News for Friends of Spring/Summer 2019

COURTESTY OF AMBERSON ENTERPRISES, INC. (MUSIC DIVISION) COURTESTY

2 Annus Mirabilis 5 Bernstein, Blitzstein and Weill 8 Remembering Friends Inside... 4 Artful Learning 7 Candide as Existential 10 In the News Vaudeville 12 New Releases

BorsaSS2019_PFR_final.indd Wallace studs.indd 1 1 4/24/194/25/19 10:08 8:03 AM - - - 4/25/19 8:03 AM 4/24/19 10:08 AM ” was already Jeremiah “outstanding new classical Management. Bernstein s Catching wind of Reiner’s enthu Guest conducting invitations invitations conducting Guest seem to have had my little say as far as that piece is concerned. ertoire in the process. On March 7, 1944, 25-year-old Bernstein made his international debut, conducting Les Concerts Symphoniques de Montréal the(now Orchestre symphonique de Montréal). The performance got siasm for the piece, Koussevitsky invited Bernstein to premiere it in Boston. But slated to have its premiere in Pittsburgh. Bernstein conducted his symphony there with the Pittsburgh Symphony Orchestra on January 28, 1944 (just two months after the withdebut), mezzo-so prano Jennie asTourel the soloist. The performance was a complete success. Three Bernsteinweeks later, conducted his piece with the Boston whereSymphony, it triumphed once again. In March and April, he conducted it four more times with the NewPhilharmonic. York The voted Circle Critics Music York New Jeremiah work of the season.” began flooding in to Bernstein’s representative, Arthur Judson [1881- the founder1975], of Columbia Artist made several conducting debuts North throughout orchestras with America, greatly broadening his rep - -

for t the time ’ Jeremiah s all too sad and ’ eonard Bernstein’s legendary Carnegie Hall debut with Philharmonic the New York was on 1943, November 14, which raises Pop in my estima my in Pop raises which , Toward theToward end of 1942, Symphony No. 1: Jeremiah 1: No. Symphony He He is most anxious for the fourth just the starting point for several extraordinary accomplishments that took place in little more than a year, causing Bernstein’s double career as a conductor and composer to skyrocket. Bernstein was rushing to complete his entry into a competition organized by the New England Conservatory. not did symphony the Although win the competition, was destined for great success. Bernstein sent the work to both his Tanglewood mentor, Serge Koussevitzky, and his Curtis Institute conducting teacher, , for feedback. Reiner loved it and imme diately invited Bernstein to conduct it with the Pittsburgh Symphony, while encouraging him to add a more uplifting fourth movement. In a letter to his friend and mentor wrote, Bernstein Copland, Aaron “ movement; insists it defeatist. Same criticism my father had tion no end. I really haven or energy for a fourth movement. I by Heatherby Wallace L 1944: Bernstein’s Annus Mirabilis - ■ -

- - - and — Artful Artful and nothing — so varied in age, in — all those folks who cooked —

Leonard Bernstein at 100 programs nationwide; in in nationwide; programs

s the celebrations begin to subside, J.B. J.B. There is something about the com And perhaps best of all are the all the are of best perhaps And But it’s Butthe it’s people who have could have been more touching. Learning school systems like the one in Darien, all year Bernstein explored that CT long; and in the El Sistema-inspired youth orchestras around the country, song the shared members young whose “Somewhere” in a special arrangement them. created just for bined elements of emotionality, deep spiritual longing, and the sheer joy of existence music-making, in Bernstein’s that makes his public feel authentically connected to him. All that dynamism that love yes, and, sensitivity and Bernstein put into the world has come through these us all of at back pinging centennial celebrations beyond. young people. What a rare oppor tunity the centennial has been for introducing Leonard Bernstein to a new generation of performers and young surprisingly,audiences. Not kids really respond to the galvanic energies of Bernstein music. sawWe it happen to the kids in the up the myriad celebrations, from the we’re catchingwe’re our collective breath, trying to make sense of all that we’ve per whirlwind of the experienced: docu and exhibits the formances; atre companies to universities to dance companies, from museums to libraries to orchestras of every stripe nationality, in fieldof interest; and the presenters mentaries; the books and articles and re-issues of recordings. What a marvel it’s been. amazed us the most: the performers who gather Bernstein’s music to their hearts, then share it with their public; the audiences A

Prelude, Fugue & Riffs Spring/Summer 2019 2

SS2019_PFR_final.indd 2 Borsa Wallace studs.indd 2 Prelude, Fugue & Riffs Spring/Summer 2019 3 FRED PALUMBO, COURTESY OF THE LIBRARY OF CONGRESS NEW YORK WORLD-TELEGRAM & SUN COLLECTION 4/25/19 8:03 AM 4/24/19 10:08 AM Bernstein in 1944. Left: Articles and from programs 1944. ■ -

the foundation that This feverish flurryof conducting Heather Wallace is the Digital Media Media Digital the is Wallace Heather and Promotions Manager at The Office. Bernstein Leonard pressed period pressed for the rest of Bernstein’s legendary career was firmly set. and composing successes propelled Leonard Bernstein to the status of a must-have conductor for orchestras worldwide, and a must-get composer for both the concert hall and the stage. Thus it was in that very com . - - — - ; - - tri — , about his Fancy Free movie rights , expanding on expanding on , ). But). Bernstein the On for a subsequent Jeremiah royalties; and proceeds Candide On the Town the On On the Town the On ) and for John La to Touche Bernstein also managed to find This abundance of activity Following a tumultuous ten-day On the Town the On he new show followed the sailors’ Story wrote later Touche (La lyrics the pen lyrics for jointly led to a tenfold increase in Bernstein’s income in 1944 and 1945. time for his political and humanitar ian causes. Despite his parents’ con cerns regarding his outspokenness, Bernstein proudly told the press, in reference to sense of identification with the Jews in Europe and their terrible plight at the hands of the Nazis. He spoke at a pro-Roosevelt rally and appeared in Evening“An with Paul Robeson... under the auspices of: The Joint Anti-Fascist Refugee Committee, the Council on African Affairs,” as referred to in Bernstein’s already copious FBI file. insisted on bringing in his friends friends his in bringing on insisted and . From June to December of 1944, the three young authors wrote and com posed Fancy storyFree’s of the three sailors from the umphantly premiered on Broadway on December 28, 1944, at the Adelphi Theatre (barely a year after the Carnegie Hall Asdebut). Jack O’Brien of the Associated Press put it, reviewer“a gets an opportunity to heave his hat into the stratosphere, send up rockets and in general start the sort of journalistic drooling over a musical comedy that puts an end to all adequate usage of superlatives.” rights the bought immediately MGM to Town the On movie. York New Bernstein’s including city major stipend; Philharmonic conducting fees; a recording con tract with RCA Victor; publishing proceeds; income from T 24-hour shore leave in NewCity, York tracking their amorous adventures on the eve of their steaming off to war- torn Europe, to meet what fates they could not know. tryout in Boston,

