I discovered Ute Lemper about the same time I discovered Kurt Weill, so I have forever linked them together--a problem which has probably followed Ms. Lemper for much of her career. I really like her singing of this material, though, and this recording of Weill's Seven Deadly Sins shows why.
Previously, I had watched a very bizarre and confusing film version of this song cycle or chant ballet as its creators called it. Without the distraction of visuals, I am reminded that the orchestra parts of these songs are great. At times powerful, driving and hypnotic, the orchestra parts are what drive this piece for me--as if the orchestra represents the world around the characters who are driven to make such difficult choices given their economic condition. It is as timely now as in 1933 when the work was written.
Ms. Lemper is a wonderful proponent of the work, with a polished (but not too polished) delivery. I love how she, at times, chews her German and spits it out. Lemper strikes the right balance for me between a Lotte Lenya type performance, with its cigarette and gravel, and a Anne-Sophie Von Otter type performance coming from the world of opera. Ms. Lemper has a strong chest voice which rises well into middle range. She seems to have a large break, however, and a smallish headvoice. Fortunately, this work doesn't require much singing in that range.
The Mahagonny Songspiel from 1927 is a collection of songs loosely strung together in a story. I've previously talked about the opera version of Mahagonny. I find the smaller version much more palatable and effective.
I realize in looking at the recordings in my own collection that I have not discussed yet, I have lots of Kurt Weill to go. I hope the singing is as good as that by Ms. Lemper and her Mahagonny cast.
The Seven Deadly Sins
Mahagonny Songspiel
Music by Kurt Weill
Lyrics by Bertold Brecht
written in 1933 and 1927, respectively
this performance released on London Decca Records in 1990
Cast: Ute Lemper, Berlin RIAS Sinfonietta, conducted by John Mauceri
Previously, I had watched a very bizarre and confusing film version of this song cycle or chant ballet as its creators called it. Without the distraction of visuals, I am reminded that the orchestra parts of these songs are great. At times powerful, driving and hypnotic, the orchestra parts are what drive this piece for me--as if the orchestra represents the world around the characters who are driven to make such difficult choices given their economic condition. It is as timely now as in 1933 when the work was written.
Ms. Lemper is a wonderful proponent of the work, with a polished (but not too polished) delivery. I love how she, at times, chews her German and spits it out. Lemper strikes the right balance for me between a Lotte Lenya type performance, with its cigarette and gravel, and a Anne-Sophie Von Otter type performance coming from the world of opera. Ms. Lemper has a strong chest voice which rises well into middle range. She seems to have a large break, however, and a smallish headvoice. Fortunately, this work doesn't require much singing in that range.
The Mahagonny Songspiel from 1927 is a collection of songs loosely strung together in a story. I've previously talked about the opera version of Mahagonny. I find the smaller version much more palatable and effective.
I realize in looking at the recordings in my own collection that I have not discussed yet, I have lots of Kurt Weill to go. I hope the singing is as good as that by Ms. Lemper and her Mahagonny cast.
The Seven Deadly Sins
Mahagonny Songspiel
Music by Kurt Weill
Lyrics by Bertold Brecht
written in 1933 and 1927, respectively
this performance released on London Decca Records in 1990
Cast: Ute Lemper, Berlin RIAS Sinfonietta, conducted by John Mauceri
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