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RCA Red Seal Records (a division of Sony Classical) is releasing a set of complete Chicago Symphony Orchestra recordings—some available for the first time on CD—led by Seiji Ozawa, recorded during his tenure as the first music director of the Ravinia Festival from 1964 until 1968.

“With the success of [Fritz] Reiner’s CSO recordings, RCA was eager to continue expanding its catalog with the Orchestra, and the label wasted no time engaging both [Jean] Martinon (who began his tenure as the orchestra’s seventh music director in 1963) and Ozawa,” writes Frank Villella in the liner notes for the set. “Martinon first recorded with the Orchestra for RCA in November 1964, and Ozawa’s first recording—Bartók’s Third Piano Concerto with [seventeen-year-old Peter] Serkin—was made at Orchestra Hall in June 1965.”

Additional highlights from the set include Serkin performing Bartók’s First Piano Concerto and Schoenberg’s Piano Concerto, one of the seven recordings of the Orchestra performing Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, Britten’s Young Person’s Guide to the Orchestra, Stravinsky’s The Rite of Spring, Beethoven and Tchaikovsky’s Fifth symphonies, and Schubert’s Unfinished Symphony, among others.

When Ozawa announced that he would step down as the Festival’s music director, he said that “Ravinia was the first organization to invite me to be its music director. Without the belief you had in me, I do not think I would have any career at this moment. The Chicago Symphony is one of the greatest orchestras I have ever conducted, and I have had no greater glory in music than I have experienced here.”

The set is available for pre-order via the Symphony Store here. It will be available domestically on April 21, 2017.

This remarkable photograph—the first known image of the Chicago Orchestra—was taken 125 years ago today on March 14, 1892, during one of several first-season domestic tours. The article below describes the image and was written for the fall 1991 CSO program book by then–second horn Norman Schweikert. Schweikert, who retired from the Orchestra in 1997, continues his research, gathering biographical information on professional symphony orchestra and opera musicians from all over the world.

The Earliest Known Photograph of the Chicago Orchestra

This rare, unpublished, informal photograph of the Chicago Orchestra, taken during its inaugural season, was discovered in the early 1960s by Jeff Gold, a Chicago freelance oboist and artist, in an antique shop in Door County, Wisconsin. The shop, now closed, had acquired it from the estate of an unidentified member of the Orchestra who had retired and moved to Wisconsin.

The picture was taken in Saint Louis on March 14, 1892, while the Orchestra was on tour. Two concerts were given in the Saint Louis Exposition and Music Hall on March 14 and 15, and another was given in Alton, Illinois, on the sixteenth. March 17 was probably a travel day, and the eighteenth found the Orchestra back at the Auditorium rehearsing for its concert of the nineteenth. The names included on the photograph make up a balanced instrumentation for a touring orchestra, reduced in size to economize and to fit comfortably onto small stages.

The Saint Louis Exposition and Music Hall in 1888 (unidentified illustrator for The News Herald)

Beneath the photo are two hand-written sets of identification: an original list of names, including first initials, and a second group, supplied perhaps by the previous owner, with lines drawn toward persons in the picture. Why did someone see fit to label everyone a second time? It is difficult to recognize the men because they all are wearing hats, but comparisons with photos taken of individual members during the 1894–95 and 1902–03 seasons helped to identify positively many of them. To identify those who had left by 1894, one has to rely on the lines, which unfortunately are imprecise.

This photograph shows forty-nine of the fifty-member touring orchestra. The accompanying roster and outline match names with faces. Missing is librarian Theodore McNicol, who might have been setting out music. Also missing are conductor Theodore Thomas and his right-hand man, cellist and personnel manager Henry Sachleben. There are already four cellists, so perhaps Sachleben did not make the trip, at least as a performer.

In the lower right corner the name of L. Amato can be made out with difficulty. Did Louis Amato, a cellist in the Orchestra from 1891 to 1901, come along on the trip and take the photograph? Was the photo part of his estate, and did he identify the players? The mysteries of this fascinating image tantalize us. We must be thankful for what we do know, and grateful to both the unknown photographer who captured this moment nearly a century ago and the owner who preserved it.

