One of the most famous African-American sopranos, Kathleen Battle received her vocal training at the Cincinnati College Conservatory, where she studied voice with Franklin Bens and also worked with Italo Tajo. While at Cincinnati she came to the attention of conductor Thomas Schippers who brought her to the Spoleto Festival in South Carolina to sing the Brahms Requiem in 1972. She made her stage debut in Rossini's Il barbiere di Siviglia as Rosina with the Michigan Opera Theater in Detroit in 1975. Susanna in Mozart's Le nozze di Figaro was her New York City Opera debut role in 1976. During this time, she also sang orchestral concerts in New York, Los Angeles, and Cleveland. James Levine brought her to the Metropolitan Opera in New York as the Shepherd in Wagner's Tannhäuser in 1978, and she appeared frequently at the Met in important roles until 1994. She first appeared in Europe in 1978 at the Italian Spoleto Festival, and in 1979 debuted at the Glyndebourne Festival.

Her first appearance at Salzburg was in 1982 at an all-Mozart concert, and she often returned in concert, recital and opera. Her important opera roles at Salzburg were Susanna, Zerlina, and Despina, three Mozart roles with which she has been associated at many opera houses around the world. She has appeared at most of the major opera houses of the world including San Francisco, Chicago, Covent Garden, London, Geneva, Vienna, and Berlin. In 1985, she was the soprano soloist in Mozart's Coronation Mass at St. Peter's Cathedral at the Vatican, in a performance conducted by Herbert von Karajan. She sang Handel's Semele in a highly acclaimed performance in 1985 at Carnegie Hall and later recorded the role. In 1990 she was joined by Jessye Norman for a concert of spirituals which was conducted by James Levine at Carnegie Hall. Although best known for roles in the operas of Mozart and Strauss (Zdenka, Sophie and Zerbinetta), Battle has also had great success in Massenet's Werther, Donizetti's L'elisir d'amore, Don Pasquale, and La fille du regiment, Verdi's Un ballo in maschera and Falstaff and Rossini's Il barbiere di Siviglia and L'Italiana in Algeri. Battle has maintained an active recital career, and her Schubert interpretations are very fine. Her recital programs have also featured songs by Mozart, Strauss, Fauré and Rodrigo.

Kathleen Battle's voice is a high, very pure soprano with great charm. She has excellent technical control, which has allowed her to sing the difficult coloratura roles of Rosina and Zerbinetta though her approach is always more lyric that that of most coloratura sopranos. She is an excellent actress and tries to give full characterization to each of her roles. Several of her best roles were televised live from the Metropolitan Opera, New York and later released on video.

A perfectionist in her own work, Battle became more and more difficult to deal with as her career moved forward. Some felt that her demands were becoming unreasonable, and her behavior became erratic. These difficulties came to public attention when she was dismissed from the Metropolitan Opera in 1994 for "unprofessional conduct." Battle has continued to appear in concert and recital and remains a favorite of the public.

While Von Stade's sweet, lyrical timbre is eminently suitable for the more gentle heroines, she was also delightfully coltish yet still aristocratic as Cherubino, her most famous role, and other trouser roles such as Massenet's Cherubin, Hansel, and Octavian, a spunky Rosina, and she even created the role of the utterly villainous Marquise de Merteuil in Conrad Susa and Philip Littell's The Dangerous Liaisons. She specializes in Mozart, Rossini, and nineteenth century French repertoire, but she also sings Monteverdi, Rameau, and Richard Strauss, the mezzo version of Bellini's La Sonnambula, French chanson, and German lieder, as well as jazz and musical theater songs.

While her family had produced a few professional and amateur musicians, including a great-aunt who sang at the Opera Comique, Von Stade became an opera singer almost by chance, when in 1966, she enrolled in the Mannes School of Music as a part-time student, to learn to read music for her own enjoyment. Recognizing her potential talent, the faculty encouraged her to enroll full-time, and during her second year, she began studies with Sebastian Engelberg, who taught her technique and taught her how to open an upper range she hadn't even known she possessed. In 1969, she auditioned for the Metropolitan Opera, though still uncertain that opera was the career for her, and was immediately offered a three-year contract. While most of her roles were small parts, including her 1970 debut role as the Third Boy in Die Zauberflöte, she did sing the occasional lead. One of those lead roles was Cherubino, and Rolf Liebermann, who was in attendance that night, offered her the role for the Paris Opera for a 1973 performance that began a long-standing association with the Paris Opera and French music. Cherubino was also her debut role at the Glyndebourne Festival the same year, and at Salzburg the next year. In 1976, she and her then-husband and voice teacher Peter Elkus, moved to Paris, and she also made her La Scala debut as Berlioz's Marguerite in La Damnation de Faust. In 1985, she encountered personal and some vocal problems when she and Elkus stopped working together, and in 1990 divorced.

