Another opening, another show — Carnegie Hall kicked off its 2008-09 season on Wednesday night. The hall looked absolutely beautiful. And it sounded beautiful, too. One can forget how good these acoustics are, over the course of a summer.

The program was all-Bernstein. And why’s that? Because the composer’s dates are 1918 to 1990 — making this the 90th anniversary of his birth. And you know how music loves an anniversary — any anniversary, even 90th ones. Anniversaries are virtually the organizing principle of the music business. And for the next few months, you can hear Bernstein’s music all over New York.

Of course, this was his city — the city where he really made it. (And if you can make it here …)

The performers on Wednesday night were the San Francisco Symphony, Michael Tilson Thomas, and a cast of famed soloists. Mr. Tilson Thomas has been music director of the SFS since 1995. And he has reminded more than a few people of Bernstein on the podium — “He has some Lenny moves,” as a clarinetist I know once put it.

In recent days, the Metropolitan Opera and the New York Philharmonic have opened the season with the national anthem. Carnegie Hall, no. Mr. Tilson Thomas launched into Bernstein’s Symphonic Dances from “West Side Story.” And he conducted this work in sure idiomatic style. The score had the right musicality, the right life.

You could enter a few objections. For example, the Cha-Cha — that lovely, Tchaikovsky-like thing — should have been more gossamer and delicate. It was rather clodhopping.

But this was a winning performance overall, and the San Francisco winds were marvelous in their solos. They seemed to execute them with joy. And here’s a funny detail: Orchestras often mess up their pizzicatos; similarly, they mess up their finger-snapping in the “West Side Story” dances. But the SFS proved an exception.

Mr. Tilson Thomas proceeded with excerpts from Bernstein’s opera “A Quiet Place.” Actually, he proceeded with a lecture — which is de rigueur these days. Critics and administrators demand it — they call it “outreach.” Musicians used to “reach out” with their music-making. And nothing can deaden, delay, or prolong a concert like talking.

In the middle of his lecture, Mr. Tilson Thomas said — no, yelled — that Bernstein was a “LIB-ER-AL.” And that’s how he pronounced that word: with three distinct, fist-shaking syllables. The crowd erupted in applause and cheers. It was one of those self-congratulatory New York moments. People were almost North Korean in their robust unanimity.

Mr. Tilson Thomas then explained that Bernstein wanted to make music “to inspire a better world” — and, as we all know, only liberals wish a better world.

In truth, it is debatable whether Bernstein was a liberal in any genuine sense. Take his fundraising for the Black Panthers, when they were at their cop-killing height. Tom Wolfe labeled that “radical chic” — and the “chic” part depends on your taste.

For the “Quiet Place” excerpts, Mr. Tilson Thomas had with him two soloists: Dawn Upshaw, the soprano, and Thomas Hampson, the baritone. Ms. Upshaw was introduced to America during Bernstein’s 70th-birthday concert at Tanglewood, which was televised: She sang his “I Hate Music.”

From “A Quiet Place,” Mr. Hampson sang “You’re Late,” and he did all he could with the song — applying handsome voice, excellent diction, rhythmic intelligence, etc. This song can be shouted through — but Mr. Hampson truly sang it. Then Ms. Upshaw took over for “Morning, Good Morning,” which she sang in her least disciplined fashion: scooping, swooping, flatting. But that was okay.

Then everyone hugged and kissed, and the gala audience went out for intermission.

Christine Ebersole, the Broadway star, opened the second half — singing “I Can Cook, Too,” from “On the Town.” She was spunky and suitable. Then Yo-Yo Ma, the celebrated cellist, appeared for the Meditation No. 1 from “Mass.” The meditation is one of those anxious, anxious pieces that Bernstein composed so many of. And Mr. Ma played it with great sensitivity and sympathy, which is how Mr. Tilson Thomas conducted it, too.

Ms. Upshaw sang the amazing “What a Movie” from “Trouble in Tahiti,” and did so with ample charm and theatrical sense. Mr. Hampson, along with Mr. Ma and the orchestra, performed “To What You Said,” which is possibly Bernstein’s best song (classical song). He sang elegantly and thoughtfully — and maybe a touch too suavely. But if too much suavity is your problem, you have few problems.

Mr. Tilson Thomas conducted the Danzón from “Fancy Free,” in a style that can best be described as fancy free. Then some Juilliard boys came on for “Gee, Officer Krupke,” from “West Side Story” (unforgettably good lyrics by Stephen Sondheim). It was fine, but did the tempo have to be that slow? Perhaps Mr. Tilson Thomas wanted to be sure that the words got out.

The big finale was “Ya Got Me,” from “On the Town” — in which everybody participated, even the cellist. Mr. Ma had a jazzy solo, and, when he began it, he was horrifyingly disoriented — but he soon righted himself. And everybody went home happy.

One thing’s sure about Bernstein: As long as there is something in the world like musical theater, “West Side Story” will live. It is immortal. Whether a note of the classical music will be heard — that is another story. But, if you want to hear this music, you can hear many, many notes in this town as Bernstein is honored at 90.