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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
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!
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The commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn’s Wedding March from A Midsummer Night’s Dream; Wagner’s Ride of the Valkyries from Die Walküre; and Grieg’s Two Elegiac Melodies, Heart Wounds and The Last Spring.
Mendelssohn’s Wedding March and Grieg’s The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, “The deepest glories vibrant in such a familiar composition as Mendelssohn’s Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home.”
To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center’s Rotunda through the end of the Orchestra’s current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).
Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven’s Fourth Piano Concerto with George Szell conducting. On July 22 and 24, Schnabel and the Orchestra recorded the Fourth along with Beethoven’s Fifth Piano Concerto at Orchestra Hall for Victor Records. Frederick Stock conducted these, his last, recording sessions with the Orchestra; he died a few short months later on October 20.
The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev’s Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.
Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner’s Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.
For Mercury Records, fifth music director Rafael Kubelík led the Orchestra’s first recording of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.
On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss’s Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner’s complete CSO catalog recently was re-released by RCA.)
At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra’s recording of Bartók’s Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra’s recording of Brahms’s Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.
Reiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev’s Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.
Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann’s Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn’s appearances and recordings with the Chicago Symphony Orchestra can be found here.)
On March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon’s complete CSO catalog recently was re-released by RCA.)
Benny Goodman recorded Nielsen’s Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould’s complete CSO catalog recently was re-released by RCA.)
At Medinah Temple on February 20 and 21, 1968, Leopold Stokowski and the Orchestra recorded Shostakovich’s Symphony no. 6 for RCA.
Carlo Maria Giulini—the Chicago Symphony Orchestra’s first principal guest conductor—recorded selections from Berlioz’s Romeo and Juliet for Angel on October 13 and 14, 1969, at Medinah Temple.
The Orchestra made its second recording of Rimsky-Korsakov’s Sheherazade on June 30 and July 1, 1969, at Medinah Temple for Angel. Seiji Ozawa, the Ravinia Festival’s first music director, conducted and concertmaster Victor Aitay was violin soloist.
During eighth music director Georg Solti‘s first season as music director, the Orchestra performed Mahler’s Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.
Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák’s Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré’s association with the Orchestra is here.)
Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather Harper, Lucia Popp (more about Popp’s performances with the Orchestra is here), Arleen Augér, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State Opera, Singverein Chorus, and Vienna Boys’ Choir), and Best Engineered Recording–Classical.
On December 13, 1977, Barenboim and the Orchestra recorded Bruckner’s Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer’s symphonies that also included the Te Deum, Helgoland, and Psalm 150.
Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven’s Fidelio—”the first digitally recorded opera to be released,” according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.
Second music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children’s Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff’s Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).
At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of the Chicago Bears‘ fight song “Bear Down, Chicago Bears” in anticipation of the team’s Super Bowl victory. The day after the game, the work was recorded by London Records.
Solti led recording sessions at Medinah Temple for Beethoven’s Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.
Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms’s Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.
Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich’s First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.
On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano’s Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra’s first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.
The recording of Bartók’s The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez’s recordings with the Orchestra is here and his complete Grammy awards are here.)
Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney‘s feature film Fantasia 2000. The movie was released on January 1, 2000.
Shortly after being named the Orchestra’s third principal guest conductor, Boulez led sessions for Varèse’s Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.
In May 1997 at Medinah Temple, the Orchestra recorded Falla’s Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.
A former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms’s and Joachim’s violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.
In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children’s Choir, and mezzo-soprano Michelle DeYoung in Mahler’s Third Symphony. The work is recorded as the inaugural release on CSO Resound.
In May 2008, Haitink and the Orchestra recorded Shostakovich’s Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.
Boulez led the Orchestra in Stravinsky’s Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.
On January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara Frittoli, Olga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi’s Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.
Following his first concert as the Chicago Symphony Orchestra’s tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz’s Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.
On April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi’s Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children’s Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.
In February 2012, Muti led world premieres by the Orchestra’s Mead Composers-in-Residence: Anna Clyne’s Night Ferry and Mason Bates’s Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.
For Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.
Cheers to the next 100!
Wishing a very happy seventieth birthday to Jessye Norman!