------Fancy Fancy Free West Side their ballet into a Broadway Fancy huge Free a was , the scenic designer Oliver Smith Bernstein similar received praise Throughout this busy time, Bernstein found time to compose Following the success of pher knocked on the door of Bernstein’s studio apartment above Carnegie Hall, to discuss an idea he had for a one-act ballet about three sailors on shore leave in New City. York Instantly, a great partner a rave review in the Montreal Star: “The strings of this orchestra have never before produced such quantity and quality of tone or so much fine later that summer for his conducting debuts with the Chicago Symphony Orchestra at the Ravinia Festival and the Los Angeles Philharmonic at the Hollywood Bowl, as well as other outdoor concerts in Montreal and New York. In the fall, he led the New PhilharmonicYork in five different programs; gave a series of radio con another facet of Bernstein’s career was also gaining momentum. In the fall of the1943, young choreogra the thirty-minute score of ness of shading.” certs in Detroit; and conducted the his Orchestra, Symphony Cincinnati tenth orchestra in that year. ship was born. Free persuaded Robbins and Bernstein to develop musical. Smith and his friend Paul Feigay produced the withshow, the Georgeesteemed Abbott directing. Robbins was pushing for Arthur Laurents to write the book (Laurents later wrote the book of in between his conducting engage ments. The Ballet Theatre (later the ) premiered the work at the Metropolitan House on April 194418, (just four months after the Carnegie Hall debut). success, breaking Met box office extend performances with records, ed for an additional two weeks. Bernstein conducted additional per formances in San Francisco and at the Hollywood Bowl. SS2019_PFR_final.indd 3 Borsa Wallace studs.indd 3 Artful Learning Update COURTESY PATRICKCOURTESY BOLEK

Director Thomas by Patrick Bolek Grube oversees the capture LIGHTS, CAMERA, ACTION! of a dynamic oomtown Media, based in Berlin, Artful Learning BGermany, secured funding from classroom. two European foundations to create a global awareness message that educa- tion must improve how students learn if they are to be productive and con- fident in a changing world. An Artful Learning School provides that hope. Two documentary short films will be created from a week-long residency learning; Original Creation demon- Kappel. The grant also provides film shoot in Napa, California. One strations; and interviews with stu- funding to continue development, film will be a case study that follows a dents, educators, and artists are just build awareness, and add additional student and family through their day, some of the upcoming highlights. schools across the nation. intertwined with their learning expe- riences at Willow Elementary. A sec- BUILDING THE ARTFUL MAGNET SCHOOLS OF ond film will demonstrate the creative LEARNING TEAM AND MORE... AMERICA CONFERENCE and innovative approaches embedded Through a combination of the April 10-14, 2019 at Willow Elementary through the Artful Learning Board of Directors’ Federal magnet funding has Artful Learning model. The premiere action and the awarding of a gen- energized Artful Learning Schools of both documentary shorts, under erous grant, the executive team in California, Florida, and Michigan the direction of Thomas Grube and has expanded to include Executive in the past decade—and now, the produced by Uwe Dierks, is slated Assistant Claire McCall and Magnet Schools of America have for late 2019. Glimpses of classroom Development Consultant Jerold recognized these schools as “schools of Excellence and Distinction” - their highest honors. Willow Elementary (Napa, CA), Midway Elementary School of the Kids Celebrate Bernstein Arts (Sanford, FL), and Dwight Rich School of the Arts (Lansing, MI) continue to reimagine their schools he Darien, CT school system Works by Agnes by empowering students, educators, has spent the year focusing on Zionic, Grade 2 T teaching artists, and communities. and Kimball Leonard Bernstein. Elementary Artful Learning will be spon- Atha, Grade 3, school students participated in a post- soring Booth 9 at the conference in Holmes School. er project. The results were festive! Baltimore, Maryland, promoting the

Prelude, Fugue & Riffs concept of Empowerment Through Transformation. The conference draws thousands of administrators, educators, and advocates of the mag- net platform and will be an excellent opportunity to showcase and further Spring/Summer 2019 expand the model. ■

Patrick Bolek serves as the Director, Advancement Consultant and Lead Master Trainer for Artful Learning.

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BorsaSS2019_PFR_final.indd Wallace studs.indd 4 4 4/24/194/25/19 10:08 8:03 AM Prelude, Fugue & Riffs Spring/Summer 2019 5

4/25/19 8:03 AM 4/24/19 10:08 AM Blitzstein Marc and Leonard Bernstein at Tanglewood.

