news & events , to the hedules). ), as Rose. Volume 25 25 Volume 2 Number 2007 Fall feature arti- feature Mahagonny is well established is well LoveMusik New York Times New York published an editorial begin- published Mahagonny in February 1976, with a young in February can Die News Street Scene Aufstieg und Fall der Stadt Mahagonny Aufstieg und Fall Die Dreigroschenoper dux Die Dreigroschenoper Re Weill . Robert Wilson’s signature Wilson’s . Robert will be produced again (30 April, 2 and 4 May 2008). Jay Lesenger 2008). Jay 2 and 4 May April, (30 will be produced again saw a handful of productionssaw 1950s (Düsseldorf in the Deutsche ’s , led by Michael Cerveris as and Donna Murphy as Lotte and Donna Murphy Weill as Kurt Michael Cerveris , led by , conducted by and starring Audra McDonald, Patti LuPone, McDonald,Audra Patti Conlon, conducted James by and starring Street Scene Street Scene LoveMusik Dreigroschen visit the Kurt Weill Foundation’s information- Foundation’s Weill visit the Kurt al site: www.threepennyopera.org. staging of to be performed continues staging the work am Theater at the Berliner Ensemble by where Schiffbauerdamm, 1928. In New August had its premiere on 31 the Criterion Collection has released a York, set (region 1) including two-DVD deluxe German and Pabst’s restorations of G.W. versions of scholarly film the work, French documentary made and a new commentary, Readers wishing to the DVD. for especially learn more about This fall, related events in Berlin and New events This fall, related of days hark backthe early to York Dreigroschenoper Oper am Rhein in 1955, Opera in 1959) and 1960s, but otherwise the but City Opera in 1959) and 1960s, York Oper am Rhein in 1955, New York’s New run when since its original Broadway had been seldom revived work School ofManhattan Music presented undergraduate, Judith Blazer (seen on Broadway this year in this year Blazerundergraduate, Judith (seen on Broadway This season, during the celebration anniver- ninetieth of School’s the Manhattan sary, ning: “Kurt Weill at the Met? There are sure to be those who are shocked at such a at are shocked There are sure to be those who the Met? at Weill ning: “Kurt in a the work defended Maestro Levine turn of events.” now as a repertoire opera piece in major and Levine, houses around the world, Music Director of Orchestra as the Met, has decided the Boston as well Symphony the talented young featuring Festival, the 2008 to conduct at the work will Performances Music Center. Tanglewood of the and instrumentalvocal fellows 2008. August place 9–11 take in November 1979, Metropolitan Opera in November deal so cate- I wish those people wouldn’t but I suppose some will object, cle:“Yes, about say people may whatever Besides, theater. with musical gorically influ- is an opera comedy—it and the most significant, it is not cabaret or musical later, years Twenty-eight ofential example its style.” When first brought first Levine When James will direct and Hal France will conduct. will direct and Hal France , last seen at the Vienna Volksoper, will be preserved on a Capriccio DVD due out early on DVD a Capriccio will be preserved Volksoper, Vienna the , last seen at at the A supplement to the Kurt Weill Newsletter Weill to the Kurt A supplement Mahagonny

Der Kuhhandel s

n Rise and Fall of the City of Mahagonny Rise and Fall

re Historia topical u t Fu or History Repeats Itself History Repeats F Audra McDonald and in Audra and Anthony Dean Griffey, will be available for purchase on DVD from EuroArts Music International on December 2007, the day 18 purchase for on DVD will be available Dean Griffey, Anthony and to local PBS sc according areas of can see it on vary the United States PBS television (broadcast dates after audiences in many A trio of new recordings documenting outstanding contemporary Weill productions will be released in the immediate future. Los productions future. be released in the immediate will documenting outstanding contemporaryA trio ofWeill recordings new Angeles Opera’s production of Pountney’s David Teresa Stratas at the Met, 1979. Photo: J. Heffernan Photo: J. at the Met, 1979. Stratas Teresa in 2008. And the original cast album of Broadway’s ofAnd the original cast album Broadway’s in 2008. from Ghostlight Records. is due out 27 November Lenya, . Photo: Robert Millard Photo: Robert Los Angeles Opera. 2a Volume 25, Number 2 Topical Weill Kurt Weill Foundation Programs

