Word: bernstein
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Dates: during 1960-1969
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...heady ascent to fame has left Mrs. Miller slightly bemused, and still sweetly oblivious to the fact that she can't sing worth a hoot. "I'm not the best musician in the world," she says modestly. "My musicianship might crumble under someone like Leonard Bernstein." And while she candidly admits that her classically trained voice is not attuned to rock 'n' roll, she is touched by the interest of her teen-age fans. Last week, while trying to decide which of her two concert gowns she will wear for her appearance on the Ed Sullivan...
SIBELIUS: SYMPHONY NO. 5 (Columbia). Leonard Bernstein, conducting the New York Philharmonic, is at his best in the expansive, triumphal affirmation of the last movement but, in spite of mighty swells of sound, seems a little somnolent in the andante (where Von Karajan, on Deutsche Grammophon, creates a brooding tension). Bernstein has more overall success in the rich tone poem Pohjola's Daughter, about a maiden who sits high on a rainbow preferring, for some reason, to weave rather than be wooed...
...Communist parties, China, the people and all the Marxist-Leninists of the world." Invidious comparisons of Soviet Party Boss Leonid Brezhnev and Premier Aleksei Kosygin quickly followed: "After Stalin's death, the leaders of Russia, headed by Khrushchev, embarked on the old path of the German Social Democrats Bernstein and Kautsky, who betrayed Marx and Engels...
...troublesome score and libretto of Trouble in Tahiti isn't worth the trouble. Leonard Bernstein's pretentiously modern one-act opera is an attack on hollow suburbia. Even in 1952, when it was written, that was a boringly standard iconoclasm. The music is generally wearisome, the libretto, also written by Bernstein, generally clumsy...
Directors David Sloss (the music) and George Hamlin (the staging) have adopted this problem child and provided a musically competent, visually disastrous production unhappily married. The suburban couple (Richard Lee and Miriam Boyer) have adequate voices, but are sorely tried by Bernstein's libretto. Only Danny Kaye could enunciate some of the convoluted lines without dragging the tempos. Those scenes, which like Leete's locker-room soliloquy were more musical comedy than opera, were the most successful...