by Leonard Bernstein, is above all an occasion for celebrating one of the great operas of our century. Lyrics to 'A Boy Like That' by Westside Story: ANITA A boy like that who'd kill your brother, Forget that boy and find another, One of your own kind, Stick to your own kind!

It is not his fault that he sings English with a Hispanic accent, but it is problematic for an opera in which culture clashes are portrayed with something like realism - as they are not in, say, ''Otello'' or ''Aida,'' where a singer of the ''wrong'' ethnic group would not matter. Welcome to the official West Side Story website!This is the place for you if you've ever been involved in, or infatuated with, West Side Story – as an actor, singer, dancer, musician, producer, director, designer, crew or – just as important – as a fan. Somewhere (From 'West Side Story') Songtext von Tom Waits mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com They offer American singers that opportunity to communicate in their own language, in works that draw on their heritage.

Miss Horne does a fine, simple job of her song.Kiri te Kanawa (Maria) makes lovely sounds around the top of the staff; the last line of ''I Feel Pretty'' is pretty wonderful. (There is slightly more music here than on CBS; a live Israel Philharmonic performance of the Symphonic Suite from ''On the Waterfront'' is included as a bonus) So: the score should be heard in a context in which orchestral sound is valued and taken seriously.
But some of the casting has gone badly wrong, so as to lend seeming validity to arguments that opera singers would only put musical comedy to sleep.Deutsche Grammophon's press releases are a bit disingenuous about this, insistently referring to the ''hand-picked'' cast ('' exactly the singers we want,'' Mr. Bernstein says, protesting too much). West Side Story: I Feel Pretty Songtext von Leonard Bernstein mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com Marcel Prawy of the Vienna Staatsoper asked a critics' panel some years ago for one good reason why ''West Side Story'' is not an opera, and though an answer was attempted in these pages on whose basis a good third of the standard repertory could be swept from the operatic canon at a stroke, the real answer is that there is none.Any argument from the basis of musical sophistication falls on its face: no number in ''L'Elisir d'amore'' is as sophisticated as the simplest one in ''West Side Story,'' while several in ''West Side Story'' do have the sure touch and freshness of ''Elisir.'' And is there in all of opera a better coro d'introduzione than ''When You're a Jet''? The reason for resurrecting the question is to point out that these practical distinctions sometimes shift.

Larry Kert on the old CBS album, with a tenth the voice, not only makes 10 times more dramatic effect, but is vocally more comfortable, freer to respond to his vocal impulses.There is a lesson in this, but it is a positive one. Bernstein conducts beautifully - often at more expansive tempos than were employed on the original cast album for CBS - and the pickup orchestra makes gorgeous sounds for him. And projected over by singers with voices that project.There's the rub, right where it shouldn't be. It's like putting on ''Pygmalion'' with a Henry Higgins who couldn't quite shake his own Cockney accent, opposite a Liza Doolittle who had to work hard to assume one (Miss Te Kanawa works very hard, so you can't take your mind off accents for a minute). And those tenors (and sopranos) could bring to the piece both operatic voices it needs and the stylistic persuasiveness it lacks here.That is why it is useful to let ''West Side Story'' prompt, as it often does, a reopening of one of music's hottest pointless debates: what is the difference between a musical and an opera? Intermittently.Mr. If the latter makes a more profound effect, it is because it is preceded by a more penetrating and specific human drama; piece for piece, the Bernstein stacks up to the Verdi.

Even the argument that the musical values are central in opera and secondary to spectacle in musical comedy is no good: it can be true in the short run (Meyerbeer, ''Dreamgirls''), but in both genres it is the music that passes or fails the test of time - a test that Mr. Bernstein's music seems to be passing.Let's put it this way: Opera is musical theater, but we choose to call some operas by other names for the purpose of reflecting certain practical distinctions of presentation, economics, casting, target audience and style that happen to prevail in our time and place. Just such a shift is called for in what has begun to be called the ''classic'' American musical comedy repertory - not just ''West Side Story'' but ''Oklahoma!,'' ''South Pacific,'' older musicals by Kern or Gershwin, American operettas by Friml and Herbert, what have you. ''With pulse,'' says the score, but doesn't seem to have any.The main problem, though, is Mr. Carreras as an American boy in love with a Puerto Rican girl. Jose Carreras (Tony) was preceded on the roster by two other tenors; Tatiana Troyanos (Anita) was preceded by Marilyn Horne; Miss Horne (who now sings ''Somewhere'') was preceded by Jessye Norman.But handpicked or not, Miss Troyanos sings convincingly and vividly, unafraid to use ''belting'' chest voice (though prudent enough to leave it off somewhere around B-flat).
by Leonard Bernstein, is above all … The factors that enable Mr. Kert to surpass Mr. Carreras could be put to work for a whole generation of young American tenors, in a whole raft of roles. She does not bite through the orchestra in ''A Boy Like That,'' but that is a fault of balance that Mr. Bernstein and the engineers should have corrected. Broadway cannot do them justice because Broadway singers, growing up with microphones, cannot sing them.


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