Some final thoughts on BSO's electrifying 'Mass'
The music of Leonard Bernstein's Mass is still swimming in my head, and the emotions stirred by that music are still churning through me. I think that the Baltimore Symphony's production of the work, which wrapped up yesterday afternoon at a sold-out Kennedy Center Concert Hall after a couple of performances in New York and three in Baltimore the week before, will rank among its most brilliant efforts. And it surely has to be among Marin Alsop's finest hours. I can't imagine there is any conductor today who could have provided anything close to the experience she delivered. Her conviction in the once critically maligned Mass seemed to spread across each stage and envelop each audience. Every thing in the wildly diverse score came together under her careful guidance, creating a totality that was as cohesive as it was compelling (I attended four of the six performances).
Alsop had astute collaborators all the way, starting with Leslie Stifelman, who spearheaded the casting choices that yielded extraordinary results. As Alan Gilbert, music director-designate of the New York Philharmonic, said to me after Friday night's Carnegie Hall performance, "Marin was amazing, and the cast was amazing." Every member of the "street chorus," the ensemble of "congregants" that provides many of the musical highs in Mass, was thoroughly in character, thoroughly believeable and, almost without exception, vocally terrific.
Kevin Newbury's stage direction struck me as a little fussy and contrived the first night way back on Oct. 16, but kept growing on me with each performance. Ultimately, I think he did a tremendous job of getting to the heart of what Bernstein was exploring, all the individual struggles with faith and politics and society. I realized that I wouldn't have been so affected by the production had not Newbuey helped to make the theatrical element of Mass so persuasive and telling.
And then there was Jubilant Sykes. Despite battling throat trouble, the baritone came through, performance after performance, as the Celebrant. I just don't see how his interpretation, musically or dramatically, could be bettered.
I loved, too, the Morgan State Choir's dynamic response. And the BSO, overshadowed visually and sometimes unflatterred acoustically, proved rock-solid. There was a lot of distinguished playing going on.
My favorite performance was the one Saturday afternoon at the way-uptown United Palace Theater in New York, where hundreds of local students added their own voices and their physical exuberance to the performance, rising en masse from their seats to sing and gesture. The effect of all that youthful energy and commitment, especially in the fiercely confrontational Dona nobis pacem movement, was simply stunning. And when the kids joined in the subsequent, consoling Lauda section, it was impossible not to get misty-eyed (heck, I was a basket case at each performance).
At each presentation, when that poignant finale arrived, I was struck anew by the whole point of this astounding work. Bernstein confronted here the challenges of the human condition and touched on many a dark thought, but, ultimately, emphasized the possibility that faith and hope and love can lift up the fragile community of humankind. Thanks to Alsop and her marvelous company of singers, players and believers, Bernstein's vision was realized on four different stages in three cities, touching thousands of people in the process. That's what I'd call a really great celebration of Mass.
PHOTO BY CHRIS LEE