West Side Story has always been one of my all-time favourite musicals, and the film one of my favourites of all time. I also am an admirer of Leonard Bernstein, both as a composer and conductor, and am fond of the singers involved. The Making of West Side Story is most interesting, truthful and very inspiring taking us through the problems(continuous take after take, recording the complex score in a tight time slot, Te Kanawa and the air conditioning), conflicts (Carreras seemingly not doing his homework and Bernstein visibly not happy) and above all the great musicians at work. It is photographed beautifully, though the picture quality is deserving of more sharpness, and the music is superb as ever.Bernstein's conducting is not as electrifying as it was earlier in his career, mostly it is fine but occasionally it is a little too mannered. But what is fascinating about The Making of West Side Story is his enigmatic way of bringing the best of the orchestra and soloists, such as his indifferent shrugging and look of puzzlement with Jose Carreras, his closing of his eyes savouring the moment listening to Kiri Te Kanawa, his dancing and smiling as the men in Officer Krupkee nail it and his heaping of praise quite rightly on the first trumpet. You can tell he is passionate about what he does and loves it, as you can see in his factual critiques like with the string pizzicato, timing, drum pitch and note lengths. Contrary to a review on Amazon, I saw no bullying in sight.The orchestral playing show orchestral electricity(America) and lush sensitivity(Maria). The singing is mostly glorious. Despite her unidiomatic Puerto Rican accent, Kiri Te Kanawa is pitch-perfect and absolutely radiant as Maria, with great musicality. You can also tell that she loved doing it. Tatiana Troyanos has her usual rich mezzo and gives Anita her necessary passion and fire. Kurt Ollman is superb as Riff, a big energetic voice done with great energy and flexibility. The chorus are terrific, whether in America or Officer Krupkee. Sadly, as much as I like him for his beautiful voice and musicianship, Jose Carreras' Tony doesn't make the grade, with no attempt to soften his accent(especially on the vowels), a tendency to go sharp and constantly ahead of the orchestra in Something's Coming. He also looks miserable and bored.All in all, very interesting and insightful. 8/10 Bethany Cox

It was a real treat to see this again on television recently - a great composer conducting his own great score for one of the best musicals of all time, using opera singers in the lead roles (Jose Carreras as Tony, Kiri Te Kanawa as Maria, Tatiana Troyanos as Anita, Kurt Ollmann as Riff).It provides two elements in its ninety-minutes - first, a snapshot of superior artists at work in the recording studio; and second, some sublime interpretations of the classic songs (Tonight, A Boy Like That, Maria, Jet Song, Cool, etc.).Always a gamble to use opera singers in recordings of musical scores, Te Kanawa in particular adapts well (she also recorded My Fair Lady - as Eliza - and songs of Kern, Porter and Berlin). When it gets this good all you can really say is 'wow'.The recording itself can stand up alongside the original Broadway cast album or the movie soundtrack; it is different, but it is just as good; and the fact that Bernstein himself conducted it makes it special. You feel privileged, watching this, to be able to see such a talented creative mind at work.

I borrowed this video from a friend and now I'm going to buy it if I can find it. It is excellent in so many ways.First off, watching a master like Bernstein makes everyone else in the craft pale by comparison. I'm not an opera buff, and I'm no expert on conductors, but watching Bernstein was always a treat for me. He's a perfectionist. That I can see, but his over-flowing passion is contagious and kept me riveted.But this documentary/passion play isn't only interesting because of that. To hear Bernstein's commentary on the movie "West Side Story" and how he came to write the score for that just thrills your soul. Aside from that, hearing the other singers comments on Bernstein, especially Kiri Te Kanawa who's obviously enthralled to be there, is just wonderful. The chemistry between these two is tangible and then there's the reverse. Bernstein lays into poor Jose Carreras so hard that Carreras starts chewing his nails. After they've been at it for several days, you can see that the recording session isn't going to Bernstein's liking and it's obvious that he's worn out. I felt like I was given a special behind-the-scenes viewing. It was great.As I speak Spanish, I just happened to read a Spanish review about how "Carreras handled himself like a gentlemen." Baloney! He let go some curses that would curl your hair if it was translated into English. It all makes for a very insightful voyeur's haven of documented human emotions, passions and play.If you like music, human interaction and entertainment, you'll love this docu. I can't recommend it more highly and Tush-tush! to anyone who tells you differently. If you're a Bernstein fan, run out and buy this film!

Why Mr. Bernstein decided to make a recording of his great musical with operatic voices is a puzzle. Though Kurt Ollmann is fine in his part, Te Kanawa and Carreras are totally miscast, even vocally. And poor Carreras is belabored by Bernstein, in an instance of one of Bernstein's typical blaming of others for his own poor judgment in casting Carreras in the first place. And what should have been a lively and highly rhythmic performance is, as a result, been "embalmed for eternity". In the last part of his career Bernstein became slow and mannered in an apparent attempt to emulate Karl Böhm and it didn't suit him at all, in my opinion.Hear the original cast recording or see the show or movie instead.(2006) I might, in self-defense, add a little to my earlier review:I am really quite familiar with "West Side Story" having worked with more than one theater group on it as pianist. I also am a great admirer of Kiri Te Kanawa but I don't think she should have sung this part. An operatic approach is not appropriate for a Broadway musical except in rare cases such as Ezio Pinza in "South Pacific" or Robert Weede in "The Most Happy Fella" which is nearly an opera anyway. (And both those parts were written for operatic voices.)I met Mr. Bernstein in the late 50s or early 60s and am familiar with his work. Though I greatly admired much of his earlier work I think he lost his way both as conductor and composer late in life. (Due in part to self-indulgence: in addition to not being Karl Böhm, neither was he Gustav Mahler!)So, even though many may think my comment is "useless", I am letting it stand.