You are currently browsing the tag archive for the ‘Ravinia Festival’ tag.

It was a beautiful, sunny day here in Chicago, perfect for a civic event to celebrate public art!

To commemorate the fiftieth anniversary of the unveiling of the Chicago Picasso in Daley Plaza, the Chicago Department of Cultural Affairs and Special Events organized a “restaging” of the original 1967 event as part of the city’s 2017 Year of Public Art Chicago initiative.

On August 15, 1967, the Chicago Symphony Orchestra participated in the unveiling, with Seiji Ozawa—then music director of the Ravinia Festival—conducting works by Bernstein and Gershwin. At today’s event, the After School Matters Orchestra, under the direction of Howard Sandifer, performed the opening of Gershwin’s An American in Paris and the finale of Beethoven’s Symphony no. 5. Josephine Lee led the Chicago Children’s Choir in The Star-Spangled Banner, just as the Englewood Neighborhood Corps Youth Choir (as the CCC was then known) had done at the original event.

Howard Sandifer and the After School Matters Orchestra

Josephine Lee and the Chicago Children’s Choir

Mayor Rahm Emanuel and the Chicago Picasso

Following several speakers—including Nora Brooks Blakely, daughter of Gwendolyn Brooks, who read an original poem at the 1967 unveiling—Mayor Rahm Emanuel addressed the crowd. He called the original dedication of the sculpture a “critical inflection point in Chicago’s story” that would go on to inspire other public art in the city. “It is called ‘Everyone’s Picasso’ because it belongs to all of us.”

Civic Center Plaza, August 15, 1967

Daley Plaza, August 8, 2017

George Gershwin appeared with the Chicago Symphony Orchestra twice, and on both occasions he was soloist in his Concerto in F and Rhapsody in Blue.

Chicago Tribune, June 15, 1933

In conjunction with A Century of Progress International Exposition—the world’s fair held in Chicago to celebrate the city’s centennial—several concerts were given at the Auditorium Theatre under the auspices of the Chicago Friends of Music. The first concert of the series, on June 14, 1933, was a celebration of American music; during the first half of the program, second music director Frederick Stock led the Orchestra in Henry Hadley’s In Bohemia Overture and Deems Taylor’s Through the Looking-Glass Suite. After intermission, Gershwin and his frequent collaborator William Daly took the stage for the thirty-four-year-old composer’s Concerto in F, An American in Paris, and Rhapsody in Blue.

“The most exciting concert of many a day was given last night at the Auditorium,” wrote Mrs. Henry Field in the Herald & Examiner. “[Gershwin’s] success was tremendous. Elegant, clean-cut, in white tie and tails, [following the concert he hosted] a most amusing party at the College Inn . . . One hears much about George Gershwin, but certainly to meet he is even more charming that his reputation has it—and that is saying something. He wore a white gardenia boutonniere . . . and was delighted that Chicago had given him a more than cordial welcome . . . and when a young lady said she liked his concerto better than his rhapsody, he had one of those very pleased looks.”

“We may put by forever explanation, apologia, and réserve in writing about American music after hearing George Gershwin and his compositions last night at the Auditorium. Gershwin is American music translated in terms of audacity, humor, wit, cleverness, spontaneity, vitality, and overwhelming naturalness. Nothing like his Concerto in F has ever been heard in the symphonic world, and if it is not the very essence of Americanism, I do not know my profession nor the art it serves,” wrote Herman Devries in the Chicago American. “Gershwin vibrates to the tune of a people and is animated by its own pulse beat. . . . He is the music of America.”

Herald & Examiner, July 26, 1936

Gershwin and Daly appeared once more with the Orchestra at the Ravinia Festival on July 25, 1936, for a gala concert during the festival’s first season. A capacity crowd—by some estimates over 8,000 people, many climbing trees for a glimpse of the performers—packed the park to hear an all-Gershwin concert that again featured the Concerto in F and Rhapsody in Blue with the composer as soloist, along with Daly leading An American in Paris and a suite from Porgy and Bess.

“All attendance records for all time at Ravinia Park were broken last night,” wrote the social reporter for the Herald & Examiner. “Throngs, seeking vantage points in the area delegated to general admission tickets, began arriving hours before the music was scheduled to begin. . . . As a result, some of the richest and most influential of the Lake Forest blue-bloods were making frantic but ineffectual efforts for several days to secure the reserved spots.”