LIBRARY OF CONGRESS, MUSIC DIVISION

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Street has not not has A Quiet Place West Side Story. West Side Story. Lady in the Dark and , on the other hand, hand, other the on , Street Scene Candide explores stories of thwarted thwarted of stories explores Weill’s ambitions may have been Even more so than by Blitzstein, weaves weaves together dream sequences with the everyday life of a magazine editor as she undergoes psychoanal ysis. The “American opera” Scene romance at a Newapartment York house, quoting Wagner and Puccini while integrating a range of popular idioms. too lofty, for maintained a foot in commercial theatres but rather opera houses. West Side Story entered the mainstream (foremost it as version) film 1961 through the told of warring Puerto Rican and on factions Caucasian-American (continued on page 13) would write the sequel three decades later, which in the 1984 version incorporates the first Bernstein’s But flashback). a as opera score is a formal experiment that created an important stepping stone toward that path was paved by the innova tions of Weill, who had probed the possibilities of a mixed genre defying the boundaries between opera and musical theatre. The development began in his collaborations with Brecht and continued in the U.S. The “musical play” - - . with which, Trouble Trouble . . Dedicated New York Times Times York New . Bernstein was so Reuben Reuben Reuben , offers an unflinching Airborne Symphony Trouble Regina suffered from a “dreary” Trouble in Tahiti Trouble Regina As Bernstein rose to internation It It was against this backdrop that Brandeis University induring 1952 the same festival that unveiled his opera to Blitzstein, the score of that opera was finished in the cabin outside Saratoga, New York, where the elder composer had been working on his musical drama, al fame, he remained a champion of Blitzstein’s work. He premiered Blitzstein’s and, Symphony City York New the triedin 1955, to convince the artistic administration of La Scala to mount the opera passionate about the drama’s historic importance that he had published a preview piece in the upon its 1949 premiere, writing of an operatic tradition that is “wholly an outgrowth of our culture.” he created in Tahiti lyrics.” inept “somewhat and story Bernstein himself called the work “half-baked” after the premiere (he like ly honest portrayal of American domestic life in an idiom that veers freely between the popular and the melodramatic. The “opera in seven scenes” was in some ways a problem child. Blitzstein admitted to friends while “lively musically,” , - - - -

, started Blitzstein’s career). career). Blitzstein’s

Die Dreigroschenoper

The Cradle will Rock

Die Dreigroschenoper

If Blitzstein’s own contact with Weill’s work was also an The Cradle will Rock marked a

eonard Bernstein’s own brand of serious music theater was shaped Bernstein, Blitzstein and Weill Bernstein conducted the premiere at The Threepenny Opera an American renaissance for the works pre-exile German émigré’s was(it also the most lucrative undertaking of Weill had been limited, his English his limited, been had Weill adaptation of eye-opener for Bernstein. He had encountered a recording with Lotte Lenya singing the role of Jenny in which1937 he later recalled made him “instantly” fall in love. But he credited Blitzstein in large part for his intimacy with the music. “Through Marc I came to feel that I knew Kurt Weill,” he wrote. “His drives, his courage, his foibles and his great humanity.” ly relevant music theatre combining elements of both European modern ism and American vernacular. At the encouragement of Bertolt Brecht, the strug the explored music” in “play gle between union workers and the ruthless Mr. Mister in the fictional town of Steeltown, U.S.A. Allusions to Weill’s particularly thinly only veiled, are prosti the of numbers through the tute, Moll, as the show takes on the hypocrisy capitalist of society. new phase in Blitzstein’s career in which he pursued the ideal of social by two figures: The American com- poser Marc Blitzstein, who played a key role in the reception of Kurt in the himself. Weill U.S., and Weill Bernstein’s career had become inter- twined with that of Blitzstein in his student years. while In studying 1939, at Harvard, he mounted a production of Blitzstein’s which Blitzstein a later wrote “packed thrilling wallop for Bernstein me.” in turn saw the who composer, was 13 years his as senior, a “giant who had written those notes which seduced my soul.” L by Rebecca Schmid Rebecca by SS2019_PFR_final.indd 5 Borsa Wallace studs.indd 5 The Celebration Continues

Next up will be two performanc- es of Bernstein’s opera, Trouble in Tahiti, starring Patricia Racette and Paulo Szot, with the CSO conducted by Alsop. by Craig Urquhart The Knights, conducted by Erik Jacobsen, will reprise their acclaimed Thousand, Alsop and the CSO and avinia’s multi-season celebration Boston production of Candide, with chorus performing. The soloists Rof Leonard Bernstein, which choreography by John Heginbotham. will be Angela Mease, kicked off during his centennial Songfest, Bernstein’s settings Leah Crocetto and Joélle Harvey; last summer, enters its second year of texts by a diverse grouping of mezzo sopranos Michelle DeYoung curated by conductor Marin Alsop. American poets, will feature singers and Kelley O’Connor; Joseph The celebration of Bernstein as artist, from Ravinia’s Steans Music Institute Kaiser; Paulo Szot; and activist, and educator will continue and the Caroga Arts Ensemble, Ryan Speedo Green. through his music as well as that under the baton of Alexander Platt. Jamie Bernstein will join Marin of composers he championed. In Two iconic films, West Side Alsop and the CSO for Lenny: A addition to concerts in all three of Story and On The Waterfront, will Musical Portrait. This evening of Ravinia’s concert venues, an exciting be screened with live orchestra per- symphonic works, songs, and stories fourth venue, the newly construct- forming Bernstein’s music. David will evoke the spirit of Bernstein as ed Ravinia Music Box Experience Newman will conduct. composer, activist, and family man. Center, will open this summer fea- The Bobby Sanabria Mutiverse Guest artists include pianist André turing a futuristic installation about Big Band will perform selections Watts, baritone Paulo Szot, and Bernstein. from their 2019 Grammy-nominated mezzo Michelle DeYoung. The festivities will begin on July album West Side Story Reimagined. Ravinia President and CEO Welz 20 with an encore performance of Composers that Bernstein cham- Kauffman said, “There aren’t enough , which the Chicago Tribune pioned will also be represented. hyphens to string together all of declared one of the best concerts Conductor Lional Bringuier and pia- Bernstein’s titles and accomplish- in 2018. As with last year, this per- nist Jean-Yves Thibaudet will join the ments, and Ravinia's multi-season formance will feature the Chicago CSO in a performance of Gershwin’s celebration is hoping to present a Symphony Orchestra (CSO), Chicago Concerto in F in a program that well-rounded remembrance of both Children’s Chorus, and the Highland also includes two Bernstein favor- the common man and the superstar Park High School Marching Band, ites, Stravinsky’s Firebird Suite artist who did so much to shape our with Paulo Szot returning in the role and Ravel’s Mother Goose Suite. musical tastes and further our under- of Celebrant, and Marin Alsop con- Bernstein’s admiration for the music standing.” ducting. of will be celebrated For more information: https:// with a performance of Mahler’s www.ravinia.org Symphony No. 8: Symphony of a

