managements were not always of the best: The Telegraph reported that "he rebelled against the decor and production of a Don Giovanni at the Edinburgh Festival, conducting it with a minimum of scenery; and in 1968, after a production of Mozart's The Marriage of Figaro in Rome, he became so disenchanted with the management of opera that he was not seen in an opera house for 14 years." The New York Times summed up Giulini's approach to working in the area of operas as follows: Giulini as orchestra conductor Giulini expanded his repertoire at a careful pace, not conducting the symphonies of Mozart and Beethoven until the 1960s. During the 1960s, he was in great demand as a guest conductor of leading orchestras around the world, and made numerous well-received recordings with the Philharmonia Orchestra of London and several others. In 1955 he had made his American debut with the Chicago Symphony Orchestra, leading to a 23-year association with the orchestra; he was its Principal Guest Conductor from 1969 to 1972, although he continued to appear with them regularly until 18 March 1978. In 1956, he began his association with the Philharmonia of London and the Royal Opera House, Covent Garden. In addition to his role in Chicago, he was music director of the Vienna Symphony from 1973 to 1976. From 1978 to 1984, he served as principal conductor and Music Director of the Los Angeles Philharmonic, launching his tenure there with performances of Beethoven's 9th Symphony. In 1982 he returned once more to opera, conducting a widely acclaimed production of Verdi's Falstaff with the Los Angeles Philharmonic. Overall, his impact on the musical world of the mid-to-late 20th century is summed up by Anthony Tommasini in his New York Times obituary of 2005: Far from being an autocratic conductor or a kinetic dynamo of the podium, Mr. Giulini was a probing musician who achieved results by projecting serene authority and providing a model of selfless devotion to the score. His symphonic performances were at once magisterial and urgent, full of surprise yet utterly natural. He brought breadth and telling detail to the operas of Mozart and Verdi. Notable recordings Giulini's most notable opera recordings include the 1959 Philharmonia Orchestra and Chorus versions of Mozart's operas The Marriage of Figaro and Don Giovanni for EMI, as well as his live 1955 recording of Verdi's La traviata with Maria Callas. He