A frequent visitor to Chicago—on concert, recital, and opera stages—Norman has appeared with the Chicago Symphony Orchestra as vocal soloist and narrator on many occasions, both at Orchestra Hall and the Ravinia Festival. A complete list of her performances with the Orchestra is below (all concerts at Orchestra Hall unless otherwise noted):
March 21, 22, and 23, 1974
SCHUMANN Das Paradies und die Peri, Op. 50
Carlo Maria Giulini, conductor
Jessye Norman, soprano
Birgit Finnilä, contralto
Ernst Haefliger, tenor
Raffaele Arié, bass
Sarah Beatty, soprano
Isola Jones, mezzo-soprano
Philip Creech, tenor
Chicago Symphony Chorus
Margaret Hillis, director
May 29, 30, and 31, 1975
LA MONTAINE Songs of the Rose of Sharon, Op. 6
Daniel Barenboim, conductor
Jessye Norman, soprano
August 9, 1975 (Ravinia Festival)
BERLIOZ Les nuits d’été, Op. 7
Edo de Waart, conductor
Jessye Norman, soprano
July 7, 1978 (Ravinia Festival)
MOZART Ch’io mi scordi di te?, K. 505
Edward Gordon, piano
RAVEL Sheherazade
BERLIOZ La mort de Cléopatre
WAGNER Wesendonk-Lieder
WAGNER Liebestod from Tristan and Isolde
James Levine, conductor
Jessye Norman, soprano
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, piano
John Cheek, bass
Philip Kraus, baritone
Chicago Symphony Chorus
Margaret Hillis, director
July 8, 1979 (Ravinia Festival)
MAHLER Das Lied von der Erde
James Levine, conductor
Jessye Norman, soprano
Seth McCoy, tenor
March 26, 27, and 28, 1981
BRUCKNER Te Deum
Daniel Barenboim, conductor
Jessye Norman, soprano
Yvonne Minton, mezzo-soprano
David Rendall, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, director
December 1, 2, and 3, 1983
MAHLER Das Lied von der Erde
Erich Leinsdorf, conductor
Jessye Norman, soprano
David Rendall, tenor
Receiving bows following Beethoven’s Ninth Symphony at Orchestra Hall on September 24, 1986 (Jim Steere photo)
September 24, 25, 26, and 27, 1986
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Sir Georg Solti, conductor
Jessye Norman, soprano
Reinhild Runkel, mezzo-soprano
Robert Schunk, tenor
Hans Sotin, bass
Chicago Symphony Chorus
Margaret Hillis, director
July 1, 1988 (Ravinia Festival)
WAGNER Die Walküre, Act 1
James Levine, conductor
Jessye Norman, soprano
Gary Lakes, tenor
Aage Haugland, bass
July 5, 1992 (Ravinia Festival)
STRAUSS Ruhe, meine Seele, Op. 27, No. 1
STRAUSS Waldseligkeit, Op. 49, No. 1
STRAUSS Wiegenlied, Op. 41, No. 1
STRAUSS Die heiligen drei Konige aus Morgenland, Op. 56, No. 6
STRAUSS Cäcilie, Op. 27, No. 2
WAGNER Liebestod from Tristan and Isolde
James Levine, conductor
Jessye Norman, soprano
December 2, 4, and 7, 1993
BARTÓK Bluebeard’s Castle
Pierre Boulez, conductor
Jessye Norman, soprano
László Polgár, bass
Larry Russo, narrator
June 22, 1996 (Ravinia Festival)
BERLIOZ “Villanelle,” “Le spectre de la rose,” “Sur les lagunes,” and “L’ile inconnue” from Les nuits d’été, Op. 7
RAVEL Sheherazade
Christoph Eschenbach, conductor
Jessye Norman, soprano
June 21, 1997 (Ravinia Festival)
MOZART Vado, ma dove?, K. 583
MOZART “Porgi amor” from The Marriage of Figaro, K. 492
BIZET Habanera from Carmen
SAINT-SAËNS “Mon coeur s’ouvre à ta voix” from Samson and Delilah
STRAUSS Final Scene from Capriccio
Christoph Eschenbach, conductor
Jessye Norman, soprano
July 18, 2009 (Ravinia Festival)
COPLAND Lincoln Portrait
James Conlon, conductor
Jessye Norman, narrator
Norman also has recorded with the Chicago Symphony Orchestra on three occasions:
BRUCKNER Te Deum
Recorded in Orchestra Hall, March 1981
Daniel Barenboim, conductor
Jessye Norman, soprano
Yvonne Minton, mezzo-soprano
David Rendall, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, director
Deutsche Grammophon
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Recorded in Medinah Temple, September and October 1986
Sir Georg Solti, conductor
Jessye Norman, soprano
Reinhild Runkel, mezzo-soprano
Robert Schunk, tenor
Hans Sotin, bass
Chicago Symphony Chorus
Margaret Hillis, director
London
1987 Grammy Award for Best Orchestral Recording
BARTÓK Bluebeard’s Castle
Recorded in Orchestra Hall, December 1993
Jessye Norman, soprano
László Polgár, bass
Nicholas Simon, narrator
Deutsche Grammophon
1998 Grammy Award for Best Opera Recording
Happy, happy birthday!
