Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a German-Jewish composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist[unreliable source?] who held the ideal of writing music that served a socially useful purpose. He also wrote a number of works for the concert hall, as well as several Judaism-themed pieces.
Kurt Julian Weill was born on March 2, 1900, the third of four children to Albert Weill (1867–1950) and Emma Weill née Ackermann (1872–1955). He grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau, Germany, where his father was a cantor. At the age of twelve, Kurt Weill started taking piano lessons and made his first attempts at writing music; his earliest preserved composition was written in 1913 and is titled Mi Addir. Jewish Wedding Song.
Ute Lemper (born 4 July 1963) is a German chanteuse and actress renowned for her interpretation of the work of Kurt Weill.
Born in Münster, Germany, Ute Gertrude Lemper was raised in a Roman Catholic family. She joined the punk music group known as the Panama Drive Band at the age of 16. Later, she graduated from the Dance Academy in Cologne and the Max Reinhardt Seminary Drama School in Vienna.
Her diverse credits include musicals, such as her breakthrough role in the original Viennese cast of Cats, the title role in Peter Pan, a recreation of the Marlene Dietrich-created Lola in The Blue Angel, the original European Sally Bowles in a Paris production of Cabaret, and Velma Kelly in Chicago (Lemper has played the role of Velma Kelly in Chicago in both London and New York. She won the Laurence Olivier Award for her performance in London). She also dubbed the singing voice of Ariel in Disney's The Little Mermaid for German-speaking audiences. The movie has since been redubbed for a second run in theaters in 1998, and was never released on DVD in its original German dub.
Andreas Delfs (born 30 August 1959) is a German conductor. He is the conductor laureate of the Milwaukee Symphony Orchestra and principal conductor of the Honolulu Symphony.
Delfs was born in Flensburg, Germany. He began studying piano and music theory at age five, and by age twenty was named Music Director of the Hamburg University Orchestra. [1] Delfs graduated from Hamburg Conservatory in 1981, and earned his master's at Juilliard School of Music in 1984. At Hamburg, Delfs studied under Aldo Ceccato and Christoph von Dohnanyi. After receiving his Master's, he accepted the post of Assistant Conductor of the Pittsburgh Symphony Orchestra, then under the music directorship of Lorin Maazel. From 1984 to 1995 he also held the position of chief conductor of the Swiss Youth Symphony Orchestra (SYSO).
Delfs was appointed Music Director and conductor of the Milwaukee Symphony Orchestra in 1996. In 1999, he led the Orchestra on a tour of Cuba, the first by an American orchestra in more than 37 years. In December 2006, the orchestra announced that Delfs would relinquish the music directorship of the Milwaukee Symphony after the 2008-2009 season (the Orchestra's fiftieth season), and become its Conductor Laureate.
Lotte Lenya (18 October 1898 – 27 November 1981) was an Austrian singer, diseuse, and actress. In the German-speaking and classical music world she is best remembered for her performances of the songs of her husband, Kurt Weill. In English-language film she is remembered for her Academy Award-nominated role in The Roman Spring of Mrs. Stone (1961) and as the sadistic and vengeful Rosa Klebb in the James Bond movie From Russia with Love (1963).
Lenya was born as Karoline Wilhelmine Charlotte Blamauer to working class parents in Vienna. She moved to study in Zürich in 1914, taking up her first job at the Schauspielhaus using the stage name Lotte Lenja. She moved to Berlin to seek work in 1921.
In 1922 Lenya was seen by her future husband, the German composer Kurt Weill, during an audition for his first stage score Zaubernacht, but because of his position behind the piano, she did not see him. She was cast, but owing to her loyalty to her voice teacher who was not, she declined the role. She accepted the part of Jenny in the first performance of The Threepenny Opera (Die Dreigroschenoper) in 1928 and the part became her breakthrough role. During the last years of the Weimar Republic, she was busy in film and theatre, and especially in Brecht-Weill plays. She also made several recordings of Weill's songs.[citation needed]
Bertolt Brecht (German: [ˈbɛɐ̯tɔlt ˈbʁɛçt] ( listen); born
Eugen Berthold Friedrich Brecht (help·info); 10 February 1898 – 14 August 1956) was a German poet, playwright, and theatre director.
An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble – the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel.
Bertolt Brecht was born in Augsburg, Bavaria, (about 50 miles (80 km) north-west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to have a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914. Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama. Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied. At school in Augsburg he met Caspar Neher, with whom he formed a lifelong creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre.
