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Congratulations to tenor George Shirley upon receiving a National Medal of Arts yesterday from President Barack Obama!
Shirley receiving the medal from President Obama at the White House on September 9, 2015 (image retrieved from this site)
The medal is the highest award given to artists by the United States government and is awarded by the president to individuals or organizations who “are deserving of special recognition by reason of their outstanding contributions to the excellence, growth, support, and availability of the arts in the United States.”
George Shirley has appeared with the Chicago Symphony Orchestra on multiple occasions—as tenor soloist and narrator—and a complete list of his performances is below (subscription concerts at Orchestra Hall, unless otherwise noted):
December 16, 18, and 19, 1970
BEETHOVEN Symphony No. 9 in D Minor, Op. 125
Georg Solti, conductor
Helen Donath, soprano
Huguette Tourangeau, mezzo-soprano
George Shirley, tenor
Martti Talvela, bass
Chicago Symphony Chorus
Margaret Hillis, director
July 22, 1972 (Ravinia Festival)
BERLIOZ Romeo and Juliet, Op. 17
Seiji Ozawa, conductor
Mignon Dunn, mezzo-soprano
George Shirley, tenor
Justino Díaz, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, director
November 1, 2, and 3, 1973
BEETHOVEN Missa solemnis in D Major, Op. 123
Sir Georg Solti, conductor
Wendy Fine, soprano (November 1)
Sarah Beatty, soprano (November 2 and 3)
Julia Hamari, mezzo-soprano
George Shirley, tenor
Theo Adam, bass-baritone (November 1 and 2)
Thomas Paul, bass (November 3)
Chicago Symphony Chorus
Margaret Hillis, director
December 18, 1974 (Carnegie Hall)
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
May 6, 7, 8, and 11, 1999
IVES Three Places in New England
John Adams, conductor
George Shirley, reader
(To set the stage for each section, Shirley read texts by Charles Ives and Henry David Thoreau.)
Congratulations!
On November 12, 2014, we celebrate the seventy-fifth birthday of the extraordinary Slovak soprano Lucia Popp, a favorite soloist with the Chicago Symphony Orchestra between 1970 and 1984.
According to Sir Georg Solti, one of her frequent collaborators in Chicago and at Covent Garden, “To my mind, there will never be a Sophie (in Der Rosenkavalier) or a Susanna (in The Marriage of Figaro) to equal hers.” Popp’s career was tragically cut short and she succumbed to brain cancer in 1993, only days after her fifty-fourth birthday.
Popp appeared and recorded with the Chicago Symphony Orchestra on a number of notable occasions. Her complete performance history and discography is listed below:
March 12, 14 & 16, 1970, at Orchestra Hall
BEETHOVEN Fidelio, Op. 72
Georg Solti, conductor
Anja Silja, soprano
Lucia Popp, soprano
Jess Thomas, tenor
Frank Porretta, tenor
Herbert Fliether, baritone
Kurt Boehme, bass
Thomas Paul, bass
William Wahman, tenor
Gary Kendall, bass-baritone
Chicago Symphony Chorus
Margaret Hillis, chorus director
August 30, 31 & September 1, 1971, at Sofiensaal in Vienna (recording sessions only, no public performances)
MAHLER Symphony No. 8 in E-flat Major
Georg Solti, conductor
Heather Harper, soprano
Lucia Popp, soprano
Arleen Augér, soprano
Yvonne Minton, mezzo-soprano
Helen Watts, contralto
René Kollo, tenor
John Shirley-Quirk, bass-baritone
Martti Talvela, bass
Chorus of the Vienna State Opera
Norbert Balatsch, chorus master
Singverein Chorus
Helmut Froschauer, chorus master
Vienna Boys’ Choir
David Harvey produced the recording, and Gordon Parry and Kenneth Wilkinson were the engineers for London Records. The recording won the 1972 Grammy Award for Album of the Year—Classical, Best Choral Performance—Classical (other than opera), and Best Engineered Recording—Classical from the National Academy of Recording Arts and Sciences.
