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Home , A Quiet Place (opera), Jessye Norman, Kathleen Battle, Leonard Bernstein, Marilyn Horne, On the Town (musical)

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News for fr iends of Leonard Berns te in Winter 1993

To Our Readers

hen Leonard Bern ste in Wco111 posed TROUBLE !N TAHITI , he was in his ea rl y thirties, just married , and wri ting iron ically of sub urban do111es tic bliss in the J950s. Three decades later, a widower and fath er of diree grown chil dren, he wrote a sobe r sequ el, , into wh ich the earlier was eve ntu all y enfold ed. Here, Bernstein and hi s libretti st Stephen Wadsworth gi ve us daughter Didi 111arried to her brother's ex-lover Fran ~o is; th e couple are devoted to helpi ng and loving Jun ior, the brother wh o sce 111 s to ha ve intern ali zed his pa rents' des pair in to a kind of helpless madn ess . By th e opera's end, th e three young adults have form ed a fragi le uni on, at las t with th eir e111b irrcred fat her's bl ess ing. "We' re only who we are," rh ey realize, as they set out to be a newl y for111cd fa mil y. The message of A QUIET PLA CE is more tim ely than ever: the traditional config ura tion of a the studio orchestra for TROUBLE IN TAHITI, London Weekend Television, 1973. fa 111il y does nor gua ra ntee its happin ess, while an un co nven­ by Humph rey Burton September 9th Bernstein married production at two tiona l gro up ing of indi vidua ls can Felicia Montealegre Cohn. months later, Bernstein revised the love and ca re for eac h oth er with n the spring of 1951, after The cou pie returned to libretto and composed a different all th e devoti on required to seven hectic years of conduct­ Cuernavaca for an extended finale. Conducted by Seymour dese rve th e na111 e of fa 111 il y. Iing, Leonard Bernstein retired honeymoon and Bernstein resumed Lipkin and directed by Sarah A QUIET PLACE is sure to temporarily from the podium, compos ing TAHITI, undeterred by Ca ldwell, the opera was warmly di sturb advocates of narro wly determined to concentrate for at the task of portraying a marriage received. defin ed "fa 111i ly va lues" long in to least a year upon his neglected in crisis while enjoying the first Bernstein was still not th e futur e. We can be certai n that composing career. He settl ed in months of his own. Work went completely satisfied. Yet more Leo na rd Bern stein wouId not ha ve Cuernavaca, Mexico to write the more slowly, however, until in modifications were made for a minded th e co ntro ve rsy at all. • libretto and for TROUBLE January he reached an impasse, third performance, a live telecast IN TAHITI, his first opera. unable to devise a satisfactory on NBC-TV in November 1952. Work was interrupted by the conclusion to the opera. Directed by Kirk Browning, death of . Back in New York in February, conducted by the an d Bernstein returned to the United he was persuaded by to featuring cartoons designed by States, buried his revered master complete the opera in time to Sau l Steinberg, the telecast was and took over the conducting conduct it for the first Brandeis very popular. TROUBLE IN school at Tanglewood. To University Festival of the Creative TAHITI soon became a staple of co nclude an eventful summer, on Arts on June 12, 1952. For a new (continued on page 7) The BETA Fund

