“Is ‘Mass’ Leonard Bernstein’s Best Work, or His Worst?” a recent headline asked. Well, after revisiting this two-hour extravaganza on Tuesday, when it was presented by Lincoln Center’s Mostly Mozart Festival, I think that if it’s not his worst, it surely reflects his worst tendencies: his allergy to self-editing, his saccharine streak, his embarrassing wordplay, his obsession with (and tone-deafness toward) youth culture, his weak counterfeits of pop styles.
Bloated, bombastic, cloying, quaint and smug — and occasionally, it must be said, very pretty — “Mass” (1971) now exists mainly as a stale memento of the aftermath of the liberalizations in Catholic ritual inspired by the Second Vatican Council.
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