newsnews && events events , Seven Wozzeck Volume 14 Volume 2 Number 1996 Fall , for release by Angel release by , for Walt Whitman Songs Walt Is it appropriate for an for singer to Is it appropriate Weill interpretation. In Hampson’s words, interpretation. In Hampson’s Weill still the but has “all the voice music Weill’s wide and deep brush paintings of people’s lines are a dream to sing— His vocal lives. There is with portamento. leaps expansive emotionkind of so much in that move- a singer just chas- is lost when ment, which es pitches and rhythms.” tunes? Hampson show perform Broadway the introduction before of stresses that operamicrophones, singers often the were stars of “There is some- too. Broadway human and invigorat- thing tremendously really you where ing in acoustic settings, sing.” you to articulate when have Clear articulation of to is essential the lyrics last appeared as a repertorylast appeared piece in 1958-59 photo: CAMI Seven Deadly Sins Hampson has also recorded “Dirge for Two Veterans,” Two Hampson “Dirge for has also recorded Hampson praises both composers as powerful creative Hampson praises both composers as powerful songs are like Weill’s because they “cut to the quick.forces immediacy of language.” one of four Weill’s 1997, along with other composers’in early settings of he has been performing the Recently, poetry. Whitman’s song in solo recitals. sometimes hard to digest, sometimes unrelenting. Weill’s sometimes unrelenting. to digest, sometimes hard a tremen- it takes but America, had a rough ride in music dous look behind the scenes of psychology and passion.” operatic output to Berg’s Weill’s Comparing orchestra with soprano Lauren Flanigan making her debut The male quartet consists ofAnna I. as Sorensen, Joel Although Yule. and Don Chellis, Bobick, Matthew James York, times in New it has been performed many Deadly Sins returned to the City Ballet. Lotte Lenya York the New at role of Anna I, reprising her original role of 1933 along re-choreographed who with George Balanchine, the work production. that for especially Weill The Seven . A supplement to the Newsletter Weill to the Kurt A supplement Love Life Love

project never Opera stages York New in a new productionin a new directed by The Firebrand of The Firebrand , a work he highlights in his new EMI he highlights in his new , a work

Love Life Love Talks About Singing Weill About Singing Talks Thomas Hampson in the English translation by W.H. Auden and Auden W.H. in the English translation by Behind the Scenes of Psychology and Passion: Scenes of Psychology Behind the

lyrics left us all in stitches.” lyrics topical . During the recording sessions, . During the recording Carmina Burana “This project started with chapter of specific output is a very “Weill’s histo- music Recorded in London ofRecorded June in CD fea- 1994, the new John McGlinn and I had wanted to make John ofa complete recording I the work. it was Simon don’t recall whether Weill a big EMI producer and Woods, a have ‘Let’s said, or I, who fan, or John, years!’” American Weill’s look at Although the reached fruition, strong- Hampson believes soon. another full-scale revival and hopes for in the show ly America; the sound ofry in Central Europe and is his music and his orchestrations are recognizable, so immediately to in them, from Mahler everything find You breathtaking. is music whose Weill, the sum total is always but Schreker, Hampson recalled having to do a few Hampson having recalled clever because “Gershwin’s retakes Firebrand Firebrand ofFirebrand Florence on Broadway”Weill “Kurt recording in available (now release in Spring 1997). Europe and scheduled U.S. for tures some oflesser-known Weill’s American songsin their original keys includingand orchestrations, the entire opening scene of Florence “One of wonderful, humorous scores I’ve the most campy, heard,”ever Thomas Hampson describes is how Deadly Sins The pro- Chester Kallman during its Spring 1997 season. duction perfor- is scheduled to open 15 March seven for with Carl time the first is paired for The work mances. Orff ’s ConklinAnn Bogart. both will design the sets for John Conductor leads the City Opera Derrick Inouye works. The , under newly appointed gener- appointed City Opera, under newly York The New will present al and artistic Kellogg, director Paul 22aa VolumeVolume 14, 14,Number Number 1 2 Topical Topical Weill Weill