BETA Fund Supports The Power of "Fun" Arts Connection

nurturing that potential can On October 22, 1992 for this stim ul ate learning and success in year's Contemporary Music all aspects of school. Festival, the Longwood College The essential research compo­ Department of Music in Rich­ nent of the program documents mond, Virginia, presented THE BETA changes in students' self-esteem, MUSIC OF LEONARD I academic performance, attendance BERNSTEIN. Alexander FUND and interpersonal behavior. Bernstein was the special guest Another important component is lecturer. The following are teacher support. The Teacher excerpts from the lecture he he Bernstein Education Training Institute offers two week­ delivered there. TThrough the Arts (BET A) long summer workshops and a Fund has awarded a grant to the weekend training throughout the hat I would like to do is ArtsConnection program Talent school year to assist the classroom W give you some idea of how I Beyond Words. A private, not­ teacher to recognize and build on saw, and see, my father. And I for-profit organization, Arts­ the students' talents, to discover wo uld like to do that as much as Alexander Bernstein. Connection was founded in 1979 outlets for creative expression possible through his work - con­ to offer arts programming in New within the academic curriculum, ducting, composing and teaching. herself, or, in the jargon of the York City public schools using the and to learn to use the arts most In fact, my father was always day, have ownership in the making talents of professional artists. It effectively as a learning tool. work ing. And he was always of meaning. My father's YOUNG has become the city's largest and Parental involvement is another play ing. His life was a quest for PEOPLE'S CONCERTS on TV most comprehensive arts-in­ critical feature of the program. joy, and he found it in music, in were so successful because he was education organization. Through student-parent work­ friends, in language, in fami ly, in able to lecture yet make the The ArtsConnection Talent shops, parents are encouraged to theatre, in sports. I have always audience feel involved in the Beyond Words program seeks to see the value of their children's envied his life as an artist in that proceedings. He never conde­ identify students who are econo­ arts education and participate with his work gave him supreme ecstasy. scended; he invited his students mically disadvantaged, non­ them in these experiences. As opposed to some tyrants in along on the ride of inquiry. English-speaking or handicapped, Dedicated to matching artists the Arts, my father made it My father founded also show specia l gifts in with the learn ing needs of children, interesting and fun to Work for Bernstein Ed ucati on Through the music and dance that might not be ArtsConnection believes, as does him. Let me quote my father on Arts Fund shortly before he died. recognized by conventional the BET A Fund, that the arts in the subject of "fun": "If we add His plan was to spend his methods. Talent Beyond Words education stimulate curiosity, love up, 'sense of rightness,' 'tranquil­ remaining years in education, operates on the philosophy that a of learning, more imaginative lity,' 'balance,' 'catha rsis,' studying ways in which the arts child's potential for gifted thinking, a positive self-image and 'expressivity,' we begin to could enable students to be aware behavior can be measured by a a respect for the various cultural approach the meaning of 'fun. ' of how they learn, and enable wide variety of criteria and that heritages of us all. • Add to these 'participation,' ed ucators to discover the power of 'creativity,' 'order,' 'sublimation,' the arts to engage students, the and 'energy release,' and you power of "fun ." My job now is to almost have it. 'Fun' is all the keep the BET A Fund al ive and things we find impossible to say kicking and screaming for when we hear (Beethove n's) Opus educationa l reform. I'm not going 131 Quartet ... " to allow my father's vision to die Now, if you can adjust to the with him. And I am not at all 2 idea that listening to Opus 131 is cynical about the naivete or "fun," you can begin to under­ idealism involved. I think that this stand my father's idea of what is possible. • education is, or rather, should be. He believed that learning takes Alexander Bernstein is place only when it is fun. A president of The Bernstein learner must be engaged in the Education Through the Arts creation of ideas for him or (BETA) Fund. Students at PS 130, , taking part in the Talent Beyond Words program. AQUIET PLACE