Lotte Lenya Competition News

Past Lenya Competition winners continue to light up major opera and musical theater stages, demonstrating the versatility of the con- testants. Elaine Alvarez (2003 prizewinner) made a critically acclaimed surprise debut at Lyric Opera of on 1 October 2007, portraying Mimì in La bohème. “Far from displaying any obvious nerves, Alvarez looked and sounded like a poised veteran,” wrote John von Rhein in The Chicago Tribune. “The voice bloomed under pressure the way you want a Puccini voice to bloom, yet kept its warm tonal finish when she floated the high pianissimos opera lovers wait for in rapt anticipation.” Alvarez continued as Mimì through all six October performances, joined on stage by (2002) as Musetta. Erik Liberman (2005), most recently seen in LoveMusik on Broadway, starred in this fall’s revival of Sondheim’s Merrily We Roll Along at the distinguished Signature Theatre near Washington, D.C. The Baltimore Sun reviewer reported that “Erik Liberman has a wry, flexible face and an understated charm as Charley, and his rendition of ‘Franklin Shepard, Inc.’ is one of the show’s comic highlights.” Prizes for the 2008 Lotte Lenya Competition for Singers will increase to $10,000 (First Prize), $7,500 (Second Prize) and $5,000 (Third Prize). Applications must be received by 14 January 2008. Artists born after 31 December 1975 and before 1 January 1989 are eligible to apply, and regional auditions will be held in Chicago, IL (1 February), Boston, MA (6 February), Rochester, NY (23 February), Lawrence, KS (29 February), and New York City (7 and 8 March). If contestants are Elaine Alvarez unable to participate in any of the scheduled regional auditions, they may instead submit a DVD or videotape, which must contain all of the required repertoire selections, by 15 February. Finalists selected from the regional auditions and DVDs will participate in the finals, to be held on 12 April 2008 at the Eastman School of Music in Rochester. Further information regarding competition rules and repertoire requirements is available on the Kurt Weill Foundation website: www.kwf.org.

2007 Kurt Weill Prize to bruce mcclung 2007 Professional Performance Grants The 2007 Kurt Weill Prize for outstanding scholarship on twentieth-centu- ry musical theater, carrying a cash award of $2500, has been won by bruce d. The guidelines for the Kurt Weill Foundation’s mcclung, Associate Professor of Musicology at the University of grant program include a special funding category – College Conservatory of Music, for his book, Lady in the Dark: Biography for major professional projects, for which there is of a Musical (Oxford University Press, 2006). In his production history no application deadline. Since the previous issue of incorporating scripts, correspondence, clippings from Gertrude Lawrence’s the newsletter, upon recommendation from an scrapbooks, and other artifacts, mcclung traces a revolutionary and contro- news & news events independent review panel, the Board of Trustees of versial work through its Broadway run, national tour, and revivals. Lady in the Kurt Weill Foundation has awarded the follow- the Dark: Biography of a Musical also received the George Freedley Award, ing five mid-year Professional Performance grants: 2006 Special Jury Prize, from the Theatre Library Association. In addition to the book Wexford Festival Opera, Der Silbersee prize, a $500 Kurt Weill Prize for outstanding (31 May–15 June 2007) article has been awarded to Elizabeth B. Crist, Cantata Singers, Boston, “Unveiling Weill” Assistant Professor of Music at Princeton 2007–2008 Weill Season University, for “Mutual Responses in the Midst Opera Theater of Pittsburgh, Lost in the Stars of an Era: Aaron Copland’s The Tender Land and (21–24 February 2008) Leonard Bernstein’s Candide” (The Journal of Virginia Arts Festival, Norfolk, Lost in the Stars Musicology, Volume 23, Issue 4, fall 2006). In her (23–27 April 2008) article Crist compares a pair of stage works crit- The Opera Group, London, tour of Street Scene ical of McCarthyism, with special focus on two (4 July–1 August 2008) crucial musical ensembles, and examines the works’ broader political implications. The Kurt Weill Prize is awarded biennially The Kurt Weill Foundation for Music funds research for distinguished scholarship on twentieth-cen- and performance projects related to Kurt Weill and his tury musical theater, and the 2007 prize covered books and articles first pub- wife, actress-singer Lotte Lenya. Grant guidelines, lished in the calendar years 2005 and 2006. The 2007 four-member selection application forms, and further information on the grant panel consisted of representatives from the Modern Language Association, program are available on the Kurt Weill Founda - the American Musicological Society, the American Society for Theatre tion website (www.kwf.org) or by telephone Research, and the Kurt Weill Foundation for Music. (212.505.5240). Topical Weill Volume 25, Number 2 3a Upcoming Performances news & eventsnews &

