I agree completely with Bernard.  The remarks regarding Levine's physical
appearance and personal life are irrelevant to his music making and are
not appropriate to a serious classical music list.

Frankly I do not understand the blind criticism regarding the BSO Music
Director.  It looks like Jimmy Levine is going to have to endure a repeat
of what Seiji Ozawa experienced for three decades, two years before he
becomes Music Director.

It would be interesting to know how many Ozawa concerts his critics on
this list have attended.  My first season as a BSO subscriber started with
Ozawa's first concert (Berlioz, "The Damnation of Faust")as Music Director.
Obviously over a period of almost thirty years there have been some some
unsuccessful Ozawa lead performances.  For me the latest example was last
year's Symphony Hall performance of Britten's "War Requiem".  This was
particularly disappointing after the magnificent performance he conducted
at Tanglewood several years ago.  The orchestra that evening was not
inspired.

Ozawa has gone through many phases with this orchestra.  There have been
many ups and downs.  But the downs have been on a level that I would call
"automatic pilot mode" Not bad, but uninspired and not really great music
making.  Ozawa has changed and developed musically over the years.  He does
not over conduct as in the early years, he now does not even use a baton.
Many of his great performances have become part of me.  Experiences that I
will never forget.  I have seen him in rehearsals not open to the public
and it is amazing to watch him work.  Incredible energy, understanding of
his players, fantastic memory and love of music.  Contrary to much that has
been written in the press, BSO members that I know highly respect Ozawa as
a musician and as a human being.  I am on the Board of the New England
String Ensemble.  Many of our players play in the BSO as substitutes and
also under Ozawa when he conducts Emmanuel Music.  Unanimously they agree
that playing for him is their greatest musical experience.  The comment
that I hear most is that he understands them, is highly efficient and that
they play better than they thought possible.

One of the major reasons for his lack of success with critics outside of
Boston, I feel, has been his recordings.  His recordings in no way reflect
his concert hall performances.  A classic example is "The Firebird".  The
recording is not even a shadow of the performances in Symphony Hall.

Jimmy Levine's performance last year of the Mahler Third was incredible.
A friend of mind who is a composer talked to the musicians after one of
the performances and they were all stunned and excited.  That night they
were all inspired, they felt that they were auditioning for the next Music
Director.  Levine will be conducting the BSO this winter, the program has
not been announced.  I will be in attendance.

Bob Summers