With The Somewhere Project, Bernstein would be most thrilled about seeing so many different factions-people from different demographics, of different ages-involved and participating. What do you hope people take away from this production of West Side Story, as part of The Somewhere Project? I think that’s why it’s so important not to shy away from issues of our time, but to really challenge them-full force-yet be willing to look at them with an open constitution. We can explore feelings and issues, while being in a protective cocoon of creating. That is the thing about art: Art can protect us. The Somewhere Project is so compelling for me and feels so close to my heart because it brings together my adoration and love for this man, Leonard Bernstein, with this idea that story and music can change the world. What opportunities does The Somewhere Project give you personally to build the world you imagine? Video: Marin Alsop on the influence of Leonard Bernstein You want to feel that there’s a person for you, there’s a place for you, there’s a group for you … and there is. “There’s a place for us,” and I think everyone wants to feel that. That conflict resolves-albeit temporarily-when we finally arrive at the song “Somewhere.” We have this moment of true introspection and true questioning, but also a sense of belonging. Bernstein used the interval of the tri-tone-which used to be called the “devil’s interval”-to illustrate and embody conflict. While the story is extraordinarily compelling, the music of West Side Story has its own narrative. What makes West Side Story such an enduring work? I think in the end, the moral of allowing love to prevail is one that is a great lesson for all humankind. There’s so many things that resonate so sadly with us right in this very moment of history. I think the themes and the moral of West Side Story are what really resonate with us, even today: the themes of youth and independence, wanting to be your own person, making your own decisions, but being hampered by conflict and prejudice. What elements of West Side Story resonate most personally for you? We need a beginning, we need a middle, we need an end most important, we need a moral to the story. He was always inventing stories because he understood that we, as human beings, needed a story. If he didn’t know the story of a piece, he’d make it up. One of the most valuable things I learned from him was this idea of telling stories through music. Maybe each of his students felt that way-that was his gift. He exceeded all of my expectations-he was so generous, so loving, and so caring of all of his students, but I felt especially of me. One of the greatest experiences for me was becoming a student of Bernstein’s in my late 20s. It was about sharing his excitement about this great experience-one that he wanted everyone to have. For him, it was such a compelling story-I think for all of us it is-but the way he spoke about it was with such incredible passion. I remember sitting way in the back just in awe of him, listening to him work with the musicians and the singers and talk about West Side Story. He later invited me to observe sessions as Bernstein prepared for what would be a famous remake of West Side Story. My father, who was the longtime concertmaster of the New York City Ballet Orchestra, knew how much I adored and idolized Bernstein. And from that day on, I knew I wanted to be a conductor. From the moment he came out on stage and began speaking to the audience, he shared his charisma and his obvious joy for what he was doing. I first saw Leonard Bernstein conduct when I was nine years old during one of his famed Young People’s Concerts. How has Leonard Bernstein shaped your vision for the power of music in people’s lives? Video: The Making of West Side Story : "I Feel Pretty" / Bernstein
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