Mahagonny opens 1998 Cincinnati Showcases New Weill Revue

Aufstieg und Fall der Stadt Mahagonny will open the Jonathan Eaton has conceived a ship to carry them on their 1998 Salzburg Festival with director Peter Zadek, con- and directed Songplay, a new way. Their characters, goals, and ductor Dennis Russell Davies, and an illustrious cast Kurt Weill revue which opened dreams are expressed through including Catherine Malfitano, Gwyneth Jones, and at the Cincinnati Playhouse on some three dozen songs per- . This will be the first ever production of 26 September. The concept is formed by Michael Brian, Herb based on the stories of six wan- Downer, Kim Lindsay, Karen a Weill opera at the Salzburg Festival. Two of Weill’s derers—all alienated from their Murphy, Pedro Perro, and Craig works have been programmed in concerts at the homelands and searching for Priebe. Other production staff Festival since its founding: in 1973, Symphony No. 1 their own personal utopias— include musical director David was performed by the London Symphony Orchestra who find themselves waiting for Seaman, choreographer Daniel under conductor Wolfgang Sawallisch; and Die sieben Pelzig, and set Todsünden, featuring Doris Bierett as Anna I, was per- designer Paul formed by the ORF Symphony Orchestra in 1980. Shortt. The production Salzburg’s Aufstieg und Fall der Stadt Mahagonny of Songplay will will commemorate Brecht’s and Lenya’s centenary. move to The Lotte Lenya, born a stone’s throw from Vienna’s Repertory Schönbrunn Palace, played Jenny in the Austrian pre- Theatre of St. miere of this work at Vienna’s Raimund Theater on 26 Louis in Nov- April 1932. ember for a three-week run. photo: Sandy Underwood

WWWWEILL Lady in the Dark at The Foundation staff is always on the lookout for World Wide Web sites which comple- the Royal National ment its own site at http://www.kwf.org. The number of Weill-related sites has been Theatre slowly but steadily growing for the past year. In this issue, we’ll recommend some sites devoted specifically to Weill’s collaborators. London audiences will see the The George and Archive first Royal National Theatre http://www.sju.edu/~bs065903/gershwin/homepage.htm production of Lady in the Dark A thorough, exemplary Web treatment of the Gershwins by Brian Sweeney. Although the bulk at the Lyttelton Theatre from of the site concerns George, or the collaborations of George and Ira, there is a separate page for Lady in the Dark March 1997 onward. This

news &news events “The Ira Years, 1934-1983,” as well as a page devoted to . Broadway extravaganza, which Paul Eliot Green Papers opened in January 1941, is a col- http://www.unc.edu/lib/mssinv/dir/g/Green%2CPaul_Eliot A basic, text-only page sponsored by the University of North Carolina as a guide to their Paul laboration of Weill, Moss Hart Green Collection, including a biography, list of Green’s works, and a fairly comprehensive find- and Ira Gershwin that starred ing aid. A good example of scholarly use of the Web. the legendary Gertrude Lawrence as Liza Elliott. In this Quelques poèmes de Robert Desnos http://www.worldnet.net/~mannoni/desnos.html new production, directed by The collaboration between Weill and Robert Desnos, La grande complainte de Fantômas, is now Francesca Zambello and con- largely forgotten, but it was quite a production on French radio in November 1933. This well- ducted by Mark Dorrell, Maria designed site includes the complete text of many of Desnos’s poems, including “Fantômas,” along with a wealth of other information about him. Most of the site is in French, but some of Friedman (who recently starred the poems are rendered in English as well. in Sondheim’s Passion at the West End and appeared as one Bertolt Brecht sites So far, no one has mounted a large-scale Brecht site, but there are several sites of interest. For of the narrators in the BBC basic information on the Bertolt-Brecht-Haus and the Berliner Ensemble, go to Proms concert of Der Silbersee) http://www.berlin.de/text/index, and follow alphabetical index links from there. The Brecht will play the leading role. The journal Dreigroschenheft has a site that includes basic information about circulation, advertising, designers of Lady in the Dark and availability in German and English (http://www.geist.spacenet.de/dreigroschen/VERLAG- D.html). A lecture by James Lyons about German exiles in the U.S., including some good Brecht will be Adrianne Lobel (sets) anecdotes, can be found at http://advance.byu.edu/pc/devotionals/JamesLyon. On the lighter and Nicky Gillibrand (cos- side, try “Bertolt Brecht does Shakespeare” (http://www2.us.com/starport/xeno/brecht.html) tumes). This production will for an amusing treatment of “Mack the Knife.” remain in the National If you find any good Weill-related sites, please let us know at [email protected]. Theatre’s repertoire until late July 1997, with a total of about sixty performances. Topical Weill Volume 14, Number 2 3a Upcoming Events es&events news &