____________________________________________________
During his tenure as music director, Solti and the Chicago Symphony Orchestra traveled to Carnegie Hall nearly every season. A complete list of those concerts are below:
January 8, 1970
HAYDN Symphony No. 102 in B-flat Major
BARTÓK Dance Suite
BRAHMS Symphony No. 1 in C Minor, Op. 68
January 9, 1970
MAHLER Kindertotenlieder
Helen Watts, contralto
MAHLER Symphony No. 5
December 7, 1970
LEVY Concerto for Piano No. 1
Earl Wild, piano
BRUCKNER Symphony No. 8 in C Minor
December 8, 1970
MAHLER Symphony No. 7 in E Minor
April 27, 1971
WAGNER Das Rheingold
Woglinde Karen Altman, soprano
Wellgunde Huguette Tourangeau, mezzo-soprano
Flosshilde Helen Watts, contralto
Alberich Rolf Kuhne, bass
Wotan David Ward, bass
Fricka Mignon Dunn, mezzo-soprano
Freia Karen Altman, soprano
Fasolt Martti Talvela, bass
Fafner Hans Sotin, bass
Donner Thomas Paul, bass
Froh Kenneth Riegel, tenor
Loge Gerhard Stolze, tenor
Mime John Lanigan, tenor
Erda Helen Watts, contralto
November 17, 1971
SCHUMANN Symphony No. 3 in E-flat Major, Op. 97 (Rhenish)
BARTÓK Concerto for Orchestra
WAGNER Prelude to Act 1 of Die Meistersinger von Nürnberg
November 20, 1971
SCHOENBERG Moses and Aron
Moses Hans Hotter, speaker
Aron Richard Lewis, tenor
A Young Girl Karen Altman, soprano
A Young Man Kenneth Riegel, tenor
Another Man Benjamin Matthews, baritone
Priest Donald Gramm, bass-baritone
An Invalid Woman Emilie Miller, mezzo-contralto
Ephraimite Stephen Swanson, baritone
A Naked Youth Kenneth Riegel, tenor
Four Naked Virgins Barbara Pearson and Nancy Clevenger, sopranos; Sharon Powell, mezzo-soprano; Elizabeth Muir-Lewis, alto
Three Elders Alfred Reichel and Jack Abraham, baritones; Eugene Johnson, bass
Six Solo Voices in the Orchestra Barbara Pearson, soprano; Sharon Powell, mezzo-soprano; Elizabeth Muir-Lewis, alto; William Wahman, tenor; Stephen Swanson and Arthur Berg, baritones
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Barbara Born, director
April 19, 1972
SCHUBERT Symphony No. 8 in B Minor, D. 759 (Unfinished)
MAHLER Das Lied von der Erde
Shirley Verrett, mezzo-soprano
Stuart Burrows, tenor
April 22, 1972
CARTER Variations for Orchestra
STRAUSS Don Juan, Op. 20
BERLIOZ Symphonie fantastique, Op. 14A
December 6, 1972
BERLIOZ The Damnation of Faust, Op. 24
Marguerite Josephine Veasey, contralto
Faust Stuart Burrows, tenor
Mephistopheles Robert Savoie, baritone
Brander Roger Soyer, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Theatre Chorus
Doreen Rao, director
December 9, 1972
MENDELSSOHN Overture to Fingal’s Cave, Op. 26
BARTÓK Concert for Violin, No. 2
Isaac Stern, violin
STRAUSS Ein Heldenleben, Op. 40
May 2, 1973
WAGNER Act 3 of Götterdämmerung
Gutrune Karen Altman, soprano
Brunnhilde Helga Dernesch, soprano
Woglinde Barbara Pearson, soprano
Wellgunde Gwendolyn Jones, mezzo-soprano
Flosshilde Sandra Walker, mezzo-soprano
Siegfried Jess Thomas, tenor
Gunther Donald Gramm, bass
Hagen Martti Talvela, bass
Men of the Chicago Symphony Chorus
Richard Boldrey, assistant director
May 4, 1973
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
BRUCKNER Symphony No. 7 in E Major
November 14, 1973
WEBER Overture to Oberon
HENZE Heliogabalus Imperator
BEETHOVEN Symphony No.3 in E-flat Major, Op. 55 (Eroica)
November 17, 1973
BACH Suite No. 3 in D Major, BWV 1068
MAHLER Symphony No. 6 in A Minor
May 1, 1974
SCHUMANN Symphony No. 4 in D Minor, Op. 120
BARTÓK Bluebeard’s Castle
Judith Tatiana Troyanos, mezzo-soprano
Bluebeard Zoltán Kelemen, baritone
May 4, 1974
MOZART Symphony No. 35 in D Major, K. 385 (Haffner)
