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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)

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Under the leadership of chorus directors Margaret Hillis and Duain Wolfe, the Chicago Symphony Chorus has won ten Grammy awards from the National Academy of Recording Arts and Sciences in the category of Best Choral Performance.*

Recordings have been led by music directors Sir Georg Solti and Riccardo Muti, principal guest conductor Pierre Boulez, and Ravinia Festival music director James Levine on RCA, London, Deutsche Grammophon, and CSO Resound.

1977 – Best Choral Performance–Classical
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, soprano
Janet Baker, mezzo-soprano
Veriano Luchetti, tenor
José van Dam, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Medinah Temple on June 1 and 2, 1977, for RCA
Thomas Z. Shepard, producer
Paul Goodman, recording engineer

1978 – Best Choral Performance–Classical
BEETHOVEN Missa solemnis in D Major, 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
Recorded in Medinah Temple on May 16, 17, and 18, 1977, for London
Ray Minshull, producer
Kenneth Wilkinson, John Dunkerley, and Michael Mailes, balance engineers

1979 – Best Choral Performance–Classical
BRAHMS A German Requiem, Op. 45
Sir Georg Solti, conductor
Kiri Te Kanawa, soprano
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Medinah Temple on May 15 and 16, 1978, for London
James Mallinson, recording producer
Kenneth Wilkinson and Colin Moorfoot, balance engineers

1982 – Best Choral Performance–Classical
BERLIOZ The Damnation of Faust, Op. 24
Sir Georg Solti, conductor
Frederica von Stade, mezzo-soprano
Kenneth Riegel, tenor
José van Dam, bass-baritone
Malcolm King, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Medinah Temple on May 4, 5, 6, and 7, 1981, for London
James Mallinson, recording producer
James Lock and Simon Eadon, balance engineers

1983 – Best Choral Performance
HAYDN The Creation
Sir Georg Solti, conductor
Sylvia Greenberg, soprano
Norma Burrowes, soprano
Rudiger Wohlers, tenor
James Morris, bass-baritone
Siegmund Nimsgern, bass
David Schrader, harpsichord
Frank Miller, cello
Joseph Guastafeste, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on November 9, 10, and 11, 1981, for London
Paul Myers, recording producer
James Lock and John Dunkerley, balance engineers

1984 – Best Choral Performance
BRAHMS A German Requiem, Op. 45
James Levine, conductor
Kathleen Battle, soprano
Håkan Hagegård, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on July 5 and 6, 1983, for RCA
Thomas Z. Shepard, producer
Paul Goodman, recording engineer
John Newton and Thomas MacCluskey, engineers

1986 – Best Choral Performance
ORFF Carmina burana
James Levine, conductor
June Anderson, soprano
Philip Creech, tenor
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on July 9 and 10, 1984, for Deutsche Grammophon
Steven Paul, producer
Cord Garben, recording supervisor
Klaus Scheibe, recording engineer
Jürgen Bulgrin, editing

1991 – Best Performance of a Choral Work
BACH Mass in B Minor, BWV 232
Sir Georg Solti, conductor
Felicity Lott, soprano
Anne Sofie von Otter, mezzo-soprano
Hans Peter Blochwitz, tenor
William Shimmell, baritone
Gwynne Howell, bass
Richard Webster, organ
John Sharp, cello
Willard Elliot, bassoon
Joseph Guastafeste, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on January 25, 26, and 28, 1990, for London
Michael Haas, recording producer
Stanley Goodall and Simon Eadon, balance engineers

1993 – Best Performance of a Choral Work
BARTÓK Cantata profana
Pierre Boulez, conductor
John Aler, tenor
John Tomlinson, bass
Chicago Symphony Chorus
Margaret Hillis, director
Recorded in Orchestra Hall on December 16, 1991, for Deutsche Grammophon
Alison Ames, executive producer
Karl-August Naegler, recording producer
Rainer Maillard, balance engineer
Oliver Rosalla, editing

2010 – Best Choral Performance
VERDI Messa da Requiem
Riccardo Muti, conductor
Barbara Frittoli, soprano
Olga Borodina, mezzo-soprano
Mario Zeffiri, tenor
Ildar Abdrazakov, bass
Chicago Symphony Chorus
Duain Wolfe, director
Recorded in Orchestra Hall on January 15, 16, and 17, 2009, for CSO Resound
Christopher Alder, producer
Christopher Willis, recording engineer
David Frost and Tom Lazarus, mixing
Silas Brown and David Frost, stereo mastering

*The name of the category has changed slightly over the years; see here for details.

The Chicago Symphony Orchestra has recorded each of Brahms’s four symphonies multiple times and also has recorded the complete cycle on three different occasions. A complete listing is below.

During his tenure as Ravinia Festival music director, James Levine recorded the symphonies with the Orchestra for RCA at Medinah Temple. The recordings were produced by Thomas Z. Shepard and Paul Goodman was the recording engineer. Jay David Saks also co-produced the First Symphony, which was recorded in July 1975. The remaining three were recorded in July 1976.

