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The Chicago Symphony Orchestra family joins the music world in mourning the death of Israeli mezzo-soprano Mira Zakai, who died on May 20, 2019. She was seventy-six.

Mira Zakai in 2013 (Daniel Tchetchik photo)

Zakai appeared with the Chicago Symphony Orchestra and Chorus on several notable occasions, both in the concert hall and in the recording studio. A complete list is below.

MOZART Mass in C Major, K. 317 (Coronation)
March 13, 14, and 15, 1980, Orchestra Hall
Rafael Kubelík, conductor
Lucia Popp, soprano
Mira Zakai, mezzo-soprano
Alexander Oliver, tenor
Malcolm King, bass
Chicago Symphony Chorus
Margaret Hillis, director
Originally recorded by WFMT for radio broadcast, this was released on the CSO’s From the Archives, vol. 13 (Chicago Symphony Chorus: A Fortieth Anniversary Celebration).

MAHLER Symphony No. 2 in C Minor (Resurrection)
May 5, 6, 7, and 8, 1980, Medinah Temple, (recording sessions only)
Sir Georg Solti, conductor
Isobel Buchanan, soprano
Mira Zakai, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director
The symphony was performed in Orchestra Hall on April 24, 25, and 26 in Orchestra Hall and on May 2 and 3, 1980, in Carnegie Hall with Buchanan and Christa Ludwig as soloists. James Mallinson produced the recording, and James Lock and John Dunkerley were the balance engineers for London Records. The recording won the 1981 Grammy Award for Best Classical Album and Best Classical Orchestral Recording from the National Academy of Recording Arts and Sciences.

MAHLER Symphony No. 8 in E-flat Major
October 2, 3, 4, and 6, 1980, Orchestra Hall
Sir Georg Solti, conductor
Faye Robinson, soprano (October 2, 3, and 4)
Jill Gomez, soprano (October 6)
Teresa Cahill, soprano
Jo Ann Pickens, soprano
Jan DeGaetani, mezzo-soprano
Mira Zakai, mezzo-soprano
Kenneth Riegel, tenor (October 2, 3, and 4)
Dennis Bailey, tenor (October 6)
Brent Ellis, baritone
Theo Adam, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

SCHOENBERG Moses und Aron
April 19 and 21, 1984, Orchestra Hall
Sir Georg Solti, conductor
Franz Mazura, speaker
Philip Langridge, tenor
Barbara Bonney, soprano
Daniel Harper, tenor
Kurt Link, baritone
Aage Haugland, bass
Mira Zakai, mezzo-soprano
Herbert Wittges, baritone
Thomas Dymit, tenor
Chicago Symphony Chorus
Margaret Hillis, director
Members of the Glen Ellyn Children’s Chorus
Doreen Rao, director
The opera was recorded in Orchestra Hall on April 23, 24, 30, and May 1, 1984. James Mallinson produced the recording, and James Lock and John Pellowe were the engineers for London Records. The recording won the 1985 Grammy Award for Best Opera Recording from the National Academy of Recording Arts and Sciences.

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Dame Kiri Te Kanawa (IMG Artists photo)

Wishing a very happy seventy-fifth birthday to the celebrated New Zealand soprano Dame Kiri Te Kanawa!

With the Chicago Symphony Orchestra and Chorus, Te Kanawa has appeared in concert—in Orchestra Hall, at the Ravinia Festival, and in Carnegie Hall—and on recording on a number of notable occasions. The complete list is below.

May 4, 5, and 6, 1978, Orchestra Hall
May 12, 1978, Carnegie Hall
BRAHMS A German Requiem, Op. 45
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
Recorded at Medinah Temple on May 15 and 16, 1978. For London Records, James Mallinson was the recording producer, and Kenneth Wilkinson and Colin Moorfoot were the balance engineers.

March 23, 24, 25, and 26, 1983, Orchestra Hall
DUPARC Melodies françaises
MAHLER Symphony No. 4 in G Major
Sir Georg Solti, conductor
Mahler’s Fourth Symphony was recorded in Orchestra Hall on April 28 and 29, 1983. For London Records, James Mallinson was the recording producer, and James Lock and John Dunkerley were the balance engineers.

October 1, 2, and 9, 1984, Orchestra Hall (recording sessions only)
HANDEL Messiah
Anne Gjevang, contralto
Keith Lewis, tenor
Gwynne Howell, bass-baritone
Chicago Symphony Chorus
Margaret Hillis director
For London Records, Ray Minshull was the recording producer, and James Lock and Simon Eadon were the balance engineers.
Handel’s
Messiah also was performed on subscription concerts on September 27, 28, and 29, 1984. In addition to the cast above, Elizabeth Hynes was the soprano soloist.

June 29, 1985, Ravinia Festival
HANDEL Let the Bright Seraphim from Samson
MOZART Bella mia fiamma, K. 528
STRAUSS Four Last Songs
James Levine, conductor

March 19 and 21, 1987
BACH Saint Matthew Passion, BWV 244
Anne Sofie von Otter, mezzo-soprano
Thomas Moser, tenor
Tom Krause, bass
Hans Peter Blochwitz, tenor
Olaf Bär, baritone
Richard Cohn, baritone
Patrice Michaels, soprano
Debra Austin, mezzo-soprano
William Watson, tenor
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
Sir Georg Solti, conductor
Recorded in Orchestra Hall on March 23, 24, 28, 30, and 31, 1987. For London Records, Andrew Cornall was the recording producer, and Simon Eadon and John Pellowe were the balance engineers.

Sir Georg Solti leads the Orchestra along with Plácido Domingo and Kiri Te Kanawa in the final scene from act 1 of Verdi’s Otello on October 9, 1987 (Jim Steere photo)

June 28, 1987, Ravinia Festival
MOZART Così fan tutte, K. 588
Dawn Upshaw, soprano
Tatiana Troyanos, mezzo-soprano
Jerry Hadley, tenor
Håkan Hagegård, baritone
John Cheek, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Richard Garrin, director
James Levine, conductor

October 9, 1987, Orchestra Hall (A Concert in Honor of the 75th Birthday of Sir Georg Solti)
VERDI Excerpts from Act 1 of Otello
Plácido Domingo, tenor
Joseph Wolverton, tenor
Kurt R. Hansen, tenor
Richard Cohn, baritone
David Huneryager, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
The concert was recorded for radio broadcast, and for WFMT, Norman Pellegrini was the producer and Mitchell G. Heller was the engineer. The duet “Già nella notte densa” was released on Solti: The Legacy in 2012, and for London Records, Matthew Sohn was the restoration engineer.

April 8 and 12, 1991, Orchestra Hall
April 16 and 19, 1991, Carnegie Hall
VERDI Otello
Luciano Pavarotti, tenor
Leo Nucci, baritone
Elzbieta Ardam, mezzo-soprano
Anthony Rolfe Johnson, tenor
John Keyes, tenor
Dimitri Kavrakos, bass
Alan Opie, baritone
Richard Cohn, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Terry Edwards, guest chorus master
Chicago Children’s Choir (April 8 and 12)
Leslie Britton, director
Metropolitan Opera Children’s Chorus (April 16 and 19)
Elena Doria, director
Recorded live in Orchestra Hall on April 8 and 12 and in Carnegie Hall on April 16 and 19, 1991. For London Records, Michael Haas was the recording producer, Christopher Pope was the assistant recording producer, and James Lock and John Pellowe were the balance engineers.