Diagram indicating position of musicians in the photograph (click to expand)

The players have been placed in the order shown on the larger roster of ninety-five musicians and two librarians found in the subscription program for the twentieth pair of concerts on April 22 and 23, 1892. Names are given in parentheses under instruments on which players might have doubled.

FIRST VIOLIN
1. Max Bendix
2. Isadore Schnitzler
3. Emanuel Knoll
4. Alexander Krauss
5. Theodore Human
6. J. Czerny
7. Herman Braun, Jr.
8. Richard Seidel
9. Rudolph Rissland

SECOND VIOLIN
10. Richard Poltmann
11. August Zeiss, Jr.
12. Friedrich Schmitz-Philippi
13. Gustav Starke
14. Richard Donati
15. Albert Ulrich, Sr.
16. Joseph Zettelmann
17. Ernest F. Wagner

VIOLA
18. August Junker
19. Carl Riedelsberger
20. Jan Meyroos
21. Ferdinand Volk*

CELLO
22. Bruno Steindel
23. Walter Unger
24. Ludwig Corell
25. Emil Schippe

BASS
26. Albin Wiegner
27. Joseph Beckel
28. Louis Klemm
29. Richard Helm

HARP
30. Edmund Schuecher

FLUTE
31. Vigo Andersen
32. Martin Ballman (piccolo)

OBOE
33. Felix Bour
34. E. Schoenheinz (english horn)

CLARINET
35. Joseph Schreurs
36. Carl Meyer (bass clarinet)

BASSOON
37. Hugo Litke
38. Louis Friedrich (contrabassoon)

HORN
39. Hermann Dutschke
40. Adolph Schütz
41. Leopold de Maré
42. Albert Walker

TRUMPET (or cornet)
43. Christian Rodenkirchen
44. Frederick Dietz, Jr.
(15) (Albert Ulrich, Sr.)

TROMBONE
45. Otto Gebhardt
46. William Zeller
47. Josef Nicolini

TUBA
48. August Helleberg

TIMPANI
49. William Loewe

PERCUSSION
(16) (Joseph Zettelmann)
(17) (Ernest F. Wagner)
(18) (Richard Donati)

LIBRARIAN
Theodore McNicol (not pictured)

*This may not be Volk, the cellist, but Valk, a flutist who played only the first season. Both men have the same initial. The name Valk is clearly written, twice, on the photo. A positive identification of Volk could not be made by comparing photos. Were Volk on the tour there would be a proper balance in both the string and woodwind sections. Were Valk playing, there would have been three flutes but only three violas. The mystery remains.

Riccardo Muti (Todd Rosenberg photo)

A recent Gramophone magazine article lists its fifty greatest conductors of all time, and several Chicago Symphony Orchestra titled conductors are prominently featured!

Current music director Riccardo Muti and former music directors Daniel BarenboimRafael Kubelík, Fritz Reiner, and Sir Georg Solti are squarely included, along with principal guest conductors Claudio Abbado, Pierre Boulez, and Carlo Maria Giulini; principal conductor Bernard Haitink; and Ravinia Festival music directors James Levine and Seiji Ozawa.

According to the article, “A great conductor illuminates music you thought you knew in a way that you couldn’t possibly have imagined.” Indeed.

Silvia Kargl, archivist for the Vienna Philharmonic, gives a tour of the artifacts to Jamie Bernstein

Silvia Kargl, archivist for the Vienna Philharmonic, gives a tour of the artifacts to Jamie Bernstein (Ardon Bar-Hama photo)

On Wednesday, February, 22, the Austrian Cultural Forum in New York City hosted a concert and exhibit opening for Vienna and New York: 175 Years of Two PhilharmonicsFeaturing artifacts highlighting the founding and history of both the New York Philharmonic and the Vienna Philharmonic Orchestra, the exhibit also included the manuscript score of Richard Strauss’s Symphony no. 2 in F minor from the Theodore Thomas collection in the Chicago Symphony Orchestra’s Rosenthal Archives.