More Mahagonnys in Germany

The current spate of Aufstieg und Fall der Stadt Mahagonny productions in Germany continues with two new stagings, both getting underway in January 2008, in Essen and Mainz. In Essen’s Aalto-Theater, conductor Stefan Soltesz and director Barrie Kosky lead a cast including Robert Wörle as Fatty, the role he played in Los Angeles Opera’s recent production. The premiere on 26 January will be followed by thirteen additional performances in early 2008. The Staatstheater Mainz production will be guided by Catherine Rückwardt, conductor, and Matthias Fontheim, director (premiere 12 January). On 13 January, the Mainz premiere will be followed by a chamber music concert, “Kurt Weill und die Novembergruppe,” including Frauentanz (Tamara Gallo, soprano) along with works by Stefan Wolpe and Hanns Eisler. Last season’s Mahagonny at Komische Oper Berlin, directed by Andreas Homoki, will be revived on 12 April 2008; changes from last year include Hermann Bäumer, conductor, Noëmi Nadelmann as Jenny, and Christoph Späth as Jimmy. Performances continue through 4 June.

Lost in the Stars in Pittsburgh, Norfolk

Real-life twins Herbert and Eugene Perry have been cast as Stephen Kumalo and his brother John, respectively, in the upcoming co-production of Lost in the Stars at Opera Theater of Pittsburgh (21–24 February 2008) and Virginia Arts Festival in Norfolk (23–27 April). Gretha Boston will portray Irina; Julius Rudel conducts and Jonathan Eaton directs. Jonathan Eaton

Julius Rudel 16th Annual Kurt Weill Fest

From 29 February until 9 March, the 2008 Kurt Weill Festival returns to Dessau featuring conductor/chansonnier HK Gruber as this year’s Artist- In-Residence. Performance highlights of the festival include the Violin Concerto, with violin soloist Kolja Blacher the Mahler Chamber Orchestra (29 February); Der Lindberghflug and The Ballad of Magna Carta with Gruber conducting the MDR Orchester and Rundfunkchor (2 March); an evening of songs from Ian Bostridge and soprano Sophie Daneman; and a new all-Weill revue entitled Broadway Dreams from soprano Teri Nmon Ford Hansen and baritone Nmon Ford (9 March). The Festival will also host an international conference entitled “Germany’s Reception of the Broadway Musical” (7–8 March). Gretha Boston Boston’s Cantata Singers Unveil Weill

Boston’s Cantata Singers began a season-long series, “Unveiling Weill,” with a performance of Der Lindberghflug (23 September 2007) at the Collings Foundation Aviation Museum outside Boston (reviews on page 4a). The season proceeds at Jordan Hall, Boston, with “Die Legende vom toten Soldaten” (9 November), Propheten (18 and 20 January 2008), the Violin Concerto (14 and 16 March), and Symphony no. 2 (9 May); all concerts are conducted by David Hoose. In addition to the Cantata Singers’ main sea- son, chamber concerts incorporating Weill songs will take place at the Isabella Stewart Gardner Museum (17 February) and at Leventhal-Sidman Jewish Community Center (6 April). Teri Hansen Symphony No. 2 in Belgium Greek National Opera’s Season to include Sins, Zar

Conductor Etienne Siebens takes the Symfonieorkest Athens will see two Weill stage productions mounted in the upcoming Vlaanderen on a four-city tour through Belgium performing months as part of the 2007–08 season at the Greek National Opera. Die Weill’s Symphony No. 2 in early April 2008. Beginning in sieben Todsünden will premiere on 23 November for a week’s worth of Bruges on 3 April at the Concertgebouw, the orchestra will performances with choreography by Kim Branstrup; Martin André travel to the Paleis voor Schone Kunsten in Brussels (5 April) conducts. Beginning 10 April 2008, Der Zar lässt sich photographieren and the deSingel in Antwerp (6 April) before their final con- will run for 4 performances through 15 April under the baton of cert in Brussels at the Concertzaal De Bijloke on 12 April. Theodore Antoniou; Tzeni Arseni directs. 4a Volume 25, Number 2 Topical Weill Press Clippings