Kurt Weill: Zaubernacht (1922)
Kurt Weill Symphony N° 2 1933 Full
Kurt Weill - Die Dreigroschenoper - Opera da tre soldi.wmv
Kurt Weill (Ute Lemper, Andreas Delfs, MSO)
Lotte Lenya sings Kurt Weill
KURT WEILL/BERTOLD BRECHT - DIE SIEBEN TODSÜNDEN - The Seven Deadly Sins (Part I)
Kurt Weill: The Threepenny Opera (1928) Blitzstein/Lenya/Bernstein
Kurt Weill - Berlin im Licht
Kurt Weill & Bertolt Brecht - Pirate Jenny (Sung by Lotte Lenya)
Kurt Weill Berthold Brecht Die sieben Todsünden Kölner Rundfunkorchester Lothar Zagrosek.wmv
Kurt Weill (1900-1950) : Youkali Tango-Habanera (1934)
Kurt Weill: Youkali (Ute Lemper)
Pia Colombo - Surabaya Johnny (Kurt Weill, Bertolt Brecht)
Lotte Lenya in Alabama Song by Kurt Weill recording 1930
Kurt Weill: Zaubernacht (1922)
Kurt Weill Symphony N° 2 1933 Full
Kurt Weill - Die Dreigroschenoper - Opera da tre soldi.wmv
Kurt Weill (Ute Lemper, Andreas Delfs, MSO)
Lotte Lenya sings Kurt Weill
KURT WEILL/BERTOLD BRECHT - DIE SIEBEN TODSÜNDEN - The Seven Deadly Sins (Part I)
Kurt Weill: The Threepenny Opera (1928) Blitzstein/Lenya/Bernstein
Kurt Weill - Berlin im Licht
Kurt Weill & Bertolt Brecht - Pirate Jenny (Sung by Lotte Lenya)
Kurt Weill Berthold Brecht Die sieben Todsünden Kölner Rundfunkorchester Lothar Zagrosek.wmv
Kurt Weill (1900-1950) : Youkali Tango-Habanera (1934)
Kurt Weill: Youkali (Ute Lemper)
Pia Colombo - Surabaya Johnny (Kurt Weill, Bertolt Brecht)
Lotte Lenya in Alabama Song by Kurt Weill recording 1930
Kurt Weill Sings and plays "Speak low"
Kurt Weill - Berthold Brecht - Die Dreigroschenoper original 1930 (Full).wmv
Kurt Weill Berthold Brecht - Mahagonny Songspiel (RIAS Berlin Sinfonietta John Mauceri)
Tom Lehrer on Kurt Weill, 1 of 2
Kurt Weill: Four Walt Withman Songs (1942/1947)
Mack the Knife Sung by Lotte Lenya
Kurt Weill - Berthold Brecht - Der Jasager.wmv
Kurt Weill Berthold Brecht - Die sieben Todsünden mit Gisela May - Dirigent: Herbert Kegel
Judy Garland Lost in the Stars
Dee Dee Bridgewater Sings Kurt Weill Live at The North Sea Jazz Festival (2003)
One Life to Live by Kurt Weill - Lucy Schaufer
One Life to Live, from Lady in the Dark - Kurt Weill
Marianne Faithfull (sings Kurt Weill) - Surabaya Johnny (Live in Montreal 1997)
youkali (Kurt Weill & Roger Fernay) - cover 2011 A Contre Voix - Live - Atelier58
Marianne Faithfull (sings Kurt Veil) - Pirate Jenny (Live in Montreal 1997)
Marianne Faithfull(sings Kurt Weill) - The ballad of the soldier's wife (Live in Montreal 1997)
Sharon Azrieli Perez sings Ofrah's Lieder by Kurt Weill Live with Israel Chamber Orchestra
Marianne Faithfull( sings Kurt Weill) - Boulevard of broken dreams (Live in Montreal 1997)
Youkali (Kurt Weill) live! by Klaus Herzog & Weills Erben
One Life To Live (Kurt Weill Fest 2013 in Dessau)
Jack Gilford "Johnny's Song" Kurt Weill "Johnny Johnson" Live Lincoln Center
Marianne Faithfull(sings Kurt Weill) - Complainte de la Seine (Live in Montreal 1997)
Marianne Faithfull(sings Kurt Weill)-(Live in Montreal 1997)
Musica Dannata - Kurt Weill - Live 2002.wmv
Kurt Weill Ben Hecht "We Will Never Die" John Garfield Live Holocaust WWII Cleaned
Alabama Song - Kurt Weill - Live - Gabriella Aleo
Marianne Faithfull (sings Kurt Weill) - Alabama song (Live in Montreal 1997)
Carole Farley sings Kurt Weill - One Life to Live
Marianne Faithfull(sings Kurt Weill) - Concert ending (Live in Montreal 1997)
I'm a stranger here myself (Kurt Weill) by Sarah Algoet (LIVE)
Marianne Faithfull (sings Kurt Weill) - Bilbao song (Live in Montreal 1997)
Mabel Mercer "Trouble Man" Kurt Weill "Lost in the Stars" Live Cabaret Broadway
Pablo Heras-Casado on Kurt Weill - UE Interview
Kurt Weill - Kleine Dreigroschenmusik, cinq extraits
Kurt Weill,"The Seven Deadly Sins".
