West Side Story Flashcards
(17 cards)
Principal characters
Maria (soprano, Puerto Rican girl, Bernardo’s sister, alive)
Riff (baritone, Jets leader, dies first)
Bernardo (baritone, Sharks leader, dies second)
Tony (tenor, Jets member, dies third)
Anita (mezzo-soprano, Bernardo’s girlfriend, alive)
Plot summary
The plot parallels the love affair and final tragedy of Romeo and Juliet. The audience is initially introduced to the two rival gangs and observes the hostility between them. Later, Maria and Tony meet at a dance and fall in love. Tension builds between the two gangs and leads to a fight in which Bernardo stabs and kills Riff. Tony in turn stabs and kills Bernardo, Maria’s brother. In the final scene, Tony is stabbed by another member of the Sharks. Maria arrives but Tony is already dead.
Maria character singing
Tony (tenor)
Maria setting
Outside the gymnasium, where Tony has just met and fallen in love with Maria.
Maria sentiments expressed
Tony reflects rapturously on Maria’s name
Maria key
B major, E flat major
Maria meter
c (4/4)
Maria introduction (mm. 1-3)
The melody opens with a chant-like intonation suggesting Tony’s worshipful adoration of Maria.
Repeated D sharps supported by modal harmony and free rhythm (improvisatory quality)
Maria introduction (mm. 9-11)
The verse continues with beginning tritone interval (shows theme of forbidden love): ‘Ma-ri-a’ – E flat (D sharp)-A natural-B flat; this angular motive runs throughout most of the score (conveys strife, yearning, and star-crossed love).
The melody traces a broad arc before returning to the opening theme.
The chant-like melody returns at the close of the song; serves as a postlude.
Orchestration features lush (full) strings doubling the voice part throughout; timpani used to heighten musical climaxes.
America characters singing
Anita (mezzo-soprano), Rosalia (soprano, IN ORGINAL), Bernardo (baritone, IN RECENT VERSION), and other Puerto Rican girls and boys.
America setting
An alley behind Bernardo and Maria’s house
America sentiments expressed
IN ORIGINAL Rosalia expresses homesickness for native Puerto Rico, IN RECENT VERSION Bernando expresses homesickness for native Puerto Rico; Anita defiantly declares love for her newfound home, Manhattan.
Sondheim’s clever lyrics extol both the virtues and false promises of ‘The American Dream’
America introduction (mm. 1-6)
Ambiguous tonality–modal inflections in melodic lines.
Claves (wood blocks) and guiro (ribbed gourd) establish Latin ambience with cross rhythms and rhythmic ostinato.
Spanish guitar and celesta provide undulating lines in parallel thirds in rising and falling triplets.
America (mm. 7-14)
Sung by Rosalia in a lyrical, declamatory style.
A sense of yearning and nostalgia is conveyed through long phrases and free rhythm (word painting).
Anita’s pointed response conveys her loathing of Puerto Rico and her love for Manhattan.
Colorful orchestrations help paint vivid portraits: Rosalia’s voice is doubled sweetly by a flute, while Anite is accompanied by a mournful oboe.
America (mm. 13-14)
Word painting on ‘breezes’ is achieved through an arched motive based on the whole-tone scale; glissandi on string harmonics also contribute to the effect.
*Vivian’s notes: Sliding on glissando is supposed to represent the Puerto Rican breeze.
America form
Verse-chorus structure, preceded by introduction
Chorus (I like to be in America) and Verses
Faster tempo.
Key of C major, with sudden (jazzy, lively) modulations.
Chorus consists of short syncopated phrases, repeating the word ‘America’ (central theme).
Verses use call-and-response patterns to convey argumentative exchanges between Rosalie and Anita.
Chorus and verses alternate a 6/8 and 3/4 pattern, establishing the hemiola effect central to this song.
Snappy syncopations provide rhythmic energy.
Latin flavor achieved through use of guitar, claves, maracas; additional percussion instruments (pitched and non-pitched) add texture; trumpets and drums give density to the overall sound.
*Vivian’s notes: Celebratory spirit
