Quick viewing(Text Mode)

Weill’S Broadway Shows, Shows, Broadway Weill’S Ran 567 Performances for from 1943-1945, Starring Whim- Mary Martin

Weill’S Broadway Shows, Shows, Broadway Weill’S Ran 567 Performances for from 1943-1945, Starring Whim- Mary Martin

news & events Volume 14 Volume 1 Number 1996 Spring performances One Touch ofOne Touch Venus , in concert form, will be Der Silbersee Der Silbersee Der Silbersee In many ways the most traditional the most ways of In many Weill’s Broadway shows, shows, Broadway Weill’s ran 567 performances for from 1943-1945, starring whim- . Ogden Nash’s combined with some ofsical lyrics Weill’s best melodies produced such hits as “,” Him,” “That’s “I’m a Stranger Here Myself,” Wind,” “West Heart.” and “Foolish part The book, only of was which the accomplished is by City Center, at heard and Nash. Perelman humorist S.J. Revivals of Revivals of A number have been mounted in Europe during the have the Neue Vienna, season.current In musical performed the Wien onOper the occa- sion in October of Festival Weill the Jeunesse concert1995. ’s performance and production stage of Dessau’s A fourth produc- March. premiered in early tion of performed the London by Sinfonietta, under the baton of the at Markus Stenz, on 21 July Albert Hall as one of Royal the BBC While casting is Promenade Concerts. been singers have the following incomplete, Lascarro, Juanita confirmed: Heinz Kruse, Graham Clark, Helga Dernesch, Heinz and Davies, Wyn Catrin Zednik, Gidon Saks, Karneus. Katerina Melissa , is One Jelly’s Central Chicago My Fair in the DuBarry described Ms. on Broadway, Weill (1924-25), was first . Ben Brantley of the ) was the choreograph- Venus Moon Over Buffalo and played a leading role and played Leonard Foglia, director of director Leonard Foglia, (Cole Porter) and (Cole Porter) on 28-30 March. The pop- on 28-30 March. Lady Park West Park Times New York Errico’s performance as the only . . [She] isn’t “divine. in the production. . . . jewel who registered as Taylor, Andy goofy in the leaden merely farce, goofy.” here triumphantly Other cast members included Chamberlin, Marilyn Kevin Jane Alan Grier, David Cooper, Rutigliano, Danny Krakowski, Woods. and Carol (Kander and Ebb). Master Class acclaimed per- the highly staged ( formance; Hope Clarke Last Jam The role of was sung er. Venus who Melissa Errico, by opposite Richard appeared Chamberlain as Eliza Doolittle of in the recent revival Lady in the television series “Encores! Great American Musicals in “Encores! Great Concert” City Center York’s New series, this time again, Weill has produced ofTouch Venus ular series has been delighting Broadway fans the last three seasons for concert with performances of musicals. revived rarely schedule also features This year’s a Lady Was performed in in March 1926, Busch, and had its conducted Fritz by Opera the Santa Fe American premiere at in 1993. talk, hosted by Richard Wilson and Bryan Wilson Richard talk, hosted by the 6:30 at place at Gilliam, will take Building, in the Rose Penthouse Kaplan surviving earliest Weill’s . opera, A New Star for Star A New and Ira Weill’s after presenting years Two Gershwin’s Der A supplement to the Newsletter Weill to the Kurt A supplement

Speak Low (WhenSpeak Low

by the University of the University by Highlights May Events Highlights May

featuring Allan Glassman tenor featuring topical

Other events during the month includeOther events in New York in New Two events are planned in New York to cele- to York in New are planned events Two of brate the publication Speak Low News The LettersLove): Speak ofYou Kurt Weill and Press : a book-launchCalifornia party the at and a reading Drama Book Shop (8 May) the Barnes & Noble and book signing at at Lincoln Center (9 May) Bookstore at is invited. the public 8:00pm to which concertsfour “The featuring of Kurt Weill”Y in the the 92nd Street at on 5-6 May Lyricists” and “Lyrics series organized by in Weill with worked who Maurice Levine, Leon Botstein On 10 May, 1940s. the late Orch- American Symphony conducts the estra in a concert performance of Protagonist and Carole Farley. A pre-concert and soprano Carole Farley. 2a Volume 14, Number 1 Topical Weill Press Clippings