The Young Gods Play Kurt Weill
Youkali - Teresa Stratas (from September Songs - Music of Kurt Weill)
Jackie Morrison, Kurt Weill Stay Well
Lost In The Stars -- Music of Kurt Weill arranged by: Carla Bley , Phil Woods on Sax.
Kurt Weill - Teresa Stratas: "One Touch of Venus"- Foolish Heart
Theater Talk- Ethan Mordden on Kurt Weill and Lotte Lenya (Full Episode)
Lotte Lenya Documentary 1/3
Kurt Weill duo - Bilbao Song
That's Him - Kurt Weill
Lys GAUTY "Je ne t'aime pas" 1934 (Kurt Weill / Maurice Magre).
Kaaren Herr Erickson singing "The Seven Deadly Sins" by Kurt Weill/ Bertold Brecht!
Anhaltische Philharmonie - ARTIST IN RESIDENCE beim Kurt Weill Fest 2014 - Gespräch
Gisela May sings Kurt Weill (vaimusic.com)
Todd Duncan - Lost in the Stars (Original Broadway Cast)
Kurt Weill - Berthold Brecht - Happy End - (Part 1-4).wmv
Julia Migenes: Die sieben Todsünden by Kurt Weill
ChansonART - Agnes Bryja & Doreen Pichler: Der Abschiedsbrief (Kurt Weill/Erich Kästner)
Kurt Weill Symphony N° 1 1921 Full
Kurt Weill - Georg Kaiser - Der Silbersee -.wmv
Kurt Weill - Aufstieg und Fall der Stadt Mahagonny.wmv
Kurt Weill - Berthold Brecht - Die Dreigroschenoper nach John Gay (Full).wmv
Kurt Weill Berthold Brecht Die Dreigroschenoper RIAS Berlin Sinfonietta John Mauceri
Kurt Weill 2nd Symphony (Andreas Delfs, MSO)
Kurt Weill: Concerto per violino, Op.12 (1925) / Scherchen
Kurt Weill - Langston Hughes - Street Scene (Full).wmv
FROM THE VAULTS - Caterina Valente and Roger Kellaway - Kurt Weill American Songs
The Threepenny Opera by Kurt Weill.mov
Kurt Weill - Kleine Dreigroschenmusik (vollständige Version, integral version).wmv
There was a time, and now it's all gone by
When we two lived together, she and I
The way we were, was just the way to be
I cared for her, and she took care of me
And that arrangement seemed to work perfectly
The milkman rang the bell, I got out of bed
I opened up her purse, paid him what he said
I had a glass of milk, and back in bed I'd climb
You understand she was out working all the time
And so we lived, me and my little mouse
In that snug two by four where we kept house
That was a time, and now it's all gone by
When we were poor but happy, he and I
But when the day would bring no job to me
He'd curse and say how lazy can you be
I'll let him huff and puff
I've worked long enoguh
But when he drank too much, I'd get kinda grim
And shout the house down how I stood a clown like him
And then he'd turn around and try to bite my arm
And I would kick him in the teeth, meaning no harm
It was so sweet to be his little spouse
In that foul two by four where played house
Oh happy time and now it's all gone by
Until we quit each other, you and I
You stayed in bed all day and don't you smirk
You know we said that you'd do all the work
Now sleep's for the night they say
It ain't bad by day
So then I had my fill, swore I wouldn't stir
It looked like soon I would be taking care of her
You'd think a woman had a right to have one gripe
You left me flat. Well I just ain't the working type
We locked the door and each commenced to roam
There was a time, and now it's all gone by
When we two lived together, she and I
The way we were, was just the way to be
I cared for her, and she took care of me
And that arrangement seemed to work perfectly
The milkman rang the bell, I got out of bed
I opened up her purse, paid him what he said
I had a glass of milk, and back in bed I'd climb
You understand she was out working all the time
And so we lived, me and my little mouse
In that snug two by four where we kept house
That was a time, and now it's all gone by
When we were poor but happy, he and I
But when the day would bring no job to me
He'd curse and say how lazy can you be
I'll let him huff and puff
I've worked long enoguh
But when he drank too much, I'd get kinda grim
And shout the house down how I stood a clown like him
And then he'd turn around and try to bite my arm
And I would kick him in the teeth, meaning no harm
It was so sweet to be his little spouse
In that foul two by four where played house
Oh happy time and now it's all gone by
Until we quit each other, you and I
You stayed in bed all day and don't you smirk
You know we said that you'd do all the work
Now sleep's for the night they say
It ain't bad by day
So then I had my fill, swore I wouldn't stir
It looked like soon I would be taking care of her
You'd think a woman had a right to have one gripe
You left me flat. Well I just ain't the working type
We locked the door and each commenced to roam