ELGAR Variations on an Original Theme, Op. 36 (Enigma)
STRAVINSKY The Rite of Spring
December 17, 1974
BACH Brandenburg Concerto No. 2 in F Major, BWV 1047
Samuel Magad, violin
Ralph Zeitlin, recorder
Ray Still, oboe
Adolph Herseth, trumpet
SCHOENBERG Variations for Orchestra, Op. 31
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
December 18, 1974
STRAUSS Salome
Salome Birgit Nilsson, soprano
Herodias Ruth Hesse, mezzo-soprano
Herod Antipas Ragnar Ulfung, tenor
Jokanaan Norman Bailey, baritone
Slave Sarah Beatty, soprano
The Page of Herodias Sandra Walker, mezzo-soprano
Narraboth George Shirley, tenor
Cappadocian Gershon Silins, bass
Two Nazarenes Cory Winter, tenor; Franz Mazura, bass-baritone
Four Jews Philip Creech, Jerry Jennings, John Lanigan, and William Wahman, tenors; Eugene Johnson, bass
Two Soldiers Curtis Dickson and Thomas Paul, basses
December 20, 1974
MOZART Symphony No. 39 in E-flat Major, K. 543
MAHLER Lieder eines fahrenden Gesellen
Julia Hamari, mezzo-soprano
ELGAR Symphony No. 2 in E-flat Major, Op. 63
December 21, 1974
MOZART Symphony No. 39 in E-flat Major, K. 543
MAHLER Lieder eines fahrenden Gesellen
Julia Hamari, mezzo-soprano
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
April 29, 1975
STRAVINSKY Symphony in C
BRUCKNER Symphony No. 5 in B-flat Major
April 30, 1975
VERDI Requiem
Leontyne Price, soprano
Yvonne Minton, mezzo-soprano
Luciano Pavarotti, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
May 2, 1975
HAYDN Symphony No. 101 in D Major (The Clock)
LISZT Piano Concerto No. 2 in A Major
Tamás Vásáry, piano
STRAUSS Also sprach Zarathustra, Op. 30
May 10, 1976
BARTÓK Music for Strings, Percussion, and Celesta
BEETHOVEN Symphony No. 2 in D Major, Op. 36
STRAUSS Till Eulenspiegel’s Merry Pranks, Op. 28
May 12, 1976
MENDELSSOHN Selections from A Midsummer Night’s Dream
MOZART Piano Concerto No. 27 in B-flat Major, K. 595
Alicia de Larrocha, piano
DEBUSSY La mer
May 14, 1976
WAGNER Der fliegende Höllander
The Dutchman Norman Bailey, bass-baritone
Senta Janis Martin, soprano
Daland Martti Talvela, bass
Erik René Kollo, tenor
The Steersman Werner Krenn, tenor
Mary Isola Jones, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director
November 8, 1976
MOZART Adagio and Fugue in C Minor, K. 546
VERDI Four Sacred Pieces
Jo Ann Pickens, soprano
Chicago Symphony Chorus
Margaret Hillis, director
WALTON Belshazzar’s Feast
David Ward, bass
Chicago Symphony Chorus
Margaret Hillis, director
November 10, 1976
SHOSTAKOVICH Symphony No. 9 in E-flat Major, Op. 70
TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74 (Pathétique)
November 12, 1976
RAVEL Le tombeau de Couperin
DEBUSSY Prelude to The Afternoon of a Faun
RAVEL La valse
BEETHOVEN Symphony No. 7 in A Major, Op. 92
May 9, 1977
HAYDN Symphony No. 103 in E-flat Major
WAGNER Prelude and Liebestod from Tristan and Isolde
BRAHMS Symphony No. 2 in D Major, Op. 73
May 11, 1977
MOZART Symphony No. 41 in C Major, K. 551 (Jupiter)
MAHLER Symphony No. 5
May 13, 1977
BEETHOVEN Missa solemnis, Op. 123
Lucia Popp, soprano
Yvonne Minton, mezzo-soprano
Mallory Walker, tenor
Gwynne Howell, bass
Chicago Symphony Chorus
Margaret Hillis, director
Solti was scheduled to conduct four concerts at Carnegie Hall in October and November 1977; however after suffering a fall in Chicago, he was forced to cancel the first two appearances. The October 31 performance of Mahler’s Eighth Symphony was conducted by Chorus Director Margaret Hillis, and the November 1 program (identical to the November 2 concert) was led by Associate Conductor Henry Mazer.
