Dudamel's involvement surprises me and I can't help but think that it is more of a marketing move than a creative one. David Newman is certainly more than capable of conducting this.
Dudamel's involvement surprises me and I can't help but think that it is more of a marketing move than a creative one. David Newman is certainly more than capable of conducting this.
Agreed. I'm a big fan of both conductors but this does seem like more of a PR for the film thing.
I suspect it adds to the artistic prestige of the project to have a celebrity conductor onboard, not that the other players involved don't already add that.
Alternatively, I would hope that Newman would be too busy to conduct himself because he'll be deeply entrenched in working on the score for BILL & TED FACE THE MUSIC at the time.
Dudamel's involvement surprises me and I can't help but think that it is more of a marketing move than a creative one. David Newman is certainly more than capable of conducting this.
I wonder if the scoring sessions will use the LA Phil?
Dudamel's involvement surprises me and I can't help but think that it is more of a marketing move than a creative one. David Newman is certainly more than capable of conducting this.
Agreed. I'm a big fan of both conductors but this does seem like more of a PR for the film thing.
I always thought that Dudamel was part of this project from the beginning, as a conductor, friend of Williams, and especially for his action for Latin American youth. It's a perfect project for him, musically and humanly.
I always thought that Dudamel was part of this project from the beginning, as a conductor, friend of Williams, and especially for his action for Latin American youth. It's a perfect project for him, musically and humanly.
Gustavo has been involved from the beginning. David is participating with prerecordings and will step in as needed when Gustavo isn't available in postproduction. It might be LA Phil members playing but it's not going to be a huge orchestra, but something closer to the original Broadway instrumentation.
Thanks for chiming in with the inside info Mike! I’m certainly intrigued at the thought of returning to more spare original Broadway orchestrations...
Yavar
Thanks to Mr Matessimo !
About the orchestrations : although excellent as a whole, the last full recording conducted by M Tilson Thomas used a smaller staff than Bernstein more "operatic" version, I believe, without always managing to produce the pep or the jazz feeling of the film soundtrack, or stage. Dudamel not being focused on jazz or musicals, I also wonder how this new version will be tackled.
Wildly unnecessary film, but fantastic choice of composer.
I have to admit that I've never been a fan of the idea of rebooting/re-making older classic films, especially something like the original 1961 film version of West Side Story. However, since Spielberg's West Side Story is coming, the search engines should give more weight to the old, original 1961 film version of West Side Story, and see to it that fans of the film version of WSS get their choice of seeing either the original 1961 film version or the reboot/remake of it. More frequent national re-releases of the 1961 film version of West Side Story into the movie theatres would be the best way to introduce this great, golden oldie-but-keeper of a classic movie-musical to younger generations.
Having said all of the above, however, I saw the original 1961 film version of West Side Story with a live rendition of the musical score by the Boston Symphony Orchestra at Tanglewood, out in Western Massachusetts, twice (The score for the Boston Symphony rendition was done by David Newman.). Both times, the West Side Story (1961 film rendition)/Boston Symphony Orchestra concert out at Tanglewood played to sold-out houses, and it was fantastic.
I still can't believe KRUPKE was placed AFTER the death scene in the stage version! Wise was very wise indeed!
You've made a good point there. The fact that the "Officer Krupke" scene was placed before the rumble and the death scenes, and the "Cool" scene was placed after the Rumble and the deaths of Riff and Bernardo in the original 1961 film version of West Side Story was an excellent move, and it made for an even better story and piece of drama.
The putting the "I Feel Pretty" scene before the Rumble and the deaths of Riff and Bernardo, rather than afterwards, was also a wise move on the part of Robert Wise.
I never thought I'd say this but I'm with Schiffy on this, if for a different reason. I am not generally for a film redux but in some instances, it works. No one adores that 1961 classic more than I. My hope for this one is that younger people will view the new version, love it and will seek out the original. That will be my measure of success. I have seen this occur with films viewed by my kids and their friends.
Learning that David Newman is attached to the film is wonderful to hear. The Newman name is classic and I am anxious to hear what he creates.
To be honest, however, I've seen pictures of the cast of Spielberg's upcoming reboot/remake of the 1961 film version of West Side Story, as well as the back-drop scenery, and I'm really not impressed.
The Jets, the Sharks and their girls in the original 1961 film version of West Side Story look much rougher and tougher than the Jets, the Sharks and their girls in Spielberg's upcoming remake of the film West Side Story, and the background scenery, which is all outdoors, looks far more like the tonier, wealthier parts of the city, rather than the rough and rundown, impoverished parts.
Bernstein, Sondheim, and Robbins are only credited twice because of the original play.
Think of it like this:
Executive Producers: Rita Moreno, Daniel Lupi, Adam Somner, Tony Kushner Produced by: Steven Spielberg, Kristie Macosko Krieger, Kevin McCollum Original Choreography by: Jerome Robbins Choreographed by: Justin Peck Based on the Stage Play (Book by Arthur Laurents, Music by Leonard Bernstein, Lyrics by Stephen Sondheim / Play Conceived, Directed, and Choreographed by Jerome Robbins) Lyrics by Stephen Sondheim Music by Leonard Bernstein Screenplay by Tony Kushner Directed by Steven Spielberg