The cartoon-like construction of , Presents innovative in its day, relies on swift shifts of European Premiere of Love Life scene, sharp-as-a-nail entries of the pit orchestra and split-second timing to keep the Weill and Lerner’s ‘vaudeville in two parts’ pace up. If the hiatuses of the opening night of 1948 is an astonishing piece of work. suggested that more technical rehearsal ‘Years ahead of its time’ may be the hoariest would not go amiss, the simple scenic of clichés, but no other words will do. As the devices employed here looked as though performance of this virtually plotless ‘con- nothing could be swifter to shift. cept’ musical progressed in Leeds, title after —Geoffrey Norris, Daily Telegraph (29 title of Broadway shows that could scarcely January 1996) have happened without its example kept springing to mind, particularly those of [In the second act] the music’s pungency Sondheim . . . There are also detectable fore- intensified and the whole show fell into casts of West Side Story, and Cabaret. place. Such numbers as Susan’s torch , . . . You come out of the theatre unable to As Opera North’s brave production of “Is It Him or Is It Me?”, Sam’s hotel-room decide which of half-a-dozen great tunes you Love Life creaked towards the final curtain, it “This Is the Life,” in which he rejoices in his should be humming and, as is the case with became clear just how difficult it is to stage single state but at heart is wretched, and the Weill’s European pieces, this means you have one of Kurt Weill’s Broadway musicals con- Divorce Ballet are superb inspirations that been got at: the tunes carry words that you vincingly. . . . Within a more restricted bud- poignantly convey the pain of a marriage might not otherwise find palatable. get, Opera North’s director, Carolyn Gawn, break-up. —Rodney Milnes, The Times (27 January and her designers, Charles Edwards and —Michael Kennedy, Sunday Telegraph (28 1996) Nicky Gillibrand, have not done a bad job. January 1996)

Berlin Welcomes New Translation work better than his staging, providing a Der Silbersee revived in Weill’s of number of moments that ignited spontaneous city of birth, Dessau applause on opening night, such as the sud- Compared with other Weill musicals (Lady den powerful metamorphosis of an army Der Silbersee has always been considered a in the Dark, , ), ward full of men, totally swaddled in ban- “problem” piece, being a play by Georg Johnny Johnson has never really taken off, dages, into a military cemetery seeming to Kaiser with music by Weill, and thus requir- so ’s Theater des Westens revival auto- ing actors as well as singers. extend into infinity. matically assumes importance. It even The non-problems vanished in the highly Johnny evokes such disparate literary fig- amounts almost to a second world premiere, accomplished Dessau production, which ures as (German legend’s “guileless for Fred Berndt, who has designed as well as was given under the aegis of the drama fool”) and the do-gooder hero of Thornton staged it, has resurrected virtually every bit company with a couple of guests from the Wilder’s hilarious novel Heaven’s My news &news events of Weill’s original score. opera ensemble. No seams showed: You Destination. With Jörg Gronius, he has also created had to look up in the theatre yearbook to The Theater des Westens, which special- supplementary text and translated some of find out which were actors and which were izes in big, usually American, musicals, has the originals — leaving a puzzling amount, singers—which is as it should be. provided a large cast and a lavish production, incongruously enough, in Green’s original The evening was enormously rewarding: but one suspects it has stinted on rehearsal English. brilliant, unashamedly epic acting from time, especially for the music. Berndt has Gerhard Siegel (a fine tenor) as the unem- In spite of serious flaws, Berndt’s produc- staged things at a self-defeatingly easygoing ployed worker Severin, and Karl Thiele as tion adds up to a rewarding evening. His sets pace — the performance runs three hours — the policeman who wounds and then blunting many of the work’s sharp edges, befriends him: no-holds-barred bourgeois and Peter Fischer (who on the podium villains in Regula Steiner and Konrad Rupf; reportedly found himself confronting an Stefanie Wüst charming as Fennimore, who orchestra that varied in personnel from gets to sing the rip-roaring “Ballad of rehearsal to rehearsal) mostly beats time Caesar’s Death.” Ensemble lives! And you rather than maintaining tension. saw precisely why the Nazis feared Weill One suspects also that Weill found himself so much: the combination of his music and Kaiser’s faux-naif text is lethal—“ten times on uncertain ground: One hears little of his tougher than any Brecht play” in the words Berlin successes’ acrid irony, and he had yet of the original director, Douglas Sirk. to assimilate the American idiom he obvi- The waltz that ends Silbersee leads ously aspired to. He rarely wrote a better straight to Broadway. Contrary to received number than “Johnny’s Song,” but in this opinion, there really was only one Weill. insecure transitional score it finds little com- pany. —Paul Moor, International Herald —Rodney Milnes, The Times (6 March Tribune (17 January 1996) 1996) Topical Weill Volume 14, Number 1 3a

