Leonard Bernstein
The BLO’s production was one of the troupe’s true staging triumphs of late, transforming the Steriti Ice Rink into a 1950s-style nightclub.
Peter Oundjian and the Royal Scottish National Orchestra deliver a great album, smartly programmed and played to the hilt. Leonard Bernstein’s live Mahler was often electrifying; this performance, even with some cracked notes and hairy transitions, certainly is.
This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
Pražák Quartet’s Smetana is keeper, Sir Simon Rattle’s Haydn is a loser, and Lindberg’s “On the Waterfront” is a knockout.
Violinist Michael Barenboim is an exceptional young musician with a famous name who stands on his own two feet.
Leann Osterkamp’s playing is rhythmically alive and sympathetic to Leonard Bernstein’s style; Seong-Jin Cho shows that he is an important pianist to watch.
On the whole, this BSO Opening Night was a welcome overview Leonard Bernstein’s larger output and of his versatility as a composer.
If there’s an essential “Leonard Bernstein at 100” album, this one, so far, is it: excellent performances of relatively unknown music deserving to be heard.
An early highlight of the upcoming Leonard Bernstein centennial is Sony Classical’s 25-disc box set.
The Boston Conservatory production of Mass was mostly frustrating, but Leonard Bernstein’s score came across very strongly.
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