Hi Bobby Sanabria here! Two years ago I came up with the idea of re-arranging the music from Leonard Bernstein's masterpiece West Side Story and performing it with my Multiverse Big Band, but in a way that has never been done before: a complete Latin jazz reworking of the entire score in celebration of the show's recent 60th anniversary and Maestro Bernstein's centennial. However, besides paying tribute to the composer and the music, I saw this as an opportunity to give back and help my ancestral homeland Puerto Rico. As most of us know, hurricanes Irma and Maria ravaged the island of Puerto Rico, leaving it's residents unable to recover. Puerto Ricans have been American citizens since 1917, and the government's response has been unsatisfactory at best. Six months later, entire communities are still living without food, water, power, and other basic needs we take for granted. I realized the best way I could help was through my music. What better way to portray the struggles and hardships of the people of Puerto Rico than West Side Story? We are dedicating this recording to the musical genius of Leonard Bernstein and donating proceeds from this special commemorative 2 CD set to the Jazz Foundation of America Puerto Rico Relief Fund. This is a cause many of us are passionate about and every bit of generosity helps. Recorded live at Dizzy's Club Coca-Cola in NYC, this exciting new reworking is West Side Story like you've never heard it before, through the exciting lens of the Latin jazz continuum. This project is being produced with the blessing and support of the Leonard Bernstein Organization. Bernstein's daughter Jamie remarked: "What I love about Bobby Sanabria's take on "West Side Story" music is that it's a kind of rhythm fission: my dad's music is already so drenched in rhythm. Then along comes Bobby and explodes it to an even richer rhythmic level!"

In the last and most dramatic aria in “Roberto Devereux,” one of the four Tudor period operas composed by Donizetti in 1837 (along with “Anna Bolena,” “Maria Stuarda,” and “Il Castello di Kenilworth,”) the protagonist, Queen Elizabeth I of England, exclaims: “I do not reign, I do not live.” This statement encapsulates great operatic themes, and it is the culmination of an opera that reveals the passions of characters who live among palace intrigues. Written in the mature period of the leader of Italian romanticism, the opera displays a great vocal virtuosity, and is an example of Donizetti prizing the voice above all in the genre. The staging, by South African director Alessandro Talevi, who has been very successful in great opera houses as well as with more experimental theatre, places the play in an undetermined period, focusing on the chiaroscuro. Bruno Campanella conducts the production with Mariella Devia in the lead. “This was a most promising start to the season, a first-class rendition of a neglected work and a joyful confirmation of Mariella Devia’s well-deserved place in bel canto history.” (Bachtrack.com)