18.1.11
Bernstein Has Never Sounded Better
This is a fantastic CD, featuring film and theater music composed by the American legend, Leonard Bernstein. The recordings were made with the New York Philharmonic Orchestra, under the direction of the composer, from 1960 to 1963. It opens with the "Overture to Candide" (and what an opening!). The sound is so good that you cannot tell it was recorded almost fifty years ago. The brass instruments are blaring, the percussion knocks your socks off, and the strings and woodwinds have a most realistic presence. Bernstein's account of the Symphonic Suite from "West Side Story" has never sounded better. The NYPO truly captures the excitement and rhythm of these short, and unforgettable pieces.
Bernstein's only film score was for Elia Kazan's Academy Award winning, 1954 blockbuster, "On the Waterfront." This soundtrack, however, is quite different from others. It can stand independent from film and be a concert piece - this is truly marvelous music. The CD closes with Bernstein's ballet, "Fancy Free", and three bonus tracks from "On the Town." All in all, the music is classically American, and pure Bernstein. Sonically, the recording is one of the best in my collection - highly recommendable.--T. Schmalz See more
Bernstein's Final Word on his Beloved Musical
This is the historic concert performance of the final operatic version of Bernstein's Candide. It was recorded on December 13, 1989 at the Barbican Centre, with Leonard Bernstein conducting the London Symphony Orchestra and Chorus, with a stellar cast of operatic stars gracing the solo parts. The programme lasts a full 2hrs 27 mins. It marks the end of a long and tortured journey for the musical/operetta that spent much of its first 35 years as an orphan in the musical wilderness.
Famously Bernstein had never conducted a performance of Candide in all its 30-odd years of existence. This would be his first and final statement on what many look upon as his problem-child. Bernstein is brimming with energy here. And joy. One can see how happy he is; like a proud father showing off his first-born. Just days after this concert, Bernstein would re-record this work in the studio for posterity. That studio recording with the exact same forces would be greeted with great critical acclaim. Despite the polish of the studio version, this live concert recording is for me the preferred choice. Here we can both see and hear the electric intensity that only comes with a live performance. Jerry Hadley with his wide-eyed innocence evokes the quintessential Candide. June Anderson (Cunegonde) also performs far better here than on the studio recording although she and most of the crew including Bernstein were down with the flu epidemic then sweeping London. Christa Ludwig is charming and delightful as the Old Lady. And you even get to see her twirling around with the castanets during her solo. The great Nicolai Gedda, makes a distinguished appearance as the Governor. I felt that Adolph Greene (Dr. Pangloss/Martin) was a little miscast here in this operatic Candide but he brings great showmanship and panache to his part. The LSO and Chorus are splendid throughout. This is late Bernstein and tempi are generally broad though you'd not notice it, such is the intensity the maestro conveys. As several reviewers have noted, the finale, "Make Our Garden Grow," unlike in most productions where it is simply a pleasing number meant to send the audience home humming, is here under Bernstein, glowingly transcendent; almost a spiritual experience, approaching the level of a Wagnerian Opera or a Mahlerian Symphony.
The concert includes all the linking narratives that were omitted from the studio recording. Also missing from the studio recording are the frequent interjections Bernstein himself makes throughout the concert. Act I is preceded by a 5-minute mini-lecture on the history and philosophy behind Voltaire's Candide with Bernstein warning of the danger of religious sectarianism and intolerance. Bernstein begins his short talk with an impish, "Surprise my dear friends... here comes the old Professor to lecture us again..." He continues the lecture in the prelude to Act II where he talks about the relevance of Voltaire's work to the present world, the musical's genesis in the anti-communist hysteria of the 1950s and reiterates the dangers of intolerance. In Act I's "I Am Easily Assimilated," he gleefully jumps in to explain that Rovno Gubernya is not found in Voltaire but is a tribute to his own father's birthplace in the Ukraine. The finale brings thunderous applause and whether it is that or, as Bernstein says, the "Royal Flu," one can see that his cheek is streaked with tears as he struggles to thank the cast, the crew and the audience. One would like to think that they were tears of joy that his wayward child had finally found acceptance with his beloved public.
Deutsche Grammophon has finally released this concert on DVD in a fine transfer that preserves the original 1.33:1 aspect (Full screen). Picture quality is good considering that this was recorded on video. The image is acceptably sharp. Colours are strong and natural. Audio is available in the original PCM 2.0 Stereo, or newer DTS and DD 5.0 remixes. Not sure why DG chose the 5.0 (No subwoofer) format but it sounds just fine with the deep bass redirected to the main speakers as in a standard stereo setup. Optional subtitles in English, German and French are also provided. Aside from a few DG trailers, there are no Extras. The DVD comes with a 12-page booklet with a short essay by John Wells who co-authored the Candide narrative with Bernstein, as well as a brief synopsis and track-listing enumerating the 67 individual chapter-stops. The DVD is Region 0 (Playable Worldwide).--dooby See more
Overture "Candide"
Wit was Voltaire’s weapon—a flashing, deadly weapon. It was a rapier point to puncture and deflate Establishment notions, fatuous philosophers, pompous asses, the complacent ones of his time—and ours. Wit is Bernstein’s weapon too, in the glittering musical he based on Voltaire’s satirical Candide. The misadventures of Voltaire’s satirical Candide. The misadventures of Voltaire’s bewildered non-hero Candide and his non-heroine Cunegonde seem made for music , especially the Offenbachish irreverence of Bernstein’s score, which is as full of irony as belly laughs, of double entendre as guffaws.
The Lillian Hellman-Richard Wilbur-Leonard Bernstein version of Voltaire’s Candide opened on Broadway in December 1956. On January 26, 1957, Mr.Bernstein conducted the Philharmonic in the first concert performance of the Overture to Candide. The Overture opens with a brassy fanfare, a sort of musical motto which recurs throughout the musical. The principal themes of the Overture are drawn from a battle scene and the lyrical duet “Oh Hayy We.” The end of the Overture incorporates the end of the song “Glitter and Be Gay.”--Edward Downes
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