The Teldec (Telefunken-Decca Schallplatten GmbH) is a German record label in Hamburg, Germany. Today the label is a property of Warner Music Group.

History[link]

Teldec was a major German producer of (first) shellac and (later) vinyl records. The Teldec manufacturing facility was located in Nortorf near Kiel in Germany. The company was founded 1950 as a cooperation between Telefunken and Decca Records. The name Teldec is the result of taking the first three letters of both labels: Telefunken and Decca. Records manufactured by Teldec mostly were released under the Telefunken or Decca label, but normally these records contained no hint that they were made by Teldec. In 1983 Telefunken and Decca rectracted from their engagement in vinyl record production and Teldec was sold to Time Warner. In 1997 the remaining compact-disc production facility in Nortorf was to be closed by Time Warner, but a management buyout was done and the new founded company OK-media is continuing the CD production until now. In 2001, after the merger of AOL & Time Warner, Teldec closed down.

TED video-disc[link]

Design prototype of a player for the Telefunken TED video disc.

In the early 1970s Teldec was acting for Telefunken in the development of a disc manufacturing technology for Telefunken's "TED" vinyl video disc player TD1005, released in 1975. The TED system was more or less a predecessor of the more successful optical Philips Laserdisc video system, as the TED system employed the idea of using FM instead of AM for storing the video signal on a disc for the first time.

The TED video-disc player used a piezo-electric pick-up cartridge with a diamond stylus, mechanically sampling the frequency-modulated, PAL-encoded A/V-signal from thousands of concentric grooves, vertically recorded into the surface of a very thin, flexible vinyl disc. The disc was freely rotating on a thin cushion of air between the disc and a fixed plate at 1500rpm (25Hz), the disc being stabilized only by centrifugal force. The sampling frequency of the combined audio/video signal was about 2.7MHz. Maximum video playing time was 10 minutes on a 210 mm disc, amounting to about 15,000 concentric grooves on the disc, each storing two half-frame PAL-video-lines.

Direct Metal Mastering[link]

A technological spin-off from the short-lived TED video system was Teldec's Direct Metal Mastering technology, called DMM, for the manufacturing of vinyl records: The cutting lathe engraves the audio signal groove directly into a copper-plated master disc, instead of a lacquer-plated aluminium disc.

External links[link]

• Official site
• Teldec exhibiton in the museum of Nortorf
• Telefunken's TED video player TP 1005 at radiomuseum.org
• Website of a German vinyl record manufacturer, containing informations about DMM technology
• Video of the internal functions of a working TED player

La Düsseldorf was a German band, consisting of onetime Kraftwerk drummer and Neu! multi-instrumentalist Klaus Dinger and occasional Neu! collaborators Thomas Dinger and Hans Lampe. La Düsseldorf was formed after Neu! disbanded following the release of their Neu! '75 record. They released a string of successful albums (with sales totaling over a million) during the late '70s and early '80s and were considered highly influential by the likes of Brian Eno and David Bowie, with Bowie going so far as calling La Düsseldorf "the soundtrack of the eighties".^[1]

Overview[link]

Core members[link]

• Klaus Dinger – vocals, guitars, keyboards
• Thomas Dinger – vocals, percussion
• Hans Lampe – percussion, electronics

Other members[link]

• Harald Konietzko (1978) – bass
• Andreas Schell (1978) – piano
• Nikolaus Van Rhein (1976–1981) – keyboards (this is a pseudonym of Klaus Dinger.)

Discography[link]

Albums[link]

• 1976 – La Düsseldorf (Teldec Records)
• 1978 – Viva (Teldec Records)
• 1981 – Individuellos (Teldec Records)

The following albums were released by Klaus Dinger without the participation of any other band members. Due to legal disputes, the albums could not be released under the La Dusseldorf name, but were subtitled "La Dusseldorf 4" and "La Dusseldorf 5" respectively. These are considered to be La Dusseldorf albums by some people.^[who?]

• 1985 – Neondian (Teldec Records, released under the name "Klaus Dinger and Rheinita Bella Dusseldorf")
• 1999 – Blue (Captain Trip Records, recorded between 1985 and 1987, released under the name "La! Neu?")

In 2006 Klaus Dinger sought to revive La Dusseldorf properly, but was again blocked by legal problems. He instead chose to release under the name "La-duesseldorf.de" (also the name of his most recent website). This project features, of the original band, only Klaus.

• 2006 – Mon Amour (Warner Music, a re-release of Neondian with extra tracks that was only briefly in print)
• To be released – Japandorf.com (half-finished due to Dinger's death in 2008)
• To be released – Viva Remixes (half-finished due to Dinger's death in 2008)

Singles[link]

• 1976 – Silver Cloud/La Düsseldorf (Teldec Records)
• 1978 – Rheinita/Viva (Teldec Records)
• 1980 – Dampfriemen/Individuellos (Teldec Records)
• 1983 – Ich liebe Dich, Teil 1/Ich liebe Dich, Teil 2 (Teldec Records)

Maxi-Singles[link]

• 1978 – Rheinita/Viva (Teldec Records)
• 1980 – Dampfriemen/Individuellos (Teldec Records)
• 1983 – Ich liebe Dich/Koksknödel (Teldec Records)

Video[link]

• 2004 – Rheinita 1979 (a live performance of Rheinita that can be viewed for free on Klaus Dinger's website www.la-duesseldorf.de

The booklets of "Neondian" and "Blue" also hint at the existence of videos for "America" (Neondian) and "Ich Liebe Dich" (single) although neither have been released.

References[link]

1. ^ "Klaus Dinger and NEU! and La Düsseldorf and Die Engel des Herrn" - Article from "Real Groove" No 2, Aug. 1996, with personal comments / corrections by Klaus Dinger. Retrieved on October 8, 2007.