Creating with Lenny

by Stephen Wadsworth to every note of American music Americans. We wanted to write A QUIET PLACE opens with the we could find. He wanted to see an opera in the American language chord TROUBLE IN TAHITI " I f you bring me a scenario and hear my reactions. We told - the American language as it is ended with - a cluster of all the for a sequel to TROUBLE each other about our lives, played spoken by Americans to express notes in one main TAHITI theme IN TAHITI by Tuesday at four anagrams altogether too much, their American selves. that is no less pivotal in the new o'clock, I'll give you your inter­ and decided to seek a commission The rest of the opera was opera. Old Sam, who sang the view" was the challenge Lenny for our opera. written between June 1982 and words "Is there a day or a night gave me for our first meeting. I We continued work separately June 1983. We worked mostly in waiting in time somewhere" to it had asked him for an interview for - I at a child's reading desk in the Connecticut then, chasing in TAHITI, also "I don't know, I a magazine. There followed a Santa Fe public library, he in his solutions into the dawn, digressing don't know," sings the words curious meeting in October of studio in Connecticut - but endlessly, tearing our , half "Not even now" and "My hand­ 1980, at which began both an some son" to it thirty years later in intense and fatiguing search for an his terrible explosion in the funeral opera, and a friendship that parlor. The theme is an old remained for me always fresh. uncertainty "churned up again," The scenario I brought him to quote Old Sam, like all the then was a rather facile gloss on other things that "never worked ." TROUBLE IN TAHITI which The premiere drew nigh. We incorporated his language and struggled to put things together. images in a way that intrigued Much of the time we felt, to quote him. But most important, it had a Noel Coward's The Scoundrel, central scene that was very like "like two empty paper bags one he had pictured as the opening belabouring each other," but we of his sequel. It was a funeral somehow managed to hang on to scene. Thus we discovered a our mutual esteem. (Lenny used coincidence of need, to write about to ask me, "When are we going to loss, grief, family mourning, and have our first fight?") Even at our coming through tragedy together. lowest hours, and some were posi­ I started the first scene for A tively subterranean, Lenny's QUIET PLACE in December 1980, humor and endless generosity of separated from Lenny at first, at spirit flowed unstintingly. In the my desk in New York. He wrote end he was able to say to me, in fits and starts until early the "When someone asks you about A next summer, but in fact it wasn't QUIET PLACE just tell them we until we spent our first whole both wrote all the words and all Stephen Wadsworth and Leonard Bernstein. weeks together - in a farmhouse the music." • in Massachusetts - that any of nothing was ever finalized until we mad with this blind grope at a new what is now the opera was Stephen Wadsworth wrote A had pored over it together. language - not to mention a plot. written. We turned one quartet I QUTET PLACE with Leonard We worked hard to avoid the The score of A QUIET PLACE had written into a trio, together Bemsteill. His production of disease we coined "schematoma." feels to me, structurally, something changing almost every line, and I Handel's ALCTNA is 110w playing Rhyme schemes, meter schemes, like Bart6k's MUSIC FOR sat by the piano as he set it to at the Royal O/ma House, closed forms, "well-made-play" STRINGS, PERCUSSION AND music. He wouldn't let me leave. London. schemes were viewed suspiciously CELESTA - a relatively small He was scared, of course. I was, 3 and only grudgingly allowed. Yet amount of material generates the too, especially when I had to tell we thought constantly of da Ponte entire piece, which grows as if him I didn't like something he had and Hofmannsthal, Monteverdi from a cell outward, until this part written . We hammered away in and Janacek, Maeterlinck, Britten, "rhymes" with that part and I can this manner until we were both , even Metastasio. We hardly remember exactly where satisfied with the music. Mean­ rejoiced in these role models. I've heard it before. This effect is while, we ate huge midsummer We wanted to write an opera not all semi-conscious, obviously. tomatoes and steaks and listened about non-ethnic middle-class More on AQUIET PLACE

Reflections on A QUIET PLACE

by For example, in our rearrange­ ment of scenes, there was no y first encounter with A reason why the opening scene of A MQUIET PLACE began with QUIET PLACE couldn't be the run-throughs of the opera held in opening of the opera. Hit the Lenny's Dakota apartment, where, people right at the beginning with accompanied by the piano, a cast the most complex music, and don't of young singers performed large coddle them into thinking they're chunks of the opera in his living going to a musical evening that's room. I remember being tremen­ somewhere between THE MAGIC dously moved for two reasons in FLUTE and , particular: one, because the music but something far more dense and was so good, and two, because difficult. We found out that, by Lenny was finally composing after doing that, the seriousness of a long dry spell. Lenny's point of view became My wife and I saw the world immediately clear. Act II would be premiere of A QUIET PLACE in two flash-backs. You would do john Mauceri and Leonard Bernstein after the performance, 1984. Houston. There, the two , half of TROUBLE IN TAHITI in TROUBLE INT AHITI an d A the first, come back to the scene original A QUIET PLACE. Center. To achieve this, howeve r, QUIET PLACE, were totally with Didi and Old Sam, then go At first Lenny found it hard to fate - or someone - put a few separate. This was a significant back to TROUBLE INT AHITI accept the suggested changes, but obstacles in our way, such as problem, as it turned out, since, and finish the story. The audience, then I think he came to believe it having the entire set of orchestral for one thing, the expectations set as in a Hitchcock movie or a was the best way to do it. parts end up sitting on a runway up musically by TROUBLE IN Faulkner novel, would get the At La Scala, the response to A getting wet and ultimate ly destroy­ TAHITI of a simple and moving pieces of information in a different QUIET PLACE was extraordinar­ ed. Fortunately, after the gargan­ cartoon drama about the foibles of order. We made sure nothing il y positive and I looked forward tuan job of recopying parts, we got a suburban marriage were not would be changed from the to duplicating it at the Kennedy tremendous reviews after the per­ fulfilled by A QUIET PLACE, in formances at the Kennedy Center. which the complicated musical What will become of A QUIET language more resembled PLACE? Will it have a place in ELEKTRA than WEST SIDE the repertory? Yes, I believe it STORY. The wittiness and ironic will. The opera's very size is playfulness of TROUBLE IN probably the largest obstacle to TAHITI actually seemed to overcome in terms of future undermine the depth of feeling productions being mounted here expressed in A QUIET PLACE. or abroad. In any case, A QUIET When I came back to New PLACE is a tremendously valuable York, I began to think about what work that not only completes an went wrong. Since I was going to important part of the picture of be responsible for conducting the Lenny's oeuvre, but is also an performances that would be important work which represents coming, after performances at La our time. Scala, to The Kennedy Center in • 4 Washington, the producer in me Joh11 Mauceri, conductor of the had this idea that perhaps one Orchestra, is could re-order the materials. The also music director of The Scottish world may judge me harshly for Opera and host for the Arts & this later, but at the time, it Entertainment network's perform­ seemed an effective way to give the ing arts series, Srage. music a chance to be heard. "I'm Having a Nervous A Silent Place Breakdown"