Der Lindberghflug, Cantata Singers, Boston Plays Weill: Violin (23 September 2007) Concerto (18 May 2007), Die sieben Todsünden (1 June 2007) “Weill’s music brims with the imaginative richness of his Mahagonny Songspiel, here distilled into wonderfully concise and distinctive “Regrettably, the Threepenny Opera’s international suc- episodes for orchestra, chorus, and three male soloists. The sounds of cess and Weill’s infectious ‘song style’ have completely the nightclub mingle with sturdy symphonic traditions; fidgety coun- overshadowed his early Violin Concerto with its extreme- terpoint conveys the restlessness of the waiting crowds; a lonely ly witty dialogue. People have compared it to the adven- Lindbergh talks poignantly to his turous meanderings of a violinist through the musical motor over a bed of somber woodwind landscapes of the early years following the Great War. chords. . . . On Sunday, David Hoose Indeed, in its constant thirst for adventure, the Concerto led a surely paced and sharply drawn draws on a variety of wellsprings from Busoni and account, his combined forces sounding Schoenberg. There is a wonderful dialogue with the agi- strong and well-prepared. As Charles tated winds. The work pays a visit to every conceivable Lindbergh, William Hite sang with a possibility for the violin, but it cannot settle on a single sweet-toned tenor, though relying less spring that might lead to a stream. It makes solid promis- on his printed score would have es for the future, only to toss them overboard in a violin’s allowed him to inhabit his role more heartbeat. The latter is animated splendidly, however, by commandingly. David Kravitz excelled Kolja Blacher, who shows liveliness, temperament, and a in the smaller baritone solos, and Mark love for the mercurial nature of the piece. He carries it in Andrew Cleveland was a solid bass his hands. Claudio Abbado’s great care ensures a pleas- soloist.”—Jeremy Eichler, The ing flow.”—Klaus Geitel, Berliner Morgenpost (20 David Hoose Boston Globe (26 September 2007) May 2007)

“It’s a gem. The music is inventive and memorable, both ironic and “Kurt Weill’s Die sieben Todsünden is a nasty, jazzed-up haunting. Some of it echoes recent Weill: Lindbergh is introduced by a classical piece, a stroke of genius out of the American tango with a woozy clarinet solo out of Dreigroschenoper and Mahagonny gutter with two scintillating protagonists: the sisters (“My name is Charles Lindbergh. I was born in America”—in Lys Anna I and Anna II. Angelika Kirchschlager voices the Symonette’s effective English translation, which Hoose chose). . . . The dialogue as an inner monologue between conscience and Cantata Singers chorus and orchestra were in top form. And so were the unscrupulousness. She never settles for just sounding soloists: Bass-baritone Mark Andrew Cleveland narrating, baritone beautiful, but instead has the courage to sing with ugli- David Kravitz as the voice of New York City (together they have a funny ness—without abandoning her vocal technique. The scene as Scottish fishermen convinced that anything made out of iron or Berlin Philharmonic accompanies all of this rather obe- news & news events steel would fall into the water), and tenor William Hite as a heroic diently, as if they need to polish Weill’s cultural criticism Lindbergh. Hoose built the piece to an inexorable climax. The venue to a high gloss, as if they don’t want to dirty their hands itself contributed to the excitement. This special fundraising benefit with his music. That is astounding coming from Rattle, took place in a hangar at the Collings Foundation Aviation Museum out from whom one would have expected more modernity, in picturesque Stow.”—Lloyd Schwartz, The Phoenix (26 more grip, more edge.”—Axel Brüggemann, September 2007) Frankfurter Allgemeine Zeitung (3 June 2007) String Quartet, op. 8, Bargemusic in Brooklyn (27 June 2007)

“When four string players from the banded together more than ten years ago as a quartet devoted to challenging contemporary works, they chose the name Flux Quartet to convey that music itself is in a constant state of motion and transition. . . . The concert was tremendously exciting, though as always some of the credit goes to the setting for this popular series: an actual barge docked at the Fulton Ferry Landing near the Brooklyn Bridge and seating about 160. . . . Kurt Weill’s String Quartet (op. 8) was written in 1923, when Weill was just twenty-three. It was easy to be lulled by the deceptively sweet melody of the opening movement. Soon it became clear that the tune was floating nervously atop boldly unstable harmony. As this precocious work progresses, you hear hints of Mahler, French Impressionism, even Schoenberg.”—Anthony Tommasini, (29 June 2007)

The Flux Quartet performed Weill’s String Quartet again on 31 August as part of the Ostrava Days 2007 Festival in the Czech Republic. The Flux Quartet (l to r): Dave Eggar, Max Mandel, Conrad Harris, and Tom Chiu Topical Weill Volume 25, Number 2 5a