Pacific Music Festival 30th Season his summer the Pacific Music young musicians from all parts of the The annual Leonard Bernstein TFestival (PMF), an international globe, who are chosen through audi- Memorial Concert will be held educational music festival founded tions. They receive instruction from a this year on July 13, with the PMF

Prelude, Fugue & Riffs in Sapporo by Leonard Bernstein, is faculty of musicians from the Vienna Orchestra led by Marin Alsop, who celebrating its 30th season. Bernstein Philharmonic, Berlin Philharmonic, attended the first season of PMF as founded PMF in his last months, as and leading orchestras of the United a protégée of Bernstein. The festival part of his commitment to educat- States. will culminate with Shostakovich’s ing young musicians and fostering PMF 2019 will feature Christoph Symphony No. 4 led by current PMF international mutual understanding Eschenbach, who took on the role Artistic Director Valery Gergiev.

Fall/Winter 2018/2019 Fall/Winter through music. Bernstein said, “The of PMF Artistic Director the year The Festival runs from July 6 until

Pacific Music Festival is one very large after Bernstein’s passing, and has August 2. ■ aspect of this commitment, which I gone on to serve in the role nine For more information: https:// hereby make for the rest of my life.” times. Maestro Eschenbach will lead www.pmf.or.jp/en/ The heart of PMF is the Mahler’s Symphony No. 8 in celebra- Orchestra Academy, made up of tion of the 30th anniversary.

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BorsaSS2019_PFR_final.indd Wallace studs.indd 6 6 4/24/194/25/19 10:08 8:03 AM “Nothing More Than This?”: Candide as Existential Vaudeville at Komische Oper Berlin

by David Savran MONIKA RITTERSHAUS

magine a world that persistently Irewards the rich and powerful while immiserating the masses. Imagine a paternalist cartel that scapegoats minorities and refugees, while treat- ing women like chattel to be bought, coddled, and dumped. Voltaire did so in his 1759 novella Candide by observing—and ruthlessly satiriz- ing—the world around him. Leonard Bernstein and his many collaborators did so two centuries later in their controversial musical/operetta. Sixty years on, Director , at Komische Oper in Berlin, has fol- lowed suit and succeeded rapturously in resurrecting Candide by underscor- ing both its historicity and its disturb- ing contemporaneity. The theatrical dynamism of absurdist logic as the inexorable law company (along with the chorus) Scene from Bernstein’s Candide lies in the of a ruthlessly arbitrary and unjust en route to the New World in three Candide at violent contradiction between the world. In recognizing the piece’s large rubber dinghies that clearly Komische Oper, ravishing beauty and wit of its score kinship with its absurdist contempo- evoke the leaky, makeshift barks that Berlin. and the relentless succession of raries, this production exposes the refugees are forced to take while flee- horrors that comprises its plot. This philosophical fatalism that underlay ing from North Africa to Europe. In contradiction is not a flaw; rather the post-World War II boom years of Surinam, Candide’s servant Martin, it is the crux of the piece’s unique Bernstein’s heyday and illuminates “the most wretched, pessimistic per- brilliance and power. Because a the darkest corners of our own world. son” Candide could find, is re-gen- realistic production is unthinkable, Candide’s contradictions are dered as a woman-played-by-a-man most directors emphasize the farci- nowhere more apparent than in the street-sweeper in the tradition of the cal, fantastical nature of Candide’s “Auto-da-fé.” Kosky’s is a contem- scene-stealing, comic travesty roles brutalities and the two-dimensional- porary media event, complete with of Monteverdi and Cavalli. Martin’s ity of its protagonists. Barrie Kosky cameras and boom microphones, carnivalesque drag (as working-class does as well, but by radicalizing the which climaxes in the hanging of executor of distinctly feminized clash between the sublime and the Pangloss and flogging of Candide. labor) gives his misanthropy a fasci- ridiculous, he turns it into what he The throngs of merrymakers are natingly grotesque twist. calls an “existential vaudeville” that joined by a chorus line of leggy, For all Candide’s trials and trib- takes Candide’s sparkling comedy can-canning show “girls” (both ulations, it is questionable whether seriously by mining it for tragedy. women and men) in Vegas-style Voltaire’s protagonist ends his jour- For all its silliness, Kosky’s Candide bright blue and white one-pieces, ney an enlightened man. Bernstein’s disproves Leibnizian optimism by with oversized feather headdresses hero, however, especially in later depicting the realest of all possi- and trains. The trials of Pangloss editions of Candide, is given a ble worlds as a merry-go-round of and Candide are preceded by two moment of illumination, an elegiac

exploitation, greed, and slaughter. In others, the first of a pair of cartoon- aria “Nothing More Than This” Prelude, Fugue & Riffs underscoring this message, Kosky’s ish Jews and the second of a refugee that follows his ridiculously overdue vaudeville (based on John Caird’s couple carrying plastic tote bags (the acknowledgment of Cunegonde’s 1999 version for the Royal National woman wearing a head scarf). Both venality. In Kosky’s production, Theatre) mines the intriguing par- groups are nonchalantly condemned the performance of this aria has allels between Bernstein’s operetta and machine-gunned, then hastily resonances that reach far beyond and two plays that took the world

dragged off-stage by the show “girls.” Cunegonde’s betrayal, becoming 2018/2019 Fall/Winter by storm during the decade of Kosky’s pair of unmistakably a bitter rejection of Pangloss’s irre- Candide’s launch, Samuel Beckett’s contemporary refugees is but one sponsible optimism and a tragic Waiting for Godot and Endgame. of many examples of the renewed acknowledgment of the precarity Like Beckett’s plays, Kosky’s new relevance his Candide contrives. The and evanescence of earthly things. production honors Candide’s first act closes with Candide and (continued on page 13)