Frank Villella, archivist for the Chicago Symphony Orchestra, describes the Strauss manuscript to Matthew VanBesien, president of the New York Philharmonic, and William Josephson

Frank Villella, archivist for the Chicago Symphony Orchestra, describes the Strauss manuscript to Matthew VanBesien, president of the New York Philharmonic, and William Josephson (Ardon Bar-Hama photo)

Musicians from both orchestras—clarinet Daniel Ottensamer and violins Daniel Froschauer and Harald Krumpöck from the Vienna Philharmonic, and viola Cynthia Phelps and cello Carter Brey from the New York Philharmonic—were on hand to perform Mozart’s Clarinet Quintet at the beginning of the program. Remarks were delivered by the presidents of both orchestras, Andreas Großbauer and Matthew VanBesien, along with Sebastian Kurz, Austria’s minister for foreign affairs and integration. And in the entryway to the Forum, COSMIC ROCKET, a temporary art installation by Nives Widauer, utilized tour trunks from both orchestras.

Barbara Haws, archivist for the New York Philharmonic, talks about the case dedicated to Leonard Bernstein

Barbara Haws, archivist for the New York Philharmonic, talks about the case dedicated to Leonard Bernstein (Ardon Bar-Hama photo)

The press release describing the event and exhibit is here, and an article from The New York Times, which includes images of several of the artifacts, is here.

The exhibit will be open to the public until March 10 and then travel on to Vienna (the Strauss score will only be included in the New York leg of the exhibit), opening on March 28 at the Haus der Musik and on display through January 2018.

Archivists and historians representing five institutions were on hand for the opening reception: Gino Fran

Archivists and historians representing five institutions were on hand for the opening reception: Gino Francesconi (Carnegie Hall), Barbara Haws (New York Philharmonic), Silvia Kargl (Vienna Philharmonic), Frank Villella (Chicago Symphony Orchestra), Gabryel Smith (New York Philharmonic), Friedemann Pestel (Vienna Philharmonic), and Bridget Carr (Boston Symphony Orchestra) (Ardon Bar-Hama photo)

Wishing a very happy seventieth birthday to the extraordinary violinist Gidon Kremer!

Gidon Kremer (Michael Benabib photo)

Gidon Kremer (Michael Benabib photo)

A frequent and favorite soloist in Chicago, the Ravinia Festival, and on tour, Kremer has appeared with the Chicago Symphony Orchestra on numerous occasions, as follows:

November 26, 28, and 29, 1980, in Orchestra Hall
BERG Violin Concerto
Varujan Kojian, conductor

March 26, 27, and 28, 1992, in Orchestra Hall
SHOSTAKOVICH Violin Concerto No. 2 in C-sharp Minor, Op. 129
Daniel Barenboim, conductor

January 13, 14, and 15, 1994, in Orchestra Hall
BERG Violin Concerto
Daniel Barenboim, conductor

August 12, 1994, at the Ravinia Festival
GLASS Violin Concerto
Riccardo Chailly, conductor

May 15, 16, 17, and 20, 1997, in Orchestra Hall
June 4 and 5, 1997, at the Philharmonie in Cologne, Germany
REIMANN Violin Concerto (world premiere)
Daniel Barenboim, conductor

Gidon Kremer (Alberts Linarts photo)

Gidon Kremer (Alberts Linarts photo)

October 21, 22, 23, adn 24, 1998, in Orchestra Hall
KANCHELI Lament (Music of Mourning in Memory of Luigi Nono)
Katharina Kammerloher, mezzo-soprano
Daniel Barenboim, conductor

May 5, 6, and 7, 2005, in Orchestra Hall
SCHNITTKE Concerto grosso No. 6
SCHNITTKE Concerto grosso No. 5
Daniel Barenboim, conductor

Kremer also has performed in Orchestra Hall on several other occasions, as a soloist with the Oslo Philharmonic under Mariss Jansons, the Vienna Philharmonic Orchestra and Nikolaus Harnoncourt, and the Staatskapelle Berlin with Daniel Barenboim. As a chamber musician, he has appeared many times with his ensemble Kremerata Baltica, most recently on February 1, 2017.