More News es&events news & On the Road to Saint Paul Piccolo Teatro dell’Opera of Brooklyn, NY. The festival also featured two other stage The Saint Paul Chamber Orchestra per- works: Der Silbersee at the Anhaltisches formed Mahagonny Songspiel at the Ordway Theater and Down in the Valley in the Music Theatre, in its “Masterworks” series, Marienkirche. on 9-10 February 1996. This program, enti- tled “Mahagonny,” also featured works of Ives, Milhaud, Shostakovich, and Piazzola. Judging by press reaction, conductor John Adams and vocalists Judy Kaye, Stephanie Vlahos, and the Hudson Shad male quartet all delivered impressive performances.

Riccardo Chailly (photo: Robert Schlingermann)

Concertgebouw’s repertoire in New York also included works by Tchaikovsky, Sibelius, Lyonel Feininger House, home of the Kurt-Weill- Zentrum, Dessau. Stravinsky, Debussy, Ravel, Shostakovich, and Mussorgsky. The orchestra’s reduced Gisela May also participated with Hélène forces under Chailly’s leadership presented Delavault and Jocelyn B. Smith in a song an exciting, well-balanced ensemble in Kleine evening entitled “Drei Mal Drei: Cross over Dreigroschenmusik. “Cannon Song” was Weill,” singing songs from Weill’s German, repeated as an encore to an enthusiastic audi- French, and American periods, respectively. ence. Two prominent performers, Angelika Milster and Willem Breuker, also appeared in several Lotte Lenya Centenary John Adams (photo: Deborah O’Grady) cabaret-style evenings and performances of 1998 will be the centenary year for Lotte Critic Michael Anthony wrote in the 10 jazz and popular music. Lenya’s birth. Last September, a preliminary committee for the centenary was convened in February 1996 edition of the Minneapolis Weill on the BBC Star-Tribune: “. . . a superb performance of New York to plan performance events, exhi- Kurt Weill’s Mahagonny Songspiel. . . . As The British Broadcasting Corporation will bitions, and a vocal competition in honor of familiar as we may be with its ‘hit’ tunes, this feature Kurt Weill as “Composer of the Lenya and her contribution to the dramatic and musical arts. A detailed calendar of is a score that can draw us in and shake us up Week” on BBC3 from 22 to 26 July. events celebrating Lenya’s centenary will a bit. . . . Kaye and Vlahos, wonderful singers, Kleine Dreigroschenmusik Always appear in a later issue of this newsletter. caught just the right tone of hard-edged vul- Popular nerability, and Adams drew a rhythmically Within the span of five days, Weill’s Kleine bracing performance from the orchestra.” Dreigroschenmusik was performed twice in The performance was broadcast in March via . The first performance, by the International Public Radio network. It the Perspectives Ensemble, took place at the was also supported by a grant from the Kurt St. Paul’s Chapel of Columbia University on Weill Foundation for Music. 21 February. Cori Ellison, noted commenta- Kurt-Weill-Fest Report tor on music, gave a pre-concert lecture on early twentieth-century European art, fol- The fourth annual Kurt-Weill-Fest in lowed by the Ensemble’s rendition of Dessau took place this year from 1-10 March, Milhaud’s La creation du monde. Soprano coinciding with Weill’s 96th birthday. This Faith Esham performed songs by Schoen- year’s program included a concert perfor- berg, Zemlinsky, and Weill to an enthusiastic mance of Die Dreigroschenoper using excerpts audience. The program ended with Kleine from a connective text written by Brecht Dreigroschenmusik. especially for such presentations; the text was On 25 February, the Royal acquired from the Brecht Archiv at the Concertgebouw Orchestra of Amsterdam, Akademie der Künste in Berlin. Gisela May under the baton of Riccardo Chailly, con- narrated and conductor Victor Symonette led cluded its three-concert series with Kleine an all-American cast of singers from the Dreigroschenmusik at . The Lenya in New City, ca. 1941. 4a Volume 14, Number 1 Topical Weill