IN REPERTORY 1996-97 Calendar

AUFSTIEG UND FALL DER Lotte Lenya Centenary Update November STADT MAHAGONNY 1 Concerto for violin and wind instruments. Edinburgh, “Broadway Cares” plans a benefit event to GERMANY commemorate Lenya at New York’s Scotland. Royal Scottish National Orchestra. Düsseldorf-Duisburg Majestic Theatre on her 100th birthday 1-17 Songplay: The Songs and Music of Kurt Weill. St. (Deutsche Oper am (18 October 1998). This extravaganza will Louis, Missouri. The Repertory Theatre of St. Louis. Rhein);Mönchengladbach feature guest appearances of world- 2 Concerto for violin and wind instruments. Glasgow, (VereinigteStädtische renowned Weill interpreters, crossing clas- Scotland. Royal Scottish National Orchestra. Bühnen Krefeld und sical, jazz, and popular boundaries. Mönchengladbach); 8-10 The Threepenny Opera, Tecumseh, Michigan. Osnabrück (Kuppelthea- Tecumseh Players. ter); Würzburg (Stadt- 15-17 Kleine Dreigroschenmusik. Richmond, Virginia. theater) Richmond Symphony. DIE DREIGROSCHENOPER 21 Kleine Dreigroschenmusik. San Francisco, California. AUSTRIA San Francisco State University. Vienna (Burgtheater) 22 Der Protagonist, Hilversum, the Netherlands. Dutch CZECH REPUBLIC National Radio. (Concert performance) Prague (Theater pod 23 Mahagonny Songspiel. Lennoxville, Quebec, Canada. Palmokou) Ensemble Musica Nova. GERMANY 23-24 Kleine Dreigroschenmusik. Fort Wayne, Indiana. Berlin (Deutsches Fort Wayne Philharmonic. Theater); Bremen (Bremer 25 The Ballad of Magna Carta. Vienna, Austria. Theater); Nordhausen (Theater Nordhausen) Ensemble Kontrapunkte. POLAND 29 Suite in E Major. Tokyo, Japan. Chofu Music Festival, Toho Gakuen Orchestra. Torun (Teatr im Horzycy); December Warsaw (Teatr Polski) 4-7 The Threepenny Opera. London, England. University College School. LADY IN THE DARK 5-7 Lady in the Dark. Chicago, Illinois. Roosevelt University. ENGLAND 16 Suite panaméenne, Bastille Music, Berlin im Licht, Klops Lied, Öl-Musik. Vienna, London (Royal National Austria. Ensemble Kontrapunkte. Theatre) SEVEN DEADLY SINS 1997 UNITED STATES January New York, New York (New 15 Concerto for violin and wind instruments. Winterthur, Switzerland. York City Opera) Musikkollegium Winterthur. STREET SCENE 16 (-2 February) The Threepenny Opera. San Jose, California. American Musical GERMANY Theatre. Gera (Bühnen der Stadt 24 Der Jasager. Brest, France. Ensemble Sillage. Gera) February IN REPERTORY 1997-98 8 Kleine Dreigroschenmusik, Vom Tod im Wald. Seville, Spain. Klangforum Wien. Kurt Weill Fest in Dessau AUFSTIEG UND FALL DER 12 Kleine Dreigroschenmusik, Suite panaméenne, Vom Tod im Wald. Vienna, Austria. 28 February-9 March STADT MAHAGONNY Klangforum Wien. 26 FRANCE (-1 March) Concerto for violin and wind instruments. Berlin, Germany. Berlin “American Dreams” Lille (Opéra de Lille); Paris Philharmonic. Concert Revue; revival (Opéra Bastille) March of Der Silbersee at the SWITZERLAND 1 The Threepenny Opera. Glendale, California. A Noise Within. Anhaltisches Theater; Lausanne (Opéra de Cherubino (Giles Lausanne) Swayne); Lady Be DIE BÜRGSCHAFT 6 Lady in the Dark at London’s Royal National Theatre Good (Gershwin); GERMANY 15 The Seven Deadly Sins at the New York City Opera photo exhibition by Bielefeld (Theater der OPENING NIGHTS Carin Drechsler-Marx; Stadt Bielefeld) 20-29 The Threepenny Opera. Turlock, California. California State University. Paul Klee exhibition at the Anhaltische IN REPERTORY 1998-99 April Kunstverein; and 14 Pantomime from Der Protagonist. Vienna, Austria. Ensemble Kontrapunkte. screenings of Weill’s musical films. DIE DREIGROSCHENOPER 25 (-3 May) The Threepenny Opera. Fredonia, New York. SUNY Fredonia. SWEDEN May Göteborg (Stadsteater) 5 Suite panaméenne, Bastille Music, Berlin im Licht, Klops Lied, Öl-Musik. Vienna, AUFSTIEG UND FALL DER Austria. Ensemble Kontrapunkte. STADT MAHAGONNY 9-11 Kleine Dreigroschenmusik. Los Angeles, California. Los Angeles Philharmonic. FRANCE 31 (-1 June) Suite from the Threepenny Opera. New York, New York. New York Chamber Symphony. Nantes (Opéra de Nantes) September UNITED STATES 9 Der Jasager. Brest, France. Ensemble Sillage. Chicago, Illinois (Lyric Summer Festivals 1997 Opera of Chicago) Mahagonny Songspiel, Holland Festival Mahagonny Songspiel, BBC Proms 4 news & events a Around theWorld the nearfuture. in thetwo symphonies to program Markus Stenz)succeedsinthe plan neworchestra’s principalconductor, Stacey(orthe hope that conductor might enthusiastic response, one evening. Given theaudience’s alltheseworks inone gram and inaudible. the soprano’s text was covered meant that toooften orchestra the of space andpositioning impressive,—was but the The quartet—especially thetwo raphy didnotimprove matters. the vague andpointlesschoreog- elements went for nothing, and theater, music, anddance of tion orchestra. Thus thejuxtaposi- stage above andbehindthe awidebutdanced on shallow with theaudience, while Anna II together theauditoriumfloor on Melbourne, wasseated theorchestra the Town Hallin the layout of of Dreigroschenmusik gauged accountof “SpeakLow”) andanicely of dition abeautifully(including moody ren- the Europeanand American years mance. Inbetween from were songs Deadly Sins the Dark Nocturnefrom Symphonic Russellwith Robert Bennett’s opened leading, sincetheprogram 1930’s Berlin”—rathermis- world of trating “thewitty, comic, salacious itwasadvertisedEllington), asillus- featured Milhaudand (others the collective title“Metropolis” under concerts inaseriesof As one BrianStacey.under guestconductor European and American works from selections Weill’sformed per- HelenNoonan, with soprano Melbourne Symphony Orchestra, thisyear. The inMaycert of Australia saw itsfirst all-Weill con- F M A l i U i n c Sins It wasabrave venture to pro- Unfortunately, theperformance d h S e a T r e s R l