by by Louise Edeiken especially when we showed up in costume as Marilyn and two he musical construction of A met Lenny by accident. In Elvises. The stagehands would TQUIET PLACE can be, from a I 1980, at the start of my musical present me with bent nails before singer's point of view, treacher­ theatre career, I went to an each performance - an odd form ously difficult. To give you an audition because they needed a of admiration, I thought, until I example, in the first act of A . I belted first, then hit understood it was their supersti­ QUIET PLACE, Old Sam, menac­ some high notes and was hired on tious protection against the curses ingly speechless during the opening the spot for the 10th anniversary of the coffin onstage in Act I. We funeral of his wife Dinah, finally production of Mr. Bernstein's befriended the Italian chorus explodes in a series of diatribes . Lenny showed up later whose guttural pronunciation against his family, alternating with that day and grabbed my ass as we transformed the softly intended were introduced. A memorable choral of Act II and kept us in internal, but expressed, thoughts John Brandstetter and Chester that freeze the others into a kind Ludgin in A QUIET PLACE. beginning for sure, but I didn't see hysterics . .. "Oum hearrrts will of horror at Old Sam's rage and him again for years. be thy garrr-den." We loved Italy unhappiness. "Chet, I was awake for part of the In 1983, my brother died in an as much as Italy loved us. About this outburst by Old night, writing a new opening for accident and in my mourning I We had the opportunity of Sam, Lenny was quoted as saying you for the new second act." He went to a psychic to try to make working again with Lenny in 1986 "i t's the most difficult aria ever then sat down at the piano and we sense of my world. Out of the when he conducted A QUIET written." I remember Lenny all gathered round to hear what blue, in the middle of the session, PLACE in Vienna. There he was conducting me in this aria in an he'd written. But whi le Lenny's she asked, "What about opera? trea red like royalty. Chefs greeted ea rly workshop, when I was ab le talents were understandably What about Leonard Bernstein?" him eagerly and created special for to incorporate legendary, cigarettes and late A few months later, I got a call to dishes in his honor. An exception most of the musical and dramatic nights hadn't helped him to sing a audition for A QUIET PLACE/ was made to the smoking prohibi­ ingredients without stopp ing. good be! canto lin e. When he'd TROUBLE IN TAHITI. I got the tion at the Staatsoper and a fire When it was done, Lenny asked finished, I asked tentatively, "Do part. That job was an important marshal was hired to follow him me, "How do you feel about it?" you want me to sing just like that?" step in overcoming my grief. aro und with an ashtray. You 'Tm having a nervous break­ He smiled mischievously and said, cou ld tell Lenny was happy by the down," I answered. "You mean in "No, Chet, that's why we hired way he strutted down the street in the character of Old Sam?" Lenny you for Old Sam and not me." his loden coat. asked. "No. I, Chet, am having a The role of Old Sam was an Of all that I observed and nervo us breakdown." But in a especia ll y gratifying one in part learned from Lenny, the emphasis way I was supposed to, and a large because it ran the emotional and he placed on the sil ences at the end part of Lenny's genius was that his musical/vocal gamut. In Vienna, ofTROUBLE IN TAHITI was of musical construction always seemed where we had the good fortune to particular fascination to me. He as if it was the only way a partic­ be cond ucted in A QUIET PLACE made these absences of sound ular piece could have been written. by Lenny himself, we felt an extra­ longer and more poignant in order Many changes in A QUIET ordinary satisfaction and pride in to accentuate their importance to Kurt Oilman, Louise Edeiken and the piece. These "voids" became PLACE occurred between the the theatrical and artistic experi­ Mark Thompson, A QUIET PLACE. Houston Opera world premiere ence we had all undergone through as expressive as his music and lyrics. and the production at La Scala. this difficult, worthy piece. • The opening of A QUIET I miss Lenny and feel his TROUBLE INTAHITI was incor­ PLACEffROUBLE INTAHITI at absence. There is an immense porated into the second act of A Chester Ludgi11 , , La Scala in 1984 was my first trip void. But sometimes, when I listen 5 QUIET PLACE as a series of flash­ created the ro le of Old Sam in the to Europe and my debut in the carefully to the silence ... I can backs from Old Sam's memory. original productions of A QU IET opera world. What a magical, fun still hear him loud and clear. • New music was composed to PLACE. He has appeared with time! Mark Thompson, Kurr accommodate the new dramatic nearly every leading musical Oilman and I all revelled in the Louise Edeike11 sings in turns. In the New York rehearsals organization in North America. close harmonies and dance steps recordings of A QUIET PLACE for these changes, after a compli­ we performed as the trio in and WEST SIDE STORY. She cated re-mapping of the opera's TROUBLE IN TAHITI. We recently co-authored the book Now concept, Lenny announced to me, delighted the Italians, too, That You Are Pregnant. In the News