Foundation News 1996 Grants Awarded Paul Epstein Joins Board of KWF Announces New Grant Trustees Category In December 1995, the Board of Trustees of the Kurt Weill Foundation Paul Epstein, a lawyer with the firm for Music, Inc. approved the grants list- Proskauer, Rose, Goetz & Mendelssohn, is The Kurt Weill Foundation has instituted a ed below. the newest member of the Board of Trustees. new grant category for professional perform- The Kurt Weill Foundation welcomed him at ing groups applying for amounts greater the annual meeting in December 1995. Mr. Research than $5,000. The new program is intended Epstein also serves on the boards of the to encourage professional productions of Christian Kuhnt, , Germany. George Balanchine Foundation, the Leonard large-scale works, or music or theater festi- Grant to support study of religious Bernstein Center for the Arts, the Hebrew motifs in . vals devoted entirely or in large part to Kurt University of Jerusalem, and the Edmond de Weill. The new category became effective on Rothschild Foundation. January 1, 1996. College and University Two Books Win First Kurt Weill There is no deadline for receipt of appli- Performance Prize cations in this category. Interested groups Trinity College, Hartford, CT. Johnny should request information as early as possi- November 3, 1995 marked the first annual Johnson. An additional grant supported ble and be prepared to work closely with the Kurt Weill Prize awards ceremony, hosted by a symposium entitled “Kurt Weill: The Foundation throughout the planning stages President Kim Kowalke at the offices of the First Few Precious Days He’d Spend of the project. The Grants Panel and the Kurt Weill Foundation. About one-hundred With Us.” Board of Trustees will assess the merits of people attended the presentation, including Nebraska Wesleyan University, Lincoln, each application. Guidelines may be members of the American Musicological NE. . obtained directly from the Foundation; they Society and publishers’ representatives. Top University of Huddersfield, are also available on the Foundation’s Web prizes went to Stephen Banfield for Huddersfield, England. Street Scene. site. Sondheim’s Broadway Musicals and to Catholic University of America, Armond Fields and L. Marc Fields for From Washington, DC. Violin Concerto and Das Berliner Requiem. the Bowery to Broadway: Lew Fields and the Kurt Weill Edition To Begin Roots of American Popular Theater Subscription Campaign Kurt-Weill-Gesellschaft, Dessau, Nominations for the Kurt Weill Prize Germany. Down in the Valley. 1996 are now being accepted; all entries must Orchestre Futurs-Musiques and Soli- be received by 30 April 1996. Any published The release this summer of the full-color Tutti, Saint-Denis, France. Der scholarly work (not restricted to print media) facsimile of Kurt Weill’s manuscript score of Lindberghflug.

news &news events dealing primarily with twentieth-century Die Dreigroschenoper will initiate the Kurt musical theater may be considered; please Weill Edition subscription campaign. Watch Professional Performance contact the Foundation for more information for further information in the fall issue of the or for submission guidelines. Newsletter or contact your music dealer. London Sinfonietta. Der Silbersee. Saint Paul Chamber Orchestra. Mahagonny Songspiel.

