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– The St. Louis Symphony Orchestra presents Weill’s and Brecht’s The Lindbergh Flight in St. Louis.
– The Zuger Sinfonietta premières Paul Leonard Schäffer’s instrumentation of Alban Berg’s 7 Early Songs for chamber orchestra.
– Belgian première of the new critical edition of The Makropulos Affair at the Opera Vlaanderen.
The Teatro Municipal de Santiago has published a trailer for Marcelo Lombardero’s over-the-top production of Rise and Fall of the City of Mahagonny, which was premièred on 23 June:
Further performances will take place on 28, 29 and 30 June and on 1 July – find out more on the website of the Teatro Municipal de Santiago.
Read a [Spanish] review on Arte Al Limite.
The latest issue of the MusikSalon is out now!
In an in-depth interview, Georg Friedrich Haas talks about his opera Morgen und Abend. Kasper Holten, Director of Opera at the Royal Opera House, and Michael Boder, who conducted the world première, are also interviewed.
Furthermore, two important works from the UE catalogue will be presented: the violin concertos by Georg Friedrich Haas and Kurt Weill, for which we interviewed the soloists Ernst Kovacic and Benjamin Schmid.
You can watch the trailer here:
- Walter Braunfels’ Jeanne d’Arc in Cologne
- the new critical edition of Janáček’s