CANDIDE wins Best Musical Critical Praise for Theatre Award NOTES FROM A FRIEND by Leonard Bernstein in a final L eonard Bernstein: Notes from focussing of all his explosive a Friend by Schuyler Chapin LEONARD BERNSTEIN energy and talent. has just been published by Walker We listen to CANDIDE now, and Co. to very favorable reviews. and remember how difficult it was In what calls to assemble and execute this "this informal portrait of Leonard project. CANDIDE was a Bernstein by his friend of 35 perpetual work-in -flux to begin years," Schuyler Chapin "offers with. And then came this glowing vignettes of the 'colorful, definitive recording, with its innu­ explosive, wildly talented, some­ merable changes and illnesses and times impossible"' maestro. The last-minute emergencies - all Boston Herald writes: "[Chapin 's] Jamie Bernstein Thomas made the those "can-she's" and "will-he's" portrait of Bernstein is both fo llowing remarks on accepting and genera ll y more than the usual appeal ing and convincing precisely Gramophone's Best Musical amount of backstage pandemo­ because it is presented in the Theatre Award for CANDIDE in nium. tasteful and unexaggerated tone of London on October 2, 1992. Yet the recording sounds so someone who was there." John seamless, so inevitable, so Guinn in the Free Press n a way, an award like this unimpeded. That's the art of it all, observes: "Chapin's tribute is idiosyncrasies," while Richard I means more to us, his family, right there: making all that genuine, genero us and gentle." Freed in than it might have meant to my creative and technical toil look, The New York Daily News says writes it is "a personal reminis­ father. For him, it was all about and sound, effortless. I li ke to Leonard Bernstein: Notes from a cence of the glory years in which the making of the thing: the doing, think that this award acknowl­ Friend is "not a scholarly bio­ America's most remarkable the present tense of it. If Leonard edges that very artfulness in the graphy, but more revealing of musical figure undertook his most Bernstein were still alive, he would CANDIDE recording; that it Bernstein's energy, personality and ambitious projects." • have been onto nine other massive celebrates a particularly well­ projects by now, his attention executed leap from chaos into thoroughly diverted from the sublime. CANDIDE. Thank you, Gramophone, for Bayless Plays Bernstein But CANDIDE is still very being so perceptive! It was much on our minds. For one definitely worth all the trouble, thing, recordings are what is left of don't you think? • him for us now. For another, this ike so many, John particular recording shows L Bayless first met Leonard Bernstein on TV, watching the Maestro's inimitable YOUNG PEOPLE'S CONCERTS. Years later, in 1978, John Bayless met Leonard Bernstein in person on their common birthday, . Thi s nice numerological co­ incidence led to a friendship that 6 remains to this day a constant source of inspiration for John. BAYLESS MEETS BERNSTEIN: WEST SIDE STORY VARIA­ TIONS, available on Angel Records, is an inventive and loving tribute to both the friend and mentor. • Jamie Bernstein Thomas. Looking Ahead