July 28, 2001, Ravinia Festival
STRAUSS Four Last Songs
LÉHAR “Lippen Schweigen” from Die lustige Witwe
LÉHAR “Vilja” from Die lustige Witwe
LÉHAR “Meine Lippen, sie küssen so heiss” from Giuditta
Christoph Eschenbach, conductor

July 19, 2008, Ravinia Festival
STRAUSS Morgen!, Op. 27, No. 4
STRAUSS Ständchen, Op. 17, No.2
STRAUSS Cäcilie, Op. 27, No. 2
CANTELOUBE Baïlèro, La delaïssádo, and Lo fiolairé from Chants d’Auvergne
PUCCINI Mi chiamano Mimì and Donde lieta uscì from La bohème
CILEA Io son l’umile ancella from Adriana Lecouvreur
James Conlon, conductor

Happy, happy birthday!

Kiri Te Kanawa and Luciano Pavarotti onstage at Orchestra Hall in April 1991 (Jim Steere photo)

Bernard Haitink leads the Chicago Symphony Orchestra in Orchestra Hall on October 31, 2013 (Todd Rosenberg photo)

Wishing a very happy ninetieth birthday to the legendary Dutch conductor Bernard Haitink!

In addition to serving as the Chicago Symphony’s principal conductor from 2006 until 2010, Haitink also launched the Orchestra’s CSO Resound record label with the recording of Mahler’s Third Symphony in 2007. A complete list of his appearances and recordings is below.

March 4, 5, and 6, 1976, Orchestra Hall
BACH Air from Orchestral Suite No. 3 in D Major, BWV 1068*
RAVEL Alborada del gracioso
STRAVINSKY Symphony in Three Movements
MENDELSSOHN Symphony No. 3 in A Minor, Op. 56 (Scottish)
*Performed in memory of Jean Martinon, the Chicago Symphony Orchestra’s seventh music director, who died in Paris on March 1, 1976

March 11, 12, and 14, 1976, Orchestra Hall
COWELL Hymn and Fuguing Tune No. 3
BRUCH Violin Concerto No. 1 in G Minor, Op. 26
Silvia Marcovici, violin
SHOSTAKOVICH Symphony No. 4 in C Minor, Op. 43

January 9, 10, 11, and 12, 1997, Orchestra Hall
BRAHMS Variations on a Theme by Haydn, Op. 56a
TURNAGE Some Days
Cynthia Clarey, mezzo-soprano
BRAHMS Symphony No. 2 in D Major, Op. 73
Mark-Anthony Turnage‘s Some Days was recorded live and released by Decca.

January 16, 17, 18, and 21, 1997, Orchestra Hall
BACH Air from Orchestral Suite No. 3 in D Major, BWV 1068*
MAHLER Symphony No. 2 in C Minor (Resurrection)
Sylvia McNair, soprano
Markella Hatziano, mezzo-soprano
Chicago Symphony Chorus
Duain Wolfe, director
*Performed on January 18 only in memory of Ardis Krainik, general manager of Lyric Opera of Chicago, who died on January 18, 1997

March 2, 3, and 4, 2006, Orchestra Hall
WEBER Overture to Der Freischütz
HINDEMITH Symphonic Metamorphosis on Themes by Carl Maria von Weber
BRAHMS Symphony No. 2 in D Major, Op. 73

March 9, 10, and 11, 2006, Orchestra Hall
WEBERN Passacaglia for Orchestra, Op. 1
DEBUSSY La mer
BEETHOVEN Symphony No. 7 in A Major, Op. 92

Thursday, October 19, 20, and 21, 2006, Orchestra Hall
MAHLER Symphony No. 3 in D Minor
Michelle DeYoung, mezzo-soprano
Women of the Chicago Symphony Chorus
Duain Wolfe, director
Chicago Children’s Choir
Josephine Lee, chorus director
Recorded live. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; editing engineering by Classic Sound Limited, UK.

May 10, 11, 12, and 15, 2007, Orchestra Hall
BEETHOVEN Coriolan Overture, Op. 62
LUTOSŁAWSKI Chain 2: Dialogue for Violin and Orchestra
Robert Chen, violin
BRUCKNER Symphony No. 7 in E Major
Bruckner’s Seventh Symphony was recorded live. For CSO Resound, James Mallinson was the producer, Christopher Willis was the engineer, and John Newton was the assistant engineer; editing and mixing by Classic Sound Limited, UK.

Haitink along with the Orchestra and Chorus acknowledge applause following a performance of Ravel’s Daphnis and Chloe on November 8, 2007 (Todd Rosenberg photo)

October 18, 19, 20, and 23, 2007, Orchestra Hall
WAGNER Siegfried Idyll
MAHLER Symphony No. 6 in A Minor
Mahler’s Sixth Symphony was recorded live. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; editing and mixing by Classic Sound Limited, UK.

October 25, 26, and 27, 2007, Orchestra Hall
MOZART Symphony No. 25 in G Minor, K. 183
TURNAGE Chicago Remains
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
Emanuel Ax, piano
Mark-Anthony Turnage’s Chicago Remains was a world premiere, composed in memory of Sir John Drummond. The work was co-commissioned for the Chicago Symphony Orchestra by the Edward F. Schmidt Family Commissioning Fund and the Koussevitzky Music Foundation.

November 8, 9, and 10, 2007, Orchestra Hall
POULENC Gloria
Jessica Rivera, soprano
RAVEL Daphnis and Chloe
Chicago Symphony Chorus
Duain Wolfe, director
Recorded live. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; audio post-production by Classic Sound Limited, UK.

May 1, 2, and 3, 2008, Orchestra Hall
May 15, 2008, Carnegie Hall
RAVEL Menuet antique
LIEBERSON Neruda Songs
Kelley O’Connor, mezzo-soprano
MAHLER Symphony No. 1 in D Major
Mahler’s First Symphony was recorded live in Orchestra Hall. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; audio post-production by Classic Sound Limited, UK.

May 8, 9, 10, 11, and 13, 2008, Orchestra Hall
May 16, 2008, Carnegie Hall
HADYN Symphony No. 101 in D Major (The Clock)
SHOSTAKOVICH Symphony No. 4 in C Major, Op. 43
Shostakovich’s Fourth Symphony was recorded live in Orchestra Hall. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; audio post-production by Classic Sound Limited, UK. The recording won the 2008 Grammy Award for Best Orchestral Performance from the National Academy of Recording Arts and Sciences.

July 16, 2008, Ravinia Festival
MAHLER Symphony No. 6 in A Minor

September 5, 2008, Concertgebouw, Amsterdam, The Netherlands
MAHLER Symphony No. 6 in A Minor

September 6, 2008, Concertgebouw, Amsterdam, The Netherlands
September 9, 2008, Royal Albert Hall, London, England
September 13, 2008, Kultur- & Kongresszentrum, Lucerne, Switzerland
MOZART Piano Concerto No. 24 in C Minor, K. 491
Murray Perahia, piano
SHOSTAKOVICH Symphony No. 4 in C Minor, Op. 43

September 8, 2008, Royal Albert Hall, London, England
TURNAGE Chicago Remains
MAHLER Symphony No. 6 in A Minor

September 12, 2008, Kultur- & Kongresszentrum, Lucerne, Switzerland
WAGNER Siegfried Idyll
MAHLER Symphony No. 6 in A Minor

November 20, 21, 22, and 25, 2008, Orchestra Hall
MAHLER Symphony No. 2 in C Minor (Resurrection)
Miah Persson, soprano
Christianne Stotijn, mezzo-soprano
Chicago Symphony Chorus
Duain Wolfe, director
Recorded live. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; audio post-production by Classic Sound Limited, UK.