November 2, 1977
ROSSINI Overture to The Barber of Seville
STRAVINSKY Jeu de cartes
STRAUSS Four Last Songs
Lucia Popp, soprano
STRAUSS Don Juan, Op. 20
November 4, 1977
TIPPETT Symphony No. 4
BRUCKNER Symphony No. 7 in E Major
May 8, 1978
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Alfred Brendel, piano
BRAHMS Symphony No. 4 in E Minor, Op. 98
May 9, 1978
BRAHMS Symphony No. 3 in F Major, Op. 90
BRAHMS Symphony No. 1 in C Minor, Op. 68
May 10, 1978
BRAHMS Piano Concerto No. 1 in D Minor, Op. 15
Alfred Brendel, piano
BRAHMS Symphony No. 1 in C Minor, Op. 68
May 12, 1978
BRAHMS Tragic Overture, Op. 81
BRAHMS A German Requiem, Op. 45
Kiri Te Kanawa, soprano
Bernd Weikl, baritone
Chicago Symphony Chorus
Margaret Hillis, director
May 14 & 15, 1979
BEETHOVEN Symphony No. 4 in B-flat Major, Op. 60
BRUCKNER Symphony No. 6 in A Major
May 16 & 18, 1979
MUSSORGSKY/Rimsky-Korsakov Prelude to Khovanshchina
SHOSTAKOVICH Symphony No. 1, Op. 10
SCHUBERT Symphony No. 9 in C Major, D. 944 (Great)
May 19, 1979
BEETHOVEN Fidelio, Op. 72
Leonore Hildegard Behrens, soprano
Marzelline Sona Ghazarian, soprano
Florestan Peter Hofmann, tenor
Jaquino David Kübler, tenor
Don Pizarro Theo Adam, baritone
Rocco Hans Sotin, bass
Don Fernando Gwynne Howell, bass
Two Prisoners Robert Johnson, tenor and Philip Kraus, baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director
April 28 & 30, 1980
BEETHOVEN Symphony No. 6 in F Major, Op. 68 (Pastorale)
STRAVINSKY The Rite of Spring
April 29, 1980
MENDELSSOHN Symphony No. 3 in A Minor, Op. 56 (Scottish)
WAGNER “Dich, teure Halle” from Tannhäuser
Leontyne Price, soprano
WAGNER Prelude and Liebestod from Tristan and Isolde
Leontyne Price, soprano
MUSSORGSKY/Ravel Pictures at an Exhibition
May 2 & 3, 1980
MAHLER Symphony No. 2 in C Minor (Resurrection)
Isobel Buchanan, soprano
Christa Ludwig, mezzo-soprano
Chicago Symphony Chorus
Margaret Hillis, director
April 27 & 29, 1981
MAHLER Symphony No. 9 in D Major
April 28, 1981
BRUCKNER Symphony No.4 in E-flat Major (Romantic)
BARTÓK Concerto for Orchestra
May 1 & 2, 1981
BERLIOZ The Damnation of Faust, Op. 24
Marguerite Frederica von Stade, mezzo-soprano
Faust Kenneth Riegel, tenor (May 1); Peyo Garazzi, tenor (May 2)
Mephistopheles José van Dam, baritone
Brander Malcolm King, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
April 18, 1983
WAGNER Das Rheingold
Wotan Siegmund Nimsgern, bass-baritone
Alberich Hermann Becht, baritone
Fricka Gabriele Schnaut, mezzo-soprano
Loge Siegfried Jerusalem, tenor
Mime Robert Tear, tenor
Erda Jan DeGaetani, mezzo-soprano
Fafner Malcolm Smith, bass
Fasolt Gwynne Howell, bass
Freia Mary Jane Johnson, soprano
Donner John Cheek, bass-baritone
Froh Dennis Bailey, tenor
Woglinde Michelle Harman-Gulick, soprano
Wellgunde Elizabeth Hynes, soprano
Flosshilde Emily Golden, mezzo-soprano
April 19, 1983
MOZART Overture to The Magic Flute, K. 620
BARTÓK Music for Strings, Percussion, and Celesta
DVOŘÁK Symphony No. 9 in E Minor, Op. 95 (From the New World)
April 29, 1985
VERDI Falstaff
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
April 30, 1985
SHOSTAKOVICH Symphony No. 9, Op. 70
BRUCKNER Symphony No. 9 in D Minor (Unfinished)
May 1, 1985
BRAHMS Variations on a Theme by Haydn, Op 56a
LUTOSŁAWSKI Symphony No. 3
BEETHOVEN Symphony No. 5 in C Minor, Op. 67
May 3, 1985
MAHLER Symphony No. 7 in E Minor
May 4, 1985
BERG Three Pieces for Orchestra, Op. 6
BERG Concerto for Violin
Salvatore Accardo, violin
TCHAIKOVSKY Symphony No. 5 in E Minor, Op. 64
May 18, 1987
MAHLER Symphony No. 9
May 19, 1987
STRAUSS Ein Heldenleben, Op. 40
STRAVINSKY The Rite of Spring
May 20, 1987
HAYDN Symphony No. 103 in E-flat Major (Drumroll)
BRUCKNER Symphony No. 7 in E Major
February 10, 1989
SCHUBERT Symphony No. 5 in B-flat Major, D. 485
SCHOSTAKOVICH Symphony No. 8 in C Minor, Op. 65
February 11, 1989
BARTÓK Music for Strings, Percussion, and Celesta
BARTÓK Suite from The Miraculous Mandarin
BRAHMS Symphony No. 4 in E Minor, Op. 98
April 15 & 18, 1991
TIPPETT Byzantium
Faye Robinson, soprano
MAHLER Symphony No. 5
April 16 & 19, 1991
VERDI Otello
Otello Luciano Pavarotti, tenor
Desdemona Kiri Te Kanawa, soprano
Iago Leo Nucci, baritone
Emilia Elzbieta Ardam, mezzo-soprano
Cassio Anthony Rolfe Johnson, tenor
Roderigo John Keyes, tenor
Montano Alan Opie, baritone
Lodovico Dimitri Kavrakos, bass
A Herald Richard Cohn, baritone
Chicago Symphony Chorus
Margaret Hillis, director
Terry Edwards, guest chorus master
Metropolitan Opera Children’s Chorus
Elena Doria, director
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With the Chicago Symphony Orchestra and Chorus, Georg Solti led Beethoven’s opera Fidelio in March 1970 in Chicago and again in May 1979, with concerts in Chicago and New York City.