Eighth music director Sir Georg Solti also led the Orchestra in sessions at Medinah Temple. For London, the four symphonies (along with the Academic Festival and Tragic overtures) were produced by James Mallinson; Kenneth Wilkinson, Colin Moorfoot, and Michael Mailes were the engineers. The Third and Fourth symphonies were recorded in May 1978, and the First and Second were recorded in January 1979. The set won 1979 Grammy awards for Best Classical Album and Best Classical Orchestral Recording from the National Academy of Recording Arts and Sciences.

Daniel Barenboim, the Orchestra’s ninth music director, recorded the four symphonies (along with the Academic Festival and Tragic overtures and the Variations on a Theme by Haydn) live at Orchestra Hall for Erato. Vic Muenzer was producer, Lawrence Rock was the sound engineer, assisted by Christopher Willis; and Konrad Strauss was the mastering engineer. All four symphonies were recorded live in 1993: the First and Third in May, the Fourth in September, and the Second in October.

Recordings of the individual symphonies by other conductors are listed below.

Symphony No. 1 in C Minor, Op. 68

Rafael Kubelík, conductor
Recorded by Mercury in Orchestra Hall in April 1952
David Hall, recording director
C. Robert Fine and George Piros engineers

Günter Wand, conductor
Recorded live for RCA in Orchestra Hall in January 1989
Norman Pellegrini and David Frost, producers
Mitchell Heller, recording engineer
John Purcell, post-production engineer

Symphony No. 3 in F Major, Op. 90

Frederick Stock, conductor
Recorded by Columbia in New York’s Liederkranz Hall in November 1940

Fritz Reiner, conductor
Recorded by RCA in Orchestra Hall in December 1957
Richard Mohr, producer

Symphony No. 4 in E Minor, Op. 98

Carlo Maria Giulini, conductor
Recorded by Angel in Medinah Temple in October 1969
Peter Andry, producer
Carson Taylor, balance engineer

Riccardo Muti and the Chicago Symphony Orchestra perform Brahms’s four symphonies at Orchestra Hall in May. Details here and here.

____________________________________________________

Sir Georg Solti and the Chicago Symphony Orchestra recorded Bruckner’s ten symphonies between January 1979 and October 1995 for London Records.

Symphony No. 0 in D Minor
Michael Woolcock, producer
Michael Mailes and Simon Eadon, engineers
Recorded at Orchestra Hall
October 1995

Symphony No. 1 in C Minor (Linz version, 1865-66)
Michael Woolcock, producer
John Dunkerley and Andrew Groves, engineers
Recorded at Orchestra Hall
February 1995

Symphony No. 2 in C Minor (ed. Nowak)
Michael Haas, producer
John Pellowe, engineer
Recorded at Medinah Temple
October 1991

Symphony No. 3 in D Minor (1877 version, ed. Nowak)
Michael Haas, producer
Colin Moorfoot, engineer
Recorded at Orchestra Hall
November 1992

Symphony No. 4 in E-flat Major (ed. Nowak)
James Mallinson, producer
James Lock, engineer
Recorded at Orchestra Hall
January 1981

Symphony No. 5 in B-flat Major
James Mallinson, producer
James Lock, engineer
Recorded at Medinah Temple
January 1980

Symphony No. 6 in A Major
Ray Minshull, producer
Colin Moorfoot, James Lock, and Kenneth Wilkinson, engineers
Recorded at Medinah Temple
January and June 1979
The recording of the Sixth Symphony won the 1980 Grammy Award for Best Classical Orchestral Recording from the National Academy of Recording Arts and Sciences.

Symphony No. 7 in E Major
Michael Haas, producer
Simon Eadon, engineer
Recorded at Medinah Temple
October 1986

Symphony No. 8 in C Minor (1890 version, ed. Nowak)
Michael Haas, producer
Colin Moorfoot and James Lock, engineers
Recorded at Great Hall of the Leningrad Philharmonia (now the Saint Petersburg Philharmonia)
November 1990

Symphony No. 9 in D Minor
Michael Haas, producer
Colin Moorfoot, engineer
Recorded at Orchestra Hall
September and October 1985

____________________________________________________

Sir Georg Solti and the Chicago Symphony Orchestra recorded Brahms’s four symphonies between May 1978 and January 1979 for London Records. The recordings were ultimately released as a set (along with the Academic Festival and Tragic overtures), and that set won the 1979 Grammy Award for Best Classical Album and Best Classical Orchestral Recording from the National Academy of Recording Arts and Sciences.

For the liner notes, Solti contributed the following:

“I would like to make a few comments about aspects of our recording of the Brahms symphonies, which formed part of a Brahms cycle that included the German Requiem, the Hadyn Variations, and the Academic Festival and Tragic overtures.