Berlin to Broadway at Chicago’s Light Opera Works (30 September–11 November 2007) eventsnews &

“In adapting what’s basically a cabaret revue, director Kurt Johns has made the crucial mistake of trying to dramatize, contextualize, periodize or otherwise goose up each of the thirty-two songs. This leads to lots of ludicrous moments—such as when pre-World War II France is denoted by a singer wearing a beret and clasping a footlong cigarette holder—and to even more just plain unnecessary ones, where Weill’s beautiful, powerful, subtle, often disturbing music gets acted into the ground. . . . At its best, Berlin to Broadway can take us back to Weill’s epoch-making Weimar style, with its angry, despairing oompah rhythms sounding like the last calliope on Earth. It can introduce us to such rare gems as Knickerbocker Holiday and Street Scene. It can remind us of the power of Lost in the Stars. Johns had the means to produce that best-case version. His six- member orchestra is tight and his cast is strong. Natalie Ford has a fine, sharp soprano. Beth Gervain’s singing is full of straightforward expres- siveness. Despite a misconceived mustache and a ten- dency to oversell, Jonathan Wagner has one of the show’s few unmitigated successes with a yearning rendition of ‘Lonely House.’ And Brian Herriott seems to take every opportunity to bring Weill’s music back to center stage. He salvages some won- derfully spare passages from ‘September Song’ before it’s turned into another mini-melodrama.” —Tony Adler, Chicago Tribune (10 October 2007) Berlin to Broadway cast (l to r): Brian Herriot, Natalie Ford, Jonathan Wagner, and Beth Gervain

Symphony no. 2 at the Concertgebouw, Amsterdam (13 September 2007)

“The oldest piece, Kurt Weill’s Second Symphony, whose world premiere in 1934 was given by the Concertgebouw Orchestra, was not the most sensational piece of its day, but it is more original and on the whole somewhat more interesting than the other two works featured on the program. Aside from a few phrases in the brass, Weill is barely recognizable as the of that extensive legacy of theatrical works done in col- laboration with Brecht. This symphony is primarily a successful example of the neo- classical style which emerged in Germany between the wars. showed himself to be a fine conductor. Just as with his other appearances directing the Concertgebouw Orchestra, he had all his ducks in a row. Everything went off without a hitch, with the ease you expect from musicians who have mastered the music. Conductor and orchestra executed the works with the requisite emotional charge, structural integrity, and technical mastery.”—Roeland Hazendonk, De Telegraaf (18 September 2007) Markus Stenz

Die sieben Todsünden, Teatro Gran Rex, Buenos Aires (18 September 2007)

“The appearance of Ute Lemper generated enthusiasm from the packed audience at Teatro Gran Rex, who attended the compelling local premiere of Los siete pecados capitales by Kurt Weill. With the help of supertitles, one was able to follow the incisive, unmistakable, and always valid text of Bertolt Brecht, which through Ute Lemper’s singing voice incarnated the two Annas who cross the United States in order to raise money while confronting human misery. With absolute mastery of her trade, and totally immersed in the music that she illustrated with precise and revelatory ges- tures, Lemper taught a lesson in the style she has made all her own. The same can be said of Latham-König in his orchestral conception, as well as the magnificent quartet of Argentinean singers, among whom bass Hernán Iturralde and tenor Osvaldo Peroni stood out, proving ideal for their character roles. The only regret, from a purist’s point of view, was the use of electronic ampli- fication, but the German singer’s use of a microphone—as she is not a classical singer—was with- out a doubt motivated by the necessity to balance her voice with the orchestra.”—Daniel Varacalli Costas, La Prensa (20 September 2007)