U was disappointing. Dueto M A and closed with and closed n o L i v r I in asemi-staged perfor- l e A e r y s i t y o f .

S o u t h The Seven

A u Lady in Kleine s t r a l i a Anju Mira asLizaElliott twenty years. As audience interest has steadily increased, a new generation of performers has performers twenty years. As audienceinteresthassteadily of increased,anew generation ing hisdistinguishedcareer, notably in1973and again in1977. inBerlin.Sendaproducedthework severaladmired theoriginalproduction moretimesdur- 94), who presentedthepieceinanadaptation setinearly modernJapan. Hehadseenand The ThreepennyOpera hisworks. of productions professional Kurt Weill hasbeenwell-known inJapan for decades, but therehave beenrelativelyof few European and American recordings, themusic andcontinuing distribution of Thanks tolong difficult andglamorous role. inthis who,Anju Mira, according tothosewho saw expectations” “surpassed theproduction, LizaElliottwasplayed by apopularstar,until the1960sandafter. thesinger The leadroleof today’s Japanese young women, who intheworkplace didnotgenerally risetohigherranks theNew York premiere, remain relevant for 1941,theyear of American businesswoman of an stylish and,for Japanese audiences, infeeling. highly contemporary The travails of equivalent inU.S. toaChicago opening. terms Reviews indicate wasboth that theproduction U T J A o n m i P Musicals andmusical theater have enjoyed boominJapan aconsiderable duringthepast work whichThe one hasbeenknown andappreciated sinceitsfirst Tokyo is production v e A R r onr. — country.” ayoung the listener’s aspure, ears untroubled joy—the eternally young soundof bouncingmelody that reached “[She] couldturnany intoanoxygen song of rush — loose assheimprovised.” and even hermistakes were inspired,andherdemure, girlishvoice becamegruff in herwords, ‘we haven’t heard agirlsingit.’ Then sheforgot thelyrics. But andhercombocovered“[] thetunejustbecauseitwasahit,and, E i N s m i Volume 14,Number2Topi L t e y L r o A Aw, Bobby Darin and Louis Armstrong Louis and Darin Bobby Aw, f They made a record, oh but they did they but oh record, a made They

