ÍøÆغÚÁÏ

Hildegard Behrens was born in Varel (in the state of Niedersachsen-Friesland), Germany, on February 9, 1937. She was always known for an attractive, natural singing voice, but embarked on the study of law at the University of Freiburg, graduating as a junior barrister. Surprising her acquaintances, she decided to try for a musical career. She was accepted at the Freiburg Academy of Music, where she studied voice with Ines Leuwen. She became a member of the Opera Studio of the Deutsche Oper am Rhein in Düsseldorf in 1971. In 1972 she became part of (then) West Berlin's leading company, the Deutsche Oper, and appeared frequently in the leading houses of German-speaking Europe (Frankfurt Opera, Zürich Opera, Vienna State Opera, Salzburg Festival, and Bavarian State Opera), as well as the Paris Opéra. Her U.S. debut was at the Metropolitan Opera of New York, as Giorgetta in Puccini's Il Tabarro, October 15, 1976.

She had a strong dramatic soprano voice, clear and attractive; she sang the more powerful roles of the German repertoire and still maintained a warm vocal quality that brings an aspect of vulnerability to roles such as Brünnhilde in Wagner's Ring, Marie in Berg's Wozzeck, Janacek's Katya Kabanova, and Strauss's Salomé. She recorded most of these roles, and appeared in television productions of several operas as well. She also maintained a recital career.

This tall, comely and aristocratic mezzo-soprano from Australia achieved fame in the 1970s, propelled by the mentoring of Georg Solti (who engaged her for several important recordings) and her cool (but inwardly passionate) and dignified presence on-stage. Yvonne Minton was also a concert artist of the first order, appearing with many of the world's ranking orchestras under leading conductors. She was perhaps the finest Octavian of her time, that role serving as her calling card in several prominent houses. She was a dignified, consoling Angel in Elgar's The Dream of Gerontius, equaled only by Janet Baker.

After studying with Marjorie Walker at the Sydney Conservatory, Minton traveled to London in 1960, where she studied with baritone Henry Cummings and soprano Joan Cross (who had premiered several of Britten's stage works). Minton had already begun to make a name as a concert singer before she made her 1964 stage debut as Britten's Lucretia in a City Literary Institute production. That same year, she participated in the premiere of Nicholas Maw's comic opera, One Man Show, creating the role of Maggie Dempster. In 1965, Minton was engaged by Covent Garden and remained there for 12 seasons, during which she performed more than 30 leading roles. In 1970, she sang Thea in the world premiere of Tippett's The Knot Garden, a role she performed in the recording that followed soon after.

Apart from London, Minton achieved success elsewhere, beginning in Cologne when she sang Sesto in La clemenza di Tito in 1969. Her bold, yet touching Octavian was heard in Chicago in 1970, when critic Claudia Cassidy evoked the name of Kathleen Ferrier in describing her lustrous voice. Minton's Octavian was the only role of hers heard at the Metropolitan Opera; she made her debut there on March 16, 1973. Octavian was again the role for Minton's 1976 Paris debut. Having made her Bayreuth debut as Brangäne in 1974, Minton was engaged for Fricka and Waltraute in the controversial Bayreuth centenary Ring in 1976. London's Royal Opera House heard her Kundry in 1979. That same year, Minton took the part of the Countess Geschwitz in the premiere in Paris of the three-act edition of Berg's Lulu, completed by Friedrich Cerha. That landmark production was preserved on both audio recording and film, where Minton's tragic, beautifully sung Countess rewards both ear and eye. Following a brief retirement, Minton returned to the stage in such roles as Leokadja Begbick (a 1990 performance at Florence), Klytemnestra in 1991 in Elektra in Adelaide, Geneviève (for Chicago's Lyric Opera's Pelléas during the 1992 - 1993 season), and Countess Helfenstein (in a 1995 Mathis der Maler at Covent Garden).

Many of Minton's recordings have preserved her voice and art at their zenith. Her Octavian with Solti remains a treasurable realization, especially paired with the luxuriant Marschallin of Regine Crespin. Her Sesto with Colin Davis keeps impressive company with the likes of Stuart Burrows, Janet Baker, Lucia Popp, and Frederica Von Stade. Her quietly impressive Geneviève is buoyed by Pierre Boulez's clear conducting, while her attractive Dorabella is sunk by Klemperer's plodding pace. Two Elgar works, The Kingdom under Boult and The Dream of Gerontius with Britten conducting, are excellent, for both Minton's work and in toto.