External links[link]

• La Düsseldorf site
• DingerLand "Official" Klaus Dinger site
• Klaus Dinger records
• A Taste of Krautrock by Patrick O'Hearn, Perfect Sound Forever, November 1997
• Article at Prog Archives
• Myspace site

See also[link]

• Amon Düül II (aka Amon Duul II)
• Ash Ra Tempel
• Can
• Cluster
• Cosmic Jokers
• Faust
• Harmonia
• Hawkwind
• Kraftwerk
• La! Neu?
• Neu!
• Popol Vuh

Zubin Mehta, 2007)

Zubin Mehta (ज़ुबिन मेहता); pronounced [ˈzuːbɪn ˈmeːɦt̪aː] (born 29 April 1936) is an Indian conductor of western classical music. He is the Music Director for Life of the Israel Philharmonic Orchestra.

Biography[link]

Zubin Mehta was born into a Parsi family in Bombay, British India, the son of Mehli and Tehmina Mehta. His father Mehli Mehta was a violinist and founding conductor of the Bombay Symphony Orchestra. Mehta is an alumnus of St. Mary's School, Mumbai, and St. Xavier's College, Mumbai. Mehta initially intended to study medicine, but eventually became a music student in Vienna at the age of 18, under Hans Swarowsky. Also at the same academy along with Mehta were conductor Claudio Abbado and conductor–pianist Daniel Barenboim.

Mehta's first marriage was to Canadian soprano Carmen Lasky in 1958. They have a son, Mervon and a daughter, Zarina. In 1964, they divorced.^[1] Two years after the divorce, Carmen married Zubin's brother, Zarin Mehta, now the Executive Director of the New York Philharmonic. In July 1969, Mehta married Nancy Kovack, a former American film and television actress.^[2] Mehta is a permanent resident of the United States, but retains his Indian citizenship.

Conducting career[link]

Zubin Mehta conducting the Israel Philharmonic Orchestra in Mumbai, October 2008

In 1958, Mehta made his conducting debut in Vienna. The same year he won the International Conducting Competition in Liverpool and was appointed assistant conductor of the Royal Liverpool Philharmonic. Mehta soon rose to the rank of chief conductor when he was made Music Director of the Montreal Symphony Orchestra in 1960, a post he held until 1967. In 1961, he was named assistant conductor of the Los Angeles Philharmonic; however, the orchestra's music director designate, Georg Solti, was not consulted on the appointment, and Solti subsequently resigned in protest;^[3] soon after, Mehta himself was named Music Director of the orchestra, and held the post from 1962 to 1978.

In 1978 Mehta became the Music Director and Principal Conductor of the New York Philharmonic and remained there until his resignation in 1991, becoming the longest holder of the post.

The Israel Philharmonic Orchestra (IPO) appointed Mehta its Music Advisor in 1969, Music Director in 1977, and made him its Music Director for Life in 1981.^[4]

Since 1985, Mehta has been chief conductor of the Teatro del Maggio Musicale Fiorentino in Florence. Additionally, from 1998 until 2006, Mehta was Music Director of the Bavarian State Opera in Munich. The Munich Philharmonic named him its Honorary Conductor. Since 2005, Mehta has been the main conductor (together with Lorin Maazel) of the Palau de les Arts, the new opera house of the Ciutat de les Arts i les Ciències, in Valencia, Spain.

Mehta conducted the Vienna New Year's Concert in the years 1990, 1995, 1998 and 2007. He has also made a recording of Indian instrumentalist Ravi Shankar's Sitar Concerto No. 2, with Shankar and the London Philharmonic Orchestra.

1990s[link]

In 1990, he conducted the Orchestra del Maggio Musicale Fiorentino and the Orchestra del Teatro dell'Opera di Roma in the first ever Three Tenors concert in Rome, joining the tenors again in 1994 at the Dodger Stadium, Los Angeles. In between those appearances he conducted the historic 1992 production of Tosca in which each act took place in the actual setting and at the actual time specified in the score. This production starred Catherine Malfitano in the title role, Plácido Domingo as Cavaradossi and Ruggero Raimondi as Baron Scarpia. Act I was telecast live from Rome's basilica of Sant'Andrea della Valle on Saturday, 11 July, at noon (Central European Daylight Savings Time); act II was telecast later that evening from the Palazzo Farnese at 9:40 p.m.; act III was telecast live on Sunday, 12 July, at 7:00 am from the Castel Sant'Angelo, also known as Hadrian's Tomb.

In June 1994, Mehta performed the Mozart Requiem, along with the members of the Sarajevo Symphony Orchestra and Chorus at the ruins of Sarajevo's National Library, in a fund raising concert for the victims of armed conflict and remembrance of the thousands of people killed in the Yugoslav wars. On 29 August 1999, he conducted Mahler Symphony No. 2 (Resurrection), at the vicinity of Buchenwald concentration camp in the German city of Weimar, with both the Bavarian State Orchestra and the Israel Philharmonic Orchestra, sitting alongside each other. He toured his native country India and home city Mumbai (Bombay) in 1984, with the New York Philharmonic, and again in November–December 1994, with the Israel Philharmonic Orchestra, along with soloists Itzhak Perlman and Gil Shaham. In 1997 and 1998, Mehta worked in collaboration with Chinese film director Zhang Yimou on a production of the opera Turandot by Giacomo Puccini which they took to Florence, Italy, and then to Beijing, China, where it was staged, in its actual surroundings, in the Forbidden City with over 300 extras and 300 soldiers. for nine historic performances. The making of this production was chronicled in a documentary called The Turandot Project which Mehta narrated.

