To Our Readers

ow can something be as fresh, as bril­ Hliant, as explosively urgent as "West Side Story," and be 50 years old? How can this brand new idea for the American theatre have been around for half a century? Leonard Bernstein used to say that he wished he could write the Great American Opera. He was still designing such a project shortly before his death. But in retrospect, we can say that he fulfilled his wish. "West Side Story" is performed to enthusiastic audiences in opera houses around the world - recently in La Scala and, before this year is out, at the Theatre du Chatelet in Paris. Is there a Broadway revival in the works? The signs are highly auspicious. In this issue, we celebrate "West Side Story": its authors, its original performers, and its continuing vital presence in the world. Chita Rivera regrets that, due to scheduling conflicts, she was unable to contribute to this issue by print time. [ wEst SIDE ·sronv L "West Side Story" continues to break ground to this very day. Earlier this year, the show was performed by inmates at Sing Sing. A few months later, it was presented as part of a conflict resolution initiative for warring street gangs in Seattle. And if there's a heaven, Leonard Bernstein was up there dancing for joy last summer while Gustavo Dudamel led his sensational 200-piece Simon Bolfvar Youth Orchestra in the "Mambo" at the Proms in London. The audience went bonkers. Check it out: http://www.dailymotion.com/swf/ 6pXLfR60dUfQNjMYZ There are few theatrical experiences as reliably thrilling as a student production of "West Side Story". In high schools and colleges across America, teenagers throw themselves into the show with the passionate commitment that comes from feeling that a work of art is speaking directly to one's soul. Leonard Bernstein's score is notoriously diffi­ cult, but the young musicians and singers tear into it with gusto. The DVD of "West Side Story" is a top rental for kids, whose parents marvel as their 5 year olds jump around the furniture playing "Jets and Sharks" and singing at the top of their lungs. Clearly "West Side Story" speaks in some essential way to young people - and that, above all, is the quality that will keep this work itself forever young.

J.B.• 0 " Ma r ia " A Fa iry Ta Ie

by Carol Lawrence continue for years to come. I'm proud to have been there through ecalling the magnificent mem­ the labor pains that gave birth to Rories of being blessed with such a masterpiece! being a part of the original com­ With great love and apprecia- pany of West Side Story is like tion, Carol Lawrence. • walking into a wondrous fairy tale of long ago! It was fifty years Carol Lawrence created the ago, and the rules were different. role of Maria in the original First of all, it took me thirteen Broadway production o(West auditions to get the role of Maria; Side Story, and went onto a when Actors Equity found out, career in stage, screen, recording they were furious. They promptly and television. passed a law that only allowed producers three auditions before they must pay the actor to audi­ tion again. The truth is that I would have auditioned a hundred times if the geniuses creating the show had asked me. "One Hand, One Heart". It was evident to everyone in the company that this project modern idiom, pathos, poignacy, was extraordinary in every aspect. rebellion, and a demand for jus­ Transposing Shakespeare's tice. Stephen Sondheim was the warring families to the world Wunderkind who brought a cryp­ of racial strife and bigotry in tic, youthful, stinging insight onto America was enough to place the scene. Hal Prince and Robert the musical in a class all its own. Griffith brought their courageous Leonard Bernstein's operatic/jazz/ vision and practical expertise to classical score was like nothing what every wise Broadway sage ever heard before on a Broadway warned was a commercial impossi­ stage. The book by Arthur bility. And Jerome Robbins set his La urents revered Shakespeare original concept of telling the heart­ while adding a biting edge of breaking love story of Romeo and Juliet in the brutal streets of NYC Hal Prince and on a plane of perfection never dreamed of before or since. Robert Griffith Jerry demanded the impossible of everyone around him everyday brought their cou­ at rehearsals - but demanded even more of himself. He was rageous vision and our model of dedication, integrity, honesty, energy, imagination, The Balcony Scene practical expertise creativity, fortitude, courage, and triumph. He just never gave to what every wise up, and would not allow you the Broadway sage option either. His subtext to the entire effort was: "Intolerance is warned was a com­ just not acceptable!" I believe that is the underlying mercial impossibility. message the show carries around the world even today. It is being produced in more than sixty ven­ ues this year, and no doubt it will

~ ~ N 0 0 ---.J ;:, 0 0 00 0 West Side Story- 50 years old?

