The highly anticipated film delves into the composer’s complex personal life and relationships.
The long-awaited Leonard Bernstein biopic, Maestro, has just been released on Netflix, and it is directed by Bradley Cooper, who also serves as co-screenwriter and leading actor. Carey Mulligan portrays the role of Bernstein’s wife, Felicia Montealegre, in this star-studded production, with Matt Bomer, Sarah Silverman, and Maya Hawke rounding out the impressive cast.
Netflix has finally released the highly anticipated film, Maestro, which is a captivating biopic about the life of Leonard Bernstein. Directed by the talented Bradley Cooper, who also co-wrote the screenplay and stars in the leading role, this film is an absolute masterpiece. Joining the ensemble is the incredibly talented Carey Mulligan, who portrays the pivotal character of Felicia Montealegre, Bernstein’s wife. Alongside Mulligan, the film features an impressive cast including Matt Bomer, Sarah Silverman, and Maya Hawke, making it a true star-studded production.
How faithfully does the movie “Maestro” depict Bernstein’s life? Let’s uncover the real story behind Bradley Cooper’s latest film, “Maestro.”
Leonard Bernstein was introduced to Felicia Montealegre in 1946
The Maestro begins with Leonard Bernstein receiving an unexpected phone call. The news is thrilling – he has been chosen to conduct the renowned New York Philharmonic at Carnegie Hall that evening. To make the situation even more daunting, he is informed that there will be no rehearsal, as he is a last-minute replacement for the esteemed Bruno Walter. It is a tremendous opportunity for Bernstein, a chance to showcase his talent on the grandest stage. And so, on that fateful evening of November 14, 1943, the Maestro prepares to take center stage and make history.
According to Maestro, Felicia Montealegre made her Broadway debut in Swan Song three years later, in 1949. According to the official Leonard Bernstein website, she entered into a romantic relationship with composer and conductor Leonard Bernstein after they hit it off at a party introduced by her piano teacher, Claudio Arrau. It was later mentioned in Biography that Bernstein himself admitted they “fell in love” that same night. While they initially became engaged that year, the couple eventually went their separate ways, as reported by The New York Times.
Despite not being delved into in Maestro, Montealegre entered into a romantic relationship with another person after her breakup with Bernstein. Actor Richard Hart and Montealegre were together from 1948 to 1951. Regrettably, their relationship came to an abrupt halt when Hart tragically passed away from a heart attack on January 2, 1951, as reported by The New York Times.
Leonard Bernstein and Felicia Montealegre tied the knot in 1951
After the passing of Richard Hart, Felicia Montealegre found herself drawn back into a passionate romance with Leonard Bernstein. Throughout this time, she stayed in touch with his family through The New York Times. Their deep connection ultimately led them to publicly announce their re-engagement in August 1951. Just a month later, the couple exchanged vows, as reported by Biography. Yet, it wasn’t an easy journey to matrimony, as Bernstein’s parents initially hesitated to fully support their union.Bernstein’s mother didn’t think the girl was right for him.
The couple celebrated the arrival of three children. Their daughter Jamie was born in 1952, followed by their son Alexander in 1955, and their daughter Nina in 1962, as reported by Women’s Health.
Leonard Bernstein had affairs with both men and women.
The Netflix biopic Maestro provides a deep look into Leonard Bernstein’s personal life, shedding light on his sexuality and his relationships with both men and women while being married. A 2013 review of The Leonard Bernstein Letters, a collection of the conductor’s correspondence, by The New York Times, highlights the complex dynamic of Bernstein’s marriage and his unspoken agreement with Felicia Montealegre. The newspaper notes the tacit understanding that allowed Bernstein to maintain his “double life” and have affairs with men as long as he was discreet.
According to The New York Times, in her letter to Bernstein in 1951 or 1952, Montealegre acknowledges her husband’s sexuality, as mentioned in Maestro. She candidly expresses, “You are a homosexual and perhaps that is something that will never change. But why don’t we explore the possibilities of what could happen if you were free to follow your own desires, without any guilt or need for confession… Our marriage is not built on fleeting passion, but on enduring tenderness and genuine respect.”
In Bradley Cooper’s film, only a few of Bernstein’s affairs and relationships are depicted, such as his romance with clarinetist and producer David Oppenheim, portrayed by Matt Bomer. However, in “Maestro,” Bernstein’s inner conflict – torn between his marriage and his attraction to others – takes center stage. It’s important to emphasize that homophobia was widespread in the 1940s and 1950s, leading Bernstein to be pressured by others in his life to marry a woman in order to suppress any speculation about his sexuality, as reported by Time.
Above all, Leonard Bernstein and Felicia Montealegre had a deep and enduring friendship.
Although Maestro delves into Leonard Bernstein’s marriage with Felicia Montealegre, it also delves into the romantic relationships the conductor had with several men over his lifetime. Nevertheless, Maestro emphasizes the deep closeness between Bernstein and Montealegre.
During an interview on American Masters in 1997, Jamie Bernstein, the couple’s daughter, emphasized the enduring strength of their friendship, highlighting how they continued to make each other laugh and share stories they were both passionate about. Despite a decrease in romantic passion over time, her parents’ unwavering friendship prevailed as the cornerstone of their relationship.
Felicia Montealegre passed away in 1978 after battling cancer.
shedding light on Felicia Montealegre’s life, which ended prematurely due to cancer on June 16, 1978, at the age of 56, as reported by The New York Times.”
After Montealegre was diagnosed with breast cancer and had a mastectomy in 1974, the couple’s marriage started to suffer, as reported by The New York Times. Bernstein and Montealegre separated when her cancer resurfaced in 1976, and at that time, the conductor was living in New York City with music researcher Tom Cothran, according to HuffPost. However, upon hearing about Montealegre’s diagnosis, Bernstein moved back into their family home. As illustrated in the Maestro, Bernstein took care of her until her passing, which led to various publications highlighting the conductor’s overwhelming guilt.
Jamie Bernstein, the eldest daughter of Bernstein and Montealegre, revealed in an essay for Time that Bradley Cooper immersed himself in her book, Famous Father Girl: A Memoir of Growing Up Bernstein, in order to get ready for the film. Cooper was deeply influenced by Jamie’s touching depiction of her mother’s death, incorporating a number of her recollections into the screenplay.
Jamie expressed that writing about this period was incredibly challenging and that the memories were deeply buried. However, the discovery of a journal forty years later provided a poignant recollection of the last meaningful conversation with their mother. Holding hands, the mother imparted a profound message: “Remember, the most important thing is kindness. Kindness, kindness, kindness.”
Jamie mentioned that the dramatization of her mother’s passing had a profound impact on showcasing the healing that occurred in her parents’ relationship. It was a remarkable display of transformation, as her mother, who had experienced anger, remorse, and love, ultimately chose love as her final emotion. Jamie articulated that Bradley Cooper truly comprehended the significant meaning behind Felicia’s words and skillfully utilized them to convey the concept of forgiveness from Felicia to Lenny. Through her last breath, Felicia’s love encompassed Lenny, enabling her to perceive the genuine depths of his sorrow and complexity.