Leonard Bernstein, Vol. VII - Mahler 2nd;  Haywood & Ludwig   (2-St Laurent Studio YSL T-847)
Item# C1706
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Leonard Bernstein, Vol. VII - Mahler 2nd;  Haywood & Ludwig   (2-St Laurent Studio YSL T-847)
C1706. LEONARD BERNSTEIN Cond. Cleveland Orch., w.Lorna Haywood & Christa Ludwig: 'Resurrection' Symphony #2 in c (Mahler). (Canada) 2-St Laurent Studio YSL T-847, Live Performance, 9 July, 1970, Blossom Music Festival; Brief interview with Leonard Bernstein before the performance. [Truly a monumental and profoundly moving performance!] Transfers by Yves St Laurent.

CRITIC REVIEWS:



- Henry Fogel, FANFARE





“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





“Lorna Haywwod made her debut at Juilliard as Katya Kabanova. She made her Covent Garden debut in 1966 in DIE ZAUBERFLÖTE and sang Jenůfa in 1972. She sang with the English National Opera from 1970, notably in Leoš Janáček's THE MAKROPOULUS CASE and KATYA KABANOVA. In the USA her opera appearances include those with the Chicago Lyric Opera, the San Francisco Opera, the Dallas Civic, the Baltimore Lyric, and the Pacific Northwest Festival in Seattle, and the companies of New Orleans, Washington, D.C., San Diego, Forth Worth, Columbus, Toledo, Atlanta and Honolulu. In Europe she has sung frequently at the Royal Opera House, Covent Garden, the English National Opera, the Welsh National Opera, and the Scottish Opera. Regarded as a leading interpreter of the operas of Leoš Janáček, she has sung this repertory in London, New York, San Francisco, Johannesburg and Prague. She has also appeared as a guest in Brussels. Other roles include Marenka in THE BARTERED BRIDE, Mimi, Micaela, Sieglinde, Elizabeth Zimmer in ELEGY FOR YOUNG LOVERS, Mozart's Countess, Madama Butterfly, Ariadne, the Marchallin and Lady Billows in BILLY BUDD.

Lorna Haywood made her American debut as soloist with Robert Shaw . She has sung with most of America's major symphony orchestras, including the Boston Symphony Orchestra, Cleveland Orchestra, Chicago Symphony Orchestra, San Francisco Symphony Orchestra, National Symphony Orchestra, Minnesota Orchestra, Atlanta Symphony Orchestra, Cincinnati Symphony Orchestra and Pittsburgh Symphony Orchestra. Her orchestral and concert appearances in the UK include those with the Royal Philharmonic Orchestra, London Philharmonic Orchestra, Hallé Orchestra, Royal Liverpool Philharmonic Orchestra, and City of Birmingham Symphony Orchestra. Summer festival appearances include Blossom, Meadowbrook, Aspen, Tanglewood, Grant Park, Cincinnati, Glyndebourne, Aldeburgh, Edinburgh, and London's Promenade Concerts in the Royal Albert Hall. She sang with the Handel Society in Washington, D.C., the Music of the Baroque in Chicago, at the Baldwin-Wallace College Bach Festival (1998), and was soprano soloist with the Bach Aria Group for two years.”

- Bach Cantatas Website





“There are great singers, and there are great artists. A great singer needs an exceptional voice, a masterful technique and the musicianship to conquer the most challenging repertoire. A true artist, of course, possesses these attributes, but there is something more - a soul-deep connection to the expressive content of the music; a sort of telepathic sympathy with the composer and a yearning to communicate that fire of inspiration to anyone who will listen. Christa Ludwig was blessed with all these things, and the opera world has been blessed in turn by her unerring ability to understand the characters she played, and to carry their joys and sorrows to the audience with such humanity and tenderness that we could not help taking her into our hearts. The beauty, warmth and radiance of her instrument seem inseparable from the beauty, warmth and radiance of the human spirit that breathes forth that wondrous sound. She made thrilling forays into dramatic-soprano territory, singing the Marschallin as well as Octavian in DER ROSENKAVALIER and giving performances of Leonore in FIDELIO that are now the stuff of legend. Perhaps most famously, she partnered her then-husband Walter Berry as the Dyer's Wife in DIE FRAU OHNE SCHATTEN.

Her Met début in 1959, as Cherubino, was not a great triumph, but by the time she bade farewell to the house, as Fricka in 1993 - her 119 performances of fifteen roles had made her one of the most beloved artists in the company's history.”

- Louise T. Guinther, OPERA NEWS, April 2014