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BorsaSS2019_PFR_final.indd Wallace studs.indd 7 7 4/24/194/25/19 10:08 8:03 AM Remembering Sono Osato (1919-2018)

by Carol J. Oja newspaper PM later asserted her to flirted with what was then called be the company’s “youngest member miscegenation. As a central plot-line ono Osato, the original “Ivy and its first American.” of the show, a sailor named Gabey— SSmith” in On the Town of 1944, One of Sono’s signature roles played by John Battles, an actor passed away in December at age 99. with the de Monte of Caucasian heritage—pursued A brilliant dancer in America’s golden Carlo was “The Siren” in George Sono’s Ivy. A promotional photo age of ballet, Osato was prominent Balanchine’s The Prodigal Son, shows Osato standing seductively within a generation of ballerinas, which premiered in 1938. At the over Battles, giving a sense of how including , who start of World War II, the troupe brazenly their on-stage romance was brought ballet to Broadway musicals. relocated to , and portrayed. Osato exhibited personal and polit- Sono moved to Ballet Theatre, which Because of Shoji’s detention, ical courage, challenging the racial was then a relatively new American he could not attend his daughter’s restrictions that defined performance company. She became a celebrity, opening night on Broadway. Yet in the mid-twentieth century. attracting the attention of major Sono continued to dance. She Born in 1919, Osato was photographers including George also became active politically—for Nikkei—that is, a child of the Platt Lynes. Sono’s initial Broadway example, demonstrating on behalf Japanese diaspora—whose father role was in Kurt Weill’s One Touch of the Abraham Lincoln Brigade, Shoji Osato immigrated from Japan. of Venus, which opened in 1943. which was defying Franco’s dicta- Her mother, Frances Fitzpatrick, For it, she won the first Donaldson torship in Spain, and also against was an American of Irish-French- Award (a predecessor of the Tony Jim Crow segregation in the theaters Canadian descent. Because of Awards) for Best Female Dancer. of Washington, D.C. The Pacific race-based immigration laws at the While Sono danced in New York Citizen, published by the Japanese time, Frances lost her American City, her father Shoji was targeted by American Citizens League, followed citizenship when she married a the anti-Japanese hysteria of World her activities, writing in 1946 that Japanese national. Sono was born War II. The day after Pearl Harbor, Sono “is now as well known for her in Nebraska and moved with her he was arrested and detained in social conscience as she is for her family to Chicago, where in 1934—at Chicago by the F.B.I., despite the dancing and acting.” After On The Sono Osato age 14—she auditioned successfully fact that his government records, Town, she appeared in the Broadway posing in her for the Ballets Russes de Monte obtained under the Freedom of show Ballet Ballads (1948) and the ”cooch girl“ Carlo. Thus as a teenager, Sono was Information Act, show no sign of Hollywood film The Kissing Bandit costume for suddenly working in a renowned subversive activity. Rather he was (1949). On the Town, presumed guilty because of profes- In the early 1950s, Sono faced together with transnational troupe, made up large- sional associations with the Japanese a new set of hurdles because of the John Battles. ly of Russian exiles. The New York tourist bureau, having drawn on his Communist-hysteria blacklist. In her JEROME ROBBINS DANCE DIVISION, THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS, national heritage to forge business remarkable autobiography Distant alliances across borders. Dances (1980), she recounted the Xenophobia also impacted damage that resulted, including the Sono’s career. In the spring of 1942, loss of a hoped-for career in televi- when Ballet Theatre toured Mexico, sion. She returned to the stage in she could not obtain a passport 1955, this time in a revue titled Once because of her Japanese heritage. Over Lightly with Zero Mostel and The next year, under Executive Jack Gilford, with comedy sketches Order 9066 which aimed to remove by the young Mel Brooks. The show all people of Japanese ancestry from was not successful, however, and the West Coast, she was prohibited Sono essentially retired from perfor- from performing with the troupe in mance.

Prelude, Fugue & Riffs California. Sono Osato married Victor Then miraculously—coura- Elmaleh (a real estate developer and geously—Sono was hired for the entrepreneur) in 1943, and she is starring role in On the Town. There survived by their two sons, Niko and

she played a character crowned as Antonio. ■ “Miss Turnstiles,” a beauty queen

Spring/Summer 2019 of the subway, and she did so in an Carol J. Oja is the author of era when no Asian American stars Bernstein Meets Broadway: appeared on Broadway or had the Collaborative Art in a Time of War slightest chance of winning real (Oxford University Press), which beauty pageants. Furthermore, includes a chapter about Osato. On the Town’s interracial casting

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BorsaSS2019_PFR_final.indd Wallace studs.indd 8 8 4/24/194/25/19 10:08 8:03 AM Remembering Sono Osato (1919-2018) Remembering André Previn (1929-2019)