She was always careful in building her repertoire, never pushing her voice further than Octavian in Rosenkavalier, which she added to her repertoire in 1976, or Charlotte in Werther, which she took on in 1980. Some of the roles she added were ones written for her, such as Tina in Dominick Argento's The Aspern Papers. She also dropped some of her most beloved roles, including Cherubino in 1992 and Rosina in Il Barbiere di Siviglia in 1994, when she felt that she was no longer the youngster that the roles demanded, and that there were plenty of other mezzos to take on those roles.

While she never recorded Rosina, one of her finer roles, she made a number of excellent recordings. Her Songs of the Auvergne (Sony) are a model of grace and simplicity, and while her physical portrayal of the adolescent aristocrat Cherubino of course cannot be captured on a sound-only medium, her recording of Le Nozze di Figaro with Solti (Decca) is a delight, and for many, her Mélisande with Karajan (EMI) is the best on record.

The Boston Symphony Orchestra is one of the most prominent U.S. symphonic ensembles, with deep roots in the Germanic practices that formed the model for American orchestral culture. The orchestra's catalogue of recordings on the RCA Victor label in the middle of the 20th century, artistically ambitious and sonically top-notch thanks to the ambiance of Boston's magnificent Symphony Hall, continue to set a standard. The Boston Symphony Orchestra was formed in 1881 with principal support from banker Henry Lee Higginson, who also spearheaded the construction of Symphony Hall and its opening in 1900. Its membership consisted largely of German-trained musician, and its first conductor, George Henschel, was a friend of Brahms. Subsequent conductors were German or, in the case of Arthur Nikisch, Hungarian. Especially important was Karl Muck, a former conductor of the Berlin Court Opera (now the Berlin State Opera), who led the orchestra from 1906 to 1908, and again from 1912 to 1918 after the leadership of Max Fiedler in the interim. Muck stepped down and was held in an internment camp in Georgia after espousing pro-German sympathies during World War I. But beginning with Pierre Monteux in 1919, the Boston Symphony boasted a series of internationally renowned and non-German conductors. Monteux was French; Serge Koussevitsky, who led the orchestra from 1924 to 1949, was Russian and a towering figure who commissioned numerous modern works and led the world premieres of Stravinsky's Symphony of Psalms and Bartók's Concerto for Orchestra, among many other now-standard works, and founded the annual Tanglewood Music Festival and its associated talent-development classes, with the BSO in residence. Koussevitsky was succeeded by Alsatian-French Charles Münch (1949-1963) and the Austrian-Jewish Erich Leinsdorf, whose RCA recordings were central to collections in the LP era in the U.S. Leinsdorf was succeeded for several years by the ailing William Steinberg and in 1973 by Japanese-born Seiji Ozawa, whose leadership was artistically controversial but long, and also marked by significant recordings, mostly on the Deutsche Grammophon label. Another conductor with an operatic background, James Levine, followed Ozawa in 2002; he stepped down due to ill health and Latvian conductor Andris Nelsons, who had taken on Mahler's vast Symphony No. 8 ("Symphony of a Thousand") as an emergency replacement for Levine, was named conductor. His contract has been extended through 2022, and he has led the orchestra in new recordings with Deutsche Grammophon, including a live cycle of the symphonies of Dmitri Shostakovich. A notable feature of the orchestra's musical life is the existence of the Boston Pops light music orchestra, with personnel drawn from the ranks of the BSO; under conductor Arthur Fiedler (son of Max), that group attained unprecedented popularity on American radio and television as well as in live concerts. The Boston Symphony Orchestra has also been heard on the scores of two films by director Steven Spielberg, Schindler's List and Saving Private Ryan, with the scores' composer, John Williams, as conductor. ~ James Manheim

Conductor Seiji Ozawa was best known for his long tenure of 29 years as the conductor of the Boston Symphony Orchestra -- one of the most durable in the history of the American orchestral scene. Ozawa was noted for his advocacy of contemporary music, even early in his career, when such a thing was rare among American orchestra conductors of top rank.

