Los Angeles Opera opened its 40th season on a high note with the premiere of ‘West Side Story’ at the Dorothy Chandler Pavilion, showcasing a timeless Broadway classic reimagined from the tragic tale of ‘Romeo and Juliet.’
Originally conceived by choreographer Jerome Robbins and composer Leonard Bernstein in 1949, ‘West Side Story’ stands as a poignant and powerful reflection of racism and violence.
While Bernstein asserted that the work is not an opera, the production was celebrated for its rich musical composition and storytelling.
Francesca Zambello’s production retains the authenticity of the Broadway original, with Robbins’ iconic choreography preserved alongside Arthur Laurents’ original book, but the experience diverges from a typical Broadway performance.
This production places greater emphasis on the music, with a smaller but skilled orchestra under the direction of James Conlon, marking his 20th anniversary as L.A. Opera’s music director.
The orchestra, composed of 28 musicians, is adept at creating a lush and lyrical soundscape that enriches the narrative of the rival gangs, the Jets and Sharks, composed of immigrant families.
The leading roles of Tony and Maria, portrayed by tenor Duke Kim and soprano Gabriella Reyes, respectively, require remarkable vocal abilities to navigate Bernstein’s complex compositions while embodying the physicality demanded by Robbins’ choreography.
Despite the absence of a traditional chorus, L.A. Opera ingeniously employs a team of eight chorus singers to provide subtle vocal reinforcement from backstage, enhancing the overall sound without overshadowing the principal performers.
However, the production grapples with anachronistic elements of the original 1957 work, with some content feeling outdated against the contemporary backdrop of social issues related to immigration and race.
While Zambello’s approach holds onto the original vision, there have been slight updates, such as a shift in racial dynamics with Kim’s character, originally Polish, now being Korean.
Songs like ‘Maria’ and ‘Tonight’ continue to resonate, showcasing the voices of Kim and Reyes, although the interpretation of certain lyrics remains untouched, reflecting the ongoing relevance of the piece.
Reyes’ performance, steeped in operatic tradition, emphasizes her evolution into a generational voice capable of delivering powerful emotion, culminating in a spoken plea against gun violence that transcends the narrative.
Other notable performances include Amando Castro as the fiery Anita and P. Tucker Worley as a buoyant Riff, but the true power lies in the collective portrayal of societal issues like toxic masculinity and violence.
Ultimately, ‘West Side Story’ prompts audiences to consider its underlying message: empathy for all characters involved, illustrating the tragic impacts of their circumstances rather than simply categorizing them as heroes or villains.
The production at the Dorothy Chandler Pavilion demonstrates that the essence of this classic work endures, echoing its appeal and significance amidst a continuing dialogue on societal concerns.
As Los Angeles Opera reflects on its journey over four decades, the choice of ‘West Side Story’ serves as a bold statement, bridging the past and the present through the lens of one of Shakespeare’s most recognized tragedies.
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