by Reri Grist context of the rivaling gangs, I felt I particularly understood. As trange! - it seems only a we began to coordinate the scenes Sshort time ago that we, the and music into a unified whole Sharks and Jets girls, were on stage, there was increased upstairs in our large, common contact with Leonard Bernstein, dressing room on an upper floor whose warmth, guidance and of the Winter Garden Theater unrestrained enthusiasm with our chatting away happily as we interpretations of his composition changed into our vibrant red created an atmosphere which en­ and lavender or bright yellow couraged us to keep on movin' on. and blue costumes, preparing for West Side Story allowed me, the next evening show. Although personally, the opportunity to we originated from different parts convince Mr. Bernstein that "I of the USA, from sometimes con­ could sing other music, too," trasting social and educational such as Zerbinetta's aria from backgrounds, we were joined Ariadne auf Naxos by Richard together to perform a new kind Strauss. And I do remember that of musical which unexplainably audition! Between a matinee and Reri Grist and Leonard Bernstein, 1971 moved and united all of us evening show, racing up 7th beyond anything else we had Avenue to Carnegie Hall with Whenever and wherever I see before known or seen. some of the Shark girls along West Side Story listed to be per­ During the early period of with me, all still wearing parts formed - on stage, in selections rehearsals Jerome Robbins, the of our colorful costumes. The in concert, in jazz or chamber stage director and great chore­ stage of the great hall seemed so arrangements, in Italy, Germany, ographer, was the kingpin. He big and intimidating to little me. China or South Africa, in French, wanted all of us to have the When I finished the long and Russian, or Japanese - my heart energy and life he saw in the difficult aria, Mr. Bernstein's reac­ skips a beat, and I am thrown kids in the area of NYC where tion, "Well, I guess you can sing!" back in time to that first pre­ I grew up - Spanish Harlem. led me on to other engagements opening night performance for Jerry wanted WSS to be like the in concert with him and the New a New York City audience at the real thing. So we all, especially York Philharmonic. Years later, Winter Garden. When the shot the dancers, dedicated ourselves after my operatic career had been rang out that killed Tony and to the task and worked without established in Europe and the the last chords softly diminished holding anything back to give USA, we again worked together into space, we, the Sharks and the him all that he wanted - and at the Vienna State Opera in Jets on stage and the audience in more. I, in my role of Consuelo, Austria where he conducted a their seats, remained frozen in an had the privilege to be the first beautiful new production of all encompassing silence, held by to sing "There's a place for us," Strauss's Der Rosenkavalier in the meaning of the killing - and ("Somewhere") which, in the which I sang the role of Sophie. perhaps the knowledge that we were part of a great moment in American theatre and music. At first, slowly and almost inau­ dibly, there arose an electrifying roar from the audience - shouts, applause whistling, stamping of feet - which crescendoed into a fortissimo causing the space and our beings to vibrate with a deafening joy of approval and accomplishment. 50 years ago ... HAPPY BIRTHDAY WEST SIDE STORY! Keep movin' on! "You done good buddy boy"- real good! •

Reri Grist is an internatio­ nally acclaimed opera singer and teacher. 0 Stephen Sondheim and Leonard Bernstein rehearse the original cast. Stephen Sondheim

I was worried about bothering Stephen Sondheim with questions about West Side Story; surely, I thought, he'd prefer to talk about the shows for which he'd written both lyrics and music. Robbins, Laurents and Bernstein were partway into the project when Steve was brought in to work on the lyrics. But Steve surprised me with his candor as well as his appreciation of his colleagues. - J.B.

don't mind talking about it, but II have to be frank. I certainly feel the pride of being connected to the show; I'm not ashamed of the show, but I'm not happy about all of it, especially my own stuff. I don't like to hear people apologizing for their work in public - I think, oh come on, let the work speak for itself - but I cringe when I hear Maria use Left to Right: Stephen Sondheim, Arthur Laurents, Harold Prince, Robert E. Griffith, drawing-room words like "alarm­ Leonard Bernstein, and Jerome Robbins, circa 1957. ing" (in "I Feel Pretty") and Tony wax poetic with lines like "Today he subsequently transferred to From Jerry, I learned that the world was just an address." "West Side"). That's as far as you stage numbers in your head Arthur wrote those characters they'd gotten. first. I had to play "Maria" for to speak simply and basically. From each of the collaborators, him the first time he heard it - I learned stuff that I have used or Lenny was out of town conduct­ From Lenny, I passed along to other collabora­ ing somewhere. When I got tors. From Arthur, I learned about finished singing it, he said: learned something subtext and how necessary it is for "What's going on on stage dur­ actors. One time he took me with ing all of this?" "Uh, well, they're about not thinking him to the Actors' Studio. When changing the set, and Tony's I asked why, he replied, "You've walking to Maria's-" Jerry of music so squarely. got to know the instruments cut me off, snapping, "That's all? You have four bars, you're working with ... " The most He's just going to stand there remarkable thing about Arthur's and sing? You stage it!" He was do you really need book is how spare it is, how much right. If it's a static song with no plot he deals with in such a brief one else in the scene, and it's in all four? How about time - brief because there's so the sort of show that's trying to much singing and dancing in tug you along in a story, there three bars! the show. should be some stage action or From Lenny, I learned some­ some development in the lyric Although I came in late on the thing about not thinking of music (as in the "Soliloquy" from show, progress was not so con­ so squarely. You have four bars, Carousel). It's up to the song­ siderable. Arthur had written a do you really need all four? How writer to plan it, to give the three-page synopsis of the action about three bars! I was used to director a platform from which (no dialogue yet), and Lenny had thinking in terms of four and to take off. written only the chorus of "Cool" eight-bar phrases. I also learned As you know, I was hesitant and the opening bars of "Maria" from him about the only kinds of to take the job, because I want­ {apart, of course, from the tunes chances worth taking: all the mis­ ed to write music. But Oscar like "Krupke," "One Hand" and takes he made were big ones - Hammerstein said, "Do it. It'll "America!," which he had written he never fell off the bottom rung be a wonderful opportunity, for previous projects and which of the ladder. working with those people. Take it on as a learning experience." And guess what? I learned. • 0 The True Gesture - Jerome Robbins and West Side Story

by Amanda Vaill When, in the late 1940's, form," what he called a "braid­ he famously advised the actor ing" of dance, drama, and song, s credits go, it's a small thing: Montgomery Clift to play the that would culminate in West Side A a line, under the title, West character of Romeo as if he were Story's fluid musical narrative, Side Story, that says, "Based on "among the gangs of New York," where his choreography is as much a conception of Jerome Robbins." Robbins had been struggling to a means of plot and character It's not as prominent as the names create a dance-drama about dis­ development as Laurents's book of book writer Arthur Laurents, advantaged urban youth for at or Bernstein and Sondheim's score. composer Leonard Bernstein, or least a decade (there are at least In this sense, certainly, lyricist Stephen Sondheim; it's not two unproduced scenarios on this Bernstein was accurate when he enshrined in a box, as Robbins's theme in his papers), and had told a Dramatists' Guild sympo­ credit for choreographing and created a ballet (The Guests) sium that "Jerry was our source" directing the show is. But those about social intolerance. All the for West Side Story. But there was seven words speak volumes about ideas that would become West a more important way in which the origins of this revolutionary Side Story were revolving in Bernstein's statement - and musical, and about the reasons his head already - including Robbins's credit line - was true. for its success. the notion of a "new theatrical What Robbins gave to the show, and what he encouraged his collaborators to give, was what he called aspiration. "Why did Lenny have to write an opera, Arthur a play, me a ballet ... sepa­ rately and elsewhere?" he said. "Why couldn't we, in aspiration, try to bring our deepest talents together to the commercial theater in this work? That was the true gesture of the show." A half-century later, it still is. •