2000s[link]

Zubin Mehta, 2010

On 29 November 2005 Mehta appeared with the Royal Concertgebouw Orchestra performing Bruckner's Symphony No. 8. On 26 December 2005, the first anniversary of the Indian Ocean Tsunami, Mehta and the Bavarian State Orchestra performed for the first time in Chennai (formerly called Madras) at the Madras Music Academy. This tsunami memorial concert was organised by the Madras German consulate along with the Max-Mueller Bhavan/Goethe-Institut. 2006 was his last year with the Bavarian State Orchestra.

Performance style[link]

Mehta received praise early in his career for dynamic interpretations of the large scale symphonic music of Anton Bruckner, Richard Strauss, Gustav Mahler and Franz Schmidt. His conducting is renowned as being flamboyant, vigorous and forceful.

Honors and awards[link]

Mehta at a ceremony to receive a star on the Hollywood Walk of Fame in March 2011

Mehta's name is mentioned in the song "Billy the Mountain" on the 1972 album Just Another Band from L.A. by Frank Zappa and The Mothers of Invention.

At the Israel Prize ceremony in 1991, Mehta was awarded a special prize in recognition of his unique devotion to Israel and to the Israel Philharmonic Orchestra.

In 1995, Laureate of the Wolf Prize in Arts.

In 1999, Mehta was presented the "Lifetime Achievement Peace and Tolerance Award" of the United Nations.

The Government of India honoured Mehta in 1966 with the Padma Bhushan and in 2001 with India's second highest civilian award, the Padma Vibhushan.^[5]

In 2005, he was voted the 117th-greatest Israeli of all time, in a poll by the Israeli news website Ynet to determine whom the general public considered the 200 Greatest Israelis.^[6]

In September 2006 the Kennedy Center announced Mehta as one of the recipients of that year's Kennedy Center Honors, presented on 2 December 2006.

On 3 February 2007, Mehta was the recipient of the Second Annual Bridgebuilder Award at Loyola Marymount University.

In 2007 he received the prestigious Dan David Prize.

Conductor Karl Böhm awarded Mehta the Nikisch Ring – the Vienna Philharmonic Ring of Honor.

Mehta is an honorary citizen of Florence and Tel Aviv. He was made an honorary member of the Vienna State Opera in 1997. In 2001 he was bestowed the title of "Honorary Conductor" of the Vienna Philharmonic and in 2004 the Munich Philharmonic awarded him the same title, as did the Los Angeles Philharmonic and the Teatro del Maggio Musicale Fiorentino in 2006. At the end of his tenure with the Bavarian State Opera he was named Honorary Conductor of the Bavarian State Orchestra and Honorary Member of the Bavarian State Opera, and the Gesellschaft der Musikfreunde, Wien, appointed him honorary member in November 2007.

In October 2008, Mehta received the Praemium Imperiale (World Culture Prize in Memory of His Imperial Highness Prince Takamatsu), Japan.

On 1 March 2011, Mehta received the 2,434th star on the Hollywood Walk of Fame.

On 2 October 2011 he received the Echo Klassik in Berlin, for his life's work.^[7]

Films[link]

Mehta's life has been documented in Terry Sanders' film Portrait of Zubin Mehta. A documentary film about Mehta, Zubin and I, was produced by the grandson of an Israeli harpist who played with the Israel Philharmonic Orchestra before Mehta assumed the helm. The filmmaker joins the orchestra on a tour of Mumbai and meets with him for two interviews, in India and Tel Aviv.^[8]

In Christopher Nupen's 1969 documentary The Trout about a performance of Schubert's Trout Quintet in London by Jacqueline du Pré, Daniel Barenboim, Pinchas Zukerman and Itzhak Perlman, Mehta plays the double bass.^[9]

Educational projects[link]

In 2009, Mehta established Mifneh (Hebrew for "change"), a music education program for Israeli Arabs, in cooperation with Bank Leumi and the Arab-Israel Bank. Three schools, in Shfaram, the Jezreel Valley and Nazareth, are taking part in the pilot project.^[10]

He and his brother Zarin constitute the Advisor Council of the Mehli Mehta Foundation.^[11]

See also[link]

• List of Israel Prize recipients

References[link]

Bibliography[link]

• Martin Bookspan and Ross Yockey, Zubin: The Zubin Mehta Story
• Renate von Matuschka, Die Partitur meines Lebens.

External links[link]

Wikimedia Commons has media related to: Zubin Mehta

• Official website
• Zubin Mehta at Allmusic
• Zubin Mehta at the Internet Movie Database
• Dan David Prize laureate 2007

Nikolaus Harnoncourt (Count Nikolaus de la Fontaine und d'Harnoncourt-Unverzagt^[1]) (born 6 December 1929) is an Austrian conductor, particularly known for his historically informed performances of music from the Classical era and earlier. Starting out as a classical cellist, he founded his own period instrument ensemble in the 1950s, and became a pioneer of the Early Music movement. Around 1970, Harnoncourt started to conduct opera and concert performances, soon leading renowned international symphony orchestras, and appearing at leading concert halls, operatic venues and festivals. His repertoire has since widened to include composers of the 19th and 20th century. In 2001 and 2003, he conducted the Vienna New Year's Concert. Harnoncourt is also the author of several books, mostly on questions of performance history and musical aesthetics.

Biography[link]

Harnoncourt was born in Berlin, Germany. He was raised in Graz, Austria and studied music in Vienna. His mother, Ladislaja Gräfin von Meran, Freiin von Brandhoven, was the granddaughter of the Habsburg Archduke Johann, the 13th child of the Emperor Leopold II. He is thus descended from various Holy Roman Emperors and other European royalty. His father, Eberhard de la Fontaine Graf d'Harnoncourt-Unverzagt, was an engineer working in Berlin who had two children from a previous marriage. Two years after Nikolaus's birth, his brother Philipp was born. The family eventually moved to Graz, where Eberhard had obtained a post in the state-government (Landesregierung) of Styria.