Claudia Cassidy, writing in the Journal of Commerce, reported that Gershwin was “more than ever a cross (in appearance and talent) between Horowitz and Astaire; he made his Concerto in F an American’s version of the Rachmaninov Third, boiling with the surge of modernity in the curve of brilliant orchestra. Even the Rhapsody took second place . . .”

“Ravinia went wild last night,” added Edward Barry in the Chicago Tribune. Gershwin and Daly “made out a good case for the immense cleverness of style which is built upon bizarre metrical schemes, arresting melodic sequences, and hold, intelligently employed harmonics. . . . The Chicago Symphony Orchestra brought all of its virtuosity in the pat descriptiveness and shrilling brilliance of An American in Paris, falling easily into its idiom with the versatility of accomplished musicians. Following its cleverly stylized whoopee came the F major piano concerto, in which Gershwin himself played the solo part. The touch of a master.”

This article accompanies the program notes for the May 25, 27, and 30, 2017, performances, and portions previously appeared here.

Widely considered as one of the twentieth century’s greatest interpreters of Beethoven—and the first pianist to record that composer’s complete cycle of sonatas—Artur Schnabel is the subject of the latest release from RCA Red Seal Records (a division of Sony Classical). Bringing together all of his sessions for RCA Victor (recorded between June 16 and July 24, 1942), the two-disc set features Schnabel performing Beethoven’s Fourth and Fifth piano concertos—with the Chicago Symphony Orchestra under second music director Frederick Stock—and two of the final piano sonatas (nos. 30 in E major and 32 in C minor), along with Schubert’s Four Impromptus, D. 899.

Schnabel had appeared with the Orchestra and George Szell at the Ravinia Festival in July 1942, performing Beethoven’s Piano Concerto no. 4 (July 11) and no. 5 (July 18) along with Mozart’s Piano Concerto no. 24 (July 14) and Brahms’s Piano Concerto no. 2 (July 16). Less than two weeks later, he and the ensemble—this time with Stock—were in Orchestra Hall to record Beethoven’s Emperor Concerto on July 22 and the Fourth on July 24.

Frederick Stock and Artur Schnabel onstage at Orchestra Hall in July 1942 (Chicago Sun-Times photo)

To coincide with the release of the recordings, the pianist was to return to Chicago later that fall for performances of both concertos under Stock. Sadly, the Orchestra’s second music director died unexpectedly on October 20, 1942, just after the start of the fifty-second season. As scheduled, Schnabel performed Beethoven’s Fifth Concerto on November 24 and the Fourth on November 26 and 27, but under the baton of associate conductor Hans Lange.

Victor Records released Beethoven’s Fourth Piano Concerto (eight sides on four 78 rpm discs) also in late November. “It would be easy for Chicagoans to turn sentimental about such an album and to gloss over flaws with affection. But it isn’t necessary—in fact, it would be unpardonable condescension. For the performance is magnificent, with the boldness of authoritative style and the clairvoyance of ideal cooperation. It is recorded with superb accuracy, and with intelligent care for spacing, so the ear isn’t left hanging on a phrase while you turn a record,” wrote Claudia Cassidy in the Chicago Tribune. “I came to the conclusion that the piano never has been more successfully recorded. Schnabel’s tone is there in quality, dimensions, and that brilliance of attack that means absolute security. . . . Mr. Stock’s accompaniment is typical of what Chicago took for granted for many a rich season.”

“In the Emperor, Schnabel italicizes phrase groupings and points up harmonic felicities in a more angular, nuanced, personalized, and arguably eccentric manner than in his earlier and later studio versions,” writes Jed Distler in the liner notes for this latest release. In the Fourth Concerto, the pianist, “offsets his stinging inflections with gorgeously limpid and poetically shaded runs, roulades, and passagework, and the most subtle transitions.”

The set is available for purchase from the CSO’s Symphony Store.

Portions of this article previously appeared here.

Chicago Daily News, November 19, 1931

Chicago audiences were first introduced to music from Bedřich Smetana’s Má vlast by the Chicago Orchestra’s founder and first music director Theodore Thomas: Vltava in January 1894, Šárka in October 1895, and Vyšehrad in April 1896. Thomas and his successor Frederick Stock regularly included these three symphonic poems on their concerts, but it wasn’t until the Orchestra’s forty-first season that Stock programmed the complete cycle, for a special concert on November 18, 1931, honoring Chicago’s rich Czech heritage.

