It’s really not entirely the conductor’s fault. Granted, the chorus and orchestra sound ill-coordinated in a few spots (like the opening Kyrie), and there are some rushed tempos, but the real problem with this live 2015 performance stems from simply atrocious engineering. However effective it may have been in person, it seems that no one bothered to take into account what the thing would sound like played through speakers at home. As a result, the pre-taped music comes at you as if from a distant galaxy. There’s no meaningful differentiation between the main chorus and the street singers. Heck, even the American Boychoir sounds hoarse in the Sanctus. The brass and woodwind, wherever they are, sound tinny and thin–it’s just awful.
More’s the pity because the singing isn’t bad. Kevin Vortmann, a tenor, takes on the part of the Celebrant with conviction, although no one compares with Jubilant Sykes on Marin Alsop’s reference recording for Naxos. The street singers in the Gloria are, on the whole, quite good, and better than those in the Credo. “World Without End” and “I Believe in God” are probably the low points, and the wise-ass crowd noises during “God Said” are annoying, but ultimately none of it matters because it’s just really unpleasant to listen to. Worst of all, this recording was allegedly designed as a tribute to Bernstein on his centenary (and to fill out the DG catalog, which never made a version of Mass with the composer).
While this isn’t as bad as Kristjan Järvi’s Chandos offering, it still belongs at the bottom of the heap. Come on guys! If you’re going to offer a tribute, at least do it right. Stick with Alsop, and keep in mind Bernstein’s Sony premiere recording and Nagano on Harmonia Mundi to supplement.