Happy, happy birthday!

Strauss's manuscript score for his Symphony in F minor, paired with the New York Philharmonic program from the world premiere, December 13, 1884

Strauss’s manuscript score for his Symphony in F minor paired with December 13, 1884, program from the New York Philharmonic world premiere, conducted by Theodore Thomas

The manuscript score of Richard Strauss’s Symphony no. 2 in F minor—one of the most historically significant artifacts in the Theodore Thomas collection—is back in New York.

During the 2016-17 season, the New York Philharmonic and the Vienna Philharmonic Orchestra—both founded in 1842—celebrate their 175th anniversaries. To commemorate this remarkable occasion, a joint exhibit of archival materials opens this week at the Austrian Cultural Forum in New York. For this event, the Rosenthal Archives of the Chicago Symphony Orchestra was invited to collaborate, loaning the Strauss score.

The exhibit will then travel to Vienna (the Strauss score will only be included in the New York leg of the exhibit) and open on March 28 at the Haus der Musik (the one-time home of Otto Nicolai, the founder of the Vienna Philharmonic), launching a new permanent archive.

Coinciding with the exhibit, the Vienna Philharmonic presents three concerts at Carnegie Hall on February 24, 25, and 26, and the New York Philharmonic will perform at Vienna’s Konzerthaus on March 29 as part of its spring European tour.

Several images of the artifacts featured and the exhibit setup are below. More images of tonight’s press opening event to come . . . stay tuned!

Ardon Bar-Hama photographs the title page of Strauss's F minor symphony

In the New York Philharmonic’s archives, Ardon Bar-Hama photographs the title page of Strauss’s F minor symphony

A first edition of Beethoven's Fifth Symphony, used for the New York Philharmonic's first concert

A first edition of Beethoven’s Fifth Symphony, used for the New York Philharmonic’s first concert

Program for the New York Philharmonic's first concert, given on December 7, 1842

Program for the New York Philharmonic’s first concert, given on December 7, 1842

New York Philharmonic assistant archivist Gabryel Smith setting up the exhibit

New York Philharmonic assistant archivist Gabryel Smith setting up the exhibit

New York Philharmonic program for Leonard Bernstein's debut (replacing Bruno Walter) on November 14, 1943

New York Philharmonic program for Leonard Bernstein’s debut (replacing Bruno Walter) on November 14, 1943

Program for the Vienna Philharmonic Orchestra's first concert, given on March 28, 1842

Program for the Vienna Philharmonic Orchestra’s first concert, given on March 28, 1842

Founding documents for the Vienna and New York orchestras

Founding documents for the Vienna and New York orchestras

strauss-1

When Theodore Thomas was hired to found the Chicago Orchestra, his contract stipulated that he not only attain “the highest standard of artistic excellence in all performances” but also provide his complete library of scores and parts for the ensemble’s use. This collection of over 3,500 titles—including an overwhelming number of first editions and original manuscripts—was then one of the largest private libraries of orchestral music in the world. Upon Thomas’s death in 1905, the collection (with the exception of a small number of scores given to the Newberry Library) was donated to the Orchestral Association, and it became the cornerstone of the Chicago Symphony Orchestra’s music library.

program courtesy NYPhil

Program page from the December 13, 1884, world premiere (image courtesy of the New York Philharmonic Digital Archives)

One of the most treasured scores in that collection is the manuscript of Richard Strauss’s Symphony no. 2 in F minor, in the composer’s hand. During his tenure as music director of the New York Philharmonic, Thomas conducted the world premiere of the symphony—the first Strauss work heard in the United States—on December 13, 1884, at the Academy of Music in New York City.

