Leonard Bernstein;   Irene Jordan, McHenry Boatwright, Vera Zorina   (Sony MHK 62352)
Item# C0013
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Product Description

Leonard Bernstein;   Irene Jordan, McHenry Boatwright, Vera Zorina   (Sony MHK 62352)
C0013. LEONARD BERNSTEIN Cond. NYPO: Symphony #3 in g (Roussel); Pacific 231; Rugby (both Honegger); w.Vera Zorina, Irene Jordan, McHenry Boatwright & Virginia Babikian: Les Choéphores (Milhaud). (Austria) Sony Stereo MHK 62352, recorded 1961-62. Gatefold Jacket has 44pp. Brochure, w.archival photos; Disc features original Columbia LP label. Long out-of-print, Final Sealed Copy! - 074646235225

CRITIC REVIEWS:

“Some people at Sony have used their ears and eyes wisely to come up with ‘Masterworks Heritage’, a mid-price reissue series drawing on treasures from the Columbia/CBS/Epic vaults and packaging them not in the usual fragile, space-consuming jewel boxes, but in slim, sturdy cardboard folders that suggest the sleeves of old. Furthermore, the funky charming cover illustrations and disc label art of the original 78s and/or LPs is reproduced as well.

Sony has chosen interpretations not previously available on CD, most from monophonic recordings of the 1940s and '50s.”

- Herbert Glass, LOS ANGELES TIMES, 5 Jan., 1997





“Bernstein gave a credibility to American musicianship that hadn’t existed before, easing our sense of inferiority. He came along and did what seemed impossible: bringing Mahler back to Vienna!

He loved storytelling, and music for him was just a vehicle for telling stories. Often his stories had important morals as well: There was always a lesson to be learned. For me that was a big takeaway. He was so many things: a great conductor, great composer, great pianist. But he was also a TV star, he was a thinker, he was a philosopher, he was a political activist. How many people could wear all of those hats at once? It’s a rare thing.”

-Marin Alsop, THE NEW YORK TIMES, 23 Aug., 2018





“According to THE NEW YORK TIMES’ critic Donal Henahan, (15 Oct., 1990), Bernstein was ‘one of the most prodigiously talented and successful musicians in American history’. He is quite possibly the conductor whose name is best known to the public in general, especially the American public. His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for WEST SIDE STORY, as well as CANDIDE, WONDERFUL TOWN, ON THE TOWN and his own MASS. Bernstein was also the first conductor to give numerous television lectures on classical music, starting in 1954 and continuing until his death. In addition, he was a skilled pianist, often conducting piano concertos from the keyboard.

In 1960 Bernstein and the New York Philharmonic held a Mahler Festival to mark the centenary of the composer's birth. Bernstein, Walter and Mitropoulos conducted performances. The composer's widow, Alma, attended some of Bernstein's rehearsals. The success of [Bernstein’s Mahler] recordings, along with Bernstein's concert performances and television talks, was an important part of the revival of interest in Mahler in the 1960s, especially in the US.

In 1964 Bernstein conducted Franco Zeffirelli's production of Verdi's FALSTAFF at the Metropolitan Opera in New York. In 1966 he made his début at the Vienna State Opera conducting Luchino Visconti's production of the same opera with Dietrich Fischer-Dieskau as Falstaff. He returned to the State Opera in 1968 for a production of DER ROSENKAVALIER and in 1970 for Otto Schenk's production of Beethoven's FIDELIO. Sixteen years later, at the State Opera, Bernstein conducted his sequel to TROUBLE IN TAHITI, A QUIET PLACE, with the ORF orchestra."

- Donal Henahan, THE NEW YORK TIMES, 15 Oct., 1990