Two Music Legends. One Last Drink: writer Peter Danish depicts a fictionalized last meeting between Leonard Bernstein and Herbert von Karajan, conductors and composers who shaped 20th-century classical music, at the Sacher Hotel in Vienna.
Playwright Peter Danish explains: “A few years ago, I was in Vienna on vacation and I stopped by the Sacher Hotel for a piece of Sacher torte. My reading material was the recently published collection of Bernstein’s letters. When the waiter brought me my cake and coffee, he noticed the book. He said he waited on Maestro Bernstein many times, and proceeded to tell me an incredible story about the night before Karajan’s final performances in Vienna, when Karajan and Bernstein crossed paths in the lobby of the famous hotel and sat in the famous Blaue Bar for a last drink. This story inspired me to write this play”.
Directed by Gil Mehmert, and with an unconventional casting, those unique men are played by women: Helen Schneider is Bernstein and Lucca Züchner is Karajan. Both women add an interesting layer to the portrayal of the iconic men. Victor Petersen plays the Waiter.
Bernstein was born in August 25, 1918, in Lawrence, Massachusetts, to Russian Jewish and Ukrainian Jewish parents, whom immigrated to the United States from Rivne, Russian Empire (now in Ukraine). He died at age 72, in October 14, 1990 in New York City.
Herbert von Karajan was born in 5 April 1908, in Salzburg, Austria-Hungary. He died at 16 July 1989, at the age of 81, in Anif, Austria. Karajan was principal conductor of the Berlin Philharmonic for 34 years. He helped found the London’s Philharmonia Orchestra in 1948, and in 1955 he became music director of the Berlin Philharmonic. A Nazi Party member from 1933 to 1942, Karajan was exonerated by an Allied tribunal after World War II, but his American debut in 1955 precipitated public protests.
Bernstein was Jewish and brought Karajan Nazi association to the discussion. Bernstein’s career was marked by first conducted the New York Philharmonic in 1943, and later, in 1966, he debuted with the Vienna Philharmonic, establishing a lasting connection. He composed acclaimed scores for musicals such as On the Town, Wonderful Town, Candide, and West Side Story.
By consensus, it is common knowledge that they first met in Milan in 1954, were conducting at La Scala. Despite their occasional rivalry, they developed a relationship and would arrange secret meetings in Salzburg, Berlin, or Vienna later in their lives.
Photo by Maria Baranova.
The plays is set in 1988, right after von Karajan had a stroke. Bernstein was diagnosed with emphysema at early age, and smoke constantly during the conversation, while drinking whiskey. Karajan drinks tea impatiently, during the entire play, while preparing for his conducting duties.
It’s clear that the relationship between Leonard Bernstein and Herbert von Karajan was complex, marked by both mutual respect and underlying tensions. “Last Call” explores their relationship dynamics that seems to display a dispute, a constant clash and struggle for relevance. The play informed us of many relevant facts of those titans.
As the plays goes on, Bernstein criticizes von Karajan consistency. Karajan counter attack Bernstein pointing his constant need of “being loved” and keep pointing his finger in his insecure and envious nature. It is clear that feelings of professional jealousy between the two men are mutual.
For 90 minutes, we witness an intense arguing between two geniuses, when Karajan constantly explains his discipline, including one one cigarettes and shot of whiskey after dinner. Discipline is a key of his constant perfect performances. He adds: “I was born to command, not obey”, justifying some of his past associations and efforts. Bernstein goes on attacking Karajan on his work close to the Nazi regime: Karajan agrees he changed his Macedonian name to blend in and avoid prosecution. The plays keep informing us of various historical facts.
Karajan attacks on Bernstein are about his insecurities and envy. Words can’t explain the feelings of ecstacy of both characters.
Bernstein argues that there is nothing original or creative about Karajan. He says Karajan couldn’t handle a blank paper to start with, while he had worked with The Beatles and Simon & Garfunkel.
Reaching an impasse, a sudden, unexpected agreement arose: both recognized Maria Callas, who abruptly graced the stage, as embodying the ultimate blend of technical mastery, magnetic charisma, passionate intensity, enigmatic artistry, and a resolute insistence on having the last word, a trait they both experienced.
By the end, both respected each other’s musical abilities, and Karajan ends the discussion: they were not considered close friends.
“Last Call” is a current example of how their relationship is being explored in popular culture.In essence, their relationship was a fascinating interplay of musical genius and personal differences.
By the play’s conclusion, both characters share a vision of a future characterized by improved social conditions, specifically the eradication of racism, sexism, and homophobia. And that conflict resolution requires the establishment of harmony. Or does it?
Photo by Maria Baranova.
“Last Call” has a limited engagement at New World Stages from March 12 to May 4, 2025.
340 West 50th Street New York, NY 10019
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