Thomas had acquired the score while traveling through Germany. In Memoirs of Theodore Thomas, his widow Rose Fay wrote, “While in Europe the previous summer [1883], Thomas had, as usual, been on the lookout for musical novelties for coming programs. He had met, in Munich, a young and almost unknown composer, one Richard Strauss, who had recently finished writing a symphony. Thomas secured the first movement of the work, and was so much impressed with it that he requested young Strauss to let him have the other movements, promising to bring out the whole work in a concert of the Philharmonic Society [of New York].”

detail of pasted-in correction

Detail of one of the pasted-in corrections in the second movement

However, in a letter to Thomas from Strauss dated September 20, 1883, it appears that perhaps he only met with Franz Strauss, Richard’s father: “As I was unfortunately unable to welcome you here this summer . . . I must not neglect to express to you in writing my heartiest and warmest thanks for your kind intention to give my second symphony the great honor of a New York performance. . . . According to your request, I have had the score of the three movements not already known to you written out . . . I must ask you to kindly paste the two enclosed changes in the Scherzo into your score.”

Even though the New York premiere received mixed reviews, Thomas reassured the young composer of the work’s success. Strauss replied to Thomas on April 12, 1885: “Your own extremely flattering opinion of it increased my pleasure, if that were possible. The criticisms . . . were all so ordinary and superficial that they pointed to failure rather than success. That the latter was the case, rejoices my heart, especially on your account, as it was a dreadful thought to me that my work might have brought discredit on you.”

detail of Thomas's markings

Thomas, a violinist before he became a conductor, frequently indicated string bowings in his scores, shown here in blue pencil

Thomas continued to reinforce his confidence in Strauss by later leading the U.S. premiere of his Aus Italien in Philadelphia on March 8, 1888 (with the Theodore Thomas Orchestra), a year after the composer conducted the world premiere in Munich. After founding the Chicago Orchestra in 1891, Thomas introduced several of Strauss’s tone poems to Chicago audiences, including the U.S. premieres of Till Eulenspiegel’s Merry Pranks on November 15, 1895; Also sprach Zarathustra on February 5, 1897; Don Quixote on January 6, 1899; and Ein Heldenleben on March 9, 1900. At Thomas’s invitation, Strauss guest conducted the Orchestra in April 1904—with his wife Pauline as soprano soloist—in several of his compositions.

So, why are we talking about this now? Well, the Strauss manuscript score is about to take a little trip. Stay tuned . . .

leontyne-price

Today we send all best wishes for a very happy ninetieth birthday to the legendary soprano, Leontyne Price! Several excellent tributes have been written (here, here, and here, among many others) to recognize her extraordinary and groundbreaking career as an artist—in opera, concert, and on recording.

Price has appeared with the Chicago Symphony Orchestra on numerous occasions, at Orchestra Hall, the Ravinia Festival, Carnegie Hall, and the Pabst Theater in Milwaukee, as follows:

February 28 and March 1, 1963 (Orchestra Hall)
BERLIOZ Les nuits d’été, Op. 7
FALLA El amor brujo
Fritz Reiner, conductor

March 13, 1971 (Orchestra Hall)
March 15, 1971 (Pabst Theater)
BARBER “Give me my robe” from Antony and Cleopatra
MOZART “Dove sono” from Le nozze di Figaro, K. 492
STRAUSS Four Last Songs
Carlo Maria Giulini, conductor

April 24 and 26, 1975 (Orchestra Hall)
April 30, 1975 (Carnegie Hall)
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Yvonne Minton, mezzo-soprano
Luciano Pavarotti, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director

July 11, 1975 (Ravinia Festival)
PUCCINI “Un bel di vedremo” from Madama Butterfly
VERDI “Ernani! Ernani, involami” from Ernani
MOZART “D’Oreste, d’Ajace” from Idomeneo, K. 366
STRAUSS “Zweite Brautnacht” from Die ägyptische Helena
James Levine, conductor

Proof sheet detail from recording sessions for Verdi's Requeim at Medinah Temple in June 1977