Amanda Vaill is currently writ­ ing the screenplay for a 2-hour PBS American Masters documentary on Jerome Robbins; her biography of him, entitled Somewhere, was published in late 2006.

Arthur Laurents, Jerome Robbins and Leonard Bernstein

From Arthur Laurents

by Arthur Laurents It will be completely contempo­ won't so much change as be what rary without changing a word it always should have been. One n '08, I will be directing a very or a note, and without bringing thing will be missing: Lenny. But Idifferent production of West in Uzis or mobile phones. One the greatest theatre music in musi­ Side Story that will open on thing I can reveal here: the cal theatre history will be present Broadway in late November. attitude of the gang members and alive. • 0 Leonard Bernstein's Orchestrator by Sid Ramin to work with me. Lenny would Next, came the "post-orches­ play and explain to us what he tration" meeting at Lenny's stu­ eing chosen to orchestrate for thought about the instrumenta­ dio. Lenny would look at what BLeonard Bernstein, himself a tion and general feeling of the we had done and comment. It fine orchestrator, is akin to being music. His remarks were always was either "That's good" or awarded the Medal of Honor. I jovial and quite revealing. The "Gee, that's terrific!", when Irv remember well the telephone call atmosphere was warm and I and I had thought of something at 7:30 AM from Lenny asking savored every moment. new to add, or "Now, why did me to orchestrate his new show, We would then sit together you do that?", when Lenny didn't West Side Story, and the mixture and discuss every measure of the agree with something we had of fear and excitement that music at great length. These dis­ added. I'm happy and proud to accompanied it. That fear and cussions were so enjoyable that it say that Lenny usually accepted excitement quickly blended into was hard to believe I was getting an idea gratefully. a modus operandis that resulted paid to do this. If we were hungry, Lenny had a red pencil and in some of the warmest and most Lenny would telephone to the would use it to edit what we had enjoyable experiences in working Stage Delicatessen for sandwiches, done. He then used a blue pencil on the show. I speak of what while we continued our exchange to make later edits. We used to Lenny called "pre-orchestration" of ideas. joke about the probability of meetings and "post-orchestra­ After the meeting, Irv and using a "green" pencil! tion" meetings. I would go to my studio, just We had less than a month The meetings took place at across the street, and review to orchestrate the show and it's Lenny's New York studio apart­ what we thought we would do. difficult to realize that our pre ment at the Osborne on West After some consolidating of and-post orchestration meetings 57th Street. At the pre-orchestra­ ideas, Irv would take part of remain so clearly in my memory tion meeting, Lenny would sit at the material and I would keep after fifty years. the piano and play the material my half and we'd both put our On a personal note, I met to be orchestrated for me and my notes down on score paper at Lenny in 1931 and we remained friend Irv Kostal, who had agreed our respective homes. staunch friends for the rest of his life. • West Side Story: Birth of a Classic by Mark Horowitz amusing opening night telegrams addition, there will be an online from the likes of Lauren Bacall, version of the exhibit accessible ifty years ago, on September and Betty Comden and Adolph through the Library's website at F26, 1957, West Side Story Green. There are audition notes http://www.loc.gov/exhibits/ opened on Broadway. The that reveal auditonees including On Monday evening, October Library of Congress honors Warren Beatty ("Good voice­ 15th, the Music Division of the this historic musical with an can't open his jaw - charming Library of Congress, in partner­ exhibit of items, mostly taken as hell - cleancut"), and Jerry ship with Signature Theatre in from our extensive Leonard Orbach. As an added bonus, Arlington, VA, will present a Bernstein Collection. the Library has had the very first unique concert in the Library's The exhibit includes unique prints made of several never­ Coolidge Auditorium to celebrate items, such as Bernstein's anno­ before-seen production photo­ the 50th Anniversary of West Side tated copy of Romeo and Juliet; graphs taken for a Look magazine Story, the exhibit, and the Library's early drafts and outlines of the feature spread that never ran. Bernstein Collection. The concert .,, ;;; script; a rich and thoughtful letter The exhibit will be on display will include performances of songs i: 0. and choreographic notes from the for six months in the outer-lobby cut from West Side Story, early !."..,, C: show's director/choreographer, of the Perfoming Arts Reading versions of songs with variant

