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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
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!


On January 29, 30, and 31, 1976, Sir Georg Solti conducted the Chicago Symphony Orchestra and Chorus’s first performances of Roger Sessions‘s When Lilacs Last in the Dooryard Bloom’d. The work had been chosen as part of the CSO’s recognition of the U.S. Bicentennial celebrations.

According to Arrand Parsons’s program note, in Walt Whitman‘s poem, three symbols appear: “the ‘great star,’ representing the assassinated Lincoln; the lilac, which usually is interpreted as human love; the thrush, representing the soul which has as its song the carol of death, a carol Whitman accepts as his own when he says ‘the voice of my spirit tallied the song of the bird.’ Sessions has arranged the score into three continuous parts. The first part sets the mournful mood and presents the symbolic elements: the ‘powerful western fallen star,’ the lilacs, and the song of the thrush. In the second part, the poet describes Lincoln’s funeral train slowly moving from Washington to Springfield, and his burial. The poet describes the land and its people, and a central and high point is the alto solo in which the ‘carol of the bird’ reflects on death. At the end, the symbols are united.”

The composer also contributed to the program note: “My cantata When Lilacs Last in the Dooryard Bloom’d was composed principally between 1967 and 1969; the orchestral score was finished in the autumn of 1970. The work was commissioned by the Committee for Arts and lectures of the University of California at Berkeley, in celebration of the University’s centennial in 1968; but it also represents, for me, the fruition of an idea that had been in my mind for very many years. Even during my adolescent years—the period of the First World War—the poem, written under the spell of one of the most tragic moments of our history, with its moving evocation of the rich American landscape in spring, with its lilacs, its forests, and its thrushes, and of the Civil War, had touched me very deeply; and in 1921 I even made a number of musical sketches for a possible musical setting of it. I was not satisfied with these sketches, however, and concluded that I was not ready at that time to undertake such a work. I never forgot it, however, and when the proposal was made that I write a work involving chorus and possible solo voice, it became clear to me that the time had come for me to write this work. I have to confess that only after having made many preliminary sketches and having become thoroughly involved in the music did I fully realize what its dimensions must be.

“The dedication to the memory of Dr. Martin Luther King and of Robert Kennedy was, of course, the result of the fact that their political assassinations occurred while I was working on the second part of the cantata.

“I have used as my text Whitman’s poem in its entirety with only occasional brief cuts, which the musical setting as I conceived it seemed to demand. These cuts are mainly in the third section, though to a lesser extent in the second also. They all occur at moments where verbal elaboration or repetition, though very powerful and very characteristic in the text as such, seemed to me redundant in the context of a musical setting.”

For these performances, soprano Sarah Beatty, mezzo-soprano Josephine Veasey, and baritone Dominic Cossa were the soloists; and the Chicago Symphony Chorus was prepared by Margaret Hillis. The second half of the program included the first CSO and CSC performances of Stravinsky’s Oedipus Rex. Reviews of the performances are here and here.

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


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