Career[link]

Harnoncourt was a cellist with the Vienna Symphony from 1952 to 1969. In 1953, he founded the period-instrument ensemble Concentus Musicus Wien with his wife, Alice Hoffelner. The Concentus Musicus Wien is dedicated to performances on period instruments, and by the 1970s his work with it had made him quite well known. He played the viola da gamba at this time, as well as the cello. For the Telefunken (later Teldec) label, Harnoncourt recorded a wide variety of the Baroque repertoire, beginning with the viol music of Henry Purcell,^[2] and extending to works including Johann Sebastian Bach's The Musical Offering,^[3] Claudio Monteverdi's L'incoronazione di Poppea,^[4] and Jean-Philippe Rameau's Castor et Pollux.^[5]

One reason that Harnoncourt left the Vienna Symphony was to become a conductor. He made his conducting debut at La Scala, Milan in 1970, in a production of Monteverdi's Il ritorno d'Ulisse in patria.^[6]

In 1971, Harnoncourt started a joint project with conductor Gustav Leonhardt to record all of J.S. Bach's cantatas. The project was eventually completed in 1990, and (barring a couple of cantatas, nos. 51 and 199) was the only cantata cycle to utilise an all-male choir and soloist roster. In 2001 a critically acclaimed and Grammy Award winning recording of Bach's St Matthew Passion conducted by Harnoncourt was released, which included the entire score of the piece in Bach's own hand on a CD-ROM (this is his third recording of the work).^[7]

Harnoncourt subsequently performed with many other orchestras using modern instruments, but still with an eye on historical authenticity in terms of tempi and dynamics, among other things. He also expanded his repertoire, continuing to play the baroque works which had given him prominence, but also championing the Viennese operetta repertoire. In recent years, he has made a benchmark recording of the Beethoven symphonies with the Chamber Orchestra of Europe (COE),^[8] and recorded the Beethoven piano concerti with Pierre-Laurent Aimard and the COE.^[9]

In addition, Harnoncourt is a guest conductor of the Vienna Philharmonic and has made several recordings with the orchestra.^[10][11] Between 1987 and 1991, he conducted four new productions of Mozart operas at the Vienna State Opera (1987-91: Idomeneo; 1988-90: Die Zauberflöte; 1989: Die Entführung aus dem Serail; 1989-91 Così fan tutte). He directed the Vienna Philharmonic's New Year's Day concerts in 2001 and 2003.^[12]

In 1992, Harnoncourt debuted at the Salzburg Festival conducting a concert with the Chamber Orchestra of Europe. In the following years, he led several concerts with the Chamber Orchestra of Europe, the Vienna Philharmonic and the Concentus Musicus. Harnoncourt also served as the conductor for major opera productions of the Festival: L'incoronazione di Poppea (1993), Le nozze di Figaro (1995 and 2006), Don Giovanni (2002, marking also Anna Netrebko's international breakthrough as Donna Anna, and 2003), La clemenza di Tito (2003 and 2006), King Arthur (2004).^[13] In 2012, Harnoncourt is scheduled to conduct a new Magic Flute, staged by Tobias Moretti.

In 2002 he recorded Anton Bruckner's Symphony No. 9 with the Vienna Philharmonic, with an accompanying second CD containing a lecture by Harnoncourt about the symphony with musical examples, including the rarely heard fragments from the unfinished finale.

Harnoncourt made his guest-conducting debut with the Concertgebouw Orchestra, Amsterdam in 1975. He has continued as a guest conductor with the orchestra, including in several opera productions and recordings.^[14] In October 2000, the Royal Concertgebouw Orchestra named him their Honorair gastdirigent (Honorary Guest Conductor).

In 2009, Harnoncourt recorded Porgy and Bess by George Gershwin.

Harnoncourt and his wife Alice have raised four children. Their daughter is the mezzo-soprano Elisabeth von Magnus. Their two surviving sons are Philipp and Franz. Their third son Eberhard, a violin maker, died in 1990 in an automobile accident.^[15]

Awards[link]

• Sonning Award (1993, Denmark)
• Polar Music Prize (1994, Sweden)
• Hans von Bülow Medal (1999, Berlin)
• Ernst von Siemens Music Prize (2002)
• Kyoto Prize (2005, Japan)
• Leipzig Bach medal (2007, Leipzig)
• Honorary doctor (2008, Mozarteum University of Salzburg, Austria)
• Voted into the Gramophone Hall of Fame (2012)^[16]

Bibliography[link]

• Harnoncourt, Nikolaus; Pauly, Reinhard G. (1997). The Musical Dialogue: Thoughts on Monteverdi, Bach, and Mozart. Portland, OR: Amadeus Press. ISBN 1-57467-023-9. 
• Harnoncourt, Nikolaus; Pauly, Reinhard G. (1988). Baroque Music Today: Music As Speech. Portland, OR: Amadeus Press. ISBN 978-0-931340-91-8. 
• Harnoncourt, Nikolaus (1983). Musik als Klangrede: Wege zu einem neuen Musikverständnis. Salzburg: Residenz Verlag. ISBN 978-3-7017-0315-9. 
• Harnoncourt, Nikolaus (1993). Die Macht der Musik: Zwei Reden. Salzburg: Residenz Verlag. ISBN 978-3-7017-0827-7. 
• Gratzer, Wolfgang (ed.) (2009). Ereignis Klangrede. Nikolaus Harnoncourt als Dirigent und Musikdenker (klang-reden 3), Freiburg/Br.: Rombach. ISBN 978-3-7930-9551-4
• Official catalogue Nikolaus Harnoncourt. Die Universität Mozarteum Salzburg ehrt den Dirigenten und Musikdenker. Salzburg: Universität Mozarteum 2008

References[link]

External links[link]

José Carreras performing at World Economic Forum 2011

Josep Maria Carreras i Coll (Catalan pronunciation: [ʒuˈzɛp kəˈreɾəs]; born 5 December 1946), better known as José Carreras (Spanish pronunciation: [xoˈse kaˈreɾas]), is a Spanish Catalan tenor particularly known for his performances in the operas of Verdi and Puccini.^[1] Born in Barcelona, he made his debut on the opera stage at the age of 11 as Trujamán in Manuel de Falla's El retablo de Maese Pedro and went on to a career that encompassed over 60 roles on the stages of the world's leading opera houses and in the recording studio.