May 5, 6 & 7, 1977, at Orchestra Hall
May 13, 1977, at Carnegie Hall
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
Following the Carnegie Hall performance, the work was recorded for London Records with multiple sessions in Chicago’s Medinah Temple. 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.
Lucia Popp in Strauss’s Four Last Songs at Orchestra Hall in October 1977. Sir Georg Solti conducts the Chicago Symphony Orchestra.
October 17 & 19, 1977, at Orchestra Hall
STRAUSS Four Last Songs
Sir Georg Solti, conductor
Lucia Popp, soprano
These performances originally were recorded by Unitel for television broadcast and recently were commercially released on the four-DVD set Sir Georg Solti: The Maestro.
October 27 & 28, 1977, at Orchestra Hall
October 31, 1977, at Carnegie Hall
MAHLER Symphony No. 8 in E-flat Major
Sir Georg Solti, conductor (October 27 & 28)
Margaret Hillis, conductor (October 31)
Christiane Eda-Pierre, soprano
Lucia Popp, soprano
Barbara Hendricks, soprano
Jan DeGaetani, mezzo-soprano
Helen Watts, contralto
Kenneth Riegel, tenor
William Walker, baritone
Donald Gramm, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
November 1 & 2, 1977, at Carnegie Hall
STRAUSS Four Last Songs
Henry Mazer, conductor (November 1)
Sir Georg Solti, conductor (November 2)
Lucia Popp, soprano
December 13, 14, 15 & 16, 1978, at Orchestra Hall
MOZART Mass in C Minor, K. 427
Sir Georg Solti, conductor
Lucia Popp, soprano
Maria Venuti, soprano
Daniel Nelson, tenor
Samuel Jones, bass
Chicago Symphony Chorus
Margaret Hillis, director
March 13, 14, & 15, 1980, at Orchestra Hall
MOZART Mass in C Major, K. 317 (Coronation)
Rafael Kubelík, conductor
Lucia Popp, soprano
Mira Zakai, mezzo-soprano
Alexander Oliver, tenor
Malcolm King, bass
Chicago Symphony Chorus
Margaret Hillis, director
Originally recorded by WFMT for radio broadcast, this was released on the CSO’s From the Archives, vol. 13 (Chicago Symphony Chorus: A Fortieth Anniversary Celebration).
October 21, 22, 23 & 24, 1981, at Orchestra Hall
MOZART Nehmt meinen Dank, K. 383
MOZART Ah, lo previdi, K. 272
Leonard Slatkin, conductor
Lucia Popp, soprano
December 7, 1981, at Orchestra Hall (special concert dedicating the newly installed Möller pipe organ)
HAYDN Benedictus from Missa brevis Sancti Joannis de Deo, Hob. XXII, No. 7
HANDEL “But oh! what art can teach” and “Orpheus could lead the savage race” from Ode for Saint Cecilia’s Day
Leonard Slatkin, conductor
Lucia Popp, soprano
Frederick Swann, organ
March 15, 16 & 17, 1984, at Orchestra Hall
March 19, 1984, at Uihlein Hall, Performing Arts Center in Milwaukee
MAHLER Des Knaben Wunderhorn
Giuseppe Sinopoli, conductor
Lucia Popp, soprano
Walton Grönroos, baritone
____________________________________________________
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
____________________________________________________
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 1979 (Robert M. Lightfoot III photo)
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.”
____________________________________________________
Georg Solti conducted the British premiere of Schoenberg’s Moses und Aron at Covent Garden in June 1965. In Memoirs, he wrote: “Although I had conducted works by Bartók and Stravinsky, I had never before conducted twelve-tone music of such complexity. Moses is a much harder work than, for example, Lulu. There is a bel canto, legato quality to Lulu that is in contrast to the predominantly spoken and contrapuntal Moses. I remember feeling depressed as I grappled with the score during my 1964 Christmas holiday: I simply didn’t know how to learn the piece, how to get it in my bloodstream. Eventually, I succeeded, but the further I forged ahead, the more I became aware of the enormity of the practical task ahead of me. Schoenberg’s written indications of main theme and second theme, for instance, help performers to grasp what is going on, but bringing those indications to life is anything but easy. . . . It was so well received that it was repeated the following year.”
