American soprano Jessye Norman was one of the most important figures of the 20th and early 21st century opera. In her performances of prominent operatic roles, as well as a celebrated recital and recording career, she was well regarded throughout the world.

Norman was born on September 15, 1945, in Augusta, Georgia. She started singing spirituals at the age of four at Mount Calvary Baptist Church; one Saturday, while doing her chores, she heard an opera for the first time, broadcast on the radio. She became an instant opera fan and started listening to recordings of Marian Anderson and Leontyne Price. Nat "King" Cole was also a major inspiration for her. At 16, Norman began studying at Howard University, where her voice teacher was Carolyn Grant. She sang in the university chorus and worked as a soloist at the Lincoln Temple United Church of Christ. In 1965, she won the National Society of Arts and Letters singing competition. She continued her studies at Peabody Conservatory of Music in Baltimore and at the University of Michigan, where her most important teachers were Elizabeth Mannion and Pierre Bernac.

In 1968, Norman won the Munich Competition, leading to her operatic debut as Elisabeth in Wagner's Tannhäuser in Berlin. A major European operatic career quickly developed: she appeared in Meyerbeer's L'Africaine at Maggio Musicale in Florence in 1971, Verdi's Aïda at La Scala in Milan in 1972, and in Berlioz's Les Troyens at London's Covent Garden the same year. These roles bespeak a major part of Norman's stage persona: a commanding and noble bearing, partly due to her uncommon height and size. However, this was more a function of her unique, rich, and powerful voice. She had an uncommonly wide range, encompassing all female voice registers from contralto to the high dramatic soprano.

As her operatic career developed, Norman also made important recital debuts, including London and New York in 1973. She made an extensive North American concert debut in 1976 and 1977 but did not appear in opera in the U.S. until 1982. This was with the Opera Company of Philadelphia, in a double bill as Dido in Purcell's Dido and Aeneas and Queen Jocasta in Stravinsky's Oedipus Rex. Her Metropolitan Opera debut was as Cassandra in 1983, the opening night of the Met's centennial season.

Her interpretation of Strauss' Four Last Songs was legendary. Its slowness was controversial, but the tonal qualities of her voice were ideal for these final works of the great Romantic German lieder tradition. She also sang Schoenberg's Gurrelieder and his opera Erwartung; she sang this on a memorable double bill at the Met with Bartók's Bluebeard's Castle, which was broadcast nationally. She appeared on live broadcasts of season-opening concerts of the New York Philharmonic.

Norman was acclaimed in her singing of Mussorgsky songs in the original Russian, the German Romantic lieder repertoire, and French music from Berlioz to contemporary composers. Another major part of her musical life was in the performance of American music. These included jazz standards, the sacred music of Duke Ellington, African American spirituals, and woman.life.song., a song cycle composed by Judith Weir, commissioned for Norman by Carnegie Hall.

Throughout her life, Norman was asked to perform in many important ceremonies in the U.S. and abroad. These include singing the French national anthem for the 200th anniversary of the French revolution, the funeral of Jacqueline Kennedy Onassis, the opening ceremony of the 1996 Summer Olympics in Atlanta, and singing America, the Beautiful at the dedication of the memorial columns of light at the site of the World Trade Center in New York.

Norman had an extensive and successful recording career, mainly recording on the Philips label. She released albums of opera, recital, jazz, and Christmas music. She won five Grammy awards, including the "Grammy for Lifetime Achievement" in 2006.

Jessye Norman died in New York on September 30, 2019, following complications from a spinal cord injury suffered in 2015. ~ Joseph Stevenson & Keith Finke

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