He gained fame with a wider audience as one of The Three Tenors along with Plácido Domingo and Luciano Pavarotti in a series of mass concerts that began in 1990 and continued until 2003.^[2] Carreras is also known for his humanitarian work as the president of the José Carreras International Leukaemia Foundation (La Fundació Internacional Josep Carreras per a la Lluita contra la Leucèmia), which he established following his own recovery from the disease in 1988.^[3]

Life and career[link]

Early years[link]

The youngest of three children, Carreras was born in Sants, a working class district in Barcelona, Spain.^[4] In 1951, his family emigrated to Argentina in an unsuccessful search for a better life. However, within a year they had returned to Sants where Carreras was to spend the rest of his childhood and teenage years.^[5]

He showed an early talent for music and particularly singing, which intensified at the age of 6 when he saw Mario Lanza in The Great Caruso.^[6] The story recounted in his autobiography and numerous interviews is that after seeing the film, Carreras sang the arias incessantly to his family, especially 'La donna è mobile', often locking himself in the family's bathroom when they became exasperated with his impromptu concerts.^[7] At that point, his parents, with the encouragement of his grandfather Salvador Coll, an amateur baritone, found the money for music lessons for him. At first he studied piano and voice with Magda Prunera, the mother of one of his childhood friends, and at the age of 8, he also started taking music lessons at Barcelona's Municipal Conservatory.

At the age of 8, he also gave his first public performance, singing 'La donna è Mobile' accompanied by Magda Prunera on the piano, on Spanish National Radio. A recording of this still exists and can be heard on the video biography, José Carreras – A Life Story.^[8] On 3 January 1958, at the age of 11, he made his debut in Barcelona's great opera house, the Gran Teatre del Liceu, singing the boy soprano role of Trujamán in Manuel de Falla's El retablo de Maese Pedro. A few months later, he sang for the last time as a boy soprano at the Liceu in the second act of La Bohème.

Throughout his teenage years, he continued to study music, moving on to the Conservatori Superior de Música del Liceu and taking private voice lessons, first with Francisco Puig and later with Juan Ruax, whom Carreras has described as his "artistic father". Following the advice of his father and brother, who felt that he needed a 'back-up ' career, he also entered the University of Barcelona to study chemistry, but after two years he left the university to concentrate on singing.

1970s and 1980s[link]

Juan Ruax encouraged Carreras to audition for what was to become his first tenor role at the Liceu, Flavio in Norma, which opened on 8 January 1970. Although only a minor role, the few phrases he sang caught the attention of the production's leading lady, the eminent soprano and fellow Catalan, Montserrat Caballé. She asked him to sing Gennaro with her in Donizetti's Lucrezia Borgia, which opened on 19 December 1970. It was his first principal adult role, and the one which he considers to be his true debut as a tenor. In 1971, he made his international debut in a concert performance of Maria Stuarda in London's Royal Festival Hall, again with Caballé singing the title role. Caballé was instrumental in promoting and encouraging his career for many years, appearing in over 15 different operas with him, while her brother and manager, Carlos Caballé, was also Carreras's manager until the mid-1990s.

During the 1970s Carreras's career progressed rapidly. In late 1971, he won first prize in Parma's prestigious Voci Verdiane competition which led to his Italian debut as Rodolfo in La bohème at the Teatro Regio di Parma on 12 January 1972. Later that year he made his American debut as Pinkerton in Madama Butterfly with the New York City Opera. Other major house debuts followed – the San Francisco Opera in 1973, as Rodolfo; the Philadelphia Lyric Opera Company in 1973, as Alfredo in La traviata; the Vienna Staatsoper in 1974, as the Duke of Mantua in Rigoletto; London's Royal Opera House in 1974, as Alfredo; the New York Metropolitan Opera in 1974, as Cavaradossi in Tosca; and La Scala, Milan in 1975, as Riccardo in Un ballo in maschera. By the age of 28, he had already sung the tenor lead in 24 different operas in both Europe and North America, and had an exclusive recording contract with Philips, which resulted in valuable recordings of several less often performed Verdi operas, notably Il Corsaro, I due Foscari, La battaglia di Legnano, Un giorno di regno, and Stiffelio.

Carreras's leading ladies during the 1970s and 1980s included some of the most famous sopranos and mezzo-sopranos of the day: Montserrat Caballé, Birgit Nilsson, Viorica Cortez, Renata Scotto, Ileana Cotrubaş, Sylvia Sass, Teresa Stratas, Dame Kiri Te Kanawa, Frederica von Stade, Agnes Baltsa, Teresa Berganza, and Katia Ricciarelli. His artistic partnership with Ricciarelli began when they both sang in the 1972 La bohème at Parma and lasted for 13 years, both in the recording studio and on stage. They later made a studio recording of La bohème for Philips Classics and can be heard together on over 12 other commercial recordings of both operas and recitals, predominantly on the Philips and Deutsche Grammophon labels.^[9]

Of the many conductors he worked with during this period, the one with whom Carreras had the closest artistic relationship and who had the most profound influence on his career was Herbert von Karajan.^[10] He first sang under Karajan in the Verdi Requiem at Salzburg on 10 April 1976, with their final collaboration in a 1986 production of Carmen, again at Salzburg. With Karajan's encouragement, he increasingly moved towards singing heavier lirico-spinto roles, including Aïda, Don Carlos, and Carmen, which some critics have said were too heavy for his natural voice and may have shortened his vocal prime. (See the section on Carreras's voice.)