November 28, 29, and 30, 2008, Orchestra Hall
HAYDN Symphony No. 44 in E Minor (Mourning)
LUTOSŁAWSKI Symphony No. 4
BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
Murray Perahia, piano

December 4, 5, and 6, 2008, Orchestra Hall
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
STRAUSS Ein Heldenleben, Op. 40
Robert Chen, violin
Strauss’s Ein Heldenleben was recorded live. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; audio post-production by Classic Sound Limited, UK.

December 9, 2008, Orchestra Hall
HAYDN Symphony No. 101 in D Minor (The Clock)
BRUCKNER Symphony No. 7 in E Major

January 31, 2009, Minato Mirai Hall, Yokohama, Japan
February 4, 2009, Suntory Hall, Tokyo, Japan
February 6, 2009, Hong Kong Cultural Centre, Hong Kong
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
STRAUSS Ein Heldenleben, Op. 40
Robert Chen, violin

February 1, 2009, Suntory Hall, Tokyo, Japan
February 7, 2009, Hong Kong Cultural Centre, Hong Kong
February 11, 2009, Shanghai Grand Theatre, Shanghai, China
February 13, 2009, National Centre for the Performing Arts, Beijing, China
MAHLER Symphony No. 6 in A Minor

February 3, 2009, Suntory Hall, Tokyo, Japan
February 10, 2009, Shanghai Grand Theatre, Shanghai, China
February 14, 2009, National Centre for the Performing Arts, Beijing, China
HAYDN Symphony No. 101 in D Major (The Clock)
BRUCKNER Symphony No. 7 in E Major

April 16, 17, 18, and 21, 2009, Orchestra Hall
BRUCKNER Symphony No. 8 in C Minor

April 23, 24, and 25, 2009, Orchestra Hall
WEBERN Im Sommerwind
MAHLER Rückert Lieder
Christianne Stotijn, mezzo-soprano
SCHUBERT Symphony No. 9 in C Major, D. 944 (Great)
Webern’s Im Sommerwind was recorded live. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; audio post-production by Classic Sound Limited, UK.

April 28, 2009, Orchestra Hall
WEBERN Im Sommerwind
MAHLER Rückert Lieder
Christianne Stotijn, mezzo-soprano
BRAHMS Symphony No. 1 in C Minor, Op. 68
Webern’s Im Sommerwind was recorded live. For CSO Resound, James Mallinson was the producer, and Christopher Willis was the engineer; audio post-production by Classic Sound Limited, UK.

May 2, 2009, Carnegie Hall
BRUCKNER Symphony No. 8 in C Minor

May 3, 2009, Carnegie Hall
WEBERN Im Sommerwind
MAHLER Rückert Lieder
Christianne Stotijn, mezzo-soprano
SCHUBERT Symphony No. 9 in C Major, D. 944 (Great)

May 7, 8, 9, and 10, 2009, Orchestra Hall
PURCELL/Stucky Funeral Music for Queen Mary
BRITTEN Les illuminations, Op. 18
Ian Bostridge, tenor
SHOSTAKOVICH Symphony No. 15 in A Major, Op. 141

September 11, 2009, Philharmonie, Berlin, Germany
September 13, 2009, Kultur- & Kongresszentrum, Lucerne, Switzerland
September 18, 2009, Grosser Musikvereinsaal, Vienna, Austria
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
SHOSTAKOVICH Symphony No. 15 in A Major, Op. 141

September 14, 2009, Kultur- & Kongresszentrum, Lucerne, Switzerland
September 16, 2009, Grosser Musikvereinsaal, Vienna, Austria
September 21, 2009, Salle Pleyel, Paris, France
September 24, 2009, Royal Festival Hall, London, England
HAYDN Symphony No. 101 in D Major (The Clock)
BRUCKNER Symphony No. 7 in E Major

September 20, 2009, Salle Pleyel, Paris, France
September 23, 2009, Royal Festival Hall, London, England
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
BRAHMS Symphony No. 1 in C Minor, Op. 68

November 5, 6, 7, and 10, 2009, Orchestra Hall
RAVEL Alborada del gracioso
RAVEL Piano Concerto for the Left Hand in D Major
Jean-Yves Thibaudet, piano
MENDELSSOHN Incidental Music to A Midsummer Night’s Dream, Opp. 21 and 61
Erin Morley, soprano
Sasha Cooke, mezzo-soprano
Sir Thomas Allen, narrator
Girls of Anima
Emily Ellsworth, chorus director

November 12, 13, and 14, 2009, Orchestra Hall
HAYDN Sinfonia concertante in B-flat Major, Hob. I:105
Eugene Izotov, oboe
David McGill, bassoon
Robert Chen, violin
John Sharp, cello
BRUCKNER Symphony No. 9 in D Minor

Wednesday, June 2 and 3, 2010, Orchestra Hall
BEETHOVEN Overture to Fidelio, Op. 72
BEETHOVEN Symphony No. 8 in F Major, Op. 93
BEETHOVEN Symphony No. 5 in C Minor, Op. 67

Saturday, June 5 and 8, 2010, Orchestra Hall
BEETHOVEN Symphony No. 2 in D Major, Op. 36
BEETHOVEN Symphony No. 3 in E-flat Major, Op. 55 (Eroica)

June 10 and 11, 2010, Orchestra Hall
BEETHOVEN Leonore Overture No. 2, Op. 72a
BEETHOVEN Symphony No. 4 in B-flat Major, Op. 60
BEETHOVEN Symphony No. 6 in F Major, Op. 68 (Pastoral)

Tuesday, June 15 and 16, 2010, Orchestra Hall
BEETHOVEN Symphony No. 1 in C Major, Op. 21
BEETHOVEN Leonore Overture No. 3, Op. 72b
BEETHOVEN Symphony No. 7 in A Major, Op. 92

June 18, 19, and 20, 2010, Orchestra Hall
BEETHOVEN Calm Sea and Prosperous Voyage, Op. 112
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Jessica Rivera, soprano
Kelley O’Connor, mezzo-soprano
Clifton Forbis, tenor
Eric Owens, bass-baritone
Chicago Symphony Chorus
Duain Wolfe, director

May 26, 27, 28, and 31, 2011, Orchestra Hall
SCHUMANN Overture to Manfred, Op. 115
MOZART Piano Concerto No. 17 in G Major, K. 453
Emanuel Ax, piano
BRAHMS Symphony No. 4 in E Minor, Op. 98

June 2, 3, 4, and 5, 2011, Orchestra Hall
MAHLER Symphony No. 9 in D Major

Haitink and the Orchestra onstage in Beijing on February 14, 2009 (Todd Rosenberg photo)

Haitink and the Orchestra onstage at the National Centre for the Performing Arts in Beijing on February 14, 2009 (Todd Rosenberg photo)

October 20, 21, and 22, 2011, Orchestra Hall
SCHUBERT Symphony No. 5 in B-flat Major, D. 485
MAHLER Symphony No. 4 in G Major
Klara Ek, soprano

October 27, 28, and 29, 2011, Orchestra Hall
HAYDN The Creation
Klara Ek, soprano
Ian Bostridge, tenor
Hanno Müller-Brachmann, bass-baritone
Chicago Symphony Chorus
Duain Wolfe, director

October 25, 26, and 27, 2012, Orchestra Hall
BEETHOVEN Missa solemnis in D Major, Op. 123
Erin Wall, soprano
Bernarda Fink, mezzo-soprano
Anthony Dean Griffey, tenor
Hanno Müller-Brachmann, bass-baritone
Chicago Symphony Chorus
Duain Wolfe, director

October 31, November 1, 2, and 3, 2013, Orchestra Hall
MOZART Piano Concerto No. 27 in B-flat Major, K. 595
Emanuel Ax, piano
BRUCKNER Symphony No. 4 in E-flat Major (Romantic)

April 9, 10, 11, and 14, 2015, Orchestra Hall
MAHLER Symphony No. 7

April 28, 29, and 30, 2016, Orchestra Hall
MOZART Piano Concerto No. 22 in E-flat Major, K. 482
Till Fellner, piano
STRAUSS An Alpine Symphony, Op. 64

October 25, 27, and 30, 2018, Orchestra Hall
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
Paul Lewis, piano
BRUCKNER Symphony No. 6 in A Major

Happy, happy birthday!

