Influential music writer Mark Morris holds the
view that Leonard Bernstein wrote several interesting works but
West Side Story was his only masterpiece. For me Bernstein
is undoubtedly a genius and I agree that West Side Story is
a masterpiece. A classical music masterpiece maybe not, as many
classical music commentators refuse to include the piece under
the composer’s list of classical works, owing to its classification
as a ‘Musical’. A modernisation of Shakespeare’s Romeo and
Juliet, Bernstein composed West Side Story as a theatrical
venture for the Broadway stage, therefore it seems pointless to
argue that it is not a Musical.
I recall reading that Bernstein wanted to be
remembered as a composer of serious works such as the symphonies
Jeremiah, Kaddish and The Age of Anxiety, not as
simply the composer of West Side Story. This shows that
not even a highly influential, revered figure like Bernstein could
always get what he wanted as West Side Story is generally
considered his masterwork and in my view deservedly so.
The first and only recording in my collection
was the now notorious 1985 digital version on Deutsche Grammophon
from the composer’s own baton. Contentiously Bernstein cast opera
singers notably Jose Carreras and Kiri Te Kanawa in the title
roles of Tony and Maria. Despite exceptionally mixed reviews I
grew particularly fond of the composer’s own reading, mainly owing
to the often screened television documentary filmed at the recording
sessions.
This Warner Classics CD was originally released
in 1993 on IMG Records and is also a controversial recording.
The casting of world famous opera singer and recitalist Barbara
Bonney as Maria and cabaret star Michael Ball as Tony raised more
than a few eyebrows at the time. I certainly do not mind listening
to a top cabaret singer and likewise an opera singer but to place
the two styles together seems to be a most unlikely combination,
that doesn’t really work too well. I’m not implying that one style
of singer is superior to another, the main reason why I feel that
their partnership struggles to work as well as it might have done
is down to the vastly contrasting strength of their respective
voices, as heard in their duet Tonight. An opera singer
of Barbara Bonney’s distinction against the lighter cabaret style
of Michael Ball is an unfair match. Having said all that it is
the amazing quality of the music from Bernstein and the superior
storyline and lyrics that surmount all else; with the singers
being an important enhancement. After all I’m sure that many of
us will have paid to see amateur and school performances, coming
away with a wonderful sense of enjoyment with those astonishing
tunes going through our heads for many hours afterwards.
To be fair Barbara Bonney doesn’t really sound
like a Puerto Rican and neither does Michael Ball pass as an American,
yet they sing with an enthusiasm and commitment that almost makes
up for the characterisation defects. Bonney’s performance is as
impeccable as we have come to expect from a singer of such impressive
credentials. She is girl-like and coquettish in I feel pretty
and provides some extremely convincing singing with great beauty
in Somewhere. Michael Ball seems to radiate having a great
time in his role as Tony and certainly gives his all with a typically
exuberant performance in his big numbers Something’s Coming
and Maria. Ball does have a most distinctive vibrato
in his higher registers, a tendency to slide from one note to
another and there are one or two flat notes but none of this spoils
the entertainment in what comes across like he is playing to an
enthusiastic audience in a cabaret performance, More! More!
The Royal Philharmonic under conductor Barry
Wordsworth are undoubtedly a most proficient and versatile orchestra
and have few problems adapting to Bernstein’s score, which requires
a wide spectrum of emotions and contrasting styles. I must single
out their playing in the dance sequence The Dance at the Gym
and The Rumble for special praise. The boy and girl
choruses give wonderful performances of their main featured numbers
America and Gee, Officer Krupke. The singing from
the chorus is so good that I have no problem imagining them as
‘Sharks’ and ‘Jets’ gang members from the West Side of New York
City. I challenge any listener not to jig, tap or dance along
to the rhythms.
The sound quality of this Warner Classics release
is very fine and is certainly on a par with the Deutsche Grammophon
version under the composer. The booklet notes are brief and informative
yet have no libretto included which is quite unforgivable
as a companion to a Musical.
Bernstein’s score to West Side Story is just
perfect but plainly both interpretations mentioned could be improved
upon. On balance I would just choose the composer’s own version
with Jose Carreras and Kiri Te Kanawa on Deutsche Grammophon but
this recording is growing on me all the time. Thoroughly committed
and enjoyable performances from all concerned in Bernstein’s masterwork.
Michael Cookson
Royal Philharmonic
Orchestra/Barry Wordsworth