March 12, 14, and 16, 1970, at Orchestra Hall
Leonore Anja Silja, soprano
Marzelline Lucia Popp, soprano
Florestan Jess Thomas, tenor
Jaquino Frank Porretta, tenor
Don Pizarro Herbert Fliether, baritone
Rocco Kurt Boehme, bass
Don Fernando Thomas Paul, bass
Two Prisoners William Wahman, tenor and Gary Kendall, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director
Fidelio rehearsal in Orchestra Hall
May 10 and 12, 1979, at Orchestra Hall
May 19, 1979, at Carnegie Hall
Leonore Hildegard Behrens, soprano
Marzelline Sona Ghazarian, soprano
Florestan Peter Hofmann, tenor
Jaquino David Kübler, tenor
Don Pizarro Theo Adam, baritone
Rocco Hans Sotin, bass
Don Fernando Gwynne Howell, bass
Two Prisoners Robert Johnson, tenor and Philip Kraus, baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director
Following the performance in Carnegie Hall, 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.
In Gramophone, W.S.M. wrote: “No comparative sets are listed above because in one sense, this new Fidelio is at present hors concours: it is the first digitally recorded opera to be released, and in an ensemble opera the new technique pays handsome dividends. . . .
“This Decca/Solti suggests a large studio with a quite reverberant acoustic, actually the Medinah Temple in Chicago. For the outdoor scenes it works well, the garden with sparring lovers, the spacious fresh-air into which the prisoners emerge, later the square where they are freed (at least we hope so) and dramatic complications are resolved. The dungeon scene doesn’t actually sound misplaced, in the literal sense, but neither does it suggest a different, cramped, deep, awesome location. This is not a theatrical representation, or we would hear the guards enter and leave, steps ascended and descended, doors opened, perhaps the rattle of chains, something to suggest that Fidelio is not just an oratorio. . . .
Solti and Margaret Hillis listen to Fidelio playbacks
“Solti views Fidelio steadily and whole; intent on the menace and the ultimate victory of humanity. His tempi are steady, for the most part, only in the duet for Pizarro and Rocco seemingly too slow for the singers. He seldom needs to add ritardandi or accelerandi as other Fidelio conductors do, and he is able to care for nuance and details of part-writing, for example in the canon quartet. Here too each new vocal entry is truly soils tore, a wonderful effect of rapt self-communion, until Jaquino’s, not rapt at all but infuriated, therefore loud, but soon blending into the others. The Prisoners’ Chorus shows the Solti approach at its finest and most moving. If the Florestan were tip to the rest, I would count this the most desirable of recorded Fidelios.”
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Solti and Margaret Hillis show off their 1986 Grammy Awards for Liszt’s Faust Symphony and Orff’s Carmina burana.
Sir Georg Solti won thirty-one Grammy Awards from the National Academy of Recording Arts and Sciences—more than any other recording artist. Twenty-four of those awards were with the Chicago Symphony Orchestra and Chorus. In addition, Solti and producer John Culshaw received the first NARAS Trustees’ Award in 1967 for their “efforts, ingenuity, and artistic contributions” in connection with the first complete recording of Wagner’s Der Ring des Nibelungen with the Vienna Philharmonic. Sir Georg also received the Academy’s 1995 Lifetime Achievement Award.
Alison Krauss and Quincy Jones tie for the number two slot with twenty-seven awards each, and Pierre Boulez—CSO conductor emeritus and former principal guest conductor—is number three, with twenty-six Grammy Awards, including eight with the Chicago Symphony Orchestra and Chorus.