Proof sheet detail from recording sessions for Verdi’s Requiem at Medinah Temple in June 1977 (Robert M. Lightfoot III photo)

July 2, 1976 (Ravinia Festival)
PUCCINI “Senza mamma” from Suor Angelica
PUCCINI “Vissi d’arte” from Tosca
VERDI “Pace, pace, mio Dio” from La forza del destino
MOZART “Come scoglio” from Così fan tutte, K. 588
WAGNER “Dich, teure Halle” from Tannhäuser
James Levine, conductor

May 31, 1977 (Orchestra Hall)
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Dame Janet Baker, mezzo-soprano
Veriano Luchetti, tenor
José van Dam, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director

June 22, 1979 (Ravinia Festival)
VERDI La forza del destino
James Levine, conductor
Leontyne Price, soprano
Isola Jones, mezzo-soprano
Sharon Graham, mezzo-soprano
Giuseppe Giacomini, tenor
Andrea Velis, tenor
Cornell MacNeil, baritone
Renato Capecchi, baritone
Carl Glaum, baritone
Bonaldo Giaiotti, bass
Julien Robbins, bass
Daniel McConnell, bass
Chicago Symphony Chorus
Margaret Hillis, director

Price onstage with Solti and the Orchestra at Carnegie Hall on April 29, 1980 (Robert M. Lightfoot III photo)

Price onstage with Solti and the Orchestra at Carnegie Hall on April 29, 1980 (Robert M. Lightfoot III photo)

April 29, 1980 (Carnegie Hall)
WAGNER “Dich, teure Halle” from Tannhäuser
WAGNER Liebestod from Tristan und Isolde
Sir Georg Solti, conductor

July 13, 1985 (Ravinia Festival)
PUCCINI “Vissi d’arte” from Tosca
PUCCINI “Chi il bel sogno di Doretta” from La rondine
VERDI “Ernani! Ernani, involami” from Ernani
VERDI “D’amor sull’ali rosee” from Il trovatore
WAGNER Liebestod from Tristan und Isolde
STRAUSS Final Scene from Salome
James Levine, conductor

Advance notice for Price's 1963 debut with the Chicago Symphony Orchestra

Advance notice for Price’s 1963 debut with the Chicago Symphony Orchestra

Price also recorded with the Orchestra—including two Grammy Award winners—as follows:

BERLIOZ Les nuits d’été, Op. 7
FALLA El amor brujo
Fritz Reiner, conductor
Recorded on March 2 and 3, 1963 in Orchestra Hall by RCA
Richard Mohr produced the recording, and Lewis Layton was the engineer. The recording won the 1964 Grammy Award for Best Classical Performance–Vocal Soloist (with or without orchestra) from the National Academy of Recording Arts and Sciences.

VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Dame Janet Baker, mezzo-soprano
Veriano Luchetti, tenor
José van Dam, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded on June 1 and 2, 1977, in Medinah Temple by RCA
Thomas Z. Shepard produced the recording, and Paul Goodman was the engineer. The recording won the 1977 Grammy Award for Best Choral Performance (other than opera).

WAGNER “Dich teure Halle” from Tannhäuser
Recorded by WFMT on April 29, 1980, in Carnegie Hall
Released on Chicago Symphony Orchestra: The First 100 Years during the Orchestra’s centennial season in April 1991

Under the auspices of Allied Arts and CSO Presents, Price also gave numerous recitals in Orchestra Hall on the following dates:

  • May 6, 1956
  • April 7, 1957
  • December 6, 1958
  • May 30, 1962
  • February 3, 1963
  • February 1, 1970
  • February 27, 1972
  • April 4, 1976
  • January 29, 1984
  • November 11, 1990
  • April 24, 1994
  • February 16, 1997

Happy, happy birthday!

Portions of this article previously appeared here.

john-williams

Wishing a very happy eighty-fifth birthday to the incomparable John Williams! Composer, conductor, winner of five Academy Awards (and fifty nominations) and twenty-two Grammy awards, he has given us several of the most popular movie soundtracks in the history of cinema.

