Women of the Chicago Symphony Chorus
The Chicago Symphony Chorus, under the current leadership of Duain Wolfe, has earned respect, admiration and critical acclaim as one of the finest symphonic choruses in the world through its performances in Chicago, throughout the United States and abroad.
The Chicago Symphony Chorus’ storied history began in September 1957, when the Chicago Symphony Orchestra announced that Margaret Hillis, at Music Director Fritz Reiner’s invitation, would organize and train a symphony chorus. Auditions began two weeks later, and in March 1958, the Chicago Symphony Chorus made its subscription concert debut performing Mozart’s Requiem with Bruno Walter conducting. A few weeks later, Reiner himself led the Chorus for the first time in performances of Verdi’s Requiem.
Since then, the Chicago Symphony Chorus has performed and recorded virtually all the major works in the choral symphonic repertoire, given important world premieres, appeared with visiting orchestras and been a part of many noteworthy milestones in the CSO’s history. In June 1994, Duain Wolfe was appointed the second director of the Chicago Symphony Chorus, succeeding Hillis, who was named director laureate.
Chicago Symphony Orchestra recordings featuring the Chorus have won nine Grammy Awards for best choral performance from the National Academy of Recording Arts and Sciences. These recordings include hallmarks of the choral repertoire, ranging from Verdi’s Requiem and Beethoven’s Missa solemnis to Bach’s B Minor Mass and two recordings of Brahms’ A German Requiem. The Chorus made its first commercial recording—Prokofiev’s Alexander Nevsky with Fritz Reiner conducting—with the Orchestra in 1959. The Chorus’ most recent recordings under CSO Principal Conductor Bernard Haitink are a disc with Poulenc’s Gloria with soprano Jessica Rivera as soloist and Ravel’s complete Daphnis et Chloé, recorded during concerts in November 2007, and Mahler’s Symphony No. 2 (Resurrection) with soloists Christianne Stotijn and Miah Persson, recorded in November 2008, all on the Orchestra’s in-house label, CSO Resound. In addition, the women of the Chorus are featured in Mahler’s Third Symphony under Haitink, the debut release from CSO Resound in May 2007.
The Chicago Symphony Chorus made its Ravinia Festival debut in July 1960 in a performance of Mahler’s Second Symphony conducted by CSO Associate Conductor and Ravinia Festival Artistic Director Walter Hendl, and it has returned many times since, most recently in 2008 for performances of Mahler’s Eighth Symphony conducted by Ravinia Festival Music Director James Conlon. The Chorus made its Carnegie Hall debut with the CSO in 1967, in Henze’s The Sicilian Muses and Ravel’s Daphnis et Chloé with Jean Martinon conducting. The Chorus returned to Carnegie Hall for performances of Verdi’s Otello to commemorate Sir Georg Solti’s final concerts as music director in April 1991, and again in December 2000 for performances of Beethoven’s Ninth Symphony with Daniel Barenboim conducting the Staatskapelle Berlin.
Internationally, the Chorus first toured with the Orchestra to London and Salzburg in 1989 for performances of Berlioz’s The Damnation of Faust with Sir Georg Solti conducting. Ten years later, the ensemble won critical acclaim for its performances of Schoenberg’s Moses and Aron and Brahms’ A German Requiem with the Orchestra at the Berlin Festtage in April 1999.
Members of the Chicago Symphony Chorus are frequently featured in education performances with members of the Chicago Symphony; have served as section leaders for the CSO Community Chorale; performed at Day of Music; and, in collaboration with Chicago Public Schools, have appeared at over 40 CPS high schools, presenting programs designed to coordinate with the students’ history and literature curricula. Chorus members also have been seen in numerous performances around the city, including the Great Tree Lighting Ceremony at Macy’s, on ABC 7 and NBC 5, and singing the national anthem for the Chicago Bulls.
Please note: Biographies on the CSO website are based on the information that was most recently provided to the CSO by the artists or their representatives. More current information may be available on the artists' own websites or those of their representatives.