Wishing a very happy eightieth birthday to the fantastic Australian mezzo-soprano, Yvonne Minton!

Minton has appeared as soloist with the Chicago Symphony Orchestra on a number of notable occasions—in concert and on recording—between 1970 and 1981, indicated below:

April 2 and 3, 1970, Orchestra Hall
MAHLER Lieder eines fahrenden Gesellen
Yvonne Minton, mezzo-soprano
Georg Solti, conductor
Recorded by London Records on April 1 and 7, 1970, in Orchestra Hall. The recording was produced by David Harvey; Gordon Parry and James Lock were the balance engineers.

April 1 and 7, 1970 (recording sessions only, no public performances)
MAHLER Songs from Des Knaben Wunderhorn (“Das irdische Leben,” “Verlorne Müh’,” “Wo die schönen Trompeten blasen,” and “Rheinlegendchen”)
Yvonne Minton, mezzo-soprano
Georg Solti, conductor
Recorded by London Records in Orchestra Hall. The recording was produced by David Harvey; Gordon Parry and James Lock were the balance engineers.

May 4, 5, and 6, 1972, Orchestra Hall
MAHLER Das Lied von der Erde
Yvonne Minton, mezzo-soprano
René Kollo, tenor
Sir Georg Solti, conductor
Recorded by London Records on May 8 and 9, 1972, at the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign. The recording was produced by David Harvey; Kenneth Wilkinson and Gordon Parry were the balance engineers.

May 12 and 13, 1972, Orchestra Hall
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Pilar Lorengar, soprano
Yvonne Minton, mezzo-soprano
René Kollo, tenor
Martti Talvela, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
Recorded by London Records on May 15, 16, and 26, 1972, at the Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign. The recording was produced by David Harvey; Kenneth Wilkinson and James Lock were the balance engineers. This recording was ultimately released as part of a set of Beethoven’s complete symphonies (along with three overtures: Egmont, Coriolan, and Leonore no. 3); that set won the 1975 Grammy Award for Classical Album of the Year from the National Academy of Recording Arts and Sciences.

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

May 5, 6, and 7, 1977, Orchestra Hall
May 13, 1977, Carnegie Hall
BEETHOVEN Missa solemnis in D Major, Op. 123
Lucia Popp, soprano
Yvonne Minton, mezzo-soprano
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
Sir Georg Solti, conductor
The work was recorded in Chicago’s Medinah Temple on May 16, 17, and 18, 1977. For London Records, Ray Minshull was the producer and Kenneth Wilkinson, John Dunkerley, and Michael Mailes were the engineers. The recording won the 1978 Grammy Award for Best Choral Performance, Classical (other than opera) from the National Academy of Recording Arts and Sciences.

March 26, 27, and 28, 1981, Orchestra Hall
BRUCKNER Te Deum
Jessye Norman, soprano
Yvonne Minton, mezzo-soprano
David Rendall, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, director
Daniel Barenboim, conductor
The work was recorded in Orchestra Hall on March 28, 1981. For Deutsche Grammophon, Steven Paul was the executive producer, Werner Mayer the recording producer, and Klaus Scheibe was the balance engineer and editor. 

Happy, happy birthday!

Wishing a very happy seventieth birthday to the wonderful American soprano, Barbara Hendricks!

Hendricks has appeared as soloist with the Chicago Symphony Orchestra on a number of notable occasions between 1974 and 1985, indicated below:

December 5, 6, and 7, 1974, Orchestra Hall
AMY D’un epace deploye (U.S. premiere)
Barbara Hendricks, soprano
Anthony Paratore, piano
Joseph Paratore, piano
Sir Georg Solti, conductor
Gilbert Amy, conductor
MOZART Vorrei spiegarvi, oh Dio!, K. 418
Barbara Hendricks, soprano
Sir Georg Solti, conductor

October 7, 8, and 9, 1976, Orchestra Hall
DEL TREDICI Final Alice (world premiere)
Barbara Hendricks, soprano
Sir Georg Solti, conductor

March 3, 4, and 5, 1977, Orchestra Hall
March 7, 1977, Uihlein Hall, Milwaukee, Wisconsin
DEBUSSY La Damoiselle élue
Barbara Hendricks, soprano
Ellen Stanley, mezzo-soprano
Women of the Chicago Symphony Chorus
Margaret Hillis, director
Gennady Rozhdestvensky, conductor

October 27 and 28, 1977, Orchestra Hall
October 31, 1977, Carnegie Hall
MAHLER Symphony No. 8 in E-flat Major
Sir Georg Solti, conductor (October 27 and 28)
Margaret Hillis, conductor (October 31)
Christiane Eda-Pierre, soprano
Lucia Popp, soprano
Barbara Hendricks, soprano
Jan DeGaetani, mezzo-soprano
Helen Watts, contralto
Kenneth Riegel, tenor
William Walker, baritone
Donald Gramm, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

David Del Tredici with Sir Georg Solti and Barbara Hendricks in Chicago, October 1976 (Terry’s photo)

October 26 and 27, 1979, Orchestra Hall
DEL TREDICI Final Alice
Barbara Hendricks, soprano
Sir Georg Solti, conductor
Recorded by London Records on October 27, 1979, January 29, and 30, 1980, in Orchestra Hall. The recording was produced by James Mallinson; James Lock, John Dunkerley, and Michael Mailes were the recording engineers.

December 19, 20, and 21, 1985
STRAUSS Scenes from Der Rosenkavalier, Op. 59
Mechthild Gessendorf, soprano
Barbara Hendricks, soprano
Ann Murray, mezzo-soprano
Erich Leinsdorf, conductor

Happy, happy birthday!