And now Ella, Ella and her fellas her and Ella Ella, now And

P F We’re making a wreck, what a wreck of “Mack the Knife” Knife” the “Mack of wreck a what wreck, a making We’re —Ella Fitzgerald, Berlin, 1960 Berlin, Fitzgerald, —Ella i I t t T s Z b Lady intheDark troupe. Reviews indicated afriendly rivalry and apopularsuccessfor both. Japan, theotherby in contemporary scholar the youthfulBrecht Seinen by Iwabuchi troupeEn,inatranslation enterprising Tatsuji, theleading The ThreepennyOpera knownworks hitherto only throughrecordings orhearsay. these abilitiesnow makes itpossible tostage successfully awhole variety of popularinurbancircles.ken long moderndrama The development of kabuki orintheseriousspo- of art widely eitherinthetraditional practiced American works, which atechnique involves singinganddancingskillsnot emerged who inamannerappropriate perform tomodernEuropeanand u G Frank Rich, r oeuuulsilwsteJpns rmeeo the Weill-Gershwin More unusual stillwastheJapanese premiereof thatIn thiscontext, itisperhaps of two notsosurprising productions g E h , mounted in 1932 by the great Japanese, mountedin1932by thegreat directorSendaKoreya (1904- R A L D

( 1 9 The New 1 Karen Schoemer, last March, stagedlast March, first intheOsaka-Kyoto area,roughly 7 — 9 6 ran concurrently in concurrently ran Tokyo by the lastspring: one ) Newsweek (19 June1996) (24 June1996) cal W eill a

5 news & events for Sadler’s for after ” Kurt Weill: A Kurt Weill: (23 July 1996) (23 July (28 July 1996) (28 July . She quickly aban- . She quickly dd rr The Times aa The Observer ww . AA on Largo), translation (including

Die Bürgschaft

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Berlin im Licht vv Aufstieg und Fall der Stadt Mahagonny der Stadt Mahagonny Aufstieg und Fall Happy End Happy dd ee ee ii was published in 1986.) In the interim, however, Drew however, in 1986.) In the interim, was published both in the scene when the policeman’s conscience assails the policeman’s both in the scene when and tt hh we hear a great composer’s exciting “next move “next exciting hear a greatwe composer’s nn cc ee Mr. Drew retired as Director of Drew Mr. in Boosey & Hawkes at Music New Even in the Albert Hall, Stenz and his players managed to field the to field managed Albert Hall, Stenz and his players in the Even ss It is remarkable music: a score that holds the neoclassic, the holds the neoclassic, a score that music: It is remarkable AA

book on Weill, whom he saw as “a composer at the furthest composer at as “a con- he saw whom Weill, book on from the ethos and preoccupations of remove ceivable Darmstadt and the successors of School.”Viennese the Second In 1957, he production post-war the only at in Berlin of met Lotte Lenya most ambitious opera, Weill’s with her second biography Weill’s plans to write doned her own and pledged her full support Drew’s to husband George Davis decades into a multi-vol- two the next over expanded which work, volume, (The introductory ume life and works. Handbook, called the inter- has since been on what collaborated with Lenya renaissance,”national “Weill of rediscovery a worldwide the full range of contributions to vast Drew’s oeuvre. the composer’s included: production scholarship of have and appreciation Weill version (Gary Bertini’s recordings of the his- symphonies, the two toric 3-disc London on Sinfonietta Deutsche album Grammophon, the libretto of Wells—still in use by the ), numerous edi- the Metropolitan Opera), in use by numerous Wells—still tions Edition, Universal for reconstruction of con- unpublished collections ofcert works, (Suhrkamp, Weill and about writings by and programs on festivals focusing the 1975), and innumerable the “Dean has dubbed Drew Taruskin Richard work. composer’s of Scholars” Weill thinks and and hailed him as “a man who of far that writes on beyond a level most ofan his colleagues, author of grace, for lucidity is (or ought to be) wit, and prose that the despair of and rivals.” his colleagues Largo and a producer for Advisor Artistic as serves 1992 and now ofTrustee and is a frequent con- He is a the Britten Foundation Records. maintains his close He association and journals. to newspapers tributor as a member ofWeill with of the Editorial Board Edition. Weill the Kurt ee “Verdian,” tensions In in new and contrasts. Weill and the popular Silbersee Mahler tackle a modern Magic Flute him chorally from off and the final and the Speaker) (Tamino stage (trials ofapproach to the Lake and so Bach is in there, and water). fire use of near-academic is a near-tongue-in-cheek, counterpoint. sort of crispness of and the sardonic wit ofWeill, sound essential to his The sleazy brass and Mantovani- full rein. instrumentations was given style singing strings of as entrancing tango were as Agent’s the Lottery performance, marvellous) (i.e., repulsive authentically Graham Clark’s leer of shirtgold medallion slashed to the navel, glinting, complicity underlining his cynical message. Mahagonny dd rr . ee pp is

hh Der The ss ww ement ii ee uu rr gg at the BBC Proms (23 July 1996) (23 July Der Silbersee DD nn Der Silbersee