THE INFINITE New Kultur Releases Music For Life VARIETY OF MUSIC

ollowing their successful re­ ultur Video will be releasing n Sunday, March 14, 1993, Fissue of Leonard Bernstein's K three new Bernstein videos Oat 7:00 p.m., YOUNG PEOPLE'S CONCERTS this spring. will host the Music for Life in September 1992, Anchor Books, BERNSTEIN CONDUCTS concert benefitting Gay Men's a division of Doubleday, will re­ BERNSTEIN features Maestro Health Crisis. Leonard Bernstein publish another of Mr. Bernstein's Bernstein leading the Israel and GMHC shared a long history books, THE INFINITE VARIETY Philharmonic Orchestra, the of collaboration beginning in 1982 OF MUSIC. Described as a "guid­ Wiener Jeunesse-Chor, soprano with the first major AIDS fund­ ed musical grand tour," the book and pianist Lukas raiser, the GMHC CIRCUS, includes analyses of by Foss in performances of his own through several Music for Life Dvorak, Tchaikovsky, Beethoven , SYM­ concerts. Maestro Bernstein was and Brahms, several television PHONY NO. 1 ("JEREMIAH") unstinting of his time, talent and scripts, and other writings. THE and NO. 2 ("THE drawing power in making these INFINITE VARIETY OF MUSIC AGE OF ANXIETY") recorded in offers remarkable performances of concerts the successes they were to will be reissued in March 1993. • the Philharmonic Hall in Berlin. the French composer's insure GMHC continues its direct BERNSTEIN IN VIENNA ALBORADA DEL GRACIOSO, service to people with AIDS, its presents an historic performance TZIGANE with , AIDS prevention education, and of Beethoven's PIANO CON­ violin, SHEHERAZADE, with advocacy at all levels of govern­ CERTO NO. 1, performed and mezzo-soprano , ment. This year's concert includes conducted by Maestro Bernstein and PIANO NO. 1 , , with the performed by Maestro Bernstein , , Orchestra. himself, as he conducts the and . LEONARD BERNSTEIN IN Orchestre National de France in and John Browning will perform PARIS: THE RAVEL CONCERTS the elegant Theatre des Champs- To What You Said from Leonard Elysees in Paris. • Bernstein's SONGFEST. •

TROUBLE IN TAHITI, continued

(continued from page 1) work but it is an opera in the sense [Sam and Dinah] are the direct the only opera I've ever written to co ll ege opera groups. It also had a that it's all sung, from beginning opposite of the usual operatic hero this day." • brief run on Broadway. But apart to end, except for one little and heroine. They are an from the opening night of a City passage of dialogue which is unhappily married suburban (Editor's note: this interview was Center production later in the deliberately unsung. (... ) It was couple. given before the composer wrote A 1950s, Bernstein did not conduct meeting a challenge which I had The roots of TROUBLE IN QUIET PLACE.) his opera again until 1973, when it set myself, to see if the American TAHITI are in the American was produced in England for vernacular - both musical and , there's no doubt has been London Weekend Television. linguistic - could be handled in of that. In this I was not trying Head of Music and Arts for BBC (Editor's note: this performance, something you could call an opera, desperately to avoid anything that Television and Artistic Director of produced by Humphrey Burton, is but would not have the phoniness has to do with Jerome Kern or the Barbica11 Arts Centre, London. 7 avai lable on videotape in the U.S. of operatic production. All the Gershwin. The only thing I tried He is currently working on a bio- from The Leonard Bernstein music derives from American to avoid was Italian or German gra phy of Leonard Bernstein to be Society.) For the occasion, vernacular roots, and so do the operatic stock traditions and 1m blished by Doubleday in the Leonard Bernstein recorded an words. Under no circumstances styles; had an , Faber & Faber in introductory interview, excerpts of shou ld this ever sound or look like enormous influence on this. It's the United Kingdom, a11d Knauss which are reproduced below. an opera in the conventional sense only forty minutes long. It has a in Germany. "TROUBLE IN TAHITI's only of the prima donna in despair or very tiny cast, it doesn 't try to tell forty minutes long. It's a short the in a heroic moment. a great immense epic tale, and it is Calendar of Events'

* Partial Listing. Please note that all dares and programs are sub ject to change.