On November 15, Edward Moore, writing for the Chicago Tribune, happily reported that he was able to hear the work a few days before the performance. The headline read, “Records give preview of new musical event: Critic hears Smetana’s music, Má vlast, on phonographic disks.” Moore wrote that courtesy of Dr. J.E.S. Vojan, president of the Bohemian Arts Club of Chicago (which would sponsor the concert), “through the medium of disk and needle, I have been enabled to hear it in advance of the concert audience.”

Title page of the score to Šárka used by Thomas and Stock

Title page of the score to Vyšehrad used by Thomas and Stock

(The recording most likely was the one made by the Czech Philharmonic in 1929, under the baton of its chief conductor Václav Talich, who later taught Karel Ančerl and Charles Mackerras. This not only was the ensemble’s first commercial recording but also the first complete recording of Smetana’s cycle of tone poems. It was released on ten, twelve-inch 78 rpm discs—just under eighty minutes of music—by His Master’s Voice.)

“Through a course of years, Mr. Stock [along with Thomas before him] and the Chicago Symphony Orchestra have made Vltava or the Moldau popular with Chicago audiences,” Moore continued. “They have played Vyšehrad a number of times, and Šárka less frequently. The other three are to come as a first performance next Wednesday.”

Following the November 18 concert, Eugene Stinson in the Daily News wrote, “Through these six works there sweeps the refreshing fragrance of a national spirit. Smetana was not merely the father of a national Bohemian music and the teacher of Dvořák. He was one of the first composers in any land to see the possibilities of such a music, founded on characteristic themes and breathing out the soul of a race.”

Title page of the score to Blaník used by Stock

Title page of the score to Tábor used by Stock

“History, legend, national songs, tonal description of nature, and a poetic imagination to transfigure them all, are in it,” added Moore in his review for the Tribune. “When one considers that Smetana wrote it under the most tragic infliction that may visit a musician, total deafness, it becomes not only one of the masterpieces of the world but the act of one of the world’s great heroes.”

“There is nothing to write but gratitude to the Chicago Bohemians and to Mr. Stock, whose combined efforts acquainted us with this lovely work,” concluded Herman Devries in the American. “What a lesson to the modern school of would-be musical alchemists with their abracadabra of gibberish and geometry, of dissonance and self-conscious abstruseness. Here is pure inspiration. Here is music that wells, untrammeled, from a source of inexhaustible creative talent. Here is melody, melody so simple, so tender, so touching; melody so poetic, so passionate, so spontaneous that one listens happily, without the need of indulgence, excuse, or partiality. But beneath all this simplicity, one hears and senses the mastermind of the great orchestral technician.”

Otto, Edward, and Henri Hyna

Devries also noted that several musicians in the Orchestra that evening were of Bohemian descent, including John Weicher (a member of the violin section from 1923 until 1969; he became concertmaster in 1937), Vaclav Jiskra (principal bass, 1908–1949), Rudolph Fiala (viola, 1922–1952), Joseph Houdek (bass, 1914–1944), and the Hyna brothers: Otto, Edward, and Henri, pictured at right. Natives of Bohemia, the Hyna brothers all served as members of the Chicago Symphony Orchestra’s string section. Otto (1886–1951) was in the bass section from 1930 until 1950, Edward (1897–1958) served as a violinist from 1929 until 1943, and Henri (1901–1955) also was a violinist from 1928 until 1932.

The Orchestra next performed the complete cycle twenty years later on October 23 and 24, 1952, under the baton of fifth music director—and Czech native—Rafael Kubelík. On December 4 and 5 of that year, the work was recorded in Orchestra Hall by Mercury Records. Returning as a guest conductor, Kubelík led performances of the six symphonic poems on January 23 and 24, 1969, and again on October 27, 28, and 29, 1983.

At the Ravinia Festival, James Levine most recently led the work on June 27, 1987. Jakub Hrůša’s upcoming performances will mark the Chicago Symphony Orchestra’s sixth traversal of Smetana’s cycle of symphonic poems.

__________

Boston Symphony Orchestra program from April 24 and 25, 1896

A footnote: Theodore Thomas and the Chicago Orchestra almost were able to claim the U.S. premiere performance of Vyšehrad, the first symphonic poem of Smetana’s Má vlast. However, Emil Paur and the Boston Symphony Orchestra literally were minutes ahead. Both orchestras had 2:30 p.m. matinees on Friday, April 24, 1896, but Boston’s concert was one hour earlier (railway time zones had been standardized in 1883). Also, Vyšehrad was the first work on Paur’s program, while Thomas had programmed the work to follow Tchaikovsky’s Marche slave and Berlioz’s Roman Carnival Overture and selections from The Damnation of Faust.

