Leonard Bernstein

Candide falls in love with the beautiful but materialistic Cunegonde. Her barron father doesn't approve of the affair so Candide wanders, meeting all the misfortunes along the way.

Timeless traditions and contemporary anxieties clash musically and theatrically in Leonard Bernstein's powerful but rather neglected "Theatre Piece for Singers, Players and Dancers," The dancers are omitted in this semi-staged performance, produced for the Vatican's Jubilee 2000 celebration, but the show's eclectic musical brilliance, its adept mingling and clash of musical styles, its contrasts of hope and anxiety, faith and unbelief, ancient serenity and modern dissatisfaction are all brilliantly conveyed. More than 30 years after its premiere, for the opening of the Kennedy Center for the Performing Arts in Washington, D.C., Mass still has the impact of this morning's newspaper headlines.

Leonard Bernstein was on his honeymoon in 1951 when he began composing his one-act opera, Trouble in Tahiti, a candid portrait of the troubled marriage of a young suburban couple. Written between his biggest Broadway successes— On the Town in 1944 and Candide and West Side Story in 1956 and 1957, respectively— Trouble in Tahiti draws upon popular songs styles to deliver an uncompromising critique of post-war American materialism. Beneath the couple's marital discord is a profound longing for love and intimacy. Their spiritual emptiness, in contrast to a veneer of happy consumerism, creates the heart of the drama and is emphasized by sudden stylistic shifts in the music.

Candide falls in love with the beautiful but materialistic Cunegonde. Her barron father doesn't approve of the affair so Candide wanders, meeting all the misfortunes along the way.

Seen only once in 1981, this is a live national broadcast of the 10th anniversary production of MASS. Directed for the stage by Tom O’Horgan of “Hair” fame, the cameras were directed by Emile Ardolino. The work that opened the Kennedy Center is conducted by John Mauceri and produced for PBS by WQED, Pittsburgh.

Leonard Bernstein's 1952 opera is a biting satire on the emptiness of materialist values and the false promise of suburban comforts. This production, conducted by the composer himself, presents a live-action cast performing on an animated set. Inspired by jazz and American musical comedy, the score is a path-breaking fusion of lyric art with popular entertainment.

In this documentary portrait prepared for the anniversary of Ludwig Van Beethoven's 200th birthday, Leonard Bernstein illustrates his analysis with excerpts from his performances of Beethoven's Piano Concerto No. 1 in C Major and the Ode to Joy from the Ninth Symphony.

Documentary about young pop and rock musicians producing music as "a symptom and generator" of social unrest and generation gaps.

Leornard Bernstein conducts the New York Philharmonic Orchestra, first with pianist Glenn Gould performing Bach's Keyboard Concerto #1 in D minor and then with soprano Eileen Farrell singing the "Suicidio!" aria from Amilcare Ponchielli 's opera "La Gioconda". Finally, composer Igor Stravinsky takes over the podium, conducting the last three scenes from his ballet "The Firebird". Bernstein also gives an opening talk on the vagaries of musical score notation and introduces each of the three guest performers. Originally aired on January 31, 1960 on CBS Television as part of its Ford Presents series.