The 1980s saw Carreras occasionally moving outside the strictly operatic repertoire, at least in the recording studio, with recitals of songs from zarzuela, musicals, and operettas. He also made full-length recordings of two musicals – West Side Story (1985) and South Pacific (1986) – both with Kiri Te Kanawa as his co-star. His 1987 Philips recording of the Argentine folk mass, Misa Criolla, conducted by its composer, Ariel Ramírez, brought the work to a worldwide audience. Although many of Carreras's stage performances are available on video, he also ventured into film. In 1986, he portrayed the 19th century Spanish tenor Julián Gayarre in Romanza Final (The Final Romance) and in 1987, he started working on a film version of La bohème directed by Luigi Comencini.

It was during the filming of La bohème in Paris that he was found to be suffering from acute lymphoblastic leukemia and given a 1 in 10 chance of survival. However, he recovered from the disease after undergoing a gruelling treatment involving chemotherapy, radiation therapy and an autologous bone marrow transplant at the Fred Hutchinson Cancer Research Center in Seattle. Following his recovery, he gradually returned to both the operatic and the concert stage, embarking on a tour of come-back recitals in 1988 and 1989 and singing with Montserrat Caballé in Medea (Mérida, 1989) and in the world premiere of Balada's Cristóbal Colón (Barcelona, 1989)

1990 – present[link]

Carreras backstage at the Royal Albert Hall, December 2001

The 1990s continued to see Carreras performing on the operatic stage in Carmen and Fedora and making role debuts in Samson et Dalila (Peralada, 1990), Verdi's Stiffelio (London, 1993), and Wolf-Ferrari's Sly (Zurich, 1998). However, his opera performances became less frequent as he increasingly devoted himself to concerts and recitals. His final performance in a fully staged opera was on 12 July 2002 in Tokyo, where he reprised the title role in Sly, while his final operatic performances at the Gran Teatre del Liceu, the opera house where his career began, were in Samson et Dalila (March 2001).

In 1990 the first Three Tenors concert, took place in the Baths of Caracalla in Rome on the eve of the 1990 FIFA World Cup finals. It was originally conceived to raise money for Carreras's leukemia foundation and as a way for his colleagues, Plácido Domingo and Luciano Pavarotti, to welcome their "little brother" back to the world of opera. However, it and the subsequent Three Tenors concerts brought Carreras a fame that went far beyond the opera house.^[11] It is estimated that over a billion people around the world watched the television broadcast of the 1994 Three Tenors concert in Los Angeles.^[12] By 1999, the CD from the first Three Tenors concert in Rome had sold an estimated 13 million copies, making it the best-selling classical recording of all time.^[13] The early 1990s also saw Carreras serving as the Musical Director for the opening and closing ceremonies of 1992 Barcelona Olympic Games, and performing in a worldwide concert tour in tribute to his first singing hero, Mario Lanza.

Carreras's recording and concert repertoire has now moved almost entirely into Neapolitan songs, the light classical genre, and 'easy-listening'.^[14] He has also increasingly performed and recorded with artists from outside the classical music world, such as Diana Ross, Edyta Górniak, Lluis Llach, Peter Maffay, Udo Jürgens, Klaus Meine, Charles Aznavour, Kim Styles, Sarah Brightman, Sissel Kyrkjebø, Debbie Harry, Majida El Roumi, and Giorgia Fumanti.

Humanitarian work[link]

Following his own recovery from leukemia, Carreras sought both to repay the debt he owed to medical science and to improve the lives and care of other leukemia sufferers. On 14 July 1988, he established the José Carreras International Leukemia Foundation (Fundació Internacional Josep Carreras per a la Lluita contra la Leucèmia) in Barcelona. The foundation, which publishes a tri-monthly magazine on its activities, Amigos de la Fundación, concentrates its efforts in four main areas:

• Development of clinical research into the cure and treatment of leukemia through scholarships and research grants.

• Campaigns to increase bone marrow and cord blood donation for leukemia patients requiring transplants, along with the operation of REDMO, the Spanish national registry of bone marrow donors.

• Strengthening of the research and clinical infrastructures in both leading international institutions and hospitals and laboratories in the developing world.

• Provision of social services to leukemia patients and their families, including free accommodation near transplant centres.

The José Carreras International Leukaemia Foundation also has affiliates in the U.S., Switzerland, and Germany, with the German affiliate the most active of the three. Since 1995, Carreras has presented an annual live television benefit gala in Leipzig to raise funds for the foundation's work in Germany. Since its inception, the gala alone has raised well over €71 million. Carreras also performs at least 20 charity concerts a year in aid of his foundation and other medical related charities. He is an Honorary Member of the European Society for Medicine and the European Haematology Association, an Honorary Patron of the European Society for Medical Oncology, and a Goodwill Ambassador for UNESCO.

Awards and distinctions[link]

Carreras has received numerous awards and distinctions for both his artistic and humanitarian work. These include: Commander of the Ordre des Arts et des Lettres and Chevalier of the Légion d'honneur (France); Gran Croce di Cavaliere and Grande Ufficiale della Repubblica Italiana; Grand Decoration for Services to the Republic of Austria; the Cruz de Oro del Orden Civil de la Solidaridad Social from Queen Sofia of Spain, The Prince of Asturias Prize, and the Bundesverdienstkreuz from the Federal Republic of Germany. On 23 February 2004, the Austrian Post Office issued a 1€ stamp to commemorate the 30th anniversary of his debut at the Vienna Staatsoper.

He has Honorary Doctorates from the University of Barcelona and Miguel Hernández University (Spain); Napier, Loughborough and Sheffield universities (United Kingdom); the Mendeleev Russian University of Chemistry and Technology (Russia); the University of Camerino (Italy); Rutgers University (United States); the University of Coimbra (Portugal); the National University of Music Bucharest (Romania); Philipps-Universität Marburg (Germany); the University of Pécs (Hungary) and most recently, Kyunghee University (Korea) and the University of Porto (Portugal).