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ll Noted music critic, pub- critic, Noted music and record scholar, lisher, was Drew producer David Weill honored the Kurt by Music with for Foundation its second lifetime Distinguished Achiev in an event at Award London 1996, on21 July after the BBC immediately Proms concert perfor- mance of President Kim H. Kowalke made the presentation on behalf of the post-per- at Trustees of the Board formance reception “in recognition of Drew’s ll DD ii Financial Times Financial ee Der Silbersee WW

tt comic vein. comic vein. rr uu David Murray, Murray, David KK — Silbersee’s is a fascinating hybrid: certainly not an opera, but for not an opera, certainly but hybrid: is a fascinating , “The Silver Lake”: wonderful not only for the music, but the music, wonderful for not only Lake”: , “The Silver The solution here was to have the score sung in German, it The solution where here was to have Silver Lake The award coincided with the fortieth anniversary of coincided with the fortieth anniversary The award Drew’s Topical Weill Volume 14, Number 2 Number 2 14, Volume Weill Topical Silbersee of the triumphant ingenuity for For itself. the revival Prom no. 3 offered a wonderful revival, Kurt Weill’s 1933 Weill’s Kurt 3 offered a wonderful revival, Prom no. a “play with music,”a “play plenty of not an opera; (16 numbers)—but music need to know we Albert Hall, and yet the for text spoken too much fully. the music going on to appreciate what’s care of Sams take sounds best, and to let Jeremy the rest in English. who entrusting he did by the story to three deft actor-narrators, That could drop into impersonating a character from time to time with a lit- them a consis- And he gave tle help from the singing performers too. tongue-in-cheek— elegantly witty script—not quite arch, but tently brought out that all its catchy tunes not quite a musical either, at least not the escapist least not the at either, tunes not quite a musical all its catchy schlock the term that “musical” It is suggests so often nowadays. rooted in Germandeeply operatic tradition, nods to with obvious Press Clippings: Press involvement with Weill’s legacy;decided to write a in 1956, he Weill’s with involvement immense contributions over four decades to the understanding four immense contributions over and dissemination of of the music Weill.” Kurt a spe- The award, was estab- designed and etched Steuben glass sculpture, cially recipient of previous and only The first lished in 1990. the award conducted the premieres (1903-94), who Abravanel was Maurice of of many Among America. in Europe and works stage Weill’s Albert Hall receptionwere the at the 300 guests in attendance Alexander Berthold Goldschmidt, and composers Elliott Carter, (BBC Radio 3), Nicholas Proms director Nicholas Kenyon Goehr, Opera House), Dennis Marks (English National (Royal Payne scholars Neighbour and DonaldOpera), Mitchell, Oliver music newspapers. leading and critics from London’s 6 6 a news & events a nteUie igo,Afe .Klu UieslEdition) London,Ltd. in theUnited Alfred Kingdom, (Universal A.Kalmus in Continental Europe, SchottMusik International, Mainz. in theUnited States, musicdealersthroughout the country. Weill Edition, contact: For information regarding thisfacsimile volume andsubscription to theKurt of theHolograph Full Score A Full-Color Facsimile Die Dreigroschenoper: The Kurt Weill Foundation andEuropean AmericanMusic AnnouncePublication of Weill Edition asawhole. tive asIntroduction Afterword totheKurt Edition, andDavid Drew provides aprovoca- Harsh, themanagingeditorofKurt Weill Farneth. The volume iseditedby Edward Hinton, KimH.Kowalke, andDavid on experts Weill andhislegacy:Stephen arly essaysauthored by three prominent pages ofcolorplatesare introduced by schol- Threepenny Opera in theEnglish-speaking world as tion inBerlin through itstriumphalsuccess 1928firstproduc- work from itslegendary uniquely documentsthedevelopment ofthe andMarc Blitzstein, mance andtranslationannotationsby not only Weill’s own manuscriptbutperfor- Die Dreigroschenoper simile ofKurt Weill’s holographfullscore of publication ofahardbound, full-colorfac- the Kurt Weill Foundation announcethe European AmericanMusic Corporationand only byameticulousrealization oftheoriginalfullscore.” sense butrather aquitespecial,newsound,which canbeachieved rise tomanyfalseimpressions.... ItisnotjazzmusicintheAmerican Kurt Weill tohispublisher, Universal Edition. March 1933. “Perhaps itwouldbehelpfulifyou couldsendmyoriginalscore of Dreigroschenoper The appearance ofthe decades, willpublishfullscores ofallthecomposer’s completedworks. Weill Edition, acollectedcriticaleditionthat,over thenextseveral . More thanonehundred . Theprintedscore isreally fulloferrors andgives . The score, whichbears Dreigroschenoper The Volume 14,Number2Topical Weill oue1,Nme T Volume 14,Number1 facsimile inaugurates theKurt Die opical W eill Topical Weill Volume 14, Number 2 7a Press Clippings es&events news & (When You Speak Love) The Letters of Kurt Weill and Lotte Lenya Edited by Lys Symonette and Kim H. Kowalke, University of California Press, 1996