January February March

6 Vienna: TOUCHES; Emmanuel Ax, 11,13 New Orleans: SYMPHONY NO . 2, 4 Linz, Austria: ; Virgil piano; Mozart-Saal, Konzerthaus. "THE AGE OF ANXIETY"; Louisiana Stancie, co ndu cto r; Brigitte Erdmann, : SYMPHONY NO. 2, "THE Philharmonic Orchestra; Leif Bjaland, choreographer; Kammerspiele AGE OF ANXIETY"; Bayerische co nductor; , piano; Landestheater Linz. Landesjugendorchester; Werner Andreas Orpheum Theatre. 4-6 London, Ont: CANDID E (Opera Albert, co nductor; Volker Banfield, 20 Jackson, TN: TO WEST House Version); University of Western pi ano; Gasteig. SIDE STORY; Jackson Symphony Ontario; James McKay, co nductor; 8, 23, Hamburg: ; Orchestra; Jordan Tang, conductor; Talbot Theatre. 28 Hamburg Staatsoper/Philhamonisches Jackson Civic Center. Sta atsorchester; Zack Brown, 7 Kansas City: "EXPLORING THE conductor; ; John 22 Rochester, NY: " ", SYM­ MUSIC OF LEONARD BERNSTEIN", Ne umeier, choreographer; Staatsoper. PHONY NO. 3; Eastman Sy mphon y A Lecture Demonstration by Wi lli am McGlaughlin; Lyric Theatre. 16-17 Little Rock, AK: PRELUDE TO ACT Orchestra and Choru s; Timothy Coc h, III, A QUIET PLACE; Arkansas Sym­ conductor; Eastman Theatre. 12-13 Poughkeepsie, NY: THREE DANCE EPISODES FROM ON THE TOWN; phony Orchestra; George Hanson, con­ 23 San Francisco: SYMPHONY NO . 2, ductor; Robinson Center Music Hal l. Hudson Valley Philharmonic; Randall "THE AGE OF ANXIETY"; San Cra ig Fleischer, conductor; Bardavon 2 l-22 Chattanooga, TN: PRELUDE TO Francisco Sy mph ony Orchestra; Seiji 1869 Opera House. ACT III, A QUIET PLACE; Chatta­ Ozawa, conductor; Robin Suth er land , nooga Symphony Orchestra; George piano; Davies Hall. 12-14 Kansas City: ; Hanson, conductor; Tivo li Th eatre. Kansas City Symphony Orchestra and Choru s; Wi lli am McGlaughlin, conduc­ 22 Chicago: ARIAS AND BARCA­ tor; Lyr ic Theatre. RO LES (orc hestral version); Chicago String Ensemble; Emily Lodine, Richard 14 Kingston, NY: THREE DANCE Coh n, vocal soloists; Alan Heatherington, EPISODES FROM ON THE TOWN; conductor; St. Paul's Church. Hudson Va lley Philharmonic; Rand all 22-24 Kansas City: SYMPHONIC SUITE Craig Fleischer, conductor; Ulster FROM "ON THE WATER FRONT"; Performing Arts Center. Kansas City Symphony; William McGlaughlin, conductor; Lyric Theatre. 19-21 St. Louis: ; St. Louis Symphony Orchestra; Christoph 30 Columbia, SC: PRELUDE TO ACT Eschenbach, conductor; Robert III, A QUIET PLACE; South Carolin a McDuffie, violin; Powell Symphony Hall. Orchestra; George Hanson, conduc­ tor; Koger Center For the Arts. 23 Portland,ME: CHICHESTERPSALMS; Portland Symphony Orchestra and Chorus; , cond uc­ tor; Portland City Hall Auditorium.

Note to Readers

Prelude, Fugue & Riffs will be the music of Leonard Bernstein sent upon requ est. Pl ease se nd all or hon orin g hi s crea ti ve life and correspondence to: shall do our best to include suc h Craig Urq uhart information in forthcom ing Prelude, Fugue & Riffs Calendars. 25 Centra l Par k West, Suite 1Y New York, NY 10023 Prelude, Fugue & Riffs'" is a 8 Fax: (2 12 ) 315-0643 publication of The Leonard Bernstein Society. ©1992 by Jalni Tax-deductible donati ons to The Publications, Inc. Bernstein Ed uca tion Through the Executive VP: Harry J. Kraut Arts (BET A) Fund, Inc. may be Manager: Craig Urquhart sent in ca re of th e sa me add ress. Editorial: Ned Davies We app reciate notice of any Design: Borsa Wallace, NYC performances or even ts featuring Best wishes (or a happy 1993 from L.B.'s gra11dchildre11, Eva11 and Francisca Th omas .