Here's something you might be interested in.
I've been a fixed fan of Leonard Bernstein's work, which Hershey Felder's now performing at the Old Globe. But I appreciate from afar. My close friend, Francis Thumm, took Bernstein's conducting class at the L.A. Philharmonic and knew him personally. I asked Franny for an insider's view on the show.
(a few credits: Franny was an original member of the Harry Partch Ensemble and is musical director for Ion Theatre's upcoming Gypsy. He's also at work on Tijuana Burlesque, a musical both sage and mad; photo credit: Carmen Thumm).
"It's an affectionate, thoughtful, and mostly well-researched tribute. Sadly, it failed to capture LB's humor, the sly, co-conspiratorial glint in his eye when he became playful or irreverent, his sweetness, his constant sharing of powerful musical insights, his sexy speaking voice, and his ability to be self-deprecating, as when he commented while watching a video of himself, 'Is that what you'd call a craggy face?'
"The program notes LB's reflection and self-criticism, claiming he wasn't certain he'd written his 'defining piece.' Sure he thought about those things. But the emphasis on 'legacy' is more a symptom of the herd of arts critics - compulsively listing, categorizing, and searching in vain for the 'Great American Novel' or symphony. Bernstein's masterful, eclectic voice clearly frustrated them and often left them nine strokes of the pen behind.
"In any case, all this is vindicated by the numerous world-wide performances and rising critical acclaim of his works today.
"Near the end, Maestro toyed with invoking a maudlin sadness or pity towards its subject. But even in the most serious moments those things were never in the room or in your heart when you were lucky enough to share time with him.
"If Felder HAD spent some quality time with Bernstein, I have a feeling that the word 'Lenny' would have worked its way into the title."
I've been a fixed fan of Leonard Bernstein's work, which Hershey Felder's now performing at the Old Globe. But I appreciate from afar. My close friend, Francis Thumm, took Bernstein's conducting class at the L.A. Philharmonic and knew him personally. I asked Franny for an insider's view on the show.
(a few credits: Franny was an original member of the Harry Partch Ensemble and is musical director for Ion Theatre's upcoming Gypsy. He's also at work on Tijuana Burlesque, a musical both sage and mad; photo credit: Carmen Thumm).
"It's an affectionate, thoughtful, and mostly well-researched tribute. Sadly, it failed to capture LB's humor, the sly, co-conspiratorial glint in his eye when he became playful or irreverent, his sweetness, his constant sharing of powerful musical insights, his sexy speaking voice, and his ability to be self-deprecating, as when he commented while watching a video of himself, 'Is that what you'd call a craggy face?'
"The program notes LB's reflection and self-criticism, claiming he wasn't certain he'd written his 'defining piece.' Sure he thought about those things. But the emphasis on 'legacy' is more a symptom of the herd of arts critics - compulsively listing, categorizing, and searching in vain for the 'Great American Novel' or symphony. Bernstein's masterful, eclectic voice clearly frustrated them and often left them nine strokes of the pen behind.
"In any case, all this is vindicated by the numerous world-wide performances and rising critical acclaim of his works today.
"Near the end, Maestro toyed with invoking a maudlin sadness or pity towards its subject. But even in the most serious moments those things were never in the room or in your heart when you were lucky enough to share time with him.
"If Felder HAD spent some quality time with Bernstein, I have a feeling that the word 'Lenny' would have worked its way into the title."