Speak Low (When You Speak Love) speaks loud and clear through its collection of 296 Weill and 114 Lenya communications . . . . The editors have not only superbly annotated the letters, often tracking down remote references and allusions, they have also provided concise yet far-ranging bridges and commentaries. Possibly the best-edited correspondence I have ever read . . . . [T]he letters and sundry additions constitute a first- rate joint biography of this fascinating couple. An action-packed tribute to a marriage of sometimes untrue bodies, but always true minds. —John Simon, New York Times Book Review

It’s great stuff—not only for Weill and Lenya devotees but for all who are interested in the musical theater. —Roger Harris, Sunday Star Ledger (Newark)

The letters are a goldmine of gossipy information about theatrical life in Berlin, Vienna, London and New York. . . . The Weill-eye view of Hollywood and its producers in their golden age is equally illuminating and amusing. At every stage of their relationship the letters are full of intimate erotic endearment. —Michael Kennedy, London Sunday Telegraph

Impeccably edited, generously illustrated . . . . Lenya is an outsize character painted in primary colours. Weill remains elusive, at once shy and absolutely sure of himself, charitable and sharp, worldly-wise yet oddly child-like, essentially serious but with a perky sense of humour. —Rodney Milnes, London Times

The book is compusively readable . . . . [Y]et for all its gossipy, celebrity-ridden pleasures, Speak Low tran- scends the gossip level. We are drawn into a complex, affair-ridden marriage’s inner workings. . . . Graced with an exceptionally eloquent introduction, supplemented charmingly by a glossary of pet names and expressions (everything from “Doofi” to “Mistblume,” or “Dung Blossom”), Speak Low speaks volumes about two voluminous lives. —Michael Phillips, San Diego Union Tribune

A volume of the highest possible importance for anyone interested in Kurt Weill’s music—and, not at all incidentally, an extraordinarily colorful narrative about two difficult people who needed each other very much, but never quite figured out how to get along. Symonette and Kowalke have linked the 393 letters in this volume with extensive yet readable notes that make it possible to read Speak Low straight through, just like a really good biography. . . . Considered solely as a human drama, the Weill-Lenya marriage was the stuff of which novels are made, and Speak Low also sheds much light on this famously troubled relationship. —Terry Teachout, Washington Post and International Herald Tribune

The human side of Weill and Lenya shines forth brightly . . . in this fine, wonderfully illustrated collection, suffused with a kind of life experience not easily captured in a biography, a shadow world that the telephone and e-mail have all but obliterated from memory. —Steve Dowden, Houston Chronicle