In Spain the central plaza in Sant Joan d'Alacant bears his name, as do two theatres – the Auditori Josep Carreras in Vila-seca (near Tarragona) and The Teatro Josep Carreras in Fuenlabrada.^[15]

Family[link]

Throughout his childhood in Barcelona, Carreras's father, Josep Carreras i Soler, worked as a traffic policeman. He had originally been a French teacher. However, he had fought on the Republican side during the Spanish Civil War, and when the Franco government came into power in 1939, he was no longer allowed to teach. His mother, Antonia Coll i Saigi, ran a small hair-dressing salon, where, as a child, Carreras often sang to the customers in return for pocket money. He was very close to his mother, who was convinced that he would one day be a great singer, and her death from cancer when he was only 18 affected him greatly.^[16] In José Carreras: A Life Story, he said that "even now, every time I go on stage, I always, always, have a quick thought for her."^[17] In 1971 Carreras married Mercedes Pérez. They had two children: a son, Albert (born in 1972), and a daughter, Julia (born in 1978). The marriage ended in divorce in 1992. In 2006, Carreras married Jutta Jäger, but separated from her in 2011.^[18] Carreras's nephew, David Giménez Carreras, is a conductor and Director of the Orquestra Simfònica del Vallès.^[19] He has conducted many of Carreras's concerts since the late 1990s as well as his opera performances in Sly at the Gran Teatre del Liceu in June 2000.^[20]

Voice[link]

In its prime, Carreras's voice was considered one of the most beautiful tenor voices of the day.^[21] The Spanish critic, Fernando Fraga has described it as a lyric tenor with the generosity of a spinto, having "a noble timbre, richly coloured and sumptuously resonant". This is particularly true of the middle range of his voice. Fraga also noted, as has Carreras himself, that even in his youth the high notes of the tenor range were always somewhat problematic for him, and became more so as his career progressed.^[22] Like his idol, Giuseppe di Stefano, Carreras was also known for the beauty and expressiveness of his phrasing and for his passionate delivery.^[23] These qualities are perhaps best exemplified in his 1976 recording of Tosca with Montserrat Caballé in the title role and conducted by Sir Colin Davis.^[24] According to several critics ^[25] his assumption of the heavier spinto roles such as Andrea Chénier, Don José in Carmen, Don Carlo, and Alvaro in La forza del destino put a strain on his naturally lyric instrument which may have caused the voice to prematurely darken and lose some of its bloom. Nevertheless he produced some of his finest performances in those roles. The Daily Telegraph wrote of his 1984 Andrea Chénier at London's Royal Opera House: "Switching effortlessly from the lyric poet Rodolfo in La Bohème a few weeks ago to the heroic poet Chenier, the Spanish tenor's vocal artistry held us spellbound throughout." ^[26] Of his 1985 performance in Andrea Chénier at La Scala (preserved on DVD), Carl Battaglia wrote in Opera News that Carreras dominated the opera "with formidable concentration and a cleverly refined vocal accent that imparts to this spinto role an overlay of intensity lacking in his essentially lyric tenor." ^[27] However, Carl H. Hiller's review of the La Scala performance in Opera also noted that while in the quiet phrases of the score "he could display all the tonal mellowness of which this perhaps most beautiful tenor voice of our time is capable", he had difficulty with the high loud notes, which sounded strained and uneasily produced.^[28] Critic Peter G. Davis wrote of Carreras' choice to continue his career:

Even critics hostile to the Three Tenors phenomenon draw the veil of charity over Carreras's charmless contributions to those mechanized events, hesitating to point out that his voice lost its luster and lyric beauty long before its owner fell ill. Yet that unpleasant fact never seems to dampen the enthusiasm of his fans, who may be less interested in music and expressive singing than in applauding triumph over adversity.^[29]

Recordings[link]

Listed below is a representative selection of notable commercial recordings from the peak years of José Carreras's career. He has an extremely large discography and videography, which also includes many performances preserved on private recordings. The complete list of recordings through 1999 is available on Carreras's official web site (see External links).

Complete operas[link]