With the Chicago Symphony Orchestra and Chorus, Solti led Schoenberg’s opera on two occasions, in November 1971 and April 1984.
Moses und Aron in concert at Orchestra Hall on November 13, 1971
November 11, 12, and 13, 1971, at Orchestra Hall
November 20, 1971, at Carnegie Hall
(performed in English in a translation by David Rudkin)
Moses Hans Hotter, speaker
Aaron 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 and 21, 1984, at Orchestra Hall
(performed in German)
Moses Franz Mazura, speaker
Aaron Philip Langridge, tenor
A Young Girl Barbara Bonney, soprano
A Young Man Daniel Harper, tenor
Another Man Kurt Link, baritone
Priest Aage Haugland, bass
An Invalid Woman Mira Zakai, contralto
Ephraimite Herbert Wittges, baritone
A Naked Youth Thomas Dymit, tenor
Four Naked Virgins Jean Braham and Barbara Pearson, sopranos; Cynthia Anderson and Karen Zajac, contraltos
Three Elders Kurt Link and Richard Cohn, baritones; Paul Grizzell, bass
Six Solo Voices in the Orchestra Sally Schweikert, soprano; Elizabeth Gottlieb, mezzo-soprano; Karen Brunssen, contralto; Roald Henderson, tenor; Bradley Nystrom, baritone; William Kirkwood, bass
Chicago Symphony Chorus; Margaret Hillis, director
Members of the Glen Ellyn Children’s Chorus; Doreen Rao, director
Elizabeth Buccheri, repetiteur
The opera was recorded at Orchestra Hall on April 23, 24, 30, and May 1, 1984. James Mallinson produced the recording, and James Lock and John Pellowe were the engineers for London Records. The recording won the 1985 Grammy Award for Best Opera Recording from the National Academy of Recording Arts and Sciences.
Following the release of the recording, Arnold Whittall in Gramophone wrote:
“Sir Georg Solti has come to record Moses und Aron the best part of two decades after he conducted the opera in Peter Hall’s Covent Garden production. . . . His faith in Schoenberg’s most ambitious dramatic project remains undimmed and he believes that, with increasing familiarity, the music becomes ‘clearer, less complicated, and more expressive and romantic.’ This may well be true, but I think that becoming familiar with the opera also reinforces its remarkable ambiguity and originality. Moses und Aron is a necessarily and challengingly diverse composition. At one extreme, the choral counterpoint with its traditional imitative techniques: at the other, the concentratedly expressionist orchestral writing. Then there is the almost blatant, post-Mahlerian vulgarity of parts of the ‘Dance round the Golden Calf,’ in complete contrast to the visionary, discomfiting density of scenes like the first, in which superimpositions of speech and song, voices and instruments, leave the listener straining to find the centre, to discover the idea behind the images in this confrontation between human and divine. Add to all this the fact that there is a text for a third act that Schoenberg never set, and we have something which, however expressive and romantic, is still very much a problem piece.
“The odds are that any studio recording of Moses will be stronger in textural clarity and accuracy of detail than in theatrical atmosphere. Yet the latter is certainly not lacking in Solti’s performance, especially in the second act. Since Act l is less conventionally theatrical anyway, it is not surprising that it is here that you are likely to be most aware of artists working conscientiously in a recording studio (Orchestra Hall, Chicago). But there are moments of excitement in Act I, too, which seem to bear out Solti’s confident claim that ‘the more we rehearsed and played the easier the work became. . . .’
“It is certainly good that the recording does not attempt artificially to oversimplify or stratify the work’s blended textures, and it well serves the music’s vertiginous exploration of the borderland between complexity and chaos, inscrutable divinity and argumentative humanity. In this precarious balance lies the impact and quality of the whole performance, with its generally good supporting cast; it also explains the abiding fascination of Schoenberg’s last attempt to bring a great philosophical issue to dramatic life.”
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