Brilliantly edited and translated, the letters tell a great story about important and politically committed lives in the midst of some of the defining events of our century. But finally all the stars of stage, screen, and the A milestone in musical world take second place to Weill and Lenya themselves. —Richard Dyer, Boston Globe Weill scholarship. The notes provided by the editors and translators . . . . are generous, detailed and revealing. They give full —Erik Levi, biographical sketches of both Lenya and Weill, with fascinating bits that not even the two full biographies of BBC Music Magazine Weill and the single scandalous life of Lenya contain . . . . Ultimately this annotated collection of corre- spondence is a fascinating record of a marriage. —Bruce Cook, Chicago Tribune 8 8 a news & events a Pass, Walter, Gerhard and Scheit, Wilhelm Svoboda. Nachlässe undSammlungen zurdeutschen Kunst undLiteratur des Meyer, Felix, ed. Peter.Heyworth, Nils,Grosch, andJürgen Joachim Lucchesi, Schebera. Roland.Bélicha, New Publications B O machen!]” “[Über die Sinfonie Nr. “[ÜberdieSinfonie 2].” machen!]” “Notiz zum “ZumeinerKantate “[Klare Kompetenzen],” by Five ElisabethSchwind. writingsby Kurt Weill: Marc Blitzstein” “‘Weill hasn’t Ihave’: changed, zurÄsthetikdesKomponisten Juchem -- Broadway-Produktion amBeispielvon einer “Kein Geldfür‘Gold’!:Finanzierung Bradford -- Robinson by J. ‘Johnny’s von Theaterliedes: zurEntstehungsgeschichte song’” “Kurt Weills Aneignung desamerikanischen by GuyStern-- dolorosa” 1945 Exil: DieVertreibung derösterreichischen Musikvon1938bis der Künste Berlin DieBeständederStiftungArchiv derAkademie 20. Jahrhunderts: Sacher Stiftung.” imRahmemderVeranstaltungenzur Konzertreihe “10JahrePaul 1973. Cambridge:CambridgeUniversity Press, 1996. CONTENTS: 202 p., paperback). für Wissenschaft undForschung, 1996.(ISBN3-476-45166-6, M&P Dessau,Band1)Stuttgart: Gesellschaft Verlag Weill-Studien du Reveil desCombattants, 1996. oi hlp anc n i etceWilRzpin by Tamara PhilippJarnach unddiedeutsche soni, Weill-Rezeption” Fortschritt zwischen Ferruccio undReaktion: Bu- “‘Junge Klassizität’ O K . Vienna: Verlag 1995. fürGesellschaftskritik, S Lindberghflug Kurt WeillKurt etlaFrance Otto Klemperer:HisLifeandTimes Klassizistische Moderne: EineBegleitpublikationKlassizistische Moderne: . (Veröffentlichungen derKurt-Weill- . Munich: K.G.. Munich: Saur, 1995. Winterthur: Amadeus, 1996. Winterthur: Amadeus, ,” “[Mit geistigen Mitteln ist nichts zu “[MitgeistigenMittelnistnichts ,” Weg derVerheissung “ by -- Jürgen Schebera Nr.Sinfonie 2” von WeillsEiniges zurUraufführung “Amsterdam, 11.Oktober1934: -- Hauff und A Weills Haken finden: zuKurt Überlegungen einen “DukannstinjederSache -- Grosch by Nils Entstehung und Aufführung” zum BerlinerRequiem: Aspekte seiner Protagonist Gestaltung inKurt Weills Oper früher undkompositorischer Konzeption cher Levitz --“Zum Verhältnis dramaturgis- von fürnsecihe by Andreas ufführungsgeschichte” Bürgschaft yGnhrDel- “‘Notiz’ by GuntherDiehl-- ” . Villejuif: Editions Lost intheStars anhand der En Das BerlinerRequiem : dieGenesealsvia Volume 14,Number2T , Vol. 2,1933- Orpheus im Orpheus by Elmar ” tstehungs Kurt oue1,Nme T Volume 14,Number1 Der Der ,” Willett, theCopyright John. on “BourgesResolution of Wager, AlabamaSong: A Gregg. “Tracing theOriginsof Grosch, Nils.Grosch, Kurt WeillKurt onBroadway The Hollywood Bowl on Berlinto Cameron Silver: Huynh, Pascal. “BoteeinerneuenZeit?Kurt Weills the- Kurt WeillKurt onBroadway Lost intheStars A R E R C 306. Resolution’.” Kowalke, tothe‘Bourges Kim.“Response and (1995): 148-50.Response Willett’s reply: Music toBrecht’s Work” 15-20. MagazineCollectors Kurt Weill by asInterpreted The Doors.” and Brecht by Bertolt aSong Look at theMeaningof emrrRpbi. In Weimarer Republik.” desRundfunksKompositionsaufträge inder orchestral arrangements by Morton Gould.] by Morton arrangements orchestral Mauceri, conductor. Philips446404-2.[Includes Bowl John Orchestra; Broadway Records ECD8100. Hollaender WeillKurt &Friedrich The Songsof Babylon: Orchester dem Rundfunk 1925bis1945.” inderZeitvon undpraktische oretische Auseinandersetzung mit J.B.Stenzl (Stuttgart: Metzler, 1996),43-48. Geburtstages desSWF-Sinfonieorchesters Anlaßdes50. Aus über einhalbesJahrhundert: excerpts from EMI Classics724355556325.[Features extended John andChorus; McGlinn,conductor.Sinfonietta Hadley, Jerry Futral, Jeanne Lehman;London 1997.] for releaseintheUSearlyEurope; scheduled Koch/Schwann 3-1416-2. Koch/Schwann Steven Kimbrough; Victor Symonette, conductor. “Lost intheStars”.] the song of avocal13132-2. [Includes arrangement EttoreStratta,conductor.Orchestra; Teldec 0630- T I O C R L E D S I (February 1995):14-18. N . Hollywood . Entrée “Radio, NeueMusikundSachlichkeit: G S iern fFlorence Firebrand of The Brecht Yearbook 21 . Chanticleer; London Studio London . Chanticleer; 3, no. 2(Spring/Summer1996): . Elizabeth Thomas Hampson, . Kölner Rundfunkorchester; Orchester Kultur: Variationen The Brecht Yearbook 20 ; now available in opical W opical W , hg.. Jürg von (1996): 301- The Doors eill eill Das