• Bizet: Carmen (Agnes Baltsa, José Carreras, Leona Mitchell, Samuel Ramey, The Metropolitan Opera Orchestra, James Levine) DVD Deutsche Grammophon 73000
• Donizetti: L'elisir d'amore (Katia Ricciarelli, José Carreras, Leo Nucci, Susanna Rigacci, Domenico Trimarchi, Coro della RAI di Torino, Orchestra Sinfonica Della Rai Di Torino, Claudio Scimone) CD Philips 00289 475 4422
• Donizetti: Lucia di Lammermoor (Montserrat Caballé, José Carreras, Samuel Ramey, New Philharmonia Orchestra, Jesús López-Cobos) CD Philips 00289 470 4212
• Giordano: Andrea Chénier (José Carreras, Piero Cappuccilli, Eva Marton, Nella Verri, Orchestra del Teatro alla Scala, Riccardo Chailly) DVD Kultur ISBN 0-7697-8050-4
• Halévy: La Juive (June Anderson, Julia Varady, José Carreras, Philharmonia Orchestra, Antonio Almeida) CD Philips 00289 475 7629
• Massenet: Werther (José Carreras, Frederica Stade, Isobel Buchanan, Thomas Allen, Robert Lloyd, Orchestra of the Royal Opera House, Covent Garden, Colin Davis) CD Philips 00289 475 7567
• Puccini: La Bohème (Katia Ricciarelli, José Carreras, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Colin Davis) CD Philips 00289 442 2602
• Puccini: Manon Lescaut (Kiri Te Kanawa, José Carreras, Paolo Coni, Teatro Comunale di Bologna, Riccardo Chailly) CD Decca 460-750-2
• Puccini: Madama Butterfly (Mirella Freni, Teresa Berganza, José Carreras, Juan Pons, Philharmonia Orchestra, Giuseppe Sinopoli) CD Deutsche Grammophon 423 5672
• Puccini: Tosca (Montserrat Caballé, José Carreras, Ingvar Wixell, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Colin Davis) CD Philips 00289 464 7292
• Saint-Saëns: Samson et Dalila (Agnes Baltsa, José Carreras, Jonathan Summers, Simon Estes, Paata Burchuladze, Bavarian Radio Symphony Orchestra and Chorus, Sir Colin Davis) CD Philips 000289 475 8706
• Verdi: Un ballo in maschera (Montserrat Caballé, José Carreras, Ingvar Wixell, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Colin Davis) CD Philips 00289 470 5862
• Verdi: Il Corsaro (Montserrat Caballé, Jessye Norman, José Carreras, New Philharmonia Orchestra, Lamberto Gardelli) CD Philips 00289 475 6769
• Verdi: Don Carlo (José Carreras, Agnes Baltsa, Fiamma Izzo D'amico, Piero Cappuccilli, Ferruccio Furlanetto, Berlin Philharmonic, Herbert von Karajan) DVD Sony Classical 48312
• Verdi: I due Foscari (José Carreras, Piero Cappuccilli, Katia Ricciarelli, Samuel Ramey, ORF Symphony Orchestra, Lamberto Gardelli), CD Philips 422426
• Verdi: La forza del destino (Sesto Bruscantini, José Carreras, Montserrat Caballé, Piero Cappuccilli, Nicolai Ghiaurov, Orchestra del Teatro alla Scala, Giuseppe Patané) CD Myto 984192
• Verdi: Un giorno di regno (Jessye Norman, Fiorenza Cossotto, José Carreras, Ingvar Wixell, Royal Philharmonic Orchestra, Lamberto Gardelli) CD Philips 00289 475 6772
• Verdi: I lombardi alla prima crociata (José Carreras, Ghena Dimitrova, Carlo Bii, Silvano Carroli, Orchestra del Teatro alla Scala, Gianandrea Gavazzeni) DVD Kultur 2036
• Verdi: Simon Boccanegra (Piero Cappuccilli, Mirella Freni, José Carreras, Nicolai Ghiaurov, José van Dam, Orchestra del Teatro alla Scala, Claudio Abbado) CD Deutsche Grammophon 449 7522
• Verdi: Stiffelio (Sylvia Sass, José Carreras, Matteo Manuguerra, ORF Symphony Orchestra, Lamberto Gardelli) CD Philips 00289 475 6775

Recitals, sacred music and cross-over[link]

• Bernstein: West Side Story (Kiri Te Kanawa, José Carreras, Tatiana Troyanos, Kurt Ollmann, Marilyn Horne, Leonard Bernstein) CD Deutschegrammophon 457 1992
• Puccini: Messa di Gloria (José Carreras, Hermann Prey, London Philharmonic Orchestra, Claudio Scimone) CD Erato 48692
• Ramirez: Misa Criolla, Navidad Nuestra CD Philips 420955
• Verdi: Messa da Requiem (Anna Tomowa-Sintow, Agnes Baltsa, José Carreras, José Dam, Vienna Philharmonic, Herbert von Karajan) CD Deutschegrammophon 439 0332
• Various: Ave Maria (José Carreras, Vienna Boys Choir, Vienna Symphony Orchestra, Uwe Christian Harrer) Philips 4111382
• Various: José Carreras – The Golden Years (arias and songs by Puccini, Verdi, Donizetti, Massenet, Bizet, Lehár, Handel, Gastoldi, Giordano, Tosti, Cardillo, Denza, de Curtis, Lara, d' Hardelot, Brodszky, Bernstein, Lloyd Webber) CD Philips 462892
• Various: The Very Best of José Carreras (arias from Aida, Macbeth, Cavalleria rusticana, Pagliacci, Turandot, Don Carlo, Carmen, Faust, Roméo et Juliette, Polyeucte, Le Cid, Sappho, Hérodiade, La Juive, L'Africaine, Le Roi d'Ys, La Périchole) CD EMI 7243 5 75903 2 7

Notes and references[link]

• Matheopoulos, H., The Great Tenors: From Caruso to the Present, 1999, London: Laurence King Publishing.
• Osborne, R., Conversations with Karajan, 1991, Oxford: Oxford University Press.
• Taylor, S. and Pullen, R., Montserrat Caballé – Casta Diva, 1994, London: Victor Gollancz Ltd.

Catalan and Spanish languages bibliography

• Alier, R., El Trobador – Retrat de Josep Carreras, 2007, Barcelona: Edicions Dau. ISBN 978-84-935228-5-8
• Nidal, P., Carreras, La Pasion de Vivir, 1988, Barcelona: Clip.
• Perez Senz, J., El Placer de Cantar – Un Retrato Autobiografico, 1988, Barcelona: Ediciones de Nuevo Arte Thor.

External links[link]

• Josep Carreras — official website
• Official website dedicated primarily to Carreras's 2004 CD Energia
• Fundació Internacional Josep Carreras per a la Lluita contra la Leucèmia – the official web site for Carreras's leukemia foundation with versions in Catalan, Spanish and English.
• Deutsche José Carreras Leukämie-Stiftung – the official web site for the German branch of Carreras's leukemia foundation.
• José Carreras at the Internet Movie Database
• The Unofficial José Carreras Web Site – a large data base of media articles and reviews dating from 1970 to 2002.
• The José Carreras Timeline 1958–2004.
• Complete performance records at The New York Metropolitan Opera and La Scala
• Agent Peter Kupfer