Georg Solti
The Hungarian conductor Georg Solti, born in Budapest on 21 October 1912, had a stunning career. A pupil of Bela Bartók, Zoltán Kodály, and Erno Dohnányi, he left Hungary for Switzerland in 1939. His early conducting career was in assisting Toscanini at Salzburg just prior to the War. Post-war posts were with the Opera at Munich, then Frankfurt, and then ten years at Covent Garden. In America he had periods with the Chicago SO, San Francisco Opera, and the Met, whilst his European orchestral accomplishments were with the Orchestre de Paris and the London Philharmonic. His was the first studio recorded cycle of Wagner's Ring. He died on 5 September 1997, whilst on holiday in the south of France.
A selection of articles about Georg Solti
CD Spotlight. A Phenomenal Reaction - Gerald Fenech admires Solti's Decca Ring Project. 'John Culshaw died on 27 April 1980 ... but his spirit lives on in this perfect marriage of art and technology.'
Ensemble. Paths of Excellence - Giuseppe Pennisi reports via live stream on the Ravenna Festival Mozart/Da Ponte Trilogy
Jerome Rose - In the build-up to New York's International Keyboard Institute and Festival, Richard Meszto writes about the festival's founder
Ensemble. Very Scrupulous - An unusual Salzburg 'Ring', appreciated by Giuseppe Pennisi
Malcolm Smith (1932-2011) - A celebration, not an obituary, by Bill Newman
Ensemble. Opera in the Arena - Rebecca Schmid listens to Renée Fleming and the Berlin Philharmonic
CD Spotlight. Transcendent Resignation - Mahler's Ninth Symphony, heard by David Wilkins. '... played with love and knowledge and commitment ...'
DVD Spotlight. Unfailing Energy - Bartók's Sonata for Two Pianos and Percussion, welcomed by Patric Standford. 'The video reveals Solti's benign authority ...'
CD Spotlight. Invigoratingly Natural - Van Beinum conducts Mahler, recommended by Howard Smith. '... a tad less frenetic ...'
Record Box. Full and Resonant - Violin concertos by Bohuslav Martinu, reviewed by Patric Standford
Baton Magician? - David Stahl in conversation with Tess Crebbin about Bernstein, Mahler and German-language opera