Ozawa was born in Mukden, in Japanese-occupied northeastern China (now Shenyang, China), on September 1, 1935. He started piano lessons at seven, and when the family returned to Japan in 1944, he got serious about lessons, studying the music of Bach intensively. With dreams of a career as a concert pianist, Ozawa enrolled at Tokyo's Toho Gakuen School of Music. His keyboard career came to an end, however, when he broke both his index fingers while playing rugby. A sympathetic teacher, Hideo Saito, took him to see a performance of Beethoven's Piano Concerto No. 5 in E flat major, Op. 73 ("Emperor"). Far from regretting his lost opportunity, Ozawa became fascinated by the role of the conductor, at the time a rare occupation among Japanese musicians. He conducted Japan's NHK Symphony Orchestra and Japan Philharmonic during his student years, and after finishing his studies in Tokyo, he headed for Europe with hopes of undertaking further studies. He had to support himself for a time as a motor scooter salesman, but when he saw a poster for the International Competition of Orchestra Conductors in Besançon, France, in 1959, he entered the contest and won. Even better, one of the judges was Boston Symphony conductor Charles Munch, who invited Ozawa to travel to Massachusetts for conducting classes at the Tanglewood Summer Festival. Ozawa walked away with the festival's Koussevitsky Prize, and with a scholarship to travel to Berlin for studies with arguably the most famous conductor of the day, Herbert von Karajan. During this sojourn, he also attracted the attention of New York Philharmonic conductor Leonard Bernstein, who gave Ozawa lessons and hired him as an assistant conductor for two seasons.

Ozawa served as the music director of Chicago's Ravinia Festival from 1964 to 1968. His first major orchestral post was as the music director of the Toronto Symphony from 1965 to 1969, where he championed and recorded works by Messiaen and Takemitsu that, at the time, were rarely heard on major symphony programs. His orientation toward contemporary music only grew after he became the principal conductor of the progressive San Francisco Symphony in 1970, taking the orchestra on a European tour and remaining in his post until 1977. After returning to Tanglewood as the artistic advisor in 1970, Ozawa was hired as the music director of the Boston Symphony in 1972. The move was a bold one on the orchestra's part; Japanese musicians were not well known in the U.S. at the time, and Ozawa was just 37. He also became the artistic director of the Tanglewood Festival.

As far back as his time in Japan, Ozawa sometimes showed a prickly personality that led him into conflict with musicians and colleagues. His tenure in Massachusetts continued this pattern as he attempted a major reorganization at Tanglewood that led to the resignation of several longtime instructors in the '90s. His tenure with the Boston Symphony was also controversial, especially during his later years with the group, but what is inarguable is that his leadership, which extended until 2002, was rarely excelled for sheer durability. That year he moved to the Vienna State Opera as the principal conductor, remaining there until 2010. He continued his association with Tanglewood. In 2013, Ozawa was sidelined for treatment of esophageal cancer, but he returned to a busy schedule of recordings and guest conducting slots.

Ozawa's recording catalog is vast, numbering more than 275 items as of the early 2020s. He made numerous recordings with the Boston Symphony for Deutsche Grammophon, RCA, Philips, and other labels. He favored contemporary music, not only by marquee names but also by lesser-known composers, and was an enthusiastic conductor of Mahler, Stravinsky, and French music, but his recorded performances range as far afield from these specialties as Gershwin. Ozawa has remained active on recordings into old age, releasing a recording of Beethoven's Piano Concerto No. 2 in B flat major, Op. 19, with pianist Martha Argerich on the Decca label in 2020 (in a live performance recorded several years earlier). On that recording, Ozawa led Japan's Mito Chamber Orchestra, which he had advised, supported, and often conducted since its formation in 1990. Ozawa's long list of awards includes the Kennedy Center Honors in 2015. Ozawa died in early February 2024 from heart failure. ~ James Manheim

During the 1930s, the London-based Serenaders enjoyed immense popularity by cashing in on the vogue for Hawaiian music. The group offered up an appealing blend of traditional Island music, jazz, and popular songs. ~ Leon Jackson