by John Mauceri assistant in 1957) as stage director Krupke!" These were minor side and Kevin Backstrom restoring trips into nostalgia and cultural n May I conducted West Side the original choreography, we history on the highway of time­ IStory for the very first time. presented something that was lessness. Since Arthur Laurents An all-school production at the both authentic as well as brand, and Stephen Sondheim invented North Carolina School of the spanking new. verbal placeholders for real, Arts under the stage direction Chita Rivera had spent time vulgar street talk - words and of Gerald Freedman filled the with our 21-year-old Anita, phrases like frabberjabber, and Roger Stevens Center for twelve Jenna Vakhouri. Sid Ramin Krupp you! - it was remarkably performances and broke all came to Winston-Salem to bless easy for young actors to invest house records, raising more the orchestra with his presence contemporary meaning to what than $300,000 for the school. and Carol Lawrence, Mickey Calin might have seemed "charming" and Grover Dale were on hand to on the page. tell stories and demonstrate what West Side Story is as violent their minds and muscles remem­ and beautiful and essential today bered from a half century before. as it was in 1957. Since the world What I learned from the expe­ of gang violence is very much a rience is that there are no wasted thing of today, with racial and words, no wasted notes, and no tribal behavior dominating the dance "steps" in West Side Story. news, West Side Story acts as Everything tells the story and a great warning. Experiencing moves the music drama forward. it with a company of brilliant And imagine my delight to experi­ young people gives one hope for ence the original orchestration - a better world than the one we (Sid! Three bass clarinets in "A live in today. • Boy like That!") and teach it to young people who had never seen John Mauceri is the Chancellor Final curtain call the show in a theater. of the North Carolina School of Experiencing West Side Story Only occasionally did I find the Arts and the Founding Director with a cast, orchestra and crew myself explaining phrases like of the Hollywood Bowl Orchestra. of high school and college stu­ "social disease," and why it is He is a consultant to the Leonard dents fifty years after its creation, so funny for Graziella to look at Bernstein Office and serves on the was a journey of timelessness Anybody's and say, "An American advisory board of the Leonard and inspiration. With Gerald Tragedy," or the comic juxtaposi­ Bernstein Center for Learning. Freedman (dean of the School tion of a Puerto Rican gang saying, of Drama and Jerome Robbins' "Top of the evening, Officer

Conducting West Side Story

by Donald Chan was and still is considered the I guess I am now considered show that revolutionized musical an honored statesman of West he question I am asked the theater in the 1950's. Certainly Side Story productions, as I help Tmost is: After over 2,000 per­ it was way ahead of its time. to supervise and consult other formances and approximately The music has everything from musical directors and productions 50 or so different productions, latin, jazz, classical, and even a when asked. I will be celebrating do you still enjoy working on and 12 tone row. It is never boring. the 50th Anniversary of West Side performing West Side Story? And I have done all sorts of produc­ Story with productions in Vienna my answer has to be a resounding tions with all different sizes of and Paris this fall, and hope to - YES! Why? It's the most com­ orchestras: from 18 musicians reach my goal of 2500 performan­ plete musical that has ever been up to 65 musicians. The most ces within the next year. • composed. The book, dance, and exhilarating of them was in music are so intertwined that it 2000 at La Scala in Milan, Italy 0 with the La Scala Orchestra. The West Side Story Project

by Molly Fortin youth program specialists and the their own 21st century version Teen Advisory Council members on stage to members of the Seattle arlier this year, in an unprec­ co-facilitated four workshops Police Department, 5th Avenue Eedented partnership, the based upon particular scenes Theatre staff and family and Seattle Police Department (SPD) and songs from West Side Story. friends of the performers. and Seattle's 5th Avenue Theatre launched The West Side Story Project, an innovative approach to youth gang violence prevention. The project was designed to engage middle and high school students as well as Seattle's adult community in a series of events. Taking advantage of The 5th Avenue's production of West Side Story, the project utilized the musical as a backdrop for an ongoing community dialogue about the lu re of gang member­ ship, relationships between police and youth and the harsh realities of youth violence. In an effort to facilitate and broaden this conversation, several events took place, each with a different target Local high school students tell a Seattle Police Officer that he is "breaking the audience. The project - a three law" in a role-reversal workshop. month long series of workshops, forums and performances by Additionally the project host­ All the participants in these Seattle high school students, ed an adult community dialogue activities were encouraged to youth program specialists, and in Town Hall Seattle. The evening participate in opportunities at law enforcement - sought to began with the cast of West The 5th Avenue Theatre's use theater as a catalyst for Side Story performing the song rehearsals of West Side Story; to talking about steps the Seattle "Officer Krupke" live. In this meet and engage in "talk-backs" community could take to protect song, the Jets recount their expe­ with the actors portraying the future generations from gang rience of being arrested by Officer youth in West Side Story, and violence. The project culminated Krupke, who sends them to a with a backstage pass at the the­ with paticipating youth creating judge, who decides they need to atre, to give students an inside and performing a modern version see a psychiatrist, who sends look at how the show was staged. of the classic musical as well as them to a social worker, who says Excitement about The West being provided an opportunity they're "no good" and just need Side Story Project has spread to attend The 5th Avenue to go to jail. The performance across the US and the United Theatre's production. was followed by a facilitated Kingdom. In Chicago at The A Teen Advisory Council of discussion with key Seattle policy­ Annual Meeting of the Police 33 students was formed from makers, the counterparts to the Executive Research Forum (one area high schools and worked characters in "Officer Krupke" of the nation's premier law enfor­ directly with Seattle Police {law enforcement, juvenile court, cement organizations dedicated Department (SPD) officers and youth social services and child to innovation), a 90-minute pre­ 5th Avenue staff for many months psychiatry), who explored the sentation focused on this unique to frame the themes and discus­ systems' response to at-risk collaborative effort. sions for the two West Side Story youth in the Seattle community. West Side Story tells the tragic Project Youth Summits. Later small groups from area truth about gang violence, but There were two West Side high schools worked with a team it's animated by a spirit of hope Story Project Youth Summits: of teaching artists from The 5th for the future, a spirit that all one for middle school students Avenue Theatre and created their involved in The West Side Story and one for high school students. own modern version of West Side project shared. • The summits explored the issues Story. Just as West Side Story was of gang involvement, police rela­ a modern adaptation of Romeo Molly Fortin is the Public tions and valuing differences using and Juliet, these students updated Relations Manager for The 5th West Side Story as a springboard West Side Story and presented Avenue Theatre. for the dialogue. SPD officers, 0 THEINfle

