Mass (formally: MASS: A Theatre Piece for Singers, Players, and Dancers) is a musical theatre work composed by Leonard Bernstein with text by Bernstein and additional text and lyrics by Stephen Schwartz. Commissioned by Jacqueline Kennedy, it premiered on September 8, 1971, conducted by Maurice Peress and choreographed by Alvin Ailey. The production used costume designs by Frank Thompson. The performance was part of the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. Mass premiered in Europe in 1973, with John Mauceri conducting the Yale Symphony Orchestra in Vienna.
The work is based on the Tridentine Mass of the Catholic Church. The liturgical passages are sung mostly in Latin, though the "Sanctus" includes portions in Hebrew. Mass also includes additional texts in English written by Bernstein, Broadway composer Stephen Schwartz, and Paul Simon (who wrote the first quatrain of the trope "Half of the People"). The work is intended to be staged theatrically, but it has also been performed in a standard concert setting.
Initial critical reception, including a review in The New York Times, was largely negative, but the Columbia Records recording of the work enjoyed excellent sales.
Genesis
The concept of Mass derived from three sources: the experience of conducting at Robert F. Kennedy's funeral in 1968 in St. Patrick's Cathedral, Manhattan; the Beethoven bicentenary in Vienna in 1970; and a small piece "A Simple Song" he wrote for Franco Zeffirelli's 1972 film Brother Sun, Sister Moon before withdrawing from that project after three months during which time he worked with Leonard Cohen.
Paul Simon was also approached for music and lyrics for Brother Sun, Sister Moon, but he too declined. However, a quatrain he wrote while considering the commission was later presented to Bernstein for use in his Mass.
Cast of characters
The original cast consisted of a Celebrant, three choirs, and altar servers. A full classical orchestra performed in the pit, while onstage musicians—including a rock band and a marching band—performed and interacted onstage. The Celebrant – The central character of the work, a Catholic priest who conducts the celebration of the Mass. Formal Choir – A mixed choir (SSAATTBB) in upstage choir lofts who sing the Latin portions of the Mass. Boys' Choir – A children's choir (SSAA) that processes on and off stage various times, performing alone, in antiphon, or in concert with the Formal Choir and the Street Singers. Street Singers – Downstage and often performing around the Celebrant and the stage instrumentalists, a broad group of female and male singers representing the congregation (and occasionally the musicians), who variously participate in the prayers of the Mass, or alternately counter those prayers in a modern context. Acolytes – Assistants to the Celebrant, who perform dances and altar assistance throughout the Mass.
Synopsis
The piece begins with pre-recorded 4-part contrary musics of vocal soloists and percussion. The resultant cacophony is cut off by a guitar and the Celebrant singing "A Simple Song."
Despite an initial wide-ranging eclecticism (evoking cool jazz, marching bands, world music, Lutheran chorale, and classical modernism) all of the performers are in apparent harmony and agreement. During the course of the Mass, however, the street choir begins expressing doubts and suspicions about the necessity of God in their lives and the role of the Mass. The street chorus sings with the Latin lyrics until they hit a line which they twist into a complaint or a self-serving boast; i.e. "dona nobis pacem" (English: "grant us peace") turns into the street chorus, "Give us peace NOW!" In this way, Bernstein interweaves and contrasts social commentary and prayer.
The street chorus's bitterness and anger continues to grow and makes each of the subsequent meditations more harsh. At the play's emotional climax, the growing cacophony of the chorus' complaining finally interrupts the elevation of the Body and Blood (the transubstantiated bread and wine). The Celebrant, in a furious rage, hurls the consecrated host, housed in an ornate cross-like monstrance, and the chalice, smashing them on the floor. At this sacrilege, the other cast members collapse to the ground as if dead while the Celebrant sings a solo. This solo blends the chorus's disbelief with his own crisis of faith. He feels worn out and wonders where the strength of his original faith has gone. At the end of his song, he too collapses.