Boston also claimed the U.S. premiere of Šárka, performing it on January 25, 1895. Thomas led the first Chicago performance exactly nine months later on October 25.

Portions of this article accompany the program notes for the May 18, 19, and 20, 2017, performances. Special thanks to Bridget Carr, archivist for the Boston Symphony Orchestra. Program page image courtesy of HENRY, the Boston Symphony Orchestra Archives’s online performance history search engine.

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.

Samuel Ramey (Christian Steiner photo)

Wishing the happiest of (slightly belated) birthdays to the remarkable American bass Samuel Ramey, who celebrated his seventh-fifth on March 28!

The legendary singer has appeared with the Chicago Symphony Orchestra on a number of notable occasions, both in Orchestra Hall and at the Ravinia Festival. A complete list of his performances with the Orchestra is below (all concerts at Orchestra Hall unless otherwise noted):

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
Recorded by Deutsche Grammophon in Orchestra Hall on March 28, 1981

November 1, 2, and 4, 1984
MUSSORGSKY Boris Godunov
Claudio Abbado, conductor
Ruggero Raimondi, bass
Zehava Gal, mezzo-soprano
Cyndia Sieden, soprano
Jennifer Jones, mezzo-soprano
Philip Langridge, tenor
Hartmut Welker, baritone
Samuel Ramey, bass
Kaludi Kaludov, tenor
Lucia Valentini-Terrani, mezzo-soprano
John Shirley-Quirk, bass-baritone
Sergei Kopchak, bass
Kurt R. Hansen, tenor
Richard Cohn, baritone
Bradley Nystrom, bass-baritone
Donald Kaasch, tenor
Paul Grizzell, bass
Dale Prest, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director

November 16, 1986
VERDI Messa da Requiem
Claudio Abbado, conductor
Margaret Price, soprano
Linda Finnie, mezzo-soprano
Vinson Cole, tenor
Ramey, Samuel; bass
Chicago Symphony Chorus
Margaret Hillis, director
Gwynne Howell originally was scheduled to perform the bass part but canceled due to illness. He was replaced by Bonaldo Giaiotti on November 13 and 14 and Ramey on November 16.

Samuel Ramey (Steven Leonard photo)

June 23, 1989 (Ravinia Festival)
VERDI Messa da Requiem
James Levine, conductor
Andrea Gruber, soprano
Tatiana Troyanos, mezzo-soprano
Gary Lakes, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, director

October 6, 1990 (Centennial Gala)
BEETHOVEN Finale: Ode, “To Joy” from Symphony No. 9 in D Minor, Op. 125
Sir Georg Solti, conductor
Sylvia McNair, soprano
Susanne Mentzer, mezzo-soprano
Gary Lakes, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Margaret Hillis, chorus director

July 8, 2000 (Ravinia Fesitval)
Selections by Copland, Leigh, Loewe, Mozart, Rodgers, and Verdi
Miguel-Harth Bedoya, conductor
Frederica von Stade, mezzo-soprano
Samuel Ramey, bass

July 2, 2005 (Ravinia Festival)
IBERT Chansons de Don Quichotte
RAVEL Don Quichotte à Dulcinée
James Conlon, conductor

August 15, and 17, 2008 (Martin Theatre, Ravinia Festival)
MOZART Don Giovanni, K. 527
James Conlon, conductor
Ellie Dehn, soprano
Soile Isokoski, soprano
Heidi Grant Murphy, soprano
Toby Spence, tenor
Ildebrando D’Arcangelo, bass-baritone
Samuel Ramey, bass
James Creswell, bass
Morris Robinson, bass
Apollo Chorus of Chicago
Stephen Alltop, director

Happy, happy birthday!

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

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

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

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

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

Riccardo Muti (Todd Rosenberg photo)

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

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

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

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

Gidon Kremer (Michael Benabib photo)

Gidon Kremer (Michael Benabib photo)

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

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

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

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

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

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

Gidon Kremer (Alberts Linarts photo)

Gidon Kremer (Alberts Linarts photo)

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

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

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

Happy, happy birthday!

leontyne-price

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Happy, happy birthday!

Portions of this article previously appeared here.

the vault

Theodore Thomas

csoarchives twitter feed

chicagosymphony twitter feed

ChicagoSymphony Instagram

Today is the big day! The entire season is now on sale. Visit cso.org to see a full lineup and get your tickets.

disclaimer

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

visitors

  • 242,235 hits
%d bloggers like this: