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Various Artists|Weill & Brecht: Songs

Weill & Brecht: Songs

Various Artists

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German singer Gisela May is arguably the definitive native interpreter of the songs of Bertolt Brecht and Kurt Weill for her generation (she was born in 1924, four years before the premiere of The Threepenny Opera). On this recording, she demonstrates that expertise convincingly. The songs are presented in their original orchestrations, and May formally introduces each song before singing it, giving a recital-like effect and perhaps echoing Brecht's spoken introductions to the 1930 recording of The Threepenny Opera. Having thus distanced herself from the material, however, May throws herself into her characterizations, conceiving each performance as an acting as well as a singing challenge. She takes on songs from Happy End, Berlin Requiem, The Threepenny Opera, and Rise and Fall of the City of Mahagonny, giving each one a committed reading that does not shirk from Brecht's provocative sentiments. May is not as vulnerable, nor as funny, a performer as her predecessor, Lotte Lenya (Weill's wife), but she renders the songs with all their nuance and power. And, as she had recorded these songs before and was in her early 60s when she made this album in 1987, her performances have the quality of a victory lap.

© William Ruhlmann /TiVo

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Weill & Brecht: Songs

Various Artists

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1
Die Dreigroschenoper, Prologue: "Die Moritat von Mackie Messer"
Gisela May
00:02:29

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

2
Die Dreigroschenoper, Act I: "Die Seeräuberjenny"
Gisela May
00:03:48

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

3
Die Dreigroschenoper, Act III: "Lied von der Unzulänglichkeit menschlichen Strebens"
Gisela May
00:01:47

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

4
Die Dreigroschenoper, Act I: "Barbara-Song"
Gisela May
00:04:57

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

5
Die Dreigroschenoper, Act II: "Ballade von der sexuellen Hörigkeit"
Gisela May
00:02:34

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

6
Die Dreigroschenoper, Act III: "Salomonsong"
Gisela May
00:03:23

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

7
Das Berliner Requiem: "Zu Postdam unter den Eichen
Henry Krtschill
00:02:16

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Werner Eberhardt, Baritone Vocals, MainArtist - Wolfgang Dersch, Trombone, MainArtist - Horst Dittmann, Baritone Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist - Manfred Schmieder, Bass Vocals, MainArtist - Gundula Sonsalla, Guitar, MainArtist - Siegfried Lotz, Double Bass, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

8
Das Berliner Requiem: "Vom ertreunkenen Mädchen
Henry Krtschill
00:02:24

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Werner Eberhardt, Baritone Vocals, MainArtist - Wolfgang Dersch, Trombone, MainArtist - Horst Dittmann, Baritone Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist - Manfred Schmieder, Bass Vocals, MainArtist - Gundula Sonsalla, Guitar, MainArtist - Siegfried Lotz, Double Bass, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

9
Happy End, Act I: "Die Matrosen-Song"
Henry Krtschill
00:06:41

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

10
Happy End, Act I: "Der Bilbao-Song"
Henry Krtschill
00:05:07

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

11
Happy End, Act III: "Der Song von Mandalay"
Henry Krtschill
00:02:33

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

12
Happy End, Act III: "Das Lied vom Surabaya-Jonny"
Henry Krtschill
00:04:15

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

13
Happy End, Act III: "Die Ballade von der Höllen-Lili"
Henry Krtschill
00:02:39

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

14
Happy End, Act III: "Das Lied von der harten Nuss"
Henry Krtschill
00:01:11

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio Orchester, MainArtist - Studio orchestra, Orchestra - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

15
Aufstieg und Fall der Stadt Mahagonny, Act I, Scene 11: "Denn wie man sich bettet, so liegt man"
Gisela May
00:03:38

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

16
Aufstieg und Fall der Stadt Mahagonny, Act I, Scene 5: "Havanna-Song"
Gisela May
00:01:41

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

17
Aufstieg und Fall der Stadt Mahagonny, Act I, Scene 2: "Alabama-Song"
Gisela May
00:03:44

Kurt Weill, Composer - Bertolt Brecht, Librettist - Studio orchestra, Orchestra, MainArtist - Gisela May, Vocals, MainArtist - Henry Krtschil, Conductor, MainArtist

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

Albumbeschreibung

German singer Gisela May is arguably the definitive native interpreter of the songs of Bertolt Brecht and Kurt Weill for her generation (she was born in 1924, four years before the premiere of The Threepenny Opera). On this recording, she demonstrates that expertise convincingly. The songs are presented in their original orchestrations, and May formally introduces each song before singing it, giving a recital-like effect and perhaps echoing Brecht's spoken introductions to the 1930 recording of The Threepenny Opera. Having thus distanced herself from the material, however, May throws herself into her characterizations, conceiving each performance as an acting as well as a singing challenge. She takes on songs from Happy End, Berlin Requiem, The Threepenny Opera, and Rise and Fall of the City of Mahagonny, giving each one a committed reading that does not shirk from Brecht's provocative sentiments. May is not as vulnerable, nor as funny, a performer as her predecessor, Lotte Lenya (Weill's wife), but she renders the songs with all their nuance and power. And, as she had recorded these songs before and was in her early 60s when she made this album in 1987, her performances have the quality of a victory lap.

© William Ruhlmann /TiVo

Informationen zu dem Album

© 1989 BMG Rights Management GmbH ℗ 1989 BMG Rights Management GmbH

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