Ute Lemper 6 news & events a affinity throughout.” playeddanced alittlewaltz duringthebridge. Baitzer Pianist Michael with outstanding bothadopted glamorousold-stylemovie andMichie Hensrud musical andeven personas, likable duetfromtheforgotten Weill/Ira musical Gershwin often in Weill songs, peoplesay what theoppositeof theymean.Inthefinal piece, avery Life likeably for ‘ThisIstheLife,’ solomusical persona afull-fledged scenefrom arrogant Songs fectly. student at Michie, Eastman,sangtherarely heard stillagraduate Jonathantone Michie, who alsohastheelusive, Kurt in-between styleof Weill down per- displayed in‘Surabaya bari- Johnny’. withthesonorous sharedtheprogram .Hensrud ity, but thefirst hersingingwasunfailingly order. of Iespecially liked she theastonishment asaperformer. herrange of Communicating interms the iceberg thewords was herprior- songs, that herturnasJenny in (6 June 2007): “Soprano Tammy Kurt inasuperb recitalof Weill demonstrated, Hensrud Rosenblum, appealingly earthy intensityin only recently rediscovered by hispublisher. Tammy who Hensrud, sangthenumber with band, originally Feldman’s written for someof jazz-playing friendsintheEastvillage, and enjoyable tohearthissavvy, snazzy, for seven-piece dance wildtransformation harmonically filled withsparse, quiet,slowly developing musical motifs. startling, Itwasrather but quite Feldman by Morton Song’ (1926–1987),aNew York composerknown for lengthy pieces (5 June 2007):“OnMusicin Kurt of Weill’sTime IVwe heard anarrangement ‘Alabama programs: music on p. the2007SpoletoFestival of 22),theproducers USA offeredWeill songsintwo chamber In addition to the well-received production of productionof In additiontothewell-received Weill at Radio Kamer Filharmonie at Filharmonie Radio Kamer (31May).Amsterdam’s Concertgebouw in Orchestra Dreigroschenmusik Athens (22January). atAfter appearances theKurt Weill Fest, Symphony includes Dessau,Gruber No. 2and UteGfrererinFrankfurtsoprano (31December),Essen(2January 2008),andaconcert Svenska Kammarorkestern (30November–1 inÖrebro December). A returntotheEnsemble Modernbrings Weill with concerts Gruber’s 2007–2008 season continues with performances of of continues withperformances Gruber’s 2007–2008season YorkNew Times howsel—it wassoberingtorealize littlethingshave sincethe’20s. changed And what song.” agreat Hearing Mr. totheoilcompany, ‘Shell!Shell!Shell!’—referring of practically shoutingtherefrain Gruber notjustthelittle theshore,tank hasbeenerectedon andanastysmellpervades thetown. oilburning from“AzerbaijanVisions of to are Tibet” were stunninginmoreways thanone. Weill’s amanwho soldpaintedmussel ‘MusselfromMargate’ tellsof once shells. Butano revelation: take away thelyrics, andthesheermusicalWeill’s of richness scorecomesthroughwithnew freshness. The protest themusic.the jazzyidiomsof . Weill’s terpiece withpoignancy, canalsobendaphrase Gruber ‘Peachum’s asinhiswistfulaccountof MorningHymn’ fromtheBrecht-Weill mas- andphlegmy vowels. sputteredconsonants of let’s it’)comesacrossinaverbal flourish (‘C’mon, getsomelighton Yet inhis really isduringastrollabouttown, sunshineisnotenough.InMr. alinelike Gruber’s performance ‘Komm, malLicht’ mach (andprovidedwhich thefestival’s openedtheprogram title). you that if wanttoseeBerlin suggests hauntingsong This grimly artfullyater balancewords songs andmusic, for Mr. words Gruber comefirst. Take withwords ‘BerlinimLicht,’ andmusic by W cabaretsongs, thesesardonic bittersweet isariveting balladsandvehemently of “[HK Gruber] interpreter socialisticanthems. at Hallandincabaretevenings theNeueGalerieMuseum’s at inconcerts Carnegie CaféSabarsky.singers, Familiar Weill faces such asHKGruber, UteLemper, andMaxRaabethePalastorchester werefeatured, alongsideup-and-comin Taking Weill itstitlefromaKurt song, the“BerlininLights” Festival was presentedat New York’s Hall2–18Novembe Carnegie “B erli , anddelivered thefinal line‘I’mfree!’withanabsolutely hisface. helplesslookon So with a vibrant, focused deliverywith avibrant, andfull dramatic involvement. a Then hedonned n The ThreepennyOpera im S poleto L The Post andCourier Die siebenTodsünden i ch (10 November 2007) t on a4 Sheffield.on HeleadstheBayerischer withtheBBCPhilharmonic April concert Rundfunk Symphony ”— F —Joshua Rosenblum, esti HK v al U G r Mahagonny . caught The 18players theZankel rolesfor banjoandharmonium, accordion, of Band,withcrucial ub Rise andFall Mahagonny theCityof of SA, , again withGfrerer(10–11 April), withanotherSymphony androundsouthisseason No. 2with er at (7 June2007)