When Williams became the first composer to be awarded the American Film Institute‘s lifetime achievement award in 2016, his longtime collaborator Steven Spielberg said, “Without John Williams, bikes don’t really fly, nor do brooms in Quidditch matches, nor do men in red capes. There is no Force, dinosaurs do not walk the Earth, we do not wonder, we do not weep, we do not believe.”

Erich Kunzel first led the Chicago Symphony Orchestra in Williams’s music—selections from Star Wars: Episode IV–A New Hope—at the Ravinia Festival on August 13, 1978. Williams himself first guest conducted the Orchestra at Ravinia on July 31, 1994, and at Orchestra Hall on November 28, 29, and December 2, 2003. During that first downtown residency on November 29, he led the Orchestra in the world premiere of his Concerto for Horn and Orchestra, dedicated to then–Principal Horn Dale Clevenger. The work was commissioned by the Edward F. Schmidt Family Commissioning Fund for the Chicago Symphony Orchestra.

Under the baton of the composer, the Orchestra recorded a suite from Memoirs of a Geisha in August 2008, with Yo-Yo Ma as soloist. In May 2012, Williams led the Orchestra and the Chicago Symphony Chorus in sessions for the soundtrack for Lincoln, later nominated for both Grammy and Academy awards.

John Williams will return again to lead the Chicago Symphony Orchestra in April 2018 (details will soon be available here, here, and here).

Happy, happy birthday!

roberta-peters

The Chicago Symphony Orchestra family remembers the extraordinary soprano Roberta Peters, who died yesterday at her home in Rye, New York. She was 86.

Barely nineteen years old in 1949, Peters was introduced to impresario Sol Hurok, who arranged for her to audition for Metropolitan Opera general manager Rudolf Bing. At the audition, she sang “Der Hölle Rache kocht in meinem Herzen”—the Queen of the Night’s second aria from Mozart’s The Magic Flute. Bing apparently asked her to perform the aria (with four Fs above high C) seven times, as he listened from different areas of the opera house. Satisfied, he booked Peters to debut in the role in February 1951.

However, on November 17, 1950, Bing called Peters to see if she would be able to step in that evening for an ailing Nadine Conner as Zerlina in Mozart’s Don Giovanni. Peters had learned the role and accepted, even though she had not yet performed onstage, let alone with a full orchestra. She made her debut under the guidance of the evening’s conductor—Fritz Reiner—and her career was launched.

November 1953

November 5 and 6, 1953

During Reiner’s first season as the Chicago Symphony Orchestra’s sixth music director, he wasted no time in engaging Peters. She made her debut with the Orchestra during the fourth subscription week on November 5 and 6, 1953, singing Mozart’s concert aria Ma che vi fece, O stelle (K. 368); “Grossmächtige Prinzessin” from Strauss’s Ariadne auf Naxos; and “No word from Tom” from Stravinsky’s The Rake’s Progress.

Peters later appeared again with Reiner and the Orchestra, on February 27 and 28, 1958, in Mozart’s concert aria Mia speranza adorata (K. 416) and four songs—Wiegenlied; Säusle, liebe Myrte; Ständchen, and Amor!—by Richard Strauss.

Peters's November 1953 program biography

Peters’s November 1953 program biography

At the Ravinia Festival, Peters appeared numerous times with the Orchestra between 1966 and 1984, performing songs and arias under conductors Josef Krips, Franz Allers, Erich Kunzel, and James Levine. Also under Levine, she appeared as Despina in concert performances of Mozart’s Così fan tutte on July 16 and 18, 1975.

Numerous tributes have been posted online, in The New York Times and Opera News, among others.

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Maestro Muti and the CSO receive a warm welcome from a sold-out show at @wheatoncollegeil's Edman Memorial Chapel. In the their first performance at the venue together, the program included works by Rossini, Beethoven, Schumann and CSO Mead Composer-in-Residence @samuelcarladams. Photo by @toddrphoto.

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The opinions expressed here are mine and do not necessarily reflect those of my employer.

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