by John Mauceri was in fact quite unlike Bernstein, GUY DELORT making it important to celebrate his itting down with André Previn for genius as uniquely his own. Previn, Sa chat was an exercise in a kaleido- for example, became Previn in scopic history of 20th century music. Hollywood, working during a time For three years he welcomed me into when the first World War II refu- his apartment where he sat at his desk, gee composers—Rozsa, Waxman, surrounded by stacks of papers, books, Tiomkin and Korngold—were still and scores, accompanied by the fre- active, and the next generation, the quent interjections of his cat. American born and trained Jerry Previn had been severely chal- Goldsmith, Elmer Bernstein, Alex lenged by old age, and when asked North, and Bernard Herrmann were “How are you?” would usually emerging; Previn’s abilities as a com- answer, “It doesn’t matter.” His death poser, arranger, and conductor were at the age of 89 was not particularly first noticed and celebrated there; surprising, but it still was a shock his work on My Fair Lady, Gigi, and to realize that he surely was the last Porgy and Bess were the culmination The first time André and I met, Violinist Yehudi musical titan to emerge out of World of an astounding facility that gar- our conversations included: how to Menuhin, War II and the racial policies of the nered him four Academy Awards. His beat the opening bars of Brahms’s cellist Mstislav Nazis. Were it not for the vagaries of dry sense of humor was clearly on dis- Third Symphony; Boulez’s opinion of Rostropovich, his native country, the Berlin-born play when he recently spoke to me of Shostakovich (“He is not a composer.” Leonard Previn might have become Germany’s his first picture,The Sun Comes Up, “Pierre, you’re joking.” He was not.); Bernstein, and pianist André wunderkind instead of America’s. which starred Jeanette MacDonald how he recorded My Fair Lady with Previn. Since he was eleven years younger and Lassie. (“There was a lot of bark- Rex Harrison’s insisting on perform- than Leonard Bernstein, Lenny’s life ing but not much dialogue in a Lassie ing the musical numbers live to the and career cast a mighty shadow onto movie. I got to write a lot of music.”) camera; our shared history with his André’s. When Previn began con- André was eighteen years old and MGM piano colleague Mel Powell ducting lessons with Pierre Monteux, was smart enough to take that assign- (my composition teacher and the man the old maestro asked his pupil ment seriously, leading to what could who played Tom & Jerry cartoon if he had been watching Leonard have been a lifetime job. sound tracks with André); his love Bernstein. When Previn answered in André surprised everyone when for his composition teacher Mario the affirmative, Monteux said, “I have he left Hollywood, slamming the Castelnuovo Tedesco; his next book; never known an orchestra to play door by writing a book called No and music he was writing for Renée louder because I jumped in the air.” Minor Chords that many saw as per- Fleming. He was kind and soft-spo- Lesson taken. The press liked to see petuating the idea that Hollywood ken, though he could rise to episodes André as the “next Bernstein,” and is run by idiots and charlatans. But of titanic anger when he sensed injus- has hardly stopped looking for the André wanted other things, things tice or incompetence. It should come next Bernstein even today. But just as to fill his soul, and he did just that as no surprise that he held very strong there will never be another Leonard by composing his own music and opinions. Bernstein, their will never be another becoming a major conductor and During those three years that André Previn. teacher, much as Lenny did. More of I visited André Previn, I somehow What they had in common a fixture on British television, Previn expected that he would last forever, remains pretty obvious: early signs of was a household name in the UK. answering questions that spanned genius, catholicity of taste, pianistic And he was a brilliant jazz musi- eighty years of making music. Now it virtuosity, media attention, composi- cian. He may have looked at jazz is up to us—those who were privileged as a hobby, but his achievements in to know him—to retell his stories. ■

tions ranging from one grand opera Prelude, Fugue & Riffs to chamber works and musicals, and the world of jazz made him famous a profound international success to a previously untapped audience Maestro John Mauceri conducted with the standard European classical by combining jazz with Broadway Sony Classical's recently released repertory. They occasionally met— for the first time. When I asked him world premiere recording of Danny most famously for a performance of about his 1959 album, André Previn Elfman's Violin Concerto. His second Beethoven’s Triple Concerto at Wolf and His Pals—West Side Story, he said book for Alfred A. Knopf, For the Trap’s celebration of Bernstein’s 60th that agreed to Love of Music—A Conductor’s Guide Spring/Summer 2019 birthday, with and record it because Bernstein had heard to the Art of Listening, is scheduled Mstislav Rostropovich as co-soloists. Previn perform his take on the score for publication in September.. But André was his own man and and encouraged the company to bring André and his jazz colleagues into the studio.

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BorsaSS2019_PFR_final.indd Wallace studs.indd 9 9 4/24/194/25/19 10:08 8:03 AM Grammy Hall of Fame Symphony Orchestra; his record- ing of Shostakovich Symphony No. 5 (NYP); the Barber Violin Concerto (NYP with Isaac Stern); Ives: Symphony No. 2 (NYP); and Copland: Appalachian Spring (NYP). Bernstein’s daughter, Jamie Bernstein, remarked, “My siblings and I are thrilled that our father’s piece MASS is getting its due from the Grammy Hall of Fame. Of all his compositions, MASS is the most per- sonal—the one into which he put the most of himself. So in honoring the he Grammy Hall of Fame recently theatre piece, MASS. MASS now piece, the Recording Academy hon- Tannounced 25 new recordings joins Bernstein’s other inductee ors Leonard Bernstein himself—in to be inducted this year, including recordings: the Complete Mahler all his multifacetedness, all his melo- Leonard Bernstein conducting Symphonies with The New York diousness, and all of his enormous

the premiere recording of his Philharmonic (NYP)/London heart.” ■

Leonard Bernstein 100

s part of the celebrations of “This handsome tome is a photo- ALeonard Bernstein’s Centennial, graphic tribute to Leonard Bernstein photographer Steve J. Sherman, in his centenary year... The photo- together with Jamie Bernstein, graphs themselves are beautifully assembled 100 iconic photos of reproduced, one to a page so that the Maestro in a handsome and you are able to see them in a fairly informative book published by pow- large size that brings out the quali- erHouse Cultural Entertainment, ty... A splendid gift for the Bernstein Incorporated. aficionado.” The reviews have been outstand- – Mike Langhorne, Classical Source, ing. January 2019 “Leonard Bernstein 100 by Steve J. Sherman with Jamie Bernstein, “An elegant, captivating collec- is a love affair between Leonard tion of significant photographs to Bernstein and the camera, with celebrate the iconic 20th Century