Weill on the Web

http://www.kwf.org

For information: -About Weill -About Lenya -Kurt Weill Foundation -Weill-Lenya Research Center At the Kurt Weill Prize awards ceremony were (from left to right) J. Bradford Robinson (finalist); Charles Hamm (panel -Kurt Weill Edition member); L. Marc Fields (prizewinner); Kim Kowalke; Julian Mates (panel members); Armond Fields; Stephen Banfield (prizewinners) (photo: William Scalia) Topical Weill Volume 14, Number 1 5a

New Publications events news &

ARTICLES Heister, Hanns-Werner. “‘Amerikanische Oper’ und antinazistische Propaganda: Aspeckte von Kurt Weills Produktion im US-Exil.” In Exilforschung: Ein Internationales Jahrbuch: Band 10, 1992, Künste im Exil, ed. by Claus-Dieter Krohn, et al. Munich: Text + Kritik, 1992. Jesse, Horst. “Die Uneinlösbarkeit des menschlichen Glücksverlangens am Beispiel Aufstieg und Fall der Stadt Mahagonny.” Communications 24, no. 2 (December 1995): 69- 78. Schnitzer, Ralf. “‘Zum ersten Mal habe ich in Musik etwas verstanden!’” Musik und Unterricht 28 (1994): 41-46.

BOOKS Engle, Ron. Maxwell Anderson on the European Stage, 1929-1992. Monroe, NY: Library Research Assoc., 1996. Forte, Allen. The American Popular Ballad of the Golden Era: 1924-1950. Princeton: Princeton University Press, 1995. Furia, Philip. : The Art of the Lyricist. New York: Oxford Univ. Press, 1996. Levitz, Tamara. Teaching New Classicality: Ferruccio Busoni’s Master Class in Composition. Frankfurt am Main: Peter Lang, 1996. (European University Studies: Series 36, Musikwissenschaft; Bd. 152).

