Sardar Udham: Promotions. Fashion designer Charu Parashar celebrates her 50th birthday with friends. Designer and activist Sanjana Jon celebrates her birthday with close friends. Kangana Ranaut stuns at the press conference of 'Thalaivii'. Sara Ali Khan promotes Atrangi Re. Major: Press Conference. Celebs attend the screening of Bony. Celebs attend the premiere of Golondaaj. Tinsel town celebs attend a pre-puja event. Kolkatans celebrate 75 years of Indian Independence.
Contemporary musicians celebrate Indian folk music. FIR: Trailer and poster launch. Ragini Dwivedi attends a press meet. Students attend the National Science Day celebration. Shankar Mahadevan visits Mangaluru. Vinayak Joshi weds Varsha Belawadi in intimate ceremony amid Covid precautions.
Kannada actress Mayuri Kyatari ties the knot with childhood friend Arun. Kannada televisions go off air. Aamir Khan attends the music event of 'Love Story'. PV Narasimha Rao's photo exhibition. Hundreds come together for Queer Carnival in Hyderabad. Actor Raja Chembolu ties the knot with Himabindu Lakshmi.
Inside pictures from Niharika Konidela and Chaitanya Jonnalagadda's engagement ceremony. Wings India takes off in style. Socialites attend New Year's party. Dhimang Div Yanga differently abled kids fashion show. Socialites attend a wellness event. Soaking in the Yuletide Cheer! Music pumps up the city's party scene. Glitterati catch up at a weekend do.
Fashionistas huddle up at this fun and frolic event. Conversations on fitness, fashion kept Chennaiites engaged. Manjiri Pupala visits Pune. Theatron's annual festival. Taal Chakra: Music Fest. Kshitish Date and Rucha Apte tie the knot in a private ceremony. Sports For Peace: A field day for the cricket fans. Fakat: On the sets. Aastad Kale and Swapnalee Patil tied the knot amid the presence of friends and family.
Sana Hasnain and Ishan Zaidi's wedding ceremony. Celebrating a decade of Jashn-e-Itwar. We also learn everything about the "private" Zubin Mehta - about his marriages, his children, his thoughts on music and politics, especially in Israel, where he is lifetime Music Director of the Israel Philharmonic. Get A Copy. Hardcover , pages. Published February 1st by Amadeus first published April 30th More Details Original Title.
Other Editions 2. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Zubin Mehta , please sign up. Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Feb 07, Phoebe Baker rated it really liked it. Found this book as I was preparing to travel to Vienna. It reads easy though his moving back and forth in time is a bit tedious.
But it acquainted me with classical music nicely. My second father by choice was a classical music aficionado and this book brought pleasant memories. Very interesting and gives a lot of information about conducting. View 1 comment. Mar 05, Bev rated it liked it Shelves: autobiography , non-fiction. I am not as "well-read" in the music world as I would sometimes like to be. Before coming across Zubin Mehta: The Score of My Life, the autobiography of an apparently world-renowned conductor, while searching for a book whose title began with the letter "Z" for one of my many reading challenges , I had never heard of Zubin Mehta.
I have heard of many of his friends and the musicians and singers with whom he has worked, but not him. In this book, Mehta tells us his story For the most part the story is very well-told. I felt as if I were sitting with Mehta and listening to him tell me his story out loud. I would not say that he rambles, but one story leads to another the way stories often do when you're just sitting around chatting with your friends.
It makes me wonder if he wrote this autobiography by hand or recorded his thoughts verbally and then transcribed them to written form. The feel of the book has me strongly favoring the latter. Although I have long been a minor fan of classical music it was always my favorite background music for studying in college and have a very small knowledge of composers and their works, it was a real treat to be taken inside the world of classical music and the way the conductors and orchestras bring these works to the public.
Once again I had the overwhelming feeling that my ears were straining to open up, so that I could listen to this real music in the right way. In this way I came to know music which I had imagined I already knew. I cannot express it in any other way. Everything that I had thought I was already familiar with became clear to me now for the first time. This new listening was often far removed from what I was used to. Time and again I made new discoveries.