Prelude, Fugue & Riffs invaluable information about the composer/conductor’s Centennial maestro’s life and career... This book “There is a range of emotions in 2018... This rich trove gives gen- opens the door to the maestro as that informs the images... The book erations to come an unforgettable, nothing else can... As we turn the features many unpublished photos enlightening glimpse into the life of last page, we are left with a sense of of Mr. Bernstein by some of the most an artist who changed the face of knowing this man, and being a bet- famous photographers in the world, culture in the 20th century—a life documented by many of the most Spring/Summer 2019 ter person for it. This is a book that from Irving Penn to W. Eugene is read once, and then once again, Smith, Richard Avedon, and Henri important photographic artists of and again – each time gaining new Cartier-Bresson. After all, master that era.” insight into a true maestro.” does recognize master.” – The Boston Symphony Orchestra – – Judith Reveal, New York Journal of – Rena Silverman, The New York website shop, December 2018 ■ Books, January 2019 Times, LENS December 11, 2018

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4/25/19 8:03 AM 4/24/19 10:08 AM

Scene from Scene from in On the Town Leipzig. ■ , Australia: Canberra, Australia: Sydney, Australia: Sydney

Dresden, Germany: Semperoper Germany: Dresden, Cologne Germany: Musical Dome Dome Musical Germany: Cologne Kultur Regional „ –

Die Deutsche Bühne kultur-extra.de –

The sold-out performances “three truly entertaining thrilling “voluptuous, sensual, vivid and “Just when the piece is over, you Arts Center Arts June 25 – July 3 Unter Staatsoper Germany: Berlin, July 6 – 14 Linden den – August July 8 17 August – October 16 6 Opera House October – October 10 27 Canberra Theatre Centre November 28 – December 15 Centre PERFORMANCE DATES PERFORMANCE Melbourne Australia: April 6 -28 Melbourne, Chip. Ivy Smith was performed by Patrcia Klages; Hildy Esterhazy by Zodwa Selele; Claire De Loone by Nora Lentner. Melissa Jung was Lucy Schmeeler and Sabine Töpfer Madame Dilly. The role of Pitkin BridgeworkW. was performed by Michael Raschle. received highly complimentary press: hours” – magnificent” over all start to it wish immediately again” ■ - -

had Fanny

West Side will present Leipzig : Opera AustraliaOpera and . The production, in A Quiet Place the four

Trouble in Tahiti in Tahiti Trouble usikalische Komödie/Oper Leipzig recently presented . This production is directed In addition, “What an evening!” visitation“A of this production is a “ moving... scenic execution of Down Under Down GWB Entertainment the BB Group production of the original production of Story recre also who McKneely, Joey by ates the timeless original Jerome Robbins choreography. The musical supervisor is conductor Donald Chan. The young Australian cast will feature Jacobsson Todd asand Tony Sophie Salversan as Maria. In addi Australia, in performances to tion this production will also be seen in Germany. M Edwin Sunderland, Music Editor Editor Music Edwin Sunderland, of The Leonard Bernstein Office. They were presented on the same evening. Lustaud as Dinah and Ronan Collett as Sam. For Satter Wieland were main characters as Old Sam; Katharina Hagopian Lesuisse Fabio (daughter); Dede as was Junior and (Son); Patrick Cook as friend.) Francois The (Dede’s Symphonywas OrchestraAachen of led by Christopher Ward. – Die Deutsche Bühne highly recommended” – Der Opernfreund Bernsteins bitter society satire” – Online Music Magazine ON THE TOWN German, was directed by Cusch Jung, with musical direction by Christoph-Joannnes Eichhorn. The cast featured Jeffrey Krueger as Gabey; Benjamin Sommerfeld as Ozzie; and Andreas Rainer as On The Town The On - .

A Trouble Trouble Vienna : , , in an A Quiet Place Handa Opera Aachen, Aachen, West Side Story ; and

West Side Story taking is , both adapted by Garth Mottingers Meinung

–

and the adaption2013 of Magazine: Vormagazin Vormagazin Magazine: onderful Town acclaimed Volksoper Wien –

“ ...this West Side Story is a solid Most recently the his year Australia storm. by “a “a grand finishof the Bernstein The title roles of Ruth and Eileen he Aachen State Theater recently presented Bernstein’s two ,

West Side Story T

on Sydney Harbor presented a new production of directed by Francesca Zambello with choreography by Julio Monge. Native Aussies Alexander Lewis and Julie Lea Goodwin performed and Tony Maria. success. In fact, in many important successful most the be might it ways spectacle floated yet.” – Daily Review, Jason Whittaker Theatrical Reviews TROUBLE IN TAHITI “Wonderful at Town the Volksoper good successfully around all an is mood evening. No wonder the viewers couldn‘t stay in their seats at end.” the A QUIET PLACE Germany ducted. Year”

co-production with the Dresden Stattsoperetta, has been delighting Vienna audiences. Sherwood were played by Sarah Schütz and Olivia Delauré. Drew Sarich sang the role of Robert Baker. The production was directed by Matthias David and choreographed by Melissa King. James Holmes con T WONDERFUL TOWN WONDERFUL W The Director Nina Russi chose the chamber of orchestration Quiet Place Trouble in Tahiti Trouble in Tahiti SS2019_PFR_final.indd 12 Borsa Wallace studs.indd 11 New Releases Major Entertainment, in conjunc- The 52 programs will be released Ction with Unitel, are presenting in three volumes. Volumes 1 and 2 a new release of Leonard Bernstein’s are currently available, with Volume 3 Young People’s Concerts with The coming soon. . Previously C Major Entertainment has also only available in the United States, the released numerous DVDs of other groundbreaking series has been digi- Bernstein performances. tally remastered on DVD and Blu-ray For more information: https:// for worldwide distribution. www.cmajor-entertainment.com (continued on page 14)

