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Resorts Atlantic City's Superstar Theater is hardly a traditional recital hall. Even so, there will be no dumbing down of material by acclaimed classical violinist Itzhak Perlman when he takes the stage this weekend.

Perlman's repertoire includes jazz and klezmer, but for this appearance he plans to focus on his classical side, featuring pieces by Beethoven and Stravinksy, with some musical "bon-bons" during the encore.

"The venue may be different, but people are people," Perlman says. "Hopefully, if they're going to come to a concert like this, their expectations would be to hear what I do."

Perhaps the best known classical musician today, Perlman is no stranger to pop venues. The Juilliard-trained artist first gained notice during an appearance on "The Ed Sullivan Show" in 1958. Over the decades he has logged time on talk and variety shows, along with his considerable classical work as a soloist and with major orchestras.

Before hitting Atlantic City on Saturday, Nov. 28, Perlman chatted with At The Shore about the link between conducting and teaching, his cameo as an opera singer and his surprising love of '50s pop music.

Q: Within the classical repertoire, do you prefer to stick to the familiar or try to stretch?

A: Every now and then I do something brand new that you can't really hear (in advance). Most of the time, I do the standard repertoire that I enjoy.

Q: Do you ever improv during your classical performances?

A: There is a certain amount of improvisational activity that goes on. It's not as obvious as with something like jazz. It's more subtle and has to do with phrasing. The Beethoven violin concerto - which is your war horse kind of piece and a lot of people want - you have to play it over and over again.

One of the things I suggest is ... do not copy what you do, just because you did it yesterday and just because it worked. Every day is a new day. No matter how many times you play a piece, the goal is to make it spontaneous.

Q: In 1981, you sang a role in "Tosca" with Placido Domingo and Renata Scotto. Any chance you would ever reprise the performance?

A: I would like to call that experience my farewell debut. It was almost a dare. I did it on live television and recorded it with Placido Domingo. I ... was able to retire immediately.

Q: You've done a lot of conducting lately. How does that influence your work as an instrumentalist?

A: Right now, in my musical life, I do three things... teaching, playing violin and conducting, and I think each thing I do affects the other. Conducting affects things that have to do with breathing, that have to do with timing, that have to do with phrasing and that have to do with teaching. A part of conducting is coaching and making suggestions. I've been very lucky to conduct great orchestras. What do you say to a group of fine musicians who play Beethoven's Fifth Symphony for the 1,000th time? What can you tell them that they haven't heard before? That's the challenge.

Q: Your son Rami is in a rock band. Did you encourage him to pursue music? How do you feel about his not opting for classical?

A: He was always a great music lover. As a 12-year-old, he was a boy soprano in the Metropolitan Opera, where he sang a role in "La Boheme."

After college, he decided he wanted to do something different. It had nothing to do with me. It's something he loves and something he's very good at.

Q: Finally, what's on your iPod these days?

A: A lot of classical and a lot of singers and so on; a little bit of the Beatles; some hits of the '50s, which I love. I actually listened to the '50s music in the '50s.

You have kids saying I love the old stuff. I'm that old that I was actually there. I started listening around 1957 or '58 to Elvis and Paul Anka and the Shirelles. I was into the Beatles. That's what I listen to as an alternative.

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