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N o v —Joshua , the Swedish title of , theSwedish titleof em (review b Love er 2007) , Dreigroschenoper 2006 The creative teamresponsible for the N la Renaissance (12–15March). directs,Richard Brunel at Théâtre de Jenkins and 2008. Nicholas conducts four-opera Japan Festival inMarch qui ditoui revival of the2006production of May). May), Orient(26May) and Vannes (28 7 May, thentravel toRennes (16–24 through performances with additional Oullins,suburb 28 of on April 2008, Théâtre delaRenaissance, intheLyon Lady intheDark Tina May leadsthecastasLizaElliott. de Lyon deBretagne. andOrchestre will besharedby del’Opéra Orchestre partner, deRennes; pitduties Opéra deLyonOpéra willbejoinedby anew ducers Théâtre delaRenaissance and of production tor ScottStroman,willbringanew director Jean Lacornerieandconduc- seen at deLyon tour, Opéra andon France inspring2008. e Opéra de LyonOpéra willalsomounta w

Signé Venus

F —Anthony Tommasini, Die Dreigroschenoper re The ThreepennyOpera nch ( Der Jasager with Greek narration in with Greeknarration

Lady intheDark Lady in the Dark the in Lady ( One Touch Venus of will premiereat ) as part of its of ) aspart Venus , withthe way, Mr. evoked. co-pro- r 2007. If the- If , was a Kleine songs mus- Celui asit The eill, to il g ) Topical Weill Volume 25, Number 2 7a International News Briefs news & eventsnews &

Ute Lemper takes Sins around the globe There IS a Place Called Youkali…

On 17 April 2008, Ute Lemper performs According to Weill and Roger The Seven Deadly Sins with the Hudson Fernay, there is no place named Shad vocal ensemble and the Nashville Youkali—it is “un rêve, une Symphony, conducted by Weill veteran folie.” But now the German John Mauceri. This year Lemper has sung owner of Boquitas Pinatadas, a the saga of the two Annas to audiences in hotel in Buenos Aires, has Buenos Aires, at the Teatro Gran Rex, con- decided to rename his establish- ducted by Jan Latham-König (18 Sep- ment “Youkali.” In the song, tember); Moscow, with the National Youkali is “le pays de nos Philharmonic of Russia conducted by désirs,” but Youkali Hotel is Vladimir Spivakov (5 October); Belfast, somewhat more modest. There with the Ulster Orchestra conducted by are five guest rooms, each Robert Ziegler (26 October); and Dublin named after a famous glacier, alongside the RTE Concert Orchestra, also and a bar designed to resemble a Berlin butcher shop. To John Mauceri conducted by Ziegler (29 October). each his own dream!

There Where She Loved Weill at the Aspen Music Festival

Choreographer Christopher Wheeldon’s dance company, Three of the four winners of the 2007 Aspen Music Festival Morphoses/The Wheeldon Company, began its debut season this year Vocal Competition performed Weill arias in a Sinfonia con- with a program featuring Wheeldon’s There Where She Loved, a ballet cert conducted by Lawrence Renes on 1 August. Mezzo- that includes three Weill songs: “Nannas Lied,” “Je ne t’aime pas,” and soprano Sarah Mesko sang “Stay Well,” tenor Alex “Surabaya Johnny.” The company presented three evenings at the New Mansoori sang “Lonely House,” and soprano Carla Janzen York City Center in October and will appear with the Washington Ballet sang “Somehow I Never Could Believe” in a showcase for for five performances in late January and early February 2008. the winners of this year’s competition.

Songs from Norway Carole Farley CD on Naxos

The Norwegian ensemble estab- Classic American Love Songs, lished in 2004 dedicated to per- the latest CD from soprano forming Kurt Weill songs, Music Carole Farley, was recently for a While, recently released their released on Naxos American debut CD, Weill Variations, on Classics and features five Weill Grappa Records. In addition to songs. Alongside pianist John performing with the group, lead Constable, Ms. Farley per- vocalist Tora Augestad will join forms “Love in a Mist,” “The HK Gruber and the Ensemble Romance of a Lifetime,” “You Modern as Jenny in a concert per- Are Unforgettable,” “The formance of Die Dreigroschenoper River Is So Blue,” and “The in Athens on 22 January 2008. Picture on the Wall.” Carole Farley