I felt like Columbus on a musical expedition. I set foot on a territory, which was completely new to me, though I already knew its outlines.
It was an enriching and wonderful time during which the foundation for everything that I later achieved was laid. I had listened to a lot of music in Bombay but a certain bias in the selection of music was naturally rendered unavoidable through my father? Hence I discovered Mozart for example only in Vienna, and thankfully in the right way.
From Israel? The Israel Philharmonic is like family to me. Apart from a few exceptions I have chosen and appointed the musicians myself from among the candidates shortlisted by a special committee. I am familiar with every little characteristic of this orchestra, just as they know every single gesture of mine.
Conducting is to a large extent communicating. It helps when there is a good level of understanding between the two parties, that is, when they understand each other without anything being said, in other words before we begin to play or conduct.
When the orchestra and the conductor communicate so well as a team, as in the case of the Israel Philharmonic and me, then it is always possible to reach a true musical consensus. In this case it is not about striving for the lowest common denominator, but rather aiming at the maximum attainable. It is easier for me to reach this level of communication with the Israel Philharmonic as compared to other orchestras even though it is not exiled Poles or musicians from Vienna and Hungary who anymore call the tune.
Most of the members of the orchestra now are from Russia and I, unfortunately, cannot communicate with them. But even if our verbal communication does not work so well we understand each other perfectly at a musical level. During my initial years in Israel I also knew many of the musicians personally. We met outside the concert halls and they even invited me to their homes too. I think that for some of them I played a role that lay somewhere between those of a confessor, psychologist and career counsellor.
It is a highly interesting phenomenon for me, and very stimulating for my work, that musicians from different parts of the world understand music in completely different ways. I have repeatedly emphasized the strong influence of Vienna on me musically. I grew up there in a very particular tradition and internalized the entire cosmos of this musical tradition from Haydn to Webern.
Perhaps I even went so far as to sacrifice precision in favour of a warmer sound. Similarly in Israel I tried to convey my idea of sound to the musicians, particularly in the case of music from the nineteenth century. This is even possible with the Viennese waltzes, which are more difficult to play than one generally imagines.
I practice a Strauss waltz with the Israel Philharmonic again and again. This is obviously not the genuine musical language of these musicians but it is important for me to make them understand even such music. I try to explain the right tone and style of this music, for example, the fact that the many accompanying figures in a waltz do not have to be played exactly as printed.
On the printed page certain rhythms must be played in a sloppy but organized manner something that is very difficult to explain outside Austria. Even German orchestras do not always know exactly how this organized sloppiness works. I even have it written in the parts for the Israel Philharmonic. I enjoy such exercises. They bring some freshness into the orchestra. Besides they are also fun. And then, when the whole auditorium reverberates with delight, all of us feel rewarded too. But I have to admit that waltzes are perhaps still somewhat unusual in Israel.
I was already familiar with the musical landscape in Munich and was happy that I would finally be leading an opera house. In the meantime I had gathered a lot of experience in the field of opera.
However I had never really been a part of the usual business of repertoire performances as was traditional in Munich. Until I took up my job at the Bavarian State Opera I had essentially conducted more concerts than operas.
All that changed with my appointment as? Bavarian general music director? I soon grew fond of the orchestra. The choir was wonderful, the acoustics magnificent, and all of us worked together smoothly from the very beginning. Sir Peter Jonas took care of the administrative matters, all dealings with the ministry of culture and the search for sponsors. He was a wonderful mediator between art, politics and business and he knew how to get the Bavarian authorities and audience to commit to the new times.
He had had gained immense experience of such things during his stint in Chicago and London. Munich was also my first permanent engagement in Germany. My first repertoire performance gave me quite a few grey hair. I was suddenly expected to conduct an opera with just one rehearsal. Although I was comfortable in the field of operas by that time, it was nonetheless a difficult and challenging project.
After all I had to learn something new again in my early sixties! The repertoire began with La Traviata. It went off more or less well but the next performance of Figaro did not turn out particularly well. One always needs more rehearsals for Mozart.
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