The orchestra has placed its archives at the disposal of an uninquisitive team of filmmakers, steered by the Bernstein family. The focus is on Bernstein as a Mahler interpreter.
It has its moments.
In a staggering admission of senior ineptitude, English…
Having rigged the finals to contrive a fairer…
And how we miss him.
Eight semi-finalists have been named in Hannover: Alexander…
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Haven’t watched yet, but it must be more interesting than the grossly over-rated film Maestro.
From the typeface in the opening of this clip which matches the typeface for promotional material of the Maestro film, this is obviously a PR tie-in and supplementary material for the big Yannick NY Phil debut conducting Bernstein fragments and chatting with the Oscar NOT-nominated Brad Cooper furthering his star-effing credentials.
Anyone see the snippet of Yannick’s West Side Story he toured with the Met last year? Bloody awful.
But anyway, in the Phil’s defense, would you really expect them to put out a video highlighting Bernstein’s near megalomaniacal Mahler interpretations, his embarrassing Black Panther party, his overwrought symphonic masturbations and other foibles?
Lenny was the greatest thing the Phil had and nothing has come close. Indeed since Masur their musical leadership has been atrocious. Even Masur had it rough, people thought he was old and boring.. but now looking back, he was like Klieber compared to the recent waste of appointments!
Bradley Cooper is nominated for Best Actor.
Yeah. That’s the payoff for a vigorous campaign. He got his nominations, but the film may score fewer awards than Barbie. Wouldn’t greatly surprise me if it were shut out.
Had you even bothered to click on the video, you’d know – the first words are “The film, Maestro, starring Bradley Cooper”… obviously it’s a tie-in. So what? The film has done more for classical music PR and awareness than anything else I can think of this past year. Nothing wrong with that.
I wonder if it has. It barely got cinematic release — it is Netflix, and they do not release their streaming numbers. I doubt they were certain about box office ROI.
And such power as it has seemed to me mostly about the relationship.
Tar, a well-made film that really WAS about music, or at least the classical music profession, let itself down by making the protagonist a female Weinstein. Too predictable. Anyway, it had risibly low box office, despite good reviews, Cate Blanchett, a sex angle that would appeal to some. Sank like a stone.
Maestro is also well made and well performed, though in my view not that well written. Nothing in it would make me put on a classical CD or stream or go out to a concert. And I love classical music. But this film was not about music. All I remember about it was a good screaming match between Carey Mulligan and Bradley Cooper.
Do you like Bernstein?
The Yannick WSS Symphonic Dances. ?Dances? With a sledge hammer.
Sorry, I disagree with you Couperin. Since Masur, who was very good, they have had Lorin Maazel (great), and Alan Gilbert (underappreciated).
I agree with you about Jaap (none too good).
But they do have the Dude in the wings. He’s like Bernstein.
By the way, it’s Kleiber not Klieber.
I was always overwelmed by his energy and warmth in live performances. He was impossible to resist, always put a very good shaw in the best sence. His recordings sometimes fail to convey his greatness.
Mahler is not a composer for a young persons lecture.
Mozart is easier to listen to especially for a beginner
Although he was an esteemed national treasure for his music, he had a dark side that would have been exposed if he were alive today. It’s best to remember him for his great gift of music to the world.
Ugh I can’t even look at this. Congratulations, you win as usual.
I am not sure what your concern is. There can be little controversy about the importance of Bernstein in leading the Mahler revival in the US. At the end of his Young People’s concert on Mahler, Bernstein tells the several thousand children (and their parents) that they probably know more about Mahler now than almost anyone else in New York. It is hard to argue that point! Whatever your concerns about the Bradley Cooper film, it is hard to see how they would bleed into this very specific episode. And I strongly recommend the podcast also produced by Aaron Cohen, “Embrace Everything: The World of Gustav Mahler.” Norman, since you are an expert on Mahler, perhaps you could be more specific about your concerns, other than the cooperation of the NY Phil (for the great pictures) and the Bernstein family.
A beautiful film. Thanks for posting it.
I have the original cast album of Candide shown in the film (Columbia LP OS 2350) – a lot of fun, and has developed a bit of a cult following ( I also have the DG recording of the “final revised version of 1989” on two CDs 429 734-2 – worth having as well).
The NY Phil is the Sunset Boulevard of American orchestras, it is coasting on the fumes of its past. “Ms Borda, I’m ready for my closeup.”
The Orchestra of Mahler!! Nevermind Mahler was there just for 2 years, more than a century ago, whatever legacy he left they died a long time ago, I mean Jaap van Zweden’s tenure is 3 times longer than Mahler’s and has a far greater impact today in terms of hiring and the sound of Geffen Hall.
Truth is, in temperament and in style, the NY Phil is the Orchestra of Mehta not Mahler.
With the second coming (pun intended) of another music director straight from Los Angeles, not forgetting Borda, it is the Orchestra of the West Coast not of Vienna.
Kept getting enthralled with the music in the background, to the point of losing track of the narration. Seems a second viewing is in order. But the music; that music…BTW: Where is the clip of Zubin Mehta saying “…for Lenny” just before starting Mahler 3 –MVT. VI- with the NYPO during the celebrations of Carnegie Hall’s rescue from the wrecking ball? LB had died before that event and ZM had stepped-in for him. (I am still reflecting on the manner in which the NYPO played that quarter note pickup: it was a gift from God himself.)