Steve Schwartz wrote:

>"To me, the Shakespeare play was never really about star-crossed
>lovers, but about the consequences of social breakdown.

Well, to me it was certainly, for that reason, focused on the humans
forgotten in all the stance-taking of divisions.  The larger 'Us' rather
than the segmented "I'm different - I'm right, I'll win" factions.

>As I grew up, Bernstein's music for the sentimental parts of the score
>-- "Somewhere," "One Hand, One Heart," "Tonight," "I Feel Pretty," and
>finally even the treacly "Maria," all superbly-crafted (even inspired)
>melodies -- finally won me over.  Resistance, as they say, is futile.

"One Hand, One Heart" is one of my favorites of all time.  You probably
appreciated, even at that time, the piano portions and clashing harmonies
of the 2nd section of "A Boy like that..  "?  ... "I have a love and
it's all that I have ... right or wrong, what else can I do?."

>Furthermore, over the years, I've gotten a kick out the memories of
>Tchaikovsky and Wagner in Bernstein's melodies.  For example, one
>hears Tristan in the opening to "Somewhere"

I was struck also by the similarity of the slower theme in Strauss's
"Burleske" for piano/orch.

>and Swan Lake in the same song (at "Hold my hand and we're halfway
>there").

For sure:-)

>Of the four, I like the Broadway version best.

Me too.  Larry Kert, the original Tony, sang this again in some 2 hour
tv-special, about 10 years ago, about 30 years after he had originated
the role.  His voice was practically as fresh as it was then.  I was
amazed.  He didn't even look -that- different.

>Bernstein's version hit me at first as Yet Another Lenny Exercise
>in Self-Indulgence, with Jose Carreras as the "Irish" Tony tripping
>over English in every measure. But that was counter to what *I*
>wanted -- ie, a stab at realistic drama. Once I accepted what
>Bernstein himself wanted -- gorgeous voices singing gorgeous music

If you ever catch the video (still available) of "The making of West
Side Story" with Bernstein, Te Kanawa and Carreras, you'll see how much
Bernstein himself was bothered by Carreras' accent.  But what did he
expect?  It's a tough watch, as Bernstein's reactions during rehearsals
are almost (well, outright) abusive where Carreras was concerned.  He
should have just hired Jerry Hadley for it.

>Bernstein wrote the music.  The movie soundtrack collects dust.  It
>just seems "off" somehow, as did the movie itself,

Too 'soft' in singing styles and in action ...  Richard Beymer didn't
really work for that.  It was strange to see him all hardened up for
David Lynch's "Twin Peaks" a few decades later.  George Chakiris was
perfect for Bernardo - in both the dancing and his general look.

"Andrys Basten" <[log in to unmask]>