Following is a complete list of Sir Georg Solti’s Grammy Awards.*
1962
Best Opera Recording (1)
VERDI Aida
Georg Solti, conductor
Leontyne Price, Rita Gorr, Jon Vickers, Robert Merrill, Giorgio Tozzi
Rome Opera House Orchestra and Chorus
RCA
1966
Best Opera Recording (2)
WAGNER Die Walküre
Georg Solti, conductor
Birgit Nilsson, Régine Crespin, Christa Ludwig, James King, Hans Hotter, Gottlob Frick
Vienna Philharmonic
London
1972
Album of the Year—Classical (3)
Best Choral Performance—Classical (other than opera) (4)
MAHLER Symphony No. 8 in E-flat Major
Georg Solti, conductor
Heather Harper, Lucia Popp, Arleen Augér, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, Martti Talvela
Chicago Symphony Orchestra
Chorus of the Vienna State Opera
Singverein Chorus
Vienna Boys’ Choir
Norbert Balatsch and Helmut Froschauer, chorus masters
David Harvey, producer
London
1972
Best Classical Performance—Orchestra (5)
MAHLER Symphony No. 7 in E Minor
Georg Solti, conductor
Chicago Symphony Orchestra
London
1974
Album of the Year—Classical (6)
Best Classical Performance—Orchestra (7)
BERLIOZ Symphonie fantastique, Op. 14
Sir Georg Solti, conductor
Chicago Symphony Orchestra
David Harvey, producer
London
1974
Best Opera Recording (8)
PUCCINI La bohème
Sir Georg Solti, conductor
Montserrat Caballé, Judith Blegen, Plácido Domingo, Sherrill Milnes, Vicente Sardinero, Ruggero Raimondi
London Philharmonic Orchestra
John Alldis Choir
Wandsworth School Boys’ Choir
RCA
1975
Album of the Year—Classical (9)
Beethoven’s Complete Symphonies
BEETHOVEN Symphony No. 1 in C Major, Op. 21
BEETHOVEN Symphony No. 2 in D Major, Op. 36
BEETHOVEN Symphony No. 3 in E flat Major, Op. 55 (Eroica)
BEETHOVEN Symphony No. 4 in B flat Major, Op. 60
BEETHOVEN Symphony No. 5 in C Minor, Op. 67
BEETHOVEN Symphony No. 6 in F Major, Op. 68 (Pastoral)
BEETHOVEN Symphony No. 7 in A Major, Op. 92
BEETHOVEN Symphony No. 8 in F Major, Op. 93
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
BEETHOVEN Overture to Egmont, Op. 84
BEETHOVEN Overture to Coriolan, Op. 62
BEETHOVEN Leonore Overture No. 3, Op. 72b
Sir Georg Solti, conductor
Chicago Symphony Orchestra
Pilar Lorengar, Yvonne Minton, Stuart Burrows, Martti Talvela
Chicago Symphony Chorus
Margaret Hillis, director
Ray Minshull and David Harvey, producers
London
1976
Best Classical Orchestral Performance (10)
STRAUSS Also sprach Zarathustra
Sir Georg Solti, conductor
Chicago Symphony Orchestra
Ray Minshull, producer
London
1977
Best Choral Performance (other than opera) (11)
VERDI Requiem
Sir Georg Solti, conductor
Leontyne Price, Janet Baker, Veriano Luchetti, José van Dam
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
RCA
1978
Best Choral Performance, Classical (other than opera) (12)
BEETHOVEN Missa solemnis in D Major, Op. 123
Sir Georg Solti, conductor
Lucia Popp, Yvonne Minton, Mallory Walker, Gwynne Howell
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
1979
Best Classical Album (13)
Best Classical Orchestral Recording (14)
Brahms’s Complete Symphonies
BRAHMS Symphony No. 1 in C Minor, Op. 68
BRAHMS Symphony No. 2 in D Major, Op. 73
BRAHMS Symphony No. 3 in F Major, Op. 90
BRAHMS Symphony No. 4 in E Minor, Op. 98
BRAHMS Academic Festival Overture, Op. 80
BRAHMS Tragic Overture, Op. 81
Sir Georg Solti, conductor
Chicago Symphony Orchestra
James Mallinson, producer
London
1979
Best Choral Performance, Classical (other than opera) (15)
BRAHMS Ein deutsches Requiem, Op. 45
Sir Georg Solti, conductor
Kiri Te Kanawa, Bernd Weikl
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
1980
Best Classical Orchestral Recording (16)
BRUCKNER Symphony No. 6 in A Major
Sir Georg Solti, conductor
Chicago Symphony Orchestra
Ray Minshull, producer
London
1981
Best Classical Album (17)
Best Classical Orchestral Recording (18)
MAHLER Symphony No. 2 in C Minor (Resurrection)
Sir Georg Solti, conductor
Isobel Buchanan, Mira Zakai
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
James Mallinson, producer
London
1982
Best Choral Performance (other than opera) (19)
BERLIOZ La Damnation de Faust, Op. 24
Sir Georg Solti, conductor
Frederica von Stade, Kenneth Riegel, José van Dam, Malcolm King
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
London
1983
Best Classical Album (20)
Best Classical Orchestral Recording (21)
MAHLER Symphony No. 9 in D Major
Sir Georg Solti, conductor
Chicago Symphony Orchestra
James Mallinson, producer
London
1983
Best Opera Recording (22)
MOZART Le nozze di Figaro, K. 492
Sir Georg Solti, conductor
Kiri Te Kanawa, Lucia Popp, Frederica von Stade, Samuel Ramey, Thomas Allen, Kurt Moll
London Philharmonic Orchestra
London Opera Chorus
Christopher Raeburn, producer
London
This recording actually tied with the soundtrack for Verdi’s La traviata with James Levine conducting the Metropolitan Opera Orchestra; principal soloists Teresa Stratas, Plácido Domingo, and Cornell MacNeil.