Wishing a very happy seventieth birthday to the remarkable soprano Kathleen Battle! She has appeared with the Chicago Symphony Orchestra on a number of occasions, in Orchestra Hall, at the Ravinia Festival, and in Carnegie Hall, as follows:

June 27, 1974, Ravinia Festival
MAHLER Symphony No. 8 in E-flat Major
James Levine, conductor
Edda Moser, soprano
Clarice Carson, soprano
Kathleen Battle, soprano
Beverly Wolff, contralto
Gwendolyn Killebrew, contralto
Kenneth Riegel, tenor
Lawrence Shadur, baritone
Justino Díaz, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

June 26, 1975, Ravinia Festival
MOZART Mass in C Minor, K. 427
James Levine, conductor
Kathleen Battle
Maria Ewing, soprano
Kenneth Riegel, tenor
Ara Berberian, bass
Chicago Symphony Chorus
Margaret Hillis, director

July 17, 1976, Ravinia Festival
MOZART Bella mia fiamma . . . Resta, o cara, K. 528
James Levine, conductor
Kathleen Battle, soprano

July 2, 1977, Ravinia Festival
MAHLER Symphony No. 2 in C Minor (Resurrection)
James Levine, conductor
Kathleen Battle, soprano
Beverly Wolff, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director

July 23, 1977, Ravinia Festival
MOZART Vorrei spiegarvi, oh Dio, K. 418
James Levine, conductor
Kathleen Battle, soprano

July 24, 1977, Ravinia Festival
HADYN The Creation
James Levine, conductor
Kathleen Battle, soprano
Benita Valente, soprano
Seth McCoy, tenor
Donald Gramm, bass-baritione
Arnold Voketaitis, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director

June 24 1978, Ravinia Festival
MENDELSSOHN Selections from A Midsummer Night’s Dream, Op. 61
James Levine, conductor
Kathleen Battle, soprano
Claudine Carlson, mezzo-soprano
Women of the Chicago Symphony Chorus
Margaret Hillis, director

June 30, 1978, Ravinia Festial
BERLIOZ Les Troyens, part 1
James Levine, conductor
A Trojan Soldier, Pantheus John Cheek, bass
Cassandra Nadine Denize, soprano
Chorebus Lenus Carlson, baritone
Aeneas Guy Chauvet, tenor
Helenus David Kuebler, tenor
Ascanius Kathleen Battle, soprano
Hecuba Patricia O’Neill, soprano
Priam, The Ghost of Hector Ara Berberian, bass
A Greek Captain Philip Kraus, bass
Chicago Symphony Chorus
Margaret Hillis, director

July 1, 1978, Ravinia Festival
BERLIOZ Les Troyens, part 2
James Levine, conductor
Dido Shirley Verrett, soprano
Anna, Ghost of Cassandra Claudine Carlson, mezzo-soprano
Iopas David Kuebler, tenor
Ascanius Kathleen Battle, soprano
Pantheus, Mercury, Ghost of Priam John Cheek, bass
Narbal, Ghost of Hector Ara Berberian, bass
Aeneas Guy Chauvet, tenor
Hylas Philip Creech, tenor
First Sentry, Ghost of Chorebus James Kalkbrenner, bass
Second Sentry Philip Kraus, bass
Chicago Symphony Chorus
Margaret Hillis, director

July 9, 1978, Ravinia Festival
MENDELSSOHN Elijah, Op. 70
James Levine, conductor
Sherrill Milnes, baritone
Jessye Norman, soprano
Kathleen Battle, soprano
Beverly Wolff, mezzo-soprano
Isola Jones, mezzo-soprano
Philip Creech, tenor
Kirk Stuart, tenor
John Cheek, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director

July 16, 1978, Ravinia Festival
BACH Saint Matthew Passion, BWV 244
James Levine, conductor
Kathleen Battle, soprano
Beverly Wolff, mezzo-soprano
Philip Creech, tenor
David Kuebler, tenor
John Cheek, bass-baritone
Arthur Thompson, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Doreen Rao, director

July 3, 1980, Ravinia Festival
SCHUBERT Mass No. 6 in E-flat Major, D. 950
James Levine, conductor
Kathleen Battle, soprano
Florence Quivar, mezzo-soprano
Vinson Cole, tenor
Philip Creech, tenor
John Cheek, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director

July 13, 1980, Ravinia Festival
BACH Saint Matthew Passion, BWV 244
James Levine, conductor
Kathleen Battle, soprano
Florence Quivar, mezzo-soprano
Vinson Cole, tenor
Philip Creech, tenor
John Cheek, bass-baritone
Arthur Thompson, bass
Chicago Symphony Chorus
Margaret Hillis, director

June 30, 1983, Ravinia Festival
BRAHMS A German Requiem, Op. 45
James Levine, conductor
Kathleen Battle, soprano
Håkan Hagegård, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Brahms’s Requiem was recorded in Orchestra Hall on July 5 and 6, 1983, for RCAThomas Z. Shepard was the producer, Paul Goodman the recording engineer, and John Newton and Thomas MacCluskey were engineers. The recording won the 1984 Grammy Award for Best Choral Performance from the  National Academy of Recording Arts and Sciences.

July 3, 1983, Ravinia Festival
HANDEL L’Allegro ed il Penseroso from L’Allegro, il Penseroso ed il Moderato
James Levine, conductor
Kathleen Battle, soprano
Philip Creech, tenor
John Cheek, bass-baritone
Mary Sauer, harpsichord
Chicago Symphony Chorus
James Winfield, associate director

April 25, 26, and 27, 1985, Orchestra Hall
April 29, 1985, Carnegie Hall
VERDI Falstaff
Sir Georg Solti, conductor
Sir John Falstaff Guillermo Sarabia, baritone
Ford Wolfgang Brendel, baritone
Fenton Yordi Ramiro, tenor
Dr. Caius Heinz Zednik, tenor
Bardolph Francis Egerton, tenor
Pistol Aage Haugland, bass
Mistress Alice Ford Katia Ricciarelli, soprano
Nannetta Kathleen Battle, soprano
Mistress Quickly Christa Ludwig, mezzo-soprano
Mistress Meg Page Ann Murray, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director

June 29, 1986, Ravinia Festival
BACH Jauchzet Gott in allen Landen, BWV 51
VILLA-LOBOS Bachiana Brasileira No. 5
MAHLER Symphony No. 4
James Levine, conductor
Kathleen Battle, soprano
Adolph Herseth, trumpet
Lynn Harrell, cello

July 3, 1987, Ravinia Festival
STRAUSS Ariadne auf Naxos, Op. 60
James Levine, conductor
A Music Master Hermann Prey, baritone
The Major-Domo Nico Castel, tenor
The Composer Susanne Mentzer, mezzo-soprano
The Tenor, Bacchus Gary Lakes, tenor
An Officer Edward Ozaki, tenor
A Dancing Master Andrea Velis, tenor
A Wig Maker David Huneryager, bass
A Lackey Richard Cohn, baritone
Zerbinetta Kathleen Battle, soprano
Prima Donna, Ariadne Margaret Price, soprano
Harlequin Christopher Trakas, baritone
Scaramuccio Allan Glassman, tenor
Truffaldino James Courtney, bass
Brighella Philip Creech, tenor
Naiad Gail Dobish, soprano
Dryad Hillary Johnsson, mezzo-soprano
Echo Dawn Upshaw, soprano

February 4, 5, and 6, 1988, Orchestra Hall
BRAHMS A German Requiem, Op. 45
Sir Georg Solti, conductor
Kathleen Battle, soprano
Alfred Muff, baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director

July 8, 1988, Ravinia Festival
MOZART Don Giovanni, K. 527
James Levine, conductor
Leporello Renato Capecchi, baritone
Donna Anna Karen Huffstodt, soprano
Don Giovanni Thomas Hampson, baritone
Commendatore Jeffrey Wells, bass-baritone
Don Ottavio Vinson Cole, tenor
Donna Elvira Patricia Schuman, soprano
Zerlina Kathleen Battle, soprano
Masetto Julien Robbins, baritone
Chicago Symphony Chorus
Margaret Hillis, director

June 21, 1991, Ravinia Festival
DONIZETTI The Elixir of Love
James Levine, conductor
Giannetta Dawn Upshaw, soprano
Nemorino Luciano Pavarotti, tenor
Adina Kathleen Battle, soprano
Belcore Mark Oswald, baritone
Dulcamara Paul Plishka, bass
Chicago Symphony Chorus
Margaret Hillis, director