Sins at the Teatro Lirico News from Down Under

Next spring the Teatro Lirico Giuseppe Songstress Janet Roddick has taken her all-Weill concert Verdi, Trieste, will depart from its usual program, which premiered on 6 March 2006 at the New repertoire with a Weill/Bernstein dou- Zealand International Festival, into the recording studio. ble bill, Die sieben Todsünden/Trouble in The resulting CD, The Songs of Kurt Weill, issued by New Ta h i t i (12–19 April 2008). Daniela Zealand’s Braille Records, includes eleven Weill songs taken Mazzucato will portray both heroines in from Mahagonny, Die Dreigroschenoper, Happy End, One a production staged by Giulio Ciabatti; Touch of Venus, and Lost in the Stars. Will Humburg conducts. Teatro Lirico Giuseppe Verdi 8 news & events a Faßhauer, Tobias. RECORDINGS VIDEOS ARTICLES SCORES 985 602. Brecht: HommageBertolt several recordings fromthe1960s). BerlinClassics0013752BC(reissuesof various andconductors, orchestras Die siebenTodsünden und FallAufstieg derStadtMahagonny undFallAufstieg derStadtMahagonny series). MundiHMC901422inthe“Musiqued’abord” Harmonia (reissue of Herrweghe, conductor Das BerlinerRequiem Weill Kurt I’m aStranger hereMyself:TheSongsof aLifetime,” “You “TheRomance of a Mist,” Are Unforgettable,” “TheRiver the IsSoBlue,” “ThePictureon Wall”). Classic AmericanLove Songs Weill Kurt Mack theKnife:Songsof LoveMusik, 405(2DVDs). Collection mentary material, Criterion The 3Penny Opera Jenny”). and“Saga of “Lonely House” (includes Dawn at Dusk Maxwell Anderson,” Maxwell Anderson,” J.Rabel, Robert “Odysseus Almost Makes IttoBroadway: The Fischer, Ulrich. “Die Marke ‘Dreigroschenoper,’ ” ” Fischer, “DieMarke Ulrich. ‘Dreigroschenoper,’ (UE 33663). SongsausderDreigroschenoper Fünf Die Legende vomtotenSoldaten BOOKS N e w P original castrecording, Cerveris, Michael Murphy, Donna etal., GhostlightRecords 8-4425. , live recitalby Dawn recorded Upshaw Sinfonietta, 1996,Kultur D4198 withtheLondon ub Ein Aparter im Unaparten: Untersuchungen imUnaparten: Weill zumSongstilvonKurt Ein Aparter , German andFrench film, German of directedby versions G.W. Pabst (1931)withsupple- li , selections from , selections , Violin Concerto, , Violin International Journal of ClassicalTradition of Journal International c atio , various performers, historical recordings of songs from , various songs historical recordings performers, of , CaroleFarley John (soprano), Constable (),Naxos “LoveAmerican Classics8.559314(includes in für gemischten Chor[SATB]für gemischten acappella. Wien: c1930(UE33673). Universal Edition, n s , various historicalrecordings, 1929–1956,NaxosNostalgia8.120831. arrangiert für gemischten Chor[SATB] fürgemischten arrangiert GiselaKanngießer. von Wien: c2007 Universal Edition, eleven Weillsongs). Weill Kurt The Songsof Weill Variations Song”). and“September the Knife” In MyOwnLifetime Me NotaBallad”). the “Broadway by the Year” series, Bayview “A RNBW039(includes Rhyme for and“Sing Angela” 1945 The Broadway Musicalsof Happy End , Membran Music 223250-311 (reissue of 1956recording withLotteLenya, Music223250-311(reissueof , Membran etal.). 1956recording withLotteLenya,, LineMusic5.00959(reissueof etal.). Vom Tod imWald oue2,Nme Topical Weill Volume 25, Number2 , Die Dreigroschenoper , FarrowAllison (vocals), private issue, AF001 (fourteen Weill songs). , Musicfor a While, GRCD Grappa ten 4275(includes Weill songs). Dreigroschenheft , Theodore Bikel (vocals), Jewish “Mack MusicGroupJMG18053(includes , Alexandre Laiter, tenor, ElisabethGlab, violin,Peter Kooy, bass, Philippe , Janet Roddick (vocals) withensemble, Records (includes Braille Brai020 13, no. 4(Spring2007),pp. 550–70. Ulysses Africanus , Karen Mason, Eddie Korbich, Mason, MarcKudisch,, Karen etal.(vocals), from 3/2007, pp. 5–10. , Aufstieg und FallAufstieg derStadtMahagonny Die Dreigroschenoper of Kurt of Weill and . Saarbrücken: Pfau, 2007. . Saarbrücken: Pfau, and otherplays by EPM Brecht, , GiselaMay (vocals),