RECORDINGS Barbara Song. Barbara Thompson; The Medici Quartet. Virgin Classics VC 5 45167 2. [Songs by Weill arranged for saxophone and string quartet.] The London Viola Sound. Cala CACD 0106. [Includes Weill’s “Kiddush” arranged for 48 violas.] [Songs] Three songs by Kurt Weill arranged by Luciano Berio. Cathy Berberian, mezzo- soprano; Juilliard Ensemble; Luciano Berio, conductor. BMG 09026-62540-2. [“Song of Sexual Slavery,” “Le grand Lustucru,” and “Surabaya Johnny.”] Tetra: By Arrangement. Conifer Classics 74321-15353-2. [Seven numbers from Die Dreigroschenoper arranged for four guitars.] Kurt Weill: From Berlin to Broadway. Pearl GEMM CDS 9189 [2 CDs]. [Historical record- ings, 1928-1943: includes numerous early German recordings, along with original cast recordings from , Lady in the Dark, and .] (2 CD’s) [Songs] American Series: Kurt Weill. Smithsonian Collection of Recordings/Sony RD 048-17 A 23954. [Twenty songs, mostly from the American period, sung by various performers including Lotte Lenya, Bing Crosby, Lena Horne, Louis Armstrong, , and .] One Touch of Venus. (Original ) MCA 11354. [CD release of original LP recording featuring Mary Martin and Kenny Baker.] 6a Volume 14, Number 1 Topical Weill Calendar of Events 1995 November 2. , Villeneuve d’Ascq (France). Atélier Lyrique de Tourcoing à la Rose des Vents. Stuttgart’s revival of the Ruth Berghaus produc- 3. Aufstieg und Fall der Stadt Mahagonny, Chemnitz (Germany). Städtisches Theater. (In tion of Mahagonny. Ms. Berghaus, widow of Paul repertory until February 1996) Dessau, died on 25 January 1996. (photo: Abisag Tüllmann) 4. Concerto for violin and wind instruments, Amsterdam (The Netherlands). Concertgebouw, Radio Philharmonic Orchestra. 5. Kleine Dreigroschenmusik, Tokyo (Japan). New Japan Philharmonic Orchestra. 9. Symphony No. 2, Gotha (Germany). Landessinfonieorchester Thüringen. 9-19. (Feingold translation), Salt Lake City, Utah. Pioneer Theatre. 14. Kleine Dreigroschenmusik, Basel (Switzerland). Kirche St. Peter, Akademisches Kammerorchester Zürich. 15. Aufstieg und Fall der Stadt Mahagonny, Stuttgart (Germany). Staatstheater. (Revival; in repertory 1995-96) 17. Concerto for violin and wind instruments, Lincoln (England). The Lawn, East of England Orchestra. 18. Kleine Dreigroschenmusik, Paris (France). Radio France, Orchestre Philharmonique de Radio France. 23. Das Berliner Requiem; Kleine Dreigroschenmusik, Linz (Austria). Bruckner-Haus, Teresa Stratas (Jenny) and Gary Lakes (Jimmy) Bruckner-Saal, Österreichische Kammersymphoniker. at the Met’s Mahagonny. (photo: Winnie Klotz) 24-26. The Threepenny Opera, Singapore. United World College of Singapore. 25. Rise and Fall of the City of Mahagonny, New York. . (In repertory until 9 December 1995) December 1. Aufstieg und Fall der Stadt Mahagonny, Duisburg (Germany). Deutsche Oper am Rhein. (In repertory 1995-1996) 11. Die sieben Todsünden, Haarlem (The Netherlands). Sweelinck Orkest der Universität

news &news events Amsterdam. (Repeat performance in Amsterdam, 14 December). 12-20. Street Scene, Torino (Italy). Teatro Regio Torino. 14. Die sieben Todsünden, Vienna (Austria). Wiener Akademische Philharmonie. 15. Der Jasager, Stuttgart (Germany). Kammertheater, Hochschule für Musik und darstellende Kunst Stuttgart. 17. Das Berliner Requiem, Utrecht (The Netherlands). Utrechts Blazers Ensemble.

Interior of the Burgtheater, Vienna. (photo: 22. Aufstieg und Fall der Stadt Mahagonny, Cottbus (Germany). Staatstheater Cottbus. Austrian Cultural Insitute) (In repertory until February 1996) 23. Die Dreigroschenoper, Frankfurt am Main (Germany). Schauspiel, Ensemble Modern. (In repertory). 1996 January 11. Der neue Orpheus, Mönchengladbach (Germany). Opernhaus. (also 4 April and 30 May) 14. Die Dreigroschenoper, Vienna (Austria). Burgtheater. (In repertory 1996) 14. Johnny Johnson, Berlin (Germany). Theater des Westens. (Until 25 February). 17. Concerto for violin and wind instruments, Jena (Germany). Volkshaus, Jenaer Theater des Westen’s Johnny Johnson (see Philharmonie. press clipping on p. 2a). (photo: Theater des Westens) 18. Symphony No. 2, (Czech Republic). Prague Chamber Philharmonic. Topical Weill Volume 14, Number 1 7a