1983
Best Choral Performance (other than opera) (23)
HAYDN The Creation
Sir Georg Solti, conductor
Norma Burrowes, Sylvia Greenberg, Rüdiger Wohlers, James Morris, Siegmund Nimsgern
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
1985
Best Opera Recording (24)
SCHOENBERG Moses und Aron
Sir Georg Solti, conductor
Franz Mazura, Philip Langridge
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
James Mallinson, producer
London
1986
Best Classical Orchestral Recording (25)
LISZT A Faust Symphony
Sir Georg Solti, conductor
Siegfried Jerusalem
Chicago Symphony Orchestra
Men of the Chicago Symphony Chorus
Margaret Hillis, director
Michael Haas, producer
London
1987
Best Orchestral Recording (26)
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Sir Georg Solti, conductor
Jessye Norman, Reinhild Runkel, Robert Schunk, Hans Sotin
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
Michael Haas, producer
London
1988
Best Opera Recording (27)
WAGNER Lohengrin
Sir Georg Solti, conductor
Jessye Norman, Eva Randová, Plácido Domingo, Siegmund Nimsgern, Hans Sotin, Dietrich Fischer-Dieskau
Vienna Philharmonic
Vienna State Opera Chorus
Christopher Raeburn, producer
London
1988
Best Chamber Music Performance (28)
BARTÓK Sonata for Two Pianos and Percussion
Sir Georg Solti and Murray Perahia, pianos
Evelyn Glennie and David Corkhill, percussion
CBS
1991
Best Performance of a Choral Work (29)
BACH Mass in B Minor, BWV 232
Sir Georg Solti, conductor
Felicity Lott, Anne Sofie von Otter, Hans Peter Blochwitz, William Shimell, Gwynne Howell
Chicago Symphony Orchestra
Chicago Symphony Chorus
Margaret Hillis, director
London
1992
Best Opera Recording (30)
STRAUSS Die Frau ohne Schatten
Sir Georg Solti, conductor
Hildegard Behrens, Júlia Várady, Sumi Jo, Reinhild Runkel, Plácido Domingo, José van Dam
Vienna Philharmonic
Vienna State Opera Chorus
Vienna Boys’ Choir
Christopher Raeburn, Morten Winding, and Stephen Trainor, producers
1997
Best Opera Recording (31)
WAGNER Die Meistersinger von Nürnberg
Sir Georg Solti, conductor
Karita Mattila, Iris Vermillion, Ben Heppner, Herbert Lippert, José van Dam, Alan Opie, René Pape
Chicago Symphony Orchestra
Chicago Symphony Chorus
Duain Wolfe, director
Michael Woolcock, producer
*A database of former Grammy Award winners can be found here; category titles have changed over the years. For opera recordings, only principal soloists are listed.
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Between September 1986 and January 1990, Sir Georg Solti and the Chicago Symphony Orchestra and Chorus recorded the complete Beethoven symphonies a second time, again for London Records; and again, the recordings were ultimately released as a set (along with two overtures: Egmont and Leonore no. 3).
The recording of the Ninth Symphony won the 1987 Grammy Award for Best Orchestral Performance from the National Academy of Recording Arts and Sciences.
Symphony No. 1 in C Major, Op. 21
Michael Haas, producer
Stan Goodall and Michael Mailes, engineers
Jenni Whiteside, tape editor
Recorded at Orchestra Hall
November 1989
Symphony No. 2 in D Major, Op. 36
Michael Haas, producer
Stan Goodall and Michael Mailes, engineers
Jenni Whiteside, tape editor
Recorded at Orchestra Hall
January and February 1990
Symphony No. 3 in E flat Major, Op. 55 (Eroica)
Michael Haas, producer
Stan Goodall, engineer
Matthew Hutchinson, tape editor
Recorded at Orchestra Hall
May 1989
Symphony No. 4 in B flat Major, Op. 60
Michael Haas, producer
James Lock, engineer
Alison Carter, tape editor
Recorded at Orchestra Hall
September 1987
Symphony No. 5 in C Minor, Op. 67
Michael Haas, producer
James Lock, engineer
Alison Carter, tape editor
Recorded at Medinah Temple
October 1986
Symphony No. 6 in F Major, Op. 68 (Pastoral)
Michael Haas, producer
Stan Goodall, engineer
Deborah Rogers, tape editor
Recorded at Orchestra Hall
May and October 1988
Symphony No. 7 in A Major, Op. 92
Michael Haas, producer
Stan Goodall, engineer
Simon Bertram, tape editor
Recorded at Orchestra Hall
May 1988
Symphony No. 8 in F Major, Op. 93
Michael Haas, producer
Stan Goodall, engineer
Simon Bertram, tape editor
Recorded at Orchestra Hall
October 1988
Symphony No. 9 in D Minor, Op. 125
Jessye Norman, soprano
Reinhild Runkel, contralto
Robert Schunk, tenor
Hans Sotin, bass
Chicago Symphony Chorus
Margaret Hillis, director
Michael Haas, producer
John Pellowe, engineer
Neil Hutchinson, tape editor
Recorded at Medinah Temple
September and October 1986
Margaret Hillis, Solti, and soloists accept applause following the September 24, 1986, opening night performance of Beethoven's Ninth Symphony at Orchestra Hall. The work was recorded at Medinah Temple with the same forces the following week.