Leonard Bernstein at 100: Jeremiah Soloists

ernstein’s Symphony No. 1, Top to Bottom, Left to Right: Laura Beckel Thoreson; Liane Jeremiah, was particularly well B Row 1: Annie Rosen; Clara Osowski; Keegan; Marie-Nicole Lemieux; Rinat represented during the Centennial Claude Eichenberger; Elisabeth Shaham season. Here are the many mezzo Kulman; Elizabeth DeShong; Row 3: Sasha Cooke; Shira Karmon; sopranos who sang the searing final Guadalupe Barrientos; Jenny Sophi Koch; Stephanie Foley Davis; movement of the symphony. ■ Carlstedt; Huiling Zhu; Jamie Barton; Susan Platts; Tamara Mumford; Jennifer Johnson Cano Tatia Jibladze; Vera Savage; Zlata Row 2: Hadar Halevy; Jessica Khershberg; Zoie Reams Gillingwater; J'Nai Bridges; Kate Symonds-Joy; Kelley O'Connor;

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(continued from page 5) Stephen Sondheim from rewriting the streets of New York. There are “The Saga of Jenny” from Lady in the Selected numbers that lean toward opera (the Dark as “The Saga of Lenny” upon “Tonight” Quintet), more catchy Bernstein’s 70th birthday, teasing Performances songs (“I Feel Pretty”) and those him about the inability to make up that reside somewhere in between his mind: “Poor Lenny/Ten gifts too (“Maria”). many/the curse of being versatile/ Dear Readers, Candide, meanwhile, which To show how bad the curse is/We’ll premiered a year before West Side need a lot of verses/and take a little eonard Bernstein at 100 is well into its sec- Story, in 1956, pays homage to the Weill.” As the lyrics tacitly acknowl- Lond spectacular year, and the tally on the likes of Cunegonde and Bellini while edge, Bernstein drew important database has soared past 5,000! As there are still maintaining a distinctly American impulses from the émigré composer quite a number of performances upcoming, we carefree spirit, satirizing the hunt for as he created works that both edu- continue to experience our wonderful problem communists during the McCarthy cate and entertain. The comparison of lacking the space to list them all in this news - era while reveling in the glamour of of scores by Weill, Blitzstein and letter. And so, for a complete listing of upcom- Old World culture. Looking back Bernstein continues to reveal how a through the lens of today’s world, specific tradition was absorbed and ing performances, we request once again that it is easy to become nostalgic for a transformed into musical hybrids you visit our website: time when it was so self-explanato- that remain beloved on stages around

ry for artists to cross the Atlantic, the world. ■ https://leonardbernstein.com/at100 philosophically and otherwise. If Bernstein died before realizing Rebecca Schmid is completing his vision of an opera about the her dissertation about the compo- Holocaust, Candide is a biting satire sitional reception of Weill in the that shows the possibility of a better music theatre works of Blitzstein world in which people are not judged and Bernstein at the Humboldt- by their social status, religious back- Universität zu Berlin. She contributes ground or political affiliations. regularly to the Financial Times and Prelude, Fugue & Riffs will be sent upon request. Despite a life-long struggle to International New York Times and Please send all correspondence to: reconcile his inner tension between has moderated and written program Craig Urquhart the pensive composer and the notes for such organizations as the Prelude, Fugue & Riffs jet-setting conductor, he managed to Karajan Music Tech Conference, 121 West 27th Street produce stage works that combine and Salzburg Suite 1104 his gifts as a communicator and Festival. New York, NY 10001 musical craftsman. That did not stop Fax: (212) 315-0643 e-mail: [email protected] Candide, continued We appreciate notice of any performances or events featuring the music of Leonard Bernstein (continued from page 7) appears upstage and slowly rolls or honoring his creative life and Like Bernstein, Kosky does not toward the audience, only to be inter- we shall do our best to include such infor- end Candide in disgust or resigna- cepted by Candide and Cunegonde mation in forthcoming calendars. tion. Rather, his staging of the social and then hoisted aloft and gently collective in the final number square- spun by the chorus. The presence Prelude, Fugue & Riffs® is a publication ly addresses the contemporary world of this miniature planet gives a new of The Leonard Bernstein Office, Inc. of which we are citizens. This world, meaning and urgency to one of ©2019 by The Leonard

Prelude, Fugue & Riffs moreover, is represented literally in the most resplendent finales in all Bernstein Office, Inc. Kosky’s production by the repeated musical theatre. “This is our world,” Managing Editor: Craig Urquhart appearance of characters carrying it seems to say, “now threatened by Editor: Jamie Bernstein small globes. When Voltaire is man-made apocalypse. Guard it well, Design: BorsaWallace, NYC revealed at the top of the show, wear- protect it, make our garden grow.” ■ Visit our website: ing a gargantuan wig, he is carrying

a globe. During the opening scene David Savran is the Vera Mowry www.leonardbernstein.com Spring/Summer 2019 in the Westphalian schoolhouse, a Roberts Chair in American Theatre; “Like” us on Facebook: large colored map of the world hangs Distinguished Professor of Theatre and www.facebook.com on the back wall bearing the legend: Performance; and at The Graduate world climate zones. Just before the Center, City University of New York. final number, a huge inflated globe ©David Savron used by permission

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BorsaSS2019_PFR_final.indd Wallace studs.indd 13 13 4/24/194/25/19 10:08 8:03 AM PRESORTED STANDARD U.S. POSTAGE PAID NEWARK, NJ PERMIT NO. 625 121 West 27th Street Suite 1104 New York, NY 10001

Printed on recycled paper

New Releases, continued

(continued from page 12) BelAir Classiques has recently released the Opéra de Toulon’s 2018 production of Wonderful Town on DVD and Blu-ray. This production was directed by Olivier Bénézech with musical direction by Larry Blank. Westdeutscher Rundfunk has released a 3 CD collection: Leonard Bernstein Piano and Chamber Music. This collection features pianist Benyamin Nuss performing the com- plete solo piano works of Bernstein, and features the pianist/conductor Wayne Marshall performing the cham- ber music of Bernstein with soloists Maria Kliegel, cello; Marice Steger,

recorder; and others. ■

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