February 1. Concerto for violin and wind instruments, Kleine Dreigroschenmusik, Davos events news & (Switzerland). Bläsersolisten Aargau. 2. Die Dreigroschenoper, Barcelona (Spain). Grupo de Teatre d’amicis de les Arts. 5. Kleine Dreigroschenmusik, Vienna (Austria). Ensemble Kontrapunkte, Brahms-Saal im Musikverein. 8. Concerto for violin and wind instruments, Essen (Germany). Philharmonie Essen. 9-10. Mahagonny Songspiel, St. Paul, Minnesota. Saint Paul Chamber Orchestra. Poster design, Vienna Kammeroper. 14. Der Zar läßt sich photographieren, Vienna (Austria). Kammeroper. (In repertory, February). 16. Kleine Dreigroschenmusik, Las Palmas de Gran Canaria (Spain). Orquesta Filarmonica de Gran Canaria, Teatro Perez Galdos. 16-17. Der Jasager (Potts translation), Westerville, Ohio. Otterbein College. 18. Das Berliner Requiem, Memphis, Tennessee. Rhodes College. 21. Concerto for violin and wind instruments, Göttingen (Germany). Göttingen Symphonieorchester. 21. Kleine Dreigroschenmusik, New York. Perspectives Ensemble, Columbia University. 21, 23. Das Berliner Requiem, Concerto for violin and wind instruments, Washington, Judy Kaye (Above) and Stephanie Vlahos (Below) District of Columbia. Catholic University of America. performed with the Saint Paul Chamber Orchestra in Mahagonny Songspiel. 24. Die Dreigroschenoper, Stuttgart (Germany). Staatstheater, Kleines Haus - Schauspiel. (In repertory 1996). 24. Lady in the Dark, Tokyo (Japan). (Touring Hiroshima, Osaka, etc. until 16 April) 25. Kleine Dreigroschenmusik, New York, Carnegie Hall. Royal Concertgebouw Orchestra. 26. Kleine Dreigroschenmusik, Montgomery, Alabama. Montgomery Symphony Orchestra. March 1-10. Happy End, Lincoln, Nebraska. Nebraska Wesleyan University. 2. Kurt Weill’s 96th Birthday 2. Der Silbersee, Dessau (Germany). Anhaltisches Theater Dessau, Kurt- Weill-Fest. 3. Die Dreigroschenoper (concert performance), Dessau (Germany). Piccolo Teatro dell’Opera. 6-16. Aufstieg und Fall der Stadt Mahagonny, Cambridge, Massachusetts. Lowell House Opera. 7. Mahagonny Songspiel, Milano (Italy). Piccolo Teatro di Milano. 7. Der Silbersee, Leipzig (Germany). Opernhaus. 12-14. Street Scene, Huddersfield (England). Huddersfield University Opera Group. 14. Die Dreigroschenoper, Bremen (Germany). Bremer Theater am Goetheplatz. (In repertory) 14. Happy End, Guildford (England). Guildford School of Acting. 15. Der neue Orpheus, Munich (Germany). Orchester des R. Strauss- Konservatoriums. 15-16. Johnny Johnson, Hartford, Connecticut. Trinity College. 16. Mahagonny Songspiel (Feingold translation), Hartford, Connecticut. Trinity College. 16. Aufstieg und Fall der Stadt Mahagonny, Krefeld (Germany). Opernhaus, Stadthalle Rheydt. (In repertory) 16. Frauentanz, Aarau (Switzerland). Didaktikum Blumenhalde. 16. Symphony No. 2, Jerusalem (Israel). Israel Sinfonietta, Beer Sheva. (Repeat performance on 23 March in Tel Aviv; Live broadcast from Jerusalem on 31 March) Cover, Souvenir Program from the original Broadway production (1943). 8 news & events a 10.(-15 June) 10. 7. New York. Kurt Weill,” Lyrics andLyricists Series, 92ndStreet Y. of 5-6. “TheSongs 2. May 21. 8. 4. April 31. 30. 28-30. 1. November 18. October 7-8. September 21. July 29. 16. 12. SelectedSongs, Amsterdam (TheNetherlands).HollandFestival. June 26. Cello Sonata, 26. CelloSonata, Washington, D.C. United States HolocaustMemorial Museum. 