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Georg Solti

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Georg Solti

Sir Georg Solti ( jorj SHOL-tee, Hungarian: [ˈʃolti]; born György Stern; 21 October 1912 – 5 September 1997) was a Hungarian-British orchestral and operatic conductor, known for his appearances with opera companies in Munich, Frankfurt, and London, and as a long-serving music director of the Chicago Symphony Orchestra. Born in Budapest, he studied there with Béla Bartók, Leó Weiner, and Ernő Dohnányi. In the 1930s, he was a répétiteur at the Hungarian State Opera and worked at the Salzburg Festival for Arturo Toscanini. His career was interrupted by the rise of the Nazis' influence on Hungarian politics, and being Jewish, he fled the increasingly harsh Hungarian anti-Jewish laws in 1938. After conducting a season of Russian ballet in London at the Royal Opera House, he found refuge in Switzerland, where he remained during the Second World War. Prohibited from conducting there, he earned a living as a pianist. After the war, Solti was appointed musical director of the Bavarian State Opera in Munich in 1946. In 1952, he moved to the Oper Frankfurt, where he remained in charge for nine years. He took West German citizenship in 1953. In 1961, he became musical director of the Covent Garden Opera Company, London. During his 10-year tenure, he introduced changes that raised standards to the highest international levels. Under his musical directorship, the status of the company was recognised with the grant of the title "the Royal Opera". He became an honorary citizen of the coastal holiday town of Castiglione della Pescaia, and a British citizen in 1972. In 1969, Solti became music director of the Chicago Symphony Orchestra, a post he held for 22 years. He conducted many recordings and high-profile international tours with the orchestra. Solti relinquished the position in 1991 and became the orchestra's music director laureate, a position he held until his death. During his time as the Chicago Symphony Orchestra's eighth music director, he also served as music director of the Orchestre de Paris from 1972 until 1975 and principal conductor of the London Philharmonic Orchestra from 1979 until 1983. Known in his early years for the intensity of his music making, Solti was widely considered to have mellowed as a conductor in later years. He recorded many works two or three times at various stages of his career, and was a prolific recording artist, making more than 250 recordings, including 45 complete opera sets. The best-known of his recordings is probably Decca's complete set of Richard Wagner's Der Ring des Nibelungen, made between 1958 and 1965. Solti's Ring has twice been voted the greatest recording ever made, in polls for Gramophone magazine in 1999 and the BBC's Music Magazine in 2012. Solti was repeatedly honoured by the recording industry with awards throughout his career. From 1963 to 1998, he won 31 Grammy Awards as a recording artist, making him the Grammy Awards' most-awarded artist until Beyoncé surpassed his record in 2023.

Tables

· External links
Preceded byRafael Kubelík
Preceded byRafael Kubelík
Cultural offices
Preceded byRafael Kubelík
Cultural offices
Music Director, Royal Opera House, Covent Garden 1961–1971
Cultural offices
Succeeded byColin Davis
Cultural offices
Preceded byRafael Kubelík
Music Director, Royal Opera House, Covent Garden 1961–1971
Succeeded byColin Davis

References

  1. The family had no connection with Solt, and Stern appears to have selected it at random.
  2. This appointment came under the scope of another of Horthy's laws, requiring that state employees must be able to prove
  3. Solti wrote that, as far as he knew, he was the first unconverted Jew to conduct at the State Opera.
  4. Solti's predecessors included prominent conductors such as Hans von Bülow, Hermann Levi, Richard Strauss, Bruno Walter,
  5. Solti's successor at Munich was the German Rudolf Kempe.
  6. "The American Opera on the Main", a play on the title of the Deutsche Oper am Rhein – the German Opera on the Rhine – at
  7. Solti and Culshaw recalled Legge's words slightly differently, though the import was the same; Solti remembered Legge's
  8. At Munich and Frankfurt, the usual practice had been to give non-German operas in German translation.
  9. The anonymous Times reviewer had complained of Solti's "supercharged, chromium-plated account of the score ... many deta
  10. Under the old repertory system, a company would have a certain number of operas in its repertoire, and they would be pla
  11. Solti later expressed doubt about this view of his tenure at Covent Garden. He maintained that if he had been an autocra
  12. The operas new to the company's repertoire were: La damnation de Faust, A Midsummer Night's Dream, Iphigénie en Tauride,
  13. The management of the orchestra had privately hoped for a triumvirate of famous conductors, with Karajan as chief and So
  14. After the orchestra played at the Edinburgh Festival, critic William Mann wrote, "I am tempted to describe it as the Uni
  15. His commercial recordings of Shostakovich symphonies were Nos. 1, 5, 8, 9, 10, 13 and 15.
  16. Solti conducted the finale of Falstaff, with the singers led by Bryn Terfel, in a joint opera and ballet farewell. His s
  17. The international honours included the Médaille de Vermeil de la Ville de Paris, 1985; Loyola-Mellon Humanities Award, 1
  18. Oxford BBC Guide to Pronunciation
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