the deceased Leonard Bernstein at the New Year’s concert. In November, Kleiber conducts the Philharmonic Orchestra in Vienna at the presentation of the book: “Democracy of the Kings”. He declines further engagements for the New Year’s concert. A legendary meeting between Kleiber and Sergui Celibidache, Head Conductor of the Munich Philharmonic Orchestra, on the plane from Tokyo to Munich. Kleiber is again a subject of conversation as a conductor with Munich Philharmonic Orchestra, but after Bernstein’s death he never again appeared at the conductor’s stand.

1993

Kleiber conducts Vienna Mozart’s symphony No 33 and “Ein Heldenleben” by Richard Strauss. Kleiber suddenly and, in everyone’s opinion unreasonably, withdraws permission to release the already cut CD for Sony. Kleiber is further intensively occupied with work. Sir Peter Jonas, a friend of Kleiber, takes up the management of the Bavarian State Opera but does not succeed in involving Kleiber again.

1994

Richard von Weizsäcker succeeds again to bring Kleiber to Berlin for his farewell concert. State Opera Director Ioan Holender triumphs after having engaged Kleiber for three performances of “Rosenkavalier” in Vienna followed by a Japan tour. After the celebrated tour, Kleiber takes final leave of the Opera stage. He receives the “Honorable Cross for Science and Arts” in Vienna, but one cannot convince him to conduct again in that city. Kleiber has long deliberated his final withdrawal.

1995

Kleiber declines all offers. A leg fracture prevents him from conducting.

1996

A guest performance with the Bavarian State Opera in Ingolstadt provides headlines worldwide. In the same year Kleiber’s enthusiastically celebrated concert for the 70th anniversary of media leader Leo Kirch is recorded for private television. Kleiber is bodily weakened.

1997

Kleiber replaces his friend Ricardo Muti with the Bavarian State Orchestra at the Ravenna Festival in Italy. He conducts the Slovenia Philharmonic Orchestra in Ljubljana on the occasion of the European Month of Culture. The first signs of a serious disease.

1998/99

Kleiber accepts a guest performance with the Bavarian Radio Symphony Orchestra. His last concerts in January 1999 in Las Palmas de Gran Canaria and Santa Cruz de Tenerife at the Festival de Música de Canarias and in February in Valencia, Spain and Cagliari, Italy. Kleiber seems to like undertaking other guest performances with the Orchestra. The announcement that Kleiber will open the Festival centre in Baden-Baden with the Vienna Philharmonic Orchestra turns to be false. In December, he goes takes a holiday in Japan. His Japanese friend Tadatsugu Sasaki tries further in vain to convince Kleiber to do guest performances in Japan.

2000

Despite further efforts of the both Munich Orchestras and Kleiber’s interest in a guest performance in Buenos Aires, no other concerts take place.

Kleiber wants to participate in the Salzburg Festival with “Tristan und Isolde”. However, the responsible persons do not seem to take it seriously into consideration. Even hopes of inspiring him for recording projects with the Berlin Philharmonic Orchestra destroy. Kleiber’s 70th anniversary is widely reported in the press. A rumour about Kleiber’s conducting Wagner’s “Rienzi” at the New York Met turns out to be groundless.

2001

A piece of news comes from Spain about so-called Kleiber’s engagement in the international Music Festival in Santander with the Bavarian Radio Orchestra.

2002

New rumours, which soon dry out, about performances of Verdi’s “Falstaff” under Kleiber’s conducting at Teatro Real in Madrid. Increasing rumours circulate about Kleiber. Busy with private studies, correspondence and travel, Kleiber tears himself from the society. Kleiber’s health causes him concern. Only after his cancer aggravates does he take treatment. While nothing about his disease is known in public, a strange false announcement appears on the internet about Kleiber’s death.

2003

The sudden death of his wife Stanislava just before Christmas, renders a lasting shock to Kleiber. Efforts of friends to encourage him, because of that, to work are fruitless in spite of attractive offers. Kleiber, meanwhile, a grandfather, almost completely retires to his family and close friends circle. He, however, further exchanges letters and regularly goes to Salzburg.

2004

Kleiber guards from acquaintances and friends and, of course, from the press that he would like to undertake “Rosenkavalier” at the Salzburg Music Festival. At this point conducting is no longer a possibility, even though strictly speaking his health would allow it. On 11 July, Kleiber sets off by his car for Slovenia and a little later is found dead in his vacation house at Konjśica. His burial in the grave next to his wife Stanka on the village cemetery occurs among the closest family circle. Only on 19 July it is understood that Kleiber had passed away on 13 July. The music world reacts with horror and a flow of memorial speeches and articles appear and many of his colleagues write about him .

2005

July: Vienna, Munich and Ljubljana celebrate Carlos Kleiber's 75^th birthday and mark the first anniversary of his death with concerts.