Leonard Bernstein Scholar-In-Residence 2007-2008

he New York Philharmonic Leonard Bernstein Score Series Thas reappointed Charles Charles Zachary Bornstein uses Leonard Bernstein's conducting scores Zachary Bornstein as the Leonard as the basis for a critical look into the Maestro's interpretation of major Bernstein Scholar-in-Residence repertoire pieces . for the 2007-2008 season. Beethoven: Symphony No. 5 and 7 Wednesday, October 24, 2007, 2:00pm The position was established Elgar: Enigma Variations Thursday, January 3, 2008, 2:00pm in recognition of the enduring Bruckner: Symphony No. 6 Wednesday, Janua ry 23, 2008, 2:00pm contribution to the orchestra These talks take place in the Helen Huntington Hull Room, Avery Fisher Hall. of Leonard Bernstein, Music Director from 1958-1969 and Insights Series subsequent Laureate Conductor. Narrative Structures in Mahler's Symphony No. 9 Mr. Bornstein, the first Leonard Wednesday, May 28, 2008, 7:00pm Bernstein Scholar-in-Residence, Walter Reade Theater, Broadway at 65th Street assumed his position in September Inspired by Leonard Bernstein's conducting score, Charles Zachary 2005. In this capacity, he will Bornstein explores the musical and extramusical narratives at work in present many of the season's Mahler's last completed symphony. Pre-Concert Talks and give Insights Series and Bernstein For more information about these events, including Pre-Concert Ta lks, Score Series lectures. please email education@nyphil. org or call (212) 875-5735.

West Side A Rose by Any Other Name: Story Honored Adaptations of Shakespeare

n September 26, West Side n honor of the 50th anniversary The New York 0 Story celebrated the 50th Iof the Broadway premiere of anniversary of its Broadway West Side Story, The New York PerformiligcArts DOROTHYANDL£WISB. ----,G premiere. To mark this historic Public Library for the Performing CULLMAN CENTER occasion the New York Chapter Arts is presenting "A Rose by of NARAS (GRAMMY) present­ Any Other Name: Adaptations October 27. Other participants ed a Recording Academy Honor of Shakespeare," a series of free in the Library's Shakespeare to the creators of the ground­ public programs in the Library's adaptation series include David breaking musical. The award Bruno Walter Auditorium. The Amram, John Guare, Dick .,, presentation took place at series opened on September 20, iil Hyman, Lar Lubovitch, Natalia i: a. Cipriani Wall Street in New York. with "West Side Story at 50: Makarova, Peter Martins, Paula !"..,, This event was part of the official A Talk by Arthur Laments." Vogel, and many others. Many C: 50th GRAMMY Celebration. • Other programs related to the of the photos in this newsletter '°..C: S10 musical include a screening of are from the Library's Billy Rose ;,:, the Jerome Robbins ballet, "West Theatre Division. • a: Side Story Suite" on October 11, introduced by Amanda Vaill, For a fu ll schedule of the and "Brush Up Your Shakespeare: Library's programs, visit www. Songs from Musical Theater," nypl. orgllpaprograms. performed by members of the Metropolitan Opera Chorus on Bernstein on CD

his fall Deutsche Grammophon recording session, in which she T(DG) celebrates Leonard and brother Alexander performed Bernstein with an array of releases. the dialogue roles of Maria and Beethoven Overtures, the Missa To honor the 50th Anniversary of Tony. The text is illustrated with Solemnis, String Quartet in C West Side Story, DG is releasing many photos of the original pro­ sharp minor, op. 131, String a special limited CD/DVD edition duction, facsimiles of the score Quartet in F major, op. 135 in of Bernstein's own recording and recording session photos. versions featuring the Vienna made in 1984. The sound record­ In addition DG will offer Philharmonic Strings, the Ninth ing featuring Kiri Te Kanawa and three more sets of the Leonard Symphony recorded in Berlin Jose Carreras as Maria and Tony Bernstein Collector's Edition: 1989 as the Berlin Wall crumbled is paired with the DVD "The The first six CD set consists of - "The Freedom Concert" - Making of West Side Story," eight Mozart symphonies, C and Bernstein's final concert per­ the acclaimed BBC television minor Mass and the Requiem. formance of Beethoven's Seventh documentary of the recording The second is a six CD Beethoven Symphony at the Tanglewood session. Included is a 104 page set featuring, for the first time on Music Festiva l. A four CD set hardcover book presenting CD, The 1976 Amnesty Inter­ of all-Tchaikovsky includes original and new articles about national Concert with Claudio Symphonies 4, 5 & 6, the 1812 the history of the show. Nina Arrau performing Beethoven's Overture, Romeo and Juliet and Bernstein has also contributed a Piano Concerto No. 4. Also on Francesca da Rimini. • reminiscence of her part in the this disc are performances of

Philadelphia Salutes Bernstein

he Philadelphia Orchestra Jeremiah. Later in January, This performance features a new Tled by Christoph Eschenbach Associate Conductor Rossen narration by Bernstein's friend, wi ll celebrate the 90th anniver­ Milanov will conduct Suite for Samuel Pisar. Pisar's narration sary year of Leonard Bernstein's Violin and Orchestra from reflects on his childhood experi­ birth beginning in January 2008, West Side Story with violinist ence in Auschwitz and on the with a Leonard Bernstein Festival. Joshua Bell. In March, Jamie current state of the world. The In January 2008 Maestro Bernstein will present her Family performance will be conducted Eschenbach will lead the orches­ Concert, The Bernstein Beat. by John Axelrod. • tra in a program featuring April will bring the first perfor­ Symphonic Dances from West mance of Bernstein's Symphony For more information please Side Story and Symphony No. 1: No. 3: Kaddish, to Philadelphia. visit: www.philorch.org