July 24, 1993, Ravinia Festival
PREVIN Honey and Rue
DONIZETTI C’en est donc fait . . . Par le rang et par l’opulence from The Daughter of the Regiment
John Nelson, conductor
Kathleen Battle, soprano

July 29, 1994, Ravinia Festival
GOUNOD Je veux vivre from Romeo and Juliet
BERLIOZ Je vais le voir from Beatrice and Benedict
VILLA-LOBOS Bachiana Brasileira No. 5
Hugh Wolff, conductor
Kathleen Battle, soprano

September 16, 1994

September 16, 1994, Orchestra Hall
MOZART Exsultate, jubilate, K. 165
STRAUSS Ständchen, Op. 17, No. 2
STRAUSS Morgen!, Op. 27, No. 4
STRAUSS Ich schwebe, Op. 48, No. 2
GERSHWIN Summertime from Porgy and Bess
BERNSTEIN Somewhere from West Side Story
PREVIN Take My Mother Home from Honey and Rue
ELLINGTON/Sadin Come Sunday
Daniel Barenboim, harpsichord, piano, and conductor
Kathleen Battle, soprano

August 5, 1995, Ravinia Festival
MOZART Deh vieni non tardar from The Marriage of Figaro, K. 492
MOZART Misera! dove son . . . Ah! non son io che parlo, K. 369
MOZART Un moto di gioia mi sento, K. 579
STRAVINSKY No word from Tom from The Rake’s Progress
Christoph Eschenbach, conductor
Kathleen Battle, soprano

July 11, 1998, Ravinia Festival

July 11, 1998, Ravinia Festival
VERDI Sul fil d’un soffio estesio from Falstaff
ROSSINI Una voce poco fa from The Barber of Seville
ROSSINI Dunque io son from The Barber of Seville
MOZART Crudel! perchè finora from The Marriage of Figaro, K. 492
GOUNOD Je veux vivre from Romeo and Juliet
KORNGOLD Glück, das mir verblieb from Die tote Stadt
Christoph Eschenbach, conductor
Kathleen Battle, soprano
Dmitri Hvorostovsky, baritone

July 12, 2003, Ravinia Festival
MOZART Deh vieni non tardar from The Marriage of Figaro, K. 492
GOUNOD Amour ranime mon courage from Romeo and Juliet
GABRIEL/Sadin His Eye is on the Sparrow
TRADITIONAL/Smith Witness
TRADITIONAL/Bonds He’s Got the Whole World in His Hands
Bobby McFerrin, conductor
Kathleen Battle, soprano
Denyce Graves, mezzo-soprano
Chicago Children’s Choir
Josephine Lee, director

Between 1993 and 1996, James Levine led the Chicago Symphony Orchestra in recording sessions at Medinah Temple for Fantasia 2000, the long-awaited sequel to Disney’s classic 1940 Fantasia. One of the works recorded was excerpts from Elgar’s Pomp and Circumstance marches featuring Battle and the Chicago Symphony Chorus.

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

  • April 20, 1986
  • December 13, 1991
  • April 24, 1996
  • April 18, 1999
  • April 11, 2001

Happy, happy birthday!

Wishing a very happy eightieth birthday to the wonderful Welsh bass, Gwynne Howell!

Gwynne Howell (Guy Gravett photo)

Howell has appeared with the Chicago Symphony Orchestra on a number of notable occasions and on several award-winning recordings between 1974 and 1990. A complete list is below (concerts at Orchestra Hall, unless otherwise noted).

April 12 and 13, 1974
BACH Saint Matthew Passion, BWV 232
Sir Georg Solti, conductor
Heather Harper, soprano
Helen Watts, contralto
Jerry Jennings, tenor
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

April 24 and 26, 1975
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

January 29, 30, and 31, 1976
STRAVINSKY Oedipus Rex
Sir Georg Solti, conductor
Peter Pears, tenor
Josephine Veasey, mezzo-soprano
Donald Gramm, bass-baritone
Gwynne Howell, bass
Mallory Walker, tenor
Dominic Cossa, baritone
Werner Klemperer, narrator
Men of the Chicago Symphony Chorus
Margaret Hillis, chorus director

May 5, 6, and 7, 1977
May 13, 1977 (Carnegie Hall)
BEETHOVEN Missa solemnis, Op. 123
Sir Georg Solti, conductor
Victor Aitay, violin
Lucia Popp, soprano
Yvonne Minton, mezzo-soprano
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
The work was recorded in Chicago’s Medinah Temple on May 16, 17, and 18, 1977. For London Records, Ray Minshull was the producer and Kenneth Wilkinson, John Dunkerley, and Michael Mailes were the engineers. The recording won the 1978 Grammy Award for Best Choral Performance, Classical (other than opera) from the National Academy of Recording Arts and Sciences.

May 10 and 12, 1979
May 19, 1979 (Carnegie Hall)
BEETHOVEN Fidelio, Op. 72
Hildegard Behrens, soprano
Sona Ghazarian, soprano
Peter Hofmann, tenor
David Kübler, tenor
Theo Adam, baritone
Hans Sotin, bass
Gwynne Howell, bass
Robert Johnson, tenor
Philip Kraus, baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director
The opera was recorded at Medinah Temple on May 21, 22, 23, and 24, 1979. For London Records, Ray Minshull was the producer, Michael Haas was the assistant producer, and James Lock, David Frost, and Tony Griffiths were the engineers.

April 7, 9, and 12, 1983
April 18, 1983 (Carnegie Hall)
WAGNER Das Rheingold
Siegmund Nimsgern, bass-baritone
Hermann Becht, baritone
Gabriele Schnaut, mezzo-soprano
Siegfried Jerusalem, tenor
Robert Tear, tenor
Jan DeGaetani, mezzo-soprano
Malcolm Smith, bass
Gwynne Howell, bass
Mary Jane Johnson, soprano
John Cheek, bass-baritone
Dennis Bailey, tenor
Michelle Harman-Gulick, soprano
Elizabeth Hynes, soprano
Emily Golden, mezzo-soprano

September 27, 28, and 29, 1984
HANDEL Messiah
Elizabeth Hynes, soprano
Anne Gjevang, contralto
Keith Lewis, tenor
Gwynne Howell, bass
David Schrader, harpsichord
Chicago Symphony Chorus
Margaret Hillis, director
The work was recorded in Orchestra Hall on October 1, 2, and 9, 1984. For London Records, Ray Minshull was the producer, and James Lock and Simon Eadon were balance engineers.

January 25, 26, and 28, 1990
BACH Mass in B Minor, BWV 232
Felicity Lott, soprano
Anne Sofie von Otter, mezzo-soprano
Hans Peter Blochwitz, tenor
William Shimell, baritone
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
The work was recorded on January 25, 26, and 28, 1990, in Orchestra Hall. For London Records, Michael Haas was the recording producer, and Stanley Goodall and Simon Eadon were the balance engineers. The recording won the 1991 Grammy Award for Best Performance of a Choral Work from the National Academy of Recording Arts and Sciences.

Check out the video below, produced by Wild Plum Arts, in which Howell talks about working with Solti and many others.

Happy, happy birthday!

The Chicago Symphony Orchestra’s first performances of Mahler’s Ninth Symphony were given on April 6 and 7, 1950, in Orchestra Hall under the baton of guest conductor George Szell. Since then, the work has been led by music directors Rafael Kubelík, Sir Georg Solti, and Daniel Barenboim; principal conductor Bernard Haitink; principal guest conductors Carlo Maria Giulini and Pierre Boulez; and Ravinia Festival music directors James Levine and James Conlon; along with guest conductors Sir John Barbirolli, Lawrence Foster, Michiyoshi Inoue, Hans Rosbaud, and Michael Tilson Thomas.

The Orchestra has recorded the work on three notable occasions, as follows.

Carlo Maria Giulini, the Orchestra’s first principal guest conductor, led Mahler’s Ninth Symphony in December 1971 and March 1975 before returning in April 1976 to perform and record the work. Following the first concert of that residency, Karen Monson in the Chicago Daily News wrote that “each time the aristocratic maestro meets the transcendent symphony, the relationship becomes more and more special, Giulini and the Orchestra have delved into the deepest secrets of this music, and Thursday evening they delivered a performance so rich and complete . . .”

In the Chicago Tribune, Thomas Willis called the performance “one of Giulini’s great nights in Orchestra Hall.” Recording sessions were scheduled for the following week, and “by the time the tape is rolling, this could be the most heartfelt and compelling recorded version of Mahler’s grief-stricken penultimate symphony. . . . The Chicago Symphony players will take any risks for Giulini. If he wishes them to play softer than soft, applying bow to string, or breath to mouthpiece or reed, they proceed to just this side of bobble or discomfiting silence. . . . No other guest has such control over orchestral color and emotional variation.”

Deutsche Grammophon was on hand on April 5 and 6, 1976, to record the symphony in Medinah Temple. Günther Breest was the executive producer and Klaus Scheibe the recording engineer. The release won the 1977 Grammy Award for Best Classical Orchestral Performance from the National Academy of Recording Arts and Sciences.

Eighth music director Sir Georg Solti first led the Orchestra in Mahler’s symphony at Orchestra Hall and Carnegie Hall in April 1981 before taking it on the road to Lucerne, Paris, Amsterdam, and London later that year. Back in Chicago, Solti led a concert performance (benefiting the musicians’ pension fund) on April 28, 1982, and recorded the symphony on May 2 and 4 in Orchestra Hall.

Reviewing in Gramophone magazine, Richard Osborne noted: “When Solti conducted Mahler’s Ninth Symphony in London in the autumn of 1981 the critic of The Financial Times observed: ‘Solti obviously knew how this music should gobut not why.’ Such a reading would be an evident act of self-parody, for it is to this very theme—the modern world’s nightmarish preoccupation with sensation, spiraling, self-referring and impossible to assuage—that Mahler so fearlessly addresses himself in the symphony’s third movement, the Rondo Burleske. It’s clear, though, from the present recording, made in Orchestra Hall, Chicago in May 1982, that Solti’s sense of the music is a good deal more rooted than it appeared to be amid the unsettling razzmatazz of an end-of-tour London performance.

“The new performance has a measure of repose about it as well as much splendour. The second movement is robust and resilient as Mahler directs. There is defiance and obstinacy in the third movement, an awful power which illuminates the music rather than the orchestra’s known expertise.”

James Mallinson produced the recording, and James Lock was the engineer for London Records. The recording won 1983 Grammy awards for Best Orchestral Recording, Best Engineered Recording—Classical, and Best Classical Album.

Soon after being named as the Orchestra’s third principal guest conductor, Pierre Boulez was in Chicago to lead four performances of Mahler’s Ninth in November December 1995.

In the Chicago Sun-Times, Wynne Delacoma wrote that Boulez led “one of classical music’s most profound meditations on relentless death and tumultuous life” as a “study in musical clarity, elegant balances, and proportion. . . . Many conductors play up the contrasts, creating dramatic mood shifts. Boulez and the CSO were after something more subtle.” John von Rhein in the Chicago Tribune added that Boulez “[filtered] the work through his own modernist sensibility. Granted, there are ambiguities and uncertainties in this symphony that resist so rational an approach. But there are also levels of purely musical meaning few other conductors have uncovered. The otherworldly stillnesses, the demonic humor, the desolate nostalgia, the strange lapses into folkish banality registered that much more strongly because the hand organizing them was so calm and precise. . . . Let us hope the studio sessions capture in full the splendor of the live performances.”

For Deutsche Grammophon, the work was recorded at Medinah Temple on December 2 and 4, 1995. Roger Wright was the executive producer, Karl-August Naegler recording producer and editor, Ulrich Vette was the balance engineer, and Jobst Eberhardt and Stephan Flock were recording engineers. The release won the 1998 Grammy Award for Best Orchestral Performance.

Esa-Pekka Salonen leads the Chicago Symphony Orchestra in Mahler’s Symphony no. 9 on May 17, 18, 19, and 22, 2018.

Wishing a very happy ninetieth birthday to the wonderful mezzo-soprano Christa Ludwig!

Christa Ludwig in 1967 as Fricka in Wagner’s Die Walküre (Metropolitan Opera photo)

Ludwig has appeared with the Chicago Symphony Orchestra on numerous occasions, at Orchestra Hall, the Ravinia Festival, and Carnegie Hall, as follows (concerts at Orchestra Hall, unless otherwise noted):

February 20, 21, and 25, 1958
MAHLER Das Lied von der Erde
Fritz Reiner, conductor
Christa Ludwig, mezzo-soprano
Richard Lewis, tenor

October 26 and 27, 1967
MAHLER Songs from Des knaben Wunderhorn
Alfred Wallenstein, conductor
Christa Ludwig, mezzo-soprano

July 7, 1970 (Ravinia Festival)
MAHLER Kindertotenlieder
István Kertész, conductor
Christa Ludwig, mezzo-soprano

April 24, 25, and 26, 1980
May 2 and 3, 1980 (Carnegie Hall)
MAHLER Symphony No. 2 in C Minor (Resurrection)
Sir Georg Solti, conductor
Isobel Buchanan, soprano
Christa Ludwig, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director

Christa Ludwig in 2014 (Ernst Kainerstorfer photo)

April 25, 26, and 27, 1985
April 29, 1985 (Carnegie Hall)
VERDI Falstaff
Sir Georg Solti, conductor
Guillermo Sarabia, baritone
Wolfgang Brendel, baritone
Yordi Ramiro, tenor
Heinz Zednik, tenor
Francis Egerton, tenor
Aage Haugland, bass
Katia Ricciarelli, soprano
Kathleen Battle, soprano
Christa Ludwig, mezzo-soprano
Ann Murray, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director

July 5, 1991 (Ravinia Festival)
MAHLER Das Lied von der Erde
James Levine, conductor
Christa Ludwig, mezzo-soprano
Gary Lakes, tenor

Happy, happy birthday!

Fritz Reiner (Oscar Chicago photo)

One of Fritz Reiner’s primary goals, early in his tenure as the Chicago Symphony Orchestra’s sixth music director, was to program major choral works. However, the repertory he wished to perform was, in his opinion, too demanding for the amateur and student groups usually engaged.

While visiting New York in February 1954, Reiner observed a rehearsal of the New York Concert Choir, under the direction of its founder, Margaret Hillis. He was so impressed that on his return to Chicago, Reiner convinced the board of trustees to hire Hillis and her ensemble for performances the following season of Barber’s recently composed Prayers of Kirkegaard and Orff’s Carmina burana, both new to the Orchestra’s repertoire. (For performances of Beethoven’s “less demanding” Ninth Symphony, the local Swedish Choral Club was engaged.)

Margaret Hillis

Hillis and the New York Concert Choir first traveled to Chicago in March 1955 for three performances of the works by Barber and Orff. Roger Dettmer, writing for the American, exclaimed, “it was Miss Hillis’s magnificent choir of sixty which matched most closely the Orchestra’s astonishing virtuosity by giving Dr. Reiner the fullest measure of choral artistry.” In the Daily News, Irving Sablosky added, “We’re not used to hearing choral singing of such refinement and nuance in symphony concerts. I hope we’ll hear more.”

Despite scheduling challenges, Reiner reengaged Hillis the following season for Mozart’s Mass in C minor and Bruckner’s Te Deum in January 1956. Dettmer wrote that the Orchestra and “Margaret Hillis’s magnificent [choir], easily the finest professional chorus in this country today, [performed] with uncommon brilliance, and maestro himself was in supremely spirited command.”

For the 1957–58 season, Reiner hoped to perform and record Verdi’s Requiem, and again he contacted Hillis. The New York Concert Choir averaged only sixty voices, and she informed Reiner they would need nearly double that in order to do justice to the Verdi. It would simply be too expensive.

This impasse gave Reiner an idea. He persuaded board president Eric Oldberg to hire Hillis to organize a chorus permanently affiliated with the Orchestra in Chicago. She initially agreed to advise on how to audition a director and choristers, but Reiner insisted there would be no chorus unless Hillis herself was the director. At the trustees meeting on September 20, 1957, Oldberg reported on successful negotiations and the plan to hire Hillis was approved.

Chicago Tribune, September 22, 1957

“As choral literature takes on increasing importance in the orchestral sphere, the Chicago Symphony is making its move to institutionalize the trend,” wrote Seymour Raven in the Chicago Tribune on September 22. “From Orchestra Hall comes word that the Chicago Symphony Orchestra Chorus is to be a new factor in the city’s musical life.”

Auditions began on October 5, and in less than two weeks the Sun-Times reported that they had “produced an exceptionally high rate of successful applicants. . . . Skill in sight-reading, interpretative ability, and voice quality were the main prerequisites for success. Voices with a tremolo or breathless quality were automatically rejected.” On October 13, the Daily News advertised that auditions were continuing: “Men’s voices are still urgently needed.”

Chicago Tribune, December 1, 1957

The Chicago Symphony Chorus, nearly one hundred voices strong, began rehearsals on October 28, and on November 30, the ensemble made an informal debut at a private concert for guarantors and sustaining members. On the first half of the concert, Reiner led Cailliet’s orchestration of Bach’s Little G minor fugue and Strauss’s Oboe Concerto (with principal Ray Still), and after intermission, Hillis took the podium, becoming the first woman to conduct the Chicago Symphony Orchestra. She led the Orchestra and Chorus in Thompson’s Alleluia and Billings’s Modern Music (both a cappella), the final section of Purcell’s Ode for Saint Cecilia’s Day, and the Servants’ Chorus from Donizetti’s Don Pasquale. Dettmer reported in the American that the debut was “more than promising . . . Miss Hillis’s choristers were fresh-voiced, musically sensitive, already balanced internally . . . she has accomplished much in the briefest time span.”

When popular guest conductor Bruno Walter informed the Orchestral Association that his March 1958 appearances would be his last in Chicago, Oldberg insisted that he should lead Mozart’s Requiem with the new chorus as his swansong. To prepare for both sets of concerts, Hillis and the Chorus began their work in earnest on Mozart’s and Verdi’s requiems, with Reiner regularly attending rehearsals.

Chicago Tribune, March 14, 1958

On March 13 and 14, 1958, the Chicago Symphony Chorus made its official debut in Mozart’s Requiem, under Walter’s baton with soloists Maria Stader, Maureen Forrester, David Lloyd, and Otto Edelmann. In the Chicago Tribune, Claudia Cassidy wrote: “The Chicago Symphony Orchestra is in high estate, with the kind of clairvoyance that gives a conductor what he wants in sound. . . . The evening’s card up the Mozartean sleeve was the new Chicago Symphony Orchestra Chorus of about 100 voices, expertly chosen and admirably trained by Margaret Hillis. It had balance and hints of brilliance, it was adroit in attack and it had moments of reassuringly imaginative song. The Confutatis in particular caught the haunted terror that was Mozart’s when the mysterious commission for the Requiem convinced him that the death knell he wrote was his own.”

Program page for Verdi’s Requiem, performed on April 3 and 4, 1958. It was repeated the following Tuesday, April 8.

Less than a month later, the Chorus appeared in Verdi’s Requiem with Reiner conducting and soloists Leonie Rysanek, Regina Resnik, David Lloyd, and Giorgio Tozzi. In the Sun-Times, Robert C. Marsh wrote that “Miss Hillis’s chorus proved its virtues earlier this season. Again its excellent enunciation, reliable intonation, and intelligent response were praiseworthy.”*

The following season, at Reiner’s invitation, Hillis conducted the Orchestra and Chorus in Honegger’s Christmas Cantata in December 1958. In the Daily News, Donal Henahan wrote, “Miss Hillis, who has been until now unknown except by name to most symphony subscribers, ruled her vast forces with a firm beat and a sure hand.” And the critic in the American noted, “With a clear (if inflexible) beat, Miss Hillis marshalled her forces, choral and orchestra, in a tight, sensitive, sweet-sounding statement of the music. . . . All in all, a glorious Christmas program.”

The Chicago Symphony Orchestra and Chorus onstage in March 1959. Also pictured is chorus director Margaret Hillis, music director Fritz Reiner, and associate conductor Walter Hendl (Oscar Chicago photo).

Later that season in March 1959, Reiner led Prokofiev’s cantata Alexander Nevsky. “The climactic ‘Battle on the Ice’ was approached with expansive calm and deliberation. . . . A conductor who tries to pile climax after climax into this work can never achieve the hair-raising thrust that Reiner drew from Margaret Hillis’s Chicago Symphony Chorus at such a moment,” observed Henahan in the Daily News. The Chorus “produced a pleasing sound in all voices and a more homogeneous tone than at any time since Miss Hillis began her missionary work in Chicago.” On March 7, Reiner, the Orchestra, and Chorus committed their performance to disc for RCA, collaborating for the first time in recording sessions.

The Chorus’s first recording with the Orchestra: Prokofiev’s Alexander Nevsky, released by RCA in May 1960

Margaret Hillis directed the Chicago Symphony Chorus for thirty-seven years, preparing and leading concerts—in Orchestra Hall and at the Ravinia Festival, as well as on tour to Carnegie Hall, London’s Royal Albert Hall, and Salzburg’s Grosses Festspielhaus—and amassing an award-winning discography. Following her death in February 1998, the Rosenthal Archives received her collection of papers, photographs, over 1,000 scores bearing her markings, awards (including nine Grammy statuettes), recordings, and memorabilia. Representing an exceptional and pioneering career, the collection is regularly accessed by researchers, scholars, and musicians.

In June 1994, following an international search, music director Daniel Barenboim appointed Duain Wolfe to succeed Hillis. Currently in his twenty-fourth season, Wolfe continues in Hillis’s tradition, maintaining the Chorus’s extraordinarily high standards of excellence.

*Due to scheduling conflicts, Reiner was unable to get the soloists—primarily Zinka Milanov and Jussi Björling—he wanted to record Verdi’s Requiem in Chicago. He, along with Leontyne Price, Rosalind Elias, Björling (in his last commercial recording), and Giorgio Tozzi, recorded it in Vienna in June 1960 with the Vienna Singverein and Philharmonic for RCA.

This article also appears in the Chicago Symphony Orchestra’s March 2018 program book and here.

the vault

Theodore Thomas

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

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