25. 20. 18. 14. (Croatia). for Konzerthalle violinandwindinstruments, Zagreb 12. Concerto Vatroslav 2000 Weill Centenary 1998 Lenya Centenary Orchestra. Phiharmonie. Futurs-Musiques. Spain,12 inBarcelona, (Repeat performance April) ry) Philharmonie. Kölner Radio-Orchester. Opernhaus. Lisinski, Bläser-Symphonie-Orchester derKroatischen Armee. Orkest van hetOosten.(Ontour, The Netherlands). Victoria Hall. Frauentanz Die siebenTodsunden Kleine Dreigroschenmusik Der Lindberghflug Happy End Der Protagonist Der Zarläßtsich photographieren Das BerlinerRequiem Die siebenTodsünden Lotte Lenya’s 98thbirthday Der Silbersee undFallAufstieg derStadtMahagonny Der neueOrpheus Das BerlinerRequiem Kleine Dreigroschenmusik Die Dreigroschenoper Die Dreigroschenoper Kleine Dreigroschenmusik n oc fVenus One Touch of , Dordrecht (TheNetherlands). Amateurverein Interamicos. ae Sizrad. Seilcneti oo fPaul Sacher’s birthday). of inhonor (Specialconcert , Basel(Switzerland). Aufstieg undFallAufstieg derStadtMahagonny , London (England). BBC Promenade Concert, London Sinfonietta. London (England).BBCPromenade Concert, , London , New York. American Symphony Orchestra. , Paris (France). Université Paris X-Nanterre, Ensemble Instrumental , Koblenz (Germany). Görreshaus, Staatsorchester Rheinische , andselectedsongs, Melbourne(Australia). MelbourneSymphony , Braunschweig (Germany)., Braunschweig Theater Braunschweig. (Inreperto- , Bielefeld(Germany). , Tokyo (Japan). Theatre Sunmall. , Geneva deChambreGenève, Orchestre (Switzerland). , e ok Ct etr“noe”Series. , New York. CityCenter“Encores” Der neueOrpheus , Koblenz (Germany). Görreshaus, Staatsorchester Rheinische , Hannover Staatstheater, (Germany). Niedersächsische , Zürich (Switzerland). (Switzerland). , Zürich Avant Ensemble.Art odn(nln) GidalSho fMusic. of (England).GuildhallSchool , London , Osnabrück (Germany)., Osnabrück Kuppeltheater. , Cologne(Germany). Musikfest, Rheinisches . Koor van Reisopera, deNationale oue1,Nme T Volume 14,Number1 at theBBCProms (photo:Katie Vandyck) Markus Stenz,whowillconduct ing it’s of production displayed Bastilledur- at theOpéra Lenya Research Centerthat were thephotosprovided by the Weill- of Marie-Salle Renoir andusedmany February at thetown’s of month duringthe ran des 1933a1935” musicien Kurt Weill: Louveciennois posed there. avec “Rencontre le devotedbition totheworks hecom- Germany, recently mountedanexhi- where Weill lived afterfleeing Louveciennes, theParis suburb with Weill’smelody.” out’ cadence ratherthan‘rocking retaining anauthenticmartial played [‘Alabama straight, Song’] called proto-lounge, Morrison Knife’ inastylethat canbestbe the up‘Mack Darin, who jazzed wrote:“Unlike BobbySherman issue of the1960s. Inarecent popular hitsof themost of wasone “” whose singer JimMorrison), on an influence (lead The Doors 1995. The composerisidentified as Cleveland, which openedinlate Fame in Rock andRoll Hallof Weill’s inthenew nameappears 1994. for660,232 patrons theyears 1990- 1995), which quoted thefigure of ing to schenoper of ing performances More peopleinGermany areattend- Die Dreigroschenoper Die Performed Play inGermany. Weill Exhibitionin Focus Popular Classic than any otherplay, accord- Louveciennes Show Music magazine (Issue46, opical W Mahagonny. Die Dreigro- , Howard Der Silbersee Der : Most eill

Top View