Bertolt Brecht, Kurt Weill - The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
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CD Details
Artist: Bertolt Brecht, Kurt WeillEdition: Music CD
Format: Cast Recording, Extra tracks, Original recording reissued, Original recording remastered
CD Release Date: 2000-08-29
Music Label: Decca Broadway
Soundtracks:
- Prologue (spoken)
- Overture
- The Ballad of Mack the Knife
- Morning Anthem
- Instead-Of-Song
- Army Song
- Wedding Song
- Love Song
- Ballad of Dependency
- The World Is Mean
- Melodrama and Polly's Song
- Pirate Jenny
- Tango-Ballad
- Ballad of the Easy Life
- Barbara Song
- Jealousy Duet
- How to Survive
- Useless Song
- Solomon Song
- Call from the Grave
- Death Message
- Finale: The Mounted Messenger
- The Ballad of Mack the Knife (bonus track) -- Lotte Lenya (vocalist), Marc Blitzstein (piano)
Music reviews of The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
Music Review: One of the great recordings period!
Rating: 5 Stars
I have owned and listened to this recording longer than most of the readers of these words have been alive. I got it in 1956 shortly after it was released. It is still one of the things I listen to most. Lotte Lenya and Bea Arthur, who shared a dressing room, became close friends and while the Barbara Song is not for Bea Arthur's character, one can rejoice that the production played it that way. It of course had Lenya's approval since she owned the music--she was Weill's widow and Weill died in 1950. Arthur's performance still makes me weak in the knees and Lenya's Pirate Jenny which Weill gave the Jenny character early in the original production is simply sublime--Polly's song was reprised in the second act by Jenny, and Lenya sang it in the Pabst film. Recorded music just does not get better than this. Every member of the cast is perfect. I still hear the Frau Peachum's music in Charlotte Rae's voice.
And it is still selling almost 60 years later. I love the German version Lenya later recorded but on the whole this production is totally satisfying and reintroduced Weill to the world. He had already been almost forgotten. In the USA because he wrote only broadway musicals which had faded and in Europe because the NAZI's had destroyed most of the original plates and recordings. So the European recording were still unknown here. Fortunately copies were found and still sold. But this is the original English production starring Weill's widow of whom he wrote: "my music comes to my ear in Lenya's voice.' The recording should be in every library. There are several original German recordings, but this recording is still the most satisfying. Incidentally, the recording was reviewed in the 1950's High Fidelity Magazine. The critic-- I recall reading --called it one of the great recording in existence. it simply is that. I think it is the recording in my extensive classical library that I love most.
Description of The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
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