Product Description

No Description Available
No Track Information Available
Media Type: CD
Artist: LENYA,LOTTE
Title: SINGS WEILL
Street Release Date: 12/09/1997
Domestic
Genre: CLASSICAL ARTISTS

Track Listing

1. Die sieben Tods�nden (The Seven Deadly Sins), ballet: Prologue
2. Die sieben Tods�nden (The Seven Deadly Sins), ballet: No1 Faulheit
3. Die sieben Tods�nden (The Seven Deadly Sins), ballet: No2 Stolz
4. Die sieben Tods�nden (The Seven Deadly Sins), ballet: No3 Zorn
5. Die sieben Tods�nden (The Seven Deadly Sins), ballet: No4 V�llerei
6. Die sieben Tods�nden (The Seven Deadly Sins), ballet: No5 Unzucht
7. Die sieben Tods�nden (The Seven Deadly Sins), ballet: No6 Habsucht
8. Die sieben Tods�nden (The Seven Deadly Sins), ballet: No7 Neid
9. Die sieben Tods�nden (The Seven Deadly Sins), ballet: Epilogue
10. Die Dreigroschenoper (The Threepenny Opera), opera: Moritat vom Mackie Messer
11. Die Dreigroschenoper (The Threepenny Opera), opera: Barbarasong
12. Die Dreigroschenoper (The Threepenny Opera), opera: Seer�berjenny
13. Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny), opera: Havanna-Lied
14. Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny), opera: Alabama-Song
15. Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny), opera: Denn Wie Man Sich Bettet
16. Happy End, musical play: Bilbao-Song
17. Happy End, musical play: Surabaya-Johnny
18. Happy End, musical play: Was die Herren Maytrosen sagen
19. Das Berliner Requiem, cantata for tenor, baritone, male chorus & wind orchestra: Ballad, "Vom ertrunkenen M�dchen"
20. Der Silbersee (The Silver Lake), musical play: Lied der Fennimore
21. Der Silbersee (The Silver Lake), musical play: C�sars Tod

Product Details

• Amazon Sales Rank: #32313 in Music
• Brand: LENYA,LOTTE
• Released on: 1997-12-09
• Number of discs: 1
• Format: Original recording remastered
• Dimensions: .25 pounds

Amazon.com essential recording
Whether playing Anna in The Seven Deadly Sins or singing "Moritat vom Mackie Messer" ("Mack the Knife"), Lotte Lenya helped define the music of her husband, Kurt Weill. The duo literally created the soundtrack for the prewar Berlin of our fantasies--an exotic land of nicotine and nightlights--where cabaret, jazz, and the odd American instrumental influence all coexist happily. Now remastered, this collection gathers Lenya's legendary 1957 recordings of Sins and her 1955 recording Sings Berlin Theatre Songs. Forget subtlety--Lenya is all about emotion. On cuts like "Pirate Jenny," Lenya's voice sounds fluttery and frantic, and on "Surabaya-Johnny," her German sounds fragile and sweet, but mostly she's just herself--bittersweet, raw, and (most of all) human. In spirit, Marianne Faithfull, PJ Harvey, and a host of others all kept the torch of Lenya's style going. But after listening to these Berlin theater songs in classic form (and in their original tongue), you'll never hear them the same way again. --Jason Verlinde

Customer Reviews

One of the greats
When I was a student in 1965, the turntable in my college apartment was kept busy spinning The Beatles, Bob Dylan, Broadway show cast albums, Nina Simone and Lotte Lenya. Lotte Lenya? Yes, the widow of German composer Kurt Weill and the star of the legendary 1950s off-Broadway revival of THE THREEPENNY OPERA, who also played James Bond's adversary Rosa Kleb in the movie FROM RUSSIA WITH LOVE. (Rosa Kleb was a martial arts expert with poison knives in the toes of her shoes.) But my theory is that Lotte Lenya enjoyed great cachet with the baby-boomers primarily because of the cover of Bob Dylan's 1965 "Bringing It All Back Home" album. That cover shows Dylan and a brunette woman in a rather elegant setting crammed with books and phonograph records. Prominent among the stack of recordings is Lenya's "Berlin Theatre Songs of Kurt Weill" album. Even though this was the age of "Don't trust anyone over thirty," if Bob Dylan liked Lotte Lenya, then she was okay. I loved everything about her Berlin Theatre Songs album, from the expressionistic cover portrait to all the unfamiliar songs sung in quavery German.

Now that CDs have made phonograph records obsolete, I've wanted to replace my LP version of the Berlin Theatre Songs for some time. Well, I feel that I've hit the jackpot with this Masterworks Heritage CD reissue which is packaged with the Brecht-Weill THE SEVEN DEADLY SINS, an experimental dance-drama that Brecht and Weill created in Paris after fleeing Nazi Germany. I had never heard THE SEVEN DEADLY SINS. It is a revelation. It could have been written by no one else. The haunting melodies, the offbeat orchestrations and the unorthodox subject matter combine to form a Brecht-Weill classic. I love this music and have played it repeatedly for weeks. Lenya's voice during this period had not yet become raspy and her saucy personality shines through. My German is much better now than it was as a college student and I can at last appreciate Lenya's perfectly enunciated German. I find this recording mesmerizing. The CD is packaged as a foldout album/book, rather than a jewel box. It includes a brief essay by Teresa Stratas and helpful notes by Mario R. Mercado. Also included are more than a dozen sepia-toned photos of the recording session and four beautiful color photographs of Lenya in Hamburg in 1956. And of course, that wonderful Saul Bolasni portrait that graced the original LP is included on the inside cover of the jacket.

I think this CD is essential. For me, it conjures up a whole era, maybe a whole century. Five stars.

Lenya and Weill at their best! Buy It.
'Lotte Lenya sings Kurt Weill's The Seven Deadly Sins and Berlin Theatre Songs' is a single CD combining two separate 1955 LPs recorded in Germany, five years after the death of husband and composer, Kurt Weill.

As a lifelong Weill fan who has heard many different interpretations of these songs most notably from Ute Lemper and Maria Stratas, I was struck by how dramaticly better was Lenya's performance of the lyrics. I think this goes far beyond the fact that many of these works were written specifically to be performed by Lenya in Berlin between 1927 and 1933. It is obvious to my ear that even though Lemper is a great cabaret singer, Lenya trumps this with years of performing on the live stage without the aid of electronic amplification.

Lenya does 'Die Sieben Todsunden' with the version done for a lower voice (same as Lemper) rewritten for her by Weill. As other reviewers have noted, this was originally a combination ballet / song cycle commissioned in Germany by George Balanchine where the singer and the ballerina perform two sisters, both named Anna.

None of the individual songs are nearly as popular on their own as the following collection of songs from the German works, 'The Threepenny Opera', 'Mahagonny', and 'Happy End'.

My first encounter with Lotty Lenya's singing was on a Columbia collection done on vinyl in the 1960s, done, probably following on her appearance in the second James Bond movie, 'From Russia, With Love' as the Russian Colonel Klebb. I think this recording is far superior to that issue or to any other recent recording where Lenya does songs she never performed on the stage.

Exquisite!
A few weeks ago I ran into this album in a corner store, and, not knowing what to expect, bought the CD for the heck of it. Admittedly, Lotte's style takes some getting used to, but once you do, she's one of a kind. It's as if her voice vibrates with the essence of life itself, and every time I play her I discover new aspects of her interpretation. I only wish the Heritage vocal series would release more of her remastered performences.