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The Washington Post joined the Late Night fun in DC at The Phillips Collection and called the show “the right balance between biographical portraiture, charming nostalgia, and loving remembrance. Burton, who could make you weep singing the federal budget, Boriskin and Musto each contributed to the engaging, relaxed atmosphere of this moving afternoon. As for Jamie Bernstein, all fathers should have such a daughter to lovingly perpetuate their memory.”
Pianist Michael Boriskin sat down with Capitol File Magazine’s Gary Duff in advance of the performance of Late Night with Leonard Bernstein at the Phillips Collection to talk about the show and his collaborators.
Be a part of a DC-citywide centennial celebration of Leonard Bernstein’s 100th birthday and join Lenny in his “living room” at the Phillips Collection on May 20.
Michigan’s Revue magazine said of the recent Late Night with Leonard Bernstein performance at the Gilmore Keyboard Festival “Pianists John Musto and Michael Boriskin handled the music masterfully, covering a wide range of styles and moods… Soprano Amy Burton gave the concert a real sense of the time period Bernstein composed in, as well his vocal work…it was Jamie Bernstein who brought it all together…Learning about Bernstein from his daughter and seeing the love and memories on stage humanized the composer in a way not often possible in classical music.”
Jamie Bernstein chatted with ClevelandClassical in advance of “Late Night with Leonard Bernstein” on Sunday, May 6 at 2:00 pm at the Cleveland Museum of Art’s Gartner Auditorium, as part of the Tri-C Classical Piano Series. Jamie commented that the show “provides an all-around portrait of my dad, which you wouldn’t necessarily get in a more traditional concert of his works,” Jamie said during a phone interview. “As I say in my narration, it’s like a guided tour inside my father’s insomniac brain. And it has some fun surprises in it too.”
The concert opened with the world premiere of a co-commission (with the Nashville Symphony) celebrating New England Conservatory’s 150th anniversary. Not content with merely a festive overture, Aaron Jay Kernis delivered a massive, honest-to-goodness symphony “containing the entire world.” Chromelodeon, his Number 4, made a tremendous impression. The composer did not stint in any way, not in size of orchestra, complexity of meaning, or generosity of expression. Could Kernis have asked for a more expert premiere of his emphatic Fourth? No, he told BMInt, he could not have imagined a more propitious birth. The composer’s comfort in the term “symphony” is justified by his large and confident addition to the genre. This one looks to have long and shapely gams.