“The recordings, which were all made in the Medinah Temple, Chicago, took place over a period of approximately fifteen months, between October 1977, when we started with the Haydn Variations and January 1979, when we completed the cycle with the First and Second symphonies. My principal aim was to try to capture the feeling of real performances on record, and with this in mind, we always recorded whole movements without breaks. I am convinced that this is the only way, especially in the symphonies, to keep the musical architecture of the works alive. It is a tribute to the splendid quality of my Chicago orchestra and chorus that we seldom made more than two takes of anything, and there is in fact one movement of the Requiem which required just a single take.

“I would just like to highlight a few of my thoughts on each of the symphonies:

“The First Symphony is a work of dramatic tension, passion, and grandeur, which inspired von Bülow to refer to it as Beethoven’s Tenth—not, I feel, so much in relation to Beethoven as in this very sense of grandeur. In the first movement, the drama is so effectively created by Brahms by the relentless flow of rhythmic ostinati from the timpani beats at the outset to the throbbing on horns and timpani which underlies the final bars. The second movement has, in contrast, such a gentle, nostalgic, and lyrical quality and gives, together with the third and fourth movements, a variety of beautiful solos for the section leaders.

“In the Second and Third symphonies, while the coloring is much lighter, I have tried again to achieve structural clarity and to reproduce the chamber music quality which is so in evidence in these works, especially in the second and third movements of both. So as to enhance this, we used slightly fewer than full string strength and also undoubled woodwinds.

“The Fourth Symphony is structurally quite differently formed from the first three. The first movement is relatively shorter and the middle two movements much larger both in conception and content. With the last movement comes the complete break with both his own and symphonic tradition, by the creation of such a marvelous passacaglia.

“The question of first movement exposition repeats in the first three symphonies is a debated one. For each of these, Brahms composed prima and seconda volta bars which contain of course marvelous music. In live performances, I feel it should be left to the conductor’s discretion. Nearly always the repeats are omitted, as they make the works rather longer, but I felt that for recording it was important to preserve these few bars, and I have therefore kept in all the repeats. I was interested to discover that I was not alone in never having played the repeat in the First Symphony in all the performances I had ever conducted up until this recording. The Chicago Symphony Orchestra had also never done so in the almost ninety years of its existence. So we were all hearing these bars for the first time!

“We had enormous joy in making these records and we felt, at the same time, a very great artistic responsibility. I hope that we have managed to convey some of both.”

All recordings on the set were produced by James Mallinson; Kenneth Wilkinson, Colin Moorfoot, and Michael Mailes were the engineers.

Symphony No. 1 in C Minor, Op. 68
Symphony No. 2 in D Major, Op. 73
January 1979

Symphony No. 3 in F Major, Op. 90
Symphony No. 4 in E Minor, Op. 98
Academic Festival Overture, Op. 80
Tragic Overture, Op. 81
May 1978

____________________________________________________

Sir Georg Solti led the Chicago Symphony Orchestra’s first trip to the Soviet Union and Hungary in November 1990, also including a single stop in Vienna.

Program page for the November 24 concert in Moscow

November 21, 1990 – Bolshoi Hall of the Philharmonie, Leningrad (now Saint Petersburg), Soviet Union
Saturday, November 24, 1990 – Great Hall of the Conservatory, Moscow, Soviet Union
Friday, November 30, 1990 – Musikvereinsaal, Vienna, Austria
BARTÓK Dance Suite
MAHLER Symphony No. 5

November 22, 1990 – Bolshoi Hall of the Philharmonie, Leningrad, Soviet Union
Monday, November 26, 1990 – Great Hall of the Conservatory, Moscow, Soviet Union
BRUCKNER Symphony No. 8

Wednesday, November 28, 1990 – Congress Centre, Budapest, Hungary
BARTÓK Dance Suite
BARTÓK Piano Concerto No. 3
András Schiff, piano
BARTÓK Concerto for Orchestra

Solti, along with members of the Orchestra and staff, poses in front of Saint Basil's Cathedral in Moscow's Red Square

Two recordings were made during the tour, both for London Records. The performance of Bruckner’s Eighth Symphony was recorded live in Leningrad on November 22 (London’s first recording venture in the Soviet Union); Michael Haas was the producer, James Lock and Colin Moorfoot were the engineers, and Sally Drew was the tape editor. Mahler’s Fifth Symphony was recorded live in Vienna on November 30, Michael Haas was the producer, Stan Goodall was the engineer, and Matthew Hutchinson was the tape editor.

The concerts in Leningrad and Moscow were part of a cultural exchange that brought the Leningrad Philharmonic to Chicago for two weeks of subscription concerts at Orchestra Hall, with Music Director Yuri Temirkanov and Associate Conductor Mariss Jansons sharing the podium:

November 13, 15, and 18, 1990
Yuri Temirkanov, conductor
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
Viktor Tretyakov, violin
TCHAIKOVSKY Manfred Symphony, Op. 58

November 16 and 17, 1990
Mariss Jansons, conductor
PROKOFIEV Excerpts from Romeo and Juliet, Op. 64
PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10
Dmitri Alexeev, piano
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64

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Theodore Thomas

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