AMERICAN .,, MitJOMI& iil Israel Philharmonic Orchestra c MJIIU a. ISRAl:L PHILHARMONIC ·"'..,, ORCHESTRA C: Salutes Leonard Bernstein IC C:

"'11<> ;:,:, direction by Bernstein protege 13 at the Kravis Center/Cohen he Israel Philharmonic ..,,a: TOrchestra will salute Leonard M ichael Barrett. The benefit con­ Pavilion in Palm Beach, Florida. 0, Bernstein is a series of concerts certs will take place: February 6, A non-benefit concert will be pre­ ~ ~ to benefit the orchestra. The 2008 at the Wa ldorf Astoria in sented at the Bergen Performing ~ Arts Center in New Jersey on "'0 concert Bernstein on Broadway New York; February 9 at the San 0 February 7. • ~ will feature narrative written Francisco Conservatory of Music; 0 0 and presented by Bernstein's February 11 at the Beverly Hilton 00 daughter Jamie with musical in Los Angeles; and on February Remembering Slava !

lava Rostropovich was so Sbeloved in my family that my parents missed the moment I received my college diploma, they were so busy hugging and kissing Slava who had just been released from the Soviet Union and was receiving an honorary degree from Harvard. But, no regrets. We all adored him. His hugs, his stories, his deeply Slavic relationship with vodka - and did I mention his musicianship? He was what people mean when they say someone is larger than life. One evening at Tanglewood many years ago, I arrived at a party and found myself surround­ ed by my father, Seiji Ozawa and Slava. They all crowded around Slava Rostropovich and Leonard Bernstein, 1978 for hugs and kisses. When it was Slava's turn, he lunged at me with in a merry pile on the floor. That noun for conductors: an oscula­ such force that we both fell back­ was certainly the best greeting I tion of maestros. ward onto a sofa, which itself ever received. It was on that occa­ We miss Slava with all tipped over backwards, flipping sion that I invented the collective our hearts. J.B.• Slava and me over and landing us

Remembering Susan Hanson

usan Hanson died on August passion and wisdom to countless S2nd after a long, valiant, often numbers of children. She was a glorious fight with cancer. Susan joy to be with, curious, creative, was a teacher of unmatched funny, sharp and energetic beyond quality. She was a loving wife to description. We can only hope to Larry and mother to Krista and carry on with her spirit alive in Nicole (Nicole, an accomplished our hearts. A.B. • dancer and choreographer, has herself become a terrific LBC Susan's family has established Trainer). We at the Leonard The Susan Hanson Young Writers Bernstein Center mourn her Guild. Tax deductible contribu­ passing - and are trying to tions can be made payable to grapple with the idea of the Gettysburg College, noting The Artful Learning Model without Susan Hanson Memorial Fund Susan. She was our Program on the memo line and sent to: Manager and our Lead Trainer The Susan Hanson Memorial Fund - our treasure and inspiration c/o The Leonard Bernstein in many ways. Susan worked Center at Gettysburg College Susan Hanson so brilliantly with thousands 300 N. Washington Street of teachers, administrators and Campus Box 2990 School Board members - who in Gettysburg, PA 17325 turn passed along her knowledge, For a co mplete listing visit: Selected Performances www.leo nardbern stein.com Fall/Winter 2007/2008 October

3 Frankfurt, Germany: SLAVA!; Bavarian 50th Anniversary World Tour Radio Symphony Orchestra; Neeme Jaervi, of West Side Story conductor; Alte Oper. 7 Sao Paulo, Brazil: OVERTURE TO BB Promotion GMBH in cooperation with Sundance Producers, Inc. N.Y. presents the 50th Anniversary World Tour of West CANDIDE; Orquesta Sinf6nica de Galicia; Side Story. This internationally acclaimed production is staged Pablo Perez, conductor; Parque lbirapuera. by Joey McKneely and conducted by Donald Chan. After 11, 12 Dresden, Germany: CAND IDE; guest performances in Tokyo, Beijing, Bangkok and Singapore, Staatsoperetta Dresden; Wonfried the current version will be coming to selected theatres in Schneider, director; Ernst Theis, Ludwigsburg, Vienna, Paris, Zurich and Leipzig. conductor; Staatsoperetta . October 23-27 January 8-February 10 11-13 Dayton, OH: CH ICHE STER PSALMS, Ludwigsburg Germany Zurich, Switzerland SERENADE; Dayton Philharmonic The Forum Theater II Orchestra and Chorus; Phill ippe Quint, October 30-November 11 February 12-17 vio lin; Neal Gittleman, conductor; Vienna, Austria Leipzig, Germany Schuster Center. Stadthalle Oper Leipzig 20 A Coruna, Spain: OVERTURE TO November 16-January 2 (2008) February 19-24 CANDIDE; Orquesta Sinf6nica de Galicia; Paris, France Baden-Baden, Germany Pablo Perez, conductor; Auditorio. Theatre du Chatelet Festspeilhaus 20 Schwerin, Germany: DIVERTIMENTO; Mecklenburgische Staatskapele Schwerin; Matthias Goremny, conductor; Staatstheater. 28 Lubeck, Germnay: THREE DANCE EPISODES FROM ON THE TOWN ; 24 Cologne, Germany: OVERTURE TO Landesjungendorchester Schleswig CANDIDE; Orquesta Sinf6nica de Ga li cia; Holstein; Matthias Jan z, conductor; Pablo Perez, conductor; Theatre. Musikhichschule. 25 Trossingen, Germany: OVERTURE TO CANDIDE; Deutsche Radio Philharmonie Saarbrucken Kaiserslautern; Christoph Poppen, conductor; Funkhaus Halberg. November 27 Kunzelsau, Germany: OVERTURE TO CANDIDE; Deutsche Radio Philharmonie 2 Granada, Spain: PRELUDE, FUGUE AND Saarbrucken Kaiserslautern; Christoph RIFFS; Orquesta Ciudad de Granada; Poppen, conductor; Stadha ll. Jonathan Wa leson, conductor; Auditorio. 27 Ratzburg, Germany: THREE DANCE 4 London, UK: SYMPHONIC DANCES EPISODES FROM ON THE TOWN; FROM WEST SIDE STORY arranged for Landesjungendorchester Schleswig percussion; London Symphony Orchestra; "0 Evelyn Glennie, percussion; Marin Alsop, nl Holstein; Matthias Jan z, conductor; C: conductor; Barbican . Q. Seniorenwhonsitz. f.D.,, 4 San Francisco, CA: SYMPHON IC DANCES C: 28 Potsdam, Germany: OVERTURE TO '°C: FROM WEST SIDE STORY; Simon Bolivar .. CANDIDE, THREE DANCE EPISODES 11<> :,, FROM ON THE TOWN; Brandenburg Youth Orchestra of Venezuela; Gustave :i: Dudamel, conductor; David Hall . "',., Symphoniker; Michael Helmrath, 0, ~ conductor; Nikolaisall. 8-10 Costa Mesa, CA: BENEDICTION; ~· Pacific Symphony; Carl St. Clair, ~ N 0 conductor; Segerstrom Hall. 0 ~ 0 0 00 8, 10 Louisville, KY: SERENADE, 1, 2 Dresden, Germany: SYMPHONIC DIVERTIMENTO!; Louisville Orchestra; SUITE FROM ON THE WATERF RONT; Robert McDuffie, violin; Catherin e Dresdner Philharmonie; Stefan Asbury, Comet, conductor; Whitney Ha ll. conductor; Kulturpa last. 9 Seville, Spain: SYMPHONIC DANCES 7,12 Zurich, Switzerland: SYMPHONIC FROM WEST SIDE STORY; Orquesta de DANCES FROM WEST SID E STORY; Sevilla; Juan Luis Perez, conductor; Orchester Zurich; Johannes Sch laefli, Teatro Maestranza. conductor; Tonhalle . 9, 10 Charleston, WV: SYMPHONIC 31 Berlin, Germany: OVERTURE TO DANCES FRO M WEST SIDE STORY; CANDIDE; Konzerthausorchester West Virg inia Symphony Orchestra; Berli n; Lothar Zagrosek, cond uctor; Grant Cooper, conductor; Clay Center Konzerthaus . for the Arts & Sciences. 31 Hokkaido, Japan: MARIA and 11, 13 Hamburg, Germany: f:jALIL; Hamburg SOMETH ING'S COM ING; Sapporo Symphony; Susanne Barner, flute; Symphony Orchestra; John Ken Nuzzo, Andrey Boreyko, conductor; Musikhalle. tenor; Shigeo Genda, conductor; 16, 20, Berlin, Germany: FANCY FREE; Sapporo Concert Ha ll. 24 Staatsba ll ett Berlin; choreography by Jerome Robbins; Paul Connelly, conductor; Staatsoper unter der Linden. January 17, 18 Dresden, Germany: CANDIDE; Staatsoperetta Dresden; Wonfried 2 Essen, Germany: PRE LUDE, FUGUE & Schneider, director; Ernst Theis, RIFFS; Ensemble Modern; HK Gruber, conductor; Staatsoperetta. conductor; Philharmonie. 23 Wellington, New Zealand: OVERTURE 10, 11 Leverkusen, Germany: TO CANDIDE; SYMP HO NY NO. 1: SYMPHONY NO. 1: JEREMIAH; JEREMIAH; THREE DANCE EPSIDOES Bundesjugendorchester; Eugenie FROM ON THE TOWN; SYMPHIONI C Grunewald, mezzo-soprano; Klauspeter DANCES FROM WEST SIDE STORY; Se ibe l, conductor; Forum. New Zea land Symphony Orchestra; 10-12, Philadelphia, PA: SYMPHON IC DANCES Xian Zhang, conductor; Town Hall. 15,24 FROM WEST SIDE STORY; Philadelphia 24 Duisburg, Germany: SYMPHONIC Orchestra; Chrisoph Eschenbach, DANCES FROM WEST SIDE STORY; conductor; Verizon Hall. Jugendorchester Duisburg; Benjamin 11, 13 Berlin, Germany: FANCY FREE; Reiners, conductor; Geblaeseha ll e. 16,18 Staatsballett Berlin; choreography by 24,25 Phoenix, AZ: SYMPHONY NO. 2: Jerome Robbins; Paul Conne ll y, THE AGE OF ANX IETY; Phoenix conductor; Staatsoper unter der Linden . Symphony; William Wo lfram, piano; 12, 13 Bonn, Germany: SYMPHONY NO . 1: Michael Christie, conductor; JEREMIAH; Bundesjugendorchester; Symphony Hall. Eugenie Grunewald, mezzo-soprano; .,, 25 Nurnberg, Germany: CHICHESTER Klauspeter. Seibel, conductor; iil i: PSALMS; Nurnberg Symphoniker, a. Beethovenhalle. f.D..., Philharmonischer Chor; Gerhard £: 14 Koblenz, Germany: SYMPHONY NO. 1: \0 £: Rilling, conductor; Frankenha ll e. 11> JEREMIAH; Bundesjugendorchester; I!<> Eugenie Grunewald, mezzo-soprano; :ii"' V, Klauspeter Se ibe l, cond uctor; "~ December Rhein Mosel Halle. :,~ ~ 15 Ansbach, Germany: SYMPHONY NO. 1: N 0 1 Berlin, Germany: FANCY FREE; JEREM IAH; Bundesjugendorchester; 0 .::;-...J Staatsbal lett Berlin; choreography by Eugenie Grunewald, mezzo-soprano; 0 0 00 Jerome Robbins; Paul Connelly, Klauspeter Se ibel, conductor; e conductor; Staatsoper unter der Linden. OnoldaSaal . 17 Hamburg, Germany: SYMPHONY NO. 1: JERE MIAH; Bu ndesj ugendorchester; March Eugen ie Grunewald, mezzo-soprano; Klauspeter Se ibe l, conductor; Staatsoper. 5, 7 Vienna, Austria: DYBBUK SUITE NO . 2; 17-19, Philadelphia, PA: SYMPHONY NO. 1: Radio Symphonieorchester; Yutaka Sado, 22, 23 JEREM IAH; Phi lade lphia Orchestra; conductor; Radio Kulturhaus. 25 Rinat Shaham, mezzo-soprano; Christoph 7 Hof, Germany: OVERTURE TO CANDIDE, Eschenbach, conductor; Verizon Ha ll. SYMPHONIC DANCES FROM WEST SIDE 18 Cologne, Germany: HALI L, SYMPHON IC STORY; Hofer Symphoniker; Johannes DANC ES FROM WEST SIDE STORY; Wildner, conductor; Freiheitshalle. Gaby Pas-va n Riet; fl ute; Rad io 7 Vienna, Austria: SYMPHONY NO. 1: Sinfonieorchester Stuttgart; Andrey JEREMIAH; Radio Symphonieorchester; Boreyko, conductor; Phi lh armon ie. Angelika Kirschschlager, mezzo-soprano; 19, 20 Dresden, Germany: CANDIDE (Scottish Yutaka Sado, conductor; Musikverein. Opera Version); Staatsoperette Dresden; 13, 14, Dresden, Germany: CAND IDE Winfried Schneider, director; Staatsopertta. 22 (Scottish Opera Version); Staatsoperette 31 Philadelphia, PA: THREE DANCE Dresden; Winfried Schneider, director; EPISOD ES FROM ON THE TOWN; Staatsoperetta. Phi ladelphia Orchestra; Rossen Milanov, 14, 15 Frankfurt (Oder), Germany: SYMPHON IC co nductor; Ve ri zon Hall. DANCES FROM WEST SIDE STORY; Brandenburgisches Staatsorchester Frankfurt; Li or Shambadel; conductor; February Konzerthalle. 22, 23 Dresden, Germany: CHICHESTER PSALMS; 1, 2 Philadelphia, PA: THREE DANCE Philharmonischer Chor and Jugendchor; EPISODES FROM ON THE TOWN; Dresdner Philharmonie; Martyn Brabbins, Philadelphi a Orchestra; Rossen Milanov, conductor; Kulturpalast. cond uctor; Verizon Ha ll. 31 New York, NY: A WH ITE HOUSE CANTATA 12 New York, NY: CLAR INET SONATA; (New York premiere); The Collegiate David Shiffrin, clarinet; Anne-Marie Chorale; Orchestra of St. Luke's; McDermott, piano; New York Society Robert Bass, conductor; Rose Theatre, for Ethica l Culture. Jazz at Linco ln Center. 22, 23 Edmonton, Canada: SYMPHON IC DANCES FROM WEST SIDE STORY; Edmonton Symphony Orchestra; W ill iam Edd ins, conductor; Francis Windspear Center for Music. [Note to Readers] 22-24 Houston, TX: CH ICHESTER PSALMS; Prelude, Fugue & Riffs will be and we shall do our best to Houston Symphony and Chorus; sent upon request. Please send include such information in Houston Children's Chorus; Claus all correspondence to: forthcoming calendars. Peter Flor, conductor; Jones Hall. Craig Urquhart .,, & iil Prelude, Fugue Riffs™ is i: 28 Birmingham, AL: MAMBO; Alabama Prelude, Fugue & Riffs C. a publication of The Leonard !D Symphony Orchestra; Christopher 121 West 27th Street .,, Bernstein Office, Inc. C: I.C Suite 1104 C: Confessore, conductor; Jemison Hall. © 2007 by The Leonard

Bernstein on DVD

s part of its ongoing celebra­ certos with Krystian Zimerman, A tion of all things Bernstein, the violin concerto with Gidon Deutsche Grammophon has Kremer, the Concerto for Violin, released eight new DVDs. First Cello and Orchestra with Gidon off is a tribute to Bernstein's life Kremer and Mischa Maisky, titled The Gift of Music showcas­ Academic Festival Overture, ing him as composer, conductor, Tragic Overture, Serenade No. 2, performer, teacher and humani­ and Variations on a Theme of tarian. Second is the television Haydn make up this collection. essay The Little Drummer Boy, Another DVD features the Mahler written by Bernstein to commem­ songs Lieder eines fahrenden orate the 125th anniversary of Gesellen with Lucia Popp and Gustav Mahler's birth. Recorded Walton Groenroos and Des in Vienna, London and Israel, Knaben Wunderhorn, Ruckert it tells the story of Mahler and Lieder, and Kindertotenlieder with asks provocative questions with Thomas Hampson as soloist. The musical examples. last DVD includes cellist Mischa The next six DVDs all feature Maisky performing Schumann's Bernstein as conductor. Bernstein's Cello Concerto in A minor. • complete Brahms cycle recorded with the Vienna Philharmonic is represented on four DVDs. The complete symphonies, piano con-

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