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The answer is: sometimes

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The score has vocal sections of operatic complexity and substance, most notably the Tonight ensemble. He also quotes Kenneth Tynans putting-it-all-together description of West Side Story: It sounds as if Puccini and Stravinsky had gone on a roller-coaster ride into the precincts of modern jazz. While Shawns superb analysis can be extended to Bernsteins other works for the Broadway stage, particularly Candide, one can easily reverse the process for works usually described as classical, particularly the jazziness of his symphonies and orchestral pieces like Prelude, Fugue and Riffs or the almost pop-song lyricism in parts of Serenade and Chichester Psalms. And it becomes more apparent with every passing year that his one-act opera, Trouble in Tahiti, and his more controversial Mass are as good as music for the theater gets