This Austrian singer, whose career trajectory has taken him from lyric to dramatic baritone, has established himself as a strong and reliable artist. At his first appearance in Bayreuth as Wolfram, Weikl revealed a linear, compact instrument with a quick vibrato. While by no means a bass baritone, his lower voice has gained in amplitude over the years, allowing him to fill out the deeper reaches of such roles as Wagner's Dutchman and Hans Sachs, and Strauss' Barak and Mandryka. Indeed, his handsome, burly appearance is now matched by the sound and texture of his expanded voice. By no means a penetrating actor, Weikl still brings earnest intent and solid craft to his stage performances. In addition to the heavier German repertory, Weikl has shown consistent interest in Italian roles, at one point recording an accomplished Rigoletto.

Following studies at Mainz and Hanover, Weikl made his stage debut at the latter city in 1968, singing Ottokar in Weber's Der Freischütz. He joined the company at Düsseldorf in 1970, remaining with that theater for three years. During that period, he was engaged by Karajan for Melot at the 1971 Salzburg Festival and, the year after, made his debut at the Bayreuth Festival as Wolfram. His first-season success led to further engagements as the Herald, Amfortas, and later, Hans Sachs.

For his London debut, Rossini's Figaro was the role -- an interpretation noted as boisterous, but somewhat Germanic. Weikl's Metropolitan Opera debut on December 2, 1977, found him singing Wolfram once more, enjoying another success with the part. Subsequently, he has returned to the Metropolitan as Orest, Jochanaan, Amfortas, Mandryka, and Hans Sachs.

Other theaters throughout Europe were likewise as quick to engage Weikl; he became a celebrated singer in his native Vienna as well as in Munich, Berlin, and Hamburg. Industrious in adding new parts, the singer can now boast more than 100 characters in his inventory. Beyond the Continent, he is best-known for his Wagner and Strauss roles, but in Austria and Germany he has just as often sung the Italian, Russian, and French repertories; these include such figures as Verdi's Posa, Count di Luna, Ford and Simon Boccanegra, Mozart's Don Giovanni (recorded with Solti), Count Almaviva, Guglielmo, Tchaikovsky's Yevgeny Onegin (also recorded with Solti), Tomsky, Morone in Pfitzner's Palestrina, and Goloud. Although his primary focus has remained on opera, Weikl is also a positive presence on the concert stage, both as a soloist in choral works and as a recitalist. These activities have largely been centered in Europe.

Of Weikl's many recordings, several deserve special attention. His Hans Sachs, recorded with Cheryl Studer, Ben Heppner, and Kurt Moll under the mature and understanding direction of Wolfgang Sawallisch is worth searching out. His Dutchman with Sinopoli has much of the requisite torment and is firmly sung. His Eugene Onegin, recorded with a good cast and lovingly led by Solti is worth pursuing, as is his Cardinal Morone in Kubelik's recording of Palestrina, captured in excellent sound.

Hans Sotin made a powerful impression in several venues in Europe well before he had reached the age of 30. His instrument had both a cutting edge and considerable velvet about the edges. His fluency in the upper register led him to the role of Wotan in Wagner's Ring der Nibelungen. There, he supplied a near ideal balance between declamatory vigor and a long-lined flow of beautiful tone. Only an interpretive shortfall kept him from being definitive in the daunting assignment. Over the years, some diminution in sheer size was noted, but the voice retained most of its handsome quality of sound. After studies at the Dortmund Hochschule für Musik, Sotin made his stage debut at Essen in 1962 as the Police Commissioner in Der Rosenkavalier. Two years later, he was engaged by the Hamburg Staatsoper, where he took part in the premieres of operas by Krzysztof Penderecki, Boris Blacher, and Gottfried von Einem in addition to singing increasingly more important roles in the standard repertory. In 1970, he appeared at the Glyndebourne Festival singing an impressive Sarastro in Die Zauberflöte. A year later, he appeared at Bayreuth for the first time as the Landgraf in Tannhäuser. In America, Chicago heard him before he appeared at the Metropolitan Opera. In 1971, making an auspicious debut with Chicago Lyric Opera, he faced down the large-voiced Filippo of Nicolai Ghiaurov with a stentorian Grand Inquisitor in Don Carlo and proved a menacing Rheingold Fafner versus the softer-voiced Fasolt of Bengt Rundgren. Not even the mighty Alberich of Gustav Neidlinger outvoiced Sotin in the Lyric production. In 1972, Sotin made his debut at the Metropolitan Opera singing Sarastro, the first of many roles he presented to New York audiences. Debuts followed in other important centers as well: the Wiener Staatsoper (1973), Covent Garden (1974), and La Scala (1976). In addition to his stage appearances, Sotin has been heard in oratorio, particularly in cantatas by Bach, Haydn's The Seasons (a worthy recording of this was made with Dorati), the Missa Solemnis and Symphony No. 9 of Beethoven, and Mahler's Symphony No. 8. Recordings of Tannhäuser and Lohengrin represent him at close to his best. A live Parsifal from Bayreuth casts his fluent Gurnemanz against the unsteady, leathery Parsifal of Peter Hofmann.

No figure in 20th century American classical music had as prominent or controversial a career -- or did more to sell classical music to the general public as something genuinely exciting and worth getting into a sweat over -- than Leonard Bernstein. For more than 30 years, from his assumption of the post of Music Director of the New York Philharmonic in 1958 until the final concerts that he conducted in obviously failing health near the end of his life in 1990, he was the most widely recognized American-born conductor in the world, and the dominant personality in American classical music as both a conductor and, to a lesser degree, a composer. A charismatic public figure, he burst three different times on the musical world -- twice in classical, with a rush of success on Broadway in between -- in the space of 15 years; and over a career lasting from the early '40s until the beginning of the '90s, he never lost an opportunity to advance his reputation as well as the cause of music. In the process, he opened new musical horizons to millions of listeners and thousands of would-be performers who might never have otherwise discovered them.

Bernstein was born in Lawrence, Massachusetts, in 1918, the son of Sam Bernstein, a Russian-born Talmudic scholar-turned-fish-cleaner-turned-businessman. Bernstein seemed destined for a career in business until age ten, when he began playing the piano on his own and got good enough to give lessons to other children, earning enough money to pay for his own lessons when his father refused to indulge in such impractical activities. A Boston Pops concert that he attended also contributed mightily to Bernstein's youthful musical aspirations, and during his teens he began staging operas, composing, and playing the piano on a radio show that was sponsored by his father's cosmetics company. He had an equal aptitude with popular music and the classics, and was a formidable improviser even at this young age.

Bernstein's formal music training began perhaps surprisingly late, at age 14, by which time he was already immersed in the beginnings of a musical career. After initial study with Helen Coates, who subsequently became his mentor and personal secretary, he studied with the prominent piano teacher Heinrich Gebhard. He attended Harvard, and became very well known at the university for his prodigious musical abilities -- surprisingly, he often neglected courses in music theory in favor of classes in philosophy and language, all the while playing the piano at every opportunity and writing about music as well. If he had a role model at the time, it was the pianist/composer George Gershwin, whose work -- mixing classical and jazz influences freely -- prefigured much of what Bernstein wanted to do with music.

It appeared that Bernstein was destined for a career as a concert pianist, when a chance encounter in 1937 with the Greek-born maestro Dimitri Mitropoulos changed the course of his career. Seeing the celebrated conductor at work with the Boston Symphony Orchestra, Bernstein became fixated upon the art of conducting, and decided to shift his intention from a career at the keyboard to one at the podium. He later became the musical protégé of Serge Koussevitsky, the celebrated music director of the Boston Symphony Orchestra, and also fell under the spell of composer Aaron Copland.

Bernstein's studies were uninterrupted by World War II, the result of chronic asthma that made him unfit for military service. He subsequently attended the Curtis Institute in Philadelphia, and later studied at Tanglewood in the Berkshires. It was on the strength of a recommendation from Koussevitsky that Bernstein was hired as an assistant conductor by the New York Philharmonic. This was not necessarily a prominent or glamorous post, primarily charging Bernstein with responsibility for screening new scores, occasionally coaching the orchestra, and standing by in the event that the scheduled conductor on a given evening was unable to appear.

It was in the latter capacity that lightning first struck for Bernstein, on the afternoon of November 14, 1943, when the scheduled conductor, Bruno Walter, was suddenly taken ill, just hours before he was to conduct a program of both new and established concert works. Artur Rodzinsky, the orchestra's permanent conductor, who would normally have taken the concert in Walter's place, was stuck out of town and couldn't return in time, and he recommended the unknown Bernstein. As it happened, this was also a broadcast performance, and so millions of listeners got to hear the neophyte conductor take over the performance on only hours' notice and lead the orchestra through a flawless performance of a difficult program, which included works by Robert Schumann, Richard Strauss, Richard Wagner, and Miklos Rozsa. Instead of following the orchestra, which had already played the repertory on the prior nights' programs, Bernstein added new interpretive details, taking over control and putting his stamp on these pieces.

The next day, Bernstein and the story of the behind-the-scenes drama at the Philharmonic and the broadcast that followed were on the front page of The New York Times and other major newspapers, and not just in New York. Literally overnight, he was in demand as a conductor, sufficiently to receive invitations from various major orchestras and the offer of a recording contract with RCA Victor, then one of the three biggest record labels in the country (alongside Columbia and Decca). Additionally, Bernstein's reputation as a composer began to blossom for the first time during this period, most notably with his music for a Jerome Robbins-choreographed ballet called Fancy Free, which he later turned into the hit musical show On the Town (which, in turn, became the basis for the movie starring Gene Kelly and Frank Sinatra).

It was as a composer primarily for the stage that Bernstein began emerging in the years after his New York Philharmonic debut. While his opera Trouble in Tahiti received a mixed, largely negative response, and his musical adaptation of Peter Pan never caught on with audiences or critics despite some memorable songs, Candide was a hit, and his music for Elia Kazan's movie On the Waterfront (1954) -- although he found the process of composing for films frustrating -- received an Oscar nomination. His collaboration with Robbins and lyricist Stephen Sondheim on West Side Story became one of the defining works of 20th century musical theater, generating a career's worth of hit songs and melodies whose popularity extended to every corner of musical life; not yet 40 years old, he'd moved into the rarefied ranks of successful popular and theater composers, and was following a career arc rivaling that of his one-time idol Gershwin. He also became a familiar figure on television, through his appearances on the Omnibus documentary series.

Meanwhile, his contract with RCA Victor limited Bernstein to recording contemporary works (including some of his own), but his stint conducting the Philharmonic in its summer concerts at Lewisohn Stadium in northern Manhattan led to a recording contract with Decca Records (for which the Philharmonic, to avoid a violation of its exclusive contract with Columbia Masterworks, was billed as the "Lewisohn Stadium Symphony Orchestra"). This gave him his first chance to record the mainstream European repertory, including works by Schumann, Brahms, and Tchaikovsky; and he ran with it, in a series of genuinely exciting and bracing interpretations that remained popular for decades. His aspirations as a conductor were thwarted, however, and his career seemed stalled. Through a series of unfortunate missteps by all parties, he was denied the chance to succeed Koussevitsky with the Boston Symphony Orchestra, and any ambitions he might've had in New York were stymied by the presence of Dimitri Mitropoulos as Music Director of the Philharmonic.

Bernstein's second big break in classical music came during the mid-'50s, when rumors of the orchestra's growing unhappiness with Mitropoulos began circulating. The celebrated conductor was gradually being worn down by his constant battles with the orchestra's players, a board of directors that didn't seem to know what it wanted, a press corps that found little good to say about his work, and an indifferent public. Additionally, his health was deteriorating, and it seemed to all concerned by 1955 that Mitropoulos might not last much longer with the Philharmonic. What's more, after the debacle in Boston, the stars seemed to be aligning in Bernstein's favor, despite his youth -- the only veteran conductors on the scene, Leopold Stokowski and Bruno Walter, were both in their seventies and ruled out for various reasons. There were two obstacles, however, that he would have to overcome: The first was the fact that no American-born conductor had ever held the post of chief conductor (or, as it was to be renamed, music director) of any major American orchestra. The second was the one man ahead of him in line, Guido Cantelli.

The first choice to succeed Mitropoulos was the young Italian maestro, a protégé of Arturo Toscanini, the Philharmonic's revered chief conductor from the 1920s and early '30s -- Cantelli had guest conducted with the Philharmonic as well as the NBC Symphony several times and had the endorsement and admiration not only of Toscanini but also of much of the New York musical establishment. His only drawback was his youth, and it was assumed by many that Bernstein might, at best, receive an interim appointment as chief conductor for three or four years, until Cantelli was ready, and then relinquish the job. Ironically, Cantelli died in a plane crash in November of 1956 while on his way to New York to take over a concert from the suddenly departed Mitropoulos -- Toscanini, who died early the following year, was never told of his death, and Cantelli's loss was still felt in the 21st century, as demonstrated by the string of releases of his surviving studio and broadcast recordings coming from labels such as Testament Records.

The tragedy left Bernstein as the leading contender for the position. His appointment was still not a foregone conclusion, however, for he was far too closely associated with Broadway for the taste of many of the orchestra's board members. It was only after he agreed to abandon his Broadway career that these doubts were settled. After much behind-the-scenes politicking, and an interim appointment sharing the chief conductor's post with Mitropoulos, Bernstein was named Music Director of the New York Philharmonic in November of 1958. At the age of 40, he had succeeded to the most prominent musical post in the United States, the first American-born musician to have achieved such a position with a major orchestra.

Overnight, Bernstein became a national figure. He emerged into the limelight through a recording contract with Columbia Masterworks that ensured he would get to record every major piece of classical repertory -- some more than once -- over the next 15 years, and those recordings, in turn, brought Bernstein even more exposure. He was a handsome man and was a dashing figure at the podium in person, and on camera he was unbelievably charismatic. Additionally, he was a natural teacher, able to reach out to audiences of any age and explain music written as much as a century or two earlier to contemporary listeners; kids and their parents loved him, as audiences for his televised Young Peoples' Concerts were soon to discover. Those broadcasts, which went on into the mid-'60s, did almost as much for music education nationally as the budgets of all the school districts in the country.

But his success was a factor of much more than his abilities as a speaker, or even as an interpreter of music. Bernstein had been fortunate enough to arrive on the national scene at around the same time as another major cultural figure out of Massachusetts, President John F. Kennedy (the two of them were only a year apart in age). He had not only the classical music world at his feet but, seemingly, the pop culture world as well. Bernstein's youthful vigor was of a piece with the times, as New York and the country were entering a newly dynamic age, after the relatively sedate and calm 1950s. New York's Lincoln Center for the Performing Arts, the new permanent home for the Philharmonic, the Metropolitan Opera, and so on, built on the very slums where West Side Story was set, was opened in 1963. With two exceptions (Stokowski, who'd briefly shared the job in the 1940s, and the long-ago-replaced Sir John Barbirolli), Bernstein was the only leader of the Philharmonic, present or past, to live to see the opening, and the event only solidified the notion of a new era for the arts, with Leonard Bernstein as its most visible spokesperson. He was also lucky enough to come along just as Columbia Records and the rest of the music industry and the country were switching to stereo sound -- this ensured that he would be not only able but obliged to re-record virtually every remotely popular piece that had ever been in the Philharmonic's repertory.

His first recording for Columbia Masterworks as Music Director of the Philharmonic, of Stravinsky's Rite of Spring, quickly rose to legendary status as a result of its freshness and savagery. His records included everything from warhorses such as Dukas' Sorcerer's Apprentice to the complete Mahler symphonies, which nobody had recorded in their entirety before; and it was not lost on Bernstein or the public that these performances were done with the successor to the orchestra that Mahler himself had led 50 years or so before. Strangely enough, amid all of this material -- many hundreds of recordings -- he only ever recorded two pieces by his boyhood idol George Gershwin: the Rhapsody in Blue, which he recorded with himself as piano soloist, and An American In Paris. Bernstein also championed the then neglected music of Charles Ives and made the first major orchestra recordings of contemporary pieces such as Atmospheres by Ligeti (albeit from an edited version of the score). Such was his status and stature, that when he recorded a piece, even by a relatively little-known modernist or a contemporary composer, audiences felt obliged to look into it. Bernstein was always challenging his listeners with new names and new pieces.

For all of his popularity, the most conservative voices in the classical critical community kept Bernstein at arm's length until his recordings of the late Haydn symphonies, works for which the Philharmonic had not been known during Mitropoulos' tenure. Unlike Mitropoulos, who was a specialist in the late Romantic repertory and modern music, Bernstein was a generalist in the extreme, conducting work from across history, from the Baroque to the contemporary.

By the mid-'60s, Bernstein commanded a huge cult of admirers, encompassing relatively casual listeners as well as dedicated classical enthusiasts, although the most conservative and tradition-minded classical aficionados still maintained their doubts until the completion of his recordings of the late Haydn symphonies, after which even they were converted. He was also a special cultural hero to American Jews, who regarded him as a representative of their success in the postwar United States -- that status, which lasted far longer than his tenure at the Philharmonic, was to provide Bernstein with a unique opportunity in Europe later in his career, for Bernstein's reputation transcended any national or religious group and spread around the world. He became in music circles as much a symbol of the United States in the 1960s as President Kennedy was, and his guest performances sold huge numbers of tickets with every orchestra, while his records were selling in numbers comparable to those of many pop releases of the time, and selling well in countries outside the United States, as well.

The Philharmonic itself was also altered radically during his tenure. From a schedule of five months annually, he helped turn the orchestra into a year-round institution, with concerts scheduled in each season, and a commensurate increase in salary for the members. (One other factor in the incredible timing of his arrival and appointment was the retirement of Toscanini in 1954, and the final dissolution of the NBC Symphony Orchestra and its successor ensemble, the Symphony of the Air, a couple of years later, which left the Philharmonic as the only institution of its size or reputation in New York.) Additionally, the Philharmonic became a familiar and much-loved institution in New York under Bernstein, even among non-music fans, something that had never happened before; he made classical music seem friendly and accessible, rather than imposing, and audiences responded in kind. And Bernstein didn't limit himself to endorsing classical music only -- indeed, he spoke favorably of the music of the Beatles at a time when relatively few major figures in classical music did, and, in a 1966 CBS television special, introduced the Beach Boys' Brian Wilson performing a beautiful "Surf's Up" at the piano.

After ten years at the Philharmonic, however, the responsibilities of the post, as well as its limitations, were beginning to wear on Bernstein. His record sales, although still strong, had peaked in the mid-'60s, and already by 1966 Columbia Records was becoming resistant to recording many of the works that Bernstein was interested in committing to disc. Between 1958 and 1966, he'd put a lifetime's worth of music on record, and the company saw anything too ambitious beyond that point as unnecessarily risky. Bernstein's appetite for change was whetted by his experience working with the Vienna State Opera and the Vienna Philharmonic Orchestra as a guest conductor, and with Decca/London Records on the resulting recordings, during the mid-'60s. He also liked the Decca/London engineers' approach to recording better than that of their counterparts at Columbia, and the label's packaging as well. Moreover, he was eager to make operatic recordings, which Columbia Records was not -- and, in fact, had abandoned doing in the 1950s -- and he was able to do that in Vienna, with help from Decca/London and, later, Deutsche Grammophon Records.

Moreover, the Vienna Philharmonic, after some difficulty accepting Bernstein as a composer, took to him exceptionally well as a conductor and ultimately proved eager to work with him if he were willing, for reasons having everything to do with then-recent history (sending out a signal that times had, indeed, changed). Conversely, Bernstein was keenly aware of the significance of a Jewish-American conductor from New York establishing an ongoing relationship with the Vienna orchestra, and what it would mean to him.

In November of 1968, Bernstein announced his resignation from the New York Philharmonic effective the following year. His departure left a huge hole in the cultural fabric of the city and the country. The CBS network tried to keep the Young Peoples' Concerts going with Michael Tilson-Thomas, but by the early '70s they were history, and Bernstein's vibrant, outgoing personality at the podium was succeeded by the far more cerebral composer-conductor Pierre Boulez, who, in turn, during the late '70s, was succeeded by Zubin Mehta.

Bernstein's exit from the orchestra was followed several years later by his departure from Columbia Records. Although he continued to perform and record in New York occasionally, as conductor emeritus of the Philharmonic, he increasingly spent his time and his recording engagements in Vienna, London, Israel, and, near the end of his career, Berlin. For a time during the early '70s, while still holding forth in New York in his luxury duplex on Park Avenue, he emerged into political circles by hosting a fundraising party for the Black Panthers, as event immortalized by author Tom Wolfe, who was inspired to coin the sardonic phrase "radical chic" and attach it to the city's liberal elites.

During most of the 1970s, despite classist controversies such as this, Bernstein retained much of the luster of his earlier reputation, and his concerts were well attended. Although his subsequent recordings for Deutsche Grammophon, with which he signed in the middle of the 1970s, didn't sell as well as his most successful records on the 1960s, they were generally better received by the critics, and remained steady, perennial sellers in the CD era. He re-recorded the major parts of his repertory, most notably the Mahler and Beethoven symphonies, and found a new generation of listeners in the bargain. Much of his activity during these years was spent with the Vienna Philharmonic, which made Bernstein an honorary member -- a rare honor from the self-governing orchestra -- in recognition of his productive years with them. He also worked with the Israel Philharmonic, the Concertgebouw Orchestra of Amsterdam, the London Symphony Orchestra, and the Berlin Philharmonic.

One of his goals in giving up the Music Director's post with the Philharmonic was to spend more time composing, but it was in the latter role that Bernstein never found as much acceptance as he did for his conducting. His first two symphonies were written and premiered long before he was an established conductor, and eventually found larger audiences. His third, entitled Kaddish, was written upon the death of President Kennedy and was assured a much wider hearing by virtue of its inspiration. His Mass: A Theatre Piece for Singers, Players and Dancers, written for the opening of the Kennedy Center in Washington, D.C., sold well also, as an LP box. But none of Bernstein's classical works ever found the mass audience that his Broadway creations did, with West Side Story eclipsing most of the rest of his output in that area. Indeed, several parts of that score -- which became even more widely known through the 1961 movie version co-directed by Robert Wise and Jerome Robbins -- are still among the most widely known pieces of music ever to come from the theater and have worked their way thoroughly into American popular culture.

The 1980s saw Bernstein's reputation decline along with his health. He became increasingly erratic at the podium -- his re-recording of the Mahler Second Symphony for Deutsche Grammophon features a slow movement that is so slow that members of the orchestra's string section admit they had trouble coming up with any sound. His years of living on the edge, pushing himself so hard professionally and personally, wore heavily on him, and toward the end of the 1980s, Bernstein looked a shadow of his former self. He was still sufficiently the showman, however, so that when the Berlin Wall came down in 1989, Bernstein led a Christmas Day performance of Beethoven's Symphony No. 9 from the site of the demolished wall, featuring the combined orchestras, choirs, and soloists of the major orchestras of Berlin, London, Dresden, Paris, New York, and Leningrad, that was recorded and subsequently released by Deutsche Grammophon. Strangely enough, it was during this period that Bernstein admitted that many of the interpretive decisions he'd made in his days with the New York Philharmonic were little more than educated guesses, a major reason why he was eager to re-record many of the same works.

Toward the end, the performances got more uncertain, and were interspersed with a growing number of cancellations, even as he accepted ever fewer engagements. At Bernstein's final concert at Tanglewood on August 19, 1990, at a concert commemorating the 50th anniversary of the festival's founding, it was clear that Bernstein was barely able to stand up through the performance, and the orchestra was carrying him. He died exactly two months later.

Leonard Bernstein's legacy as a conductor has no peer among American musicians -- he recorded more than almost anyone -- and few among those around the world in terms of sheer breadth. Bernstein's early RCA recordings, done during the 1940s, are primarily of historical interest. Among his Columbia recordings, the Rite of Spring, the Haydn symphonies, the Mahler Third, Sixth, Seventh, and Ninth symphonies, the Sibelius symphonies, and Gershwin's Rhapsody in Blue and An American in Paris are among the finest ever recorded, with the Gershwin works the finest renditions of these pieces ever done. Additionally, early in his recording career at Columbia, before he was even the Music Director of the Philharmonic, he did a recording of variant movements from the Beethoven Symphony No. 5, rejects of the first movement from Beethoven's sketchbooks, complete with a discussion by Bernstein, that is priceless to anyone who cares about music -- no one could lecture on music as persuasively. And in 2004, Deutsche Grammophon reissued his 1953 American Decca recordings with the Philharmonic (credited as the Lewisohn Stadium Orchestra), to rousing critical acclaim. Reappearing after decades of unavailability, they were a reminder, separate from his more mature and studied recordings, of how exciting he had made classical music seem in his early career.

Bernstein's Deutsche Grammophon recordings are generally competitive with his Columbia work, and most are superior in terms of sound as well. The notable exceptions are the Sibelius symphonies, of which the Columbia performances are superior. The Beethoven symphonies, the Mahler Third, Fourth, Fifth, Sixth, Seventh, and both Ninths, with the Concertgebouw and the Berlin Philharmonic, are indispensable. In 2004, the conductor's Young Peoples' Concerts were also re-released on DVD. In 2023, Bradley Cooper directed, co-wrote, and starred as Bernstein in the Oscar-nominated biopic Maestro. Its soundtrack featured Bernstein works performed by the London Symphony Orchestra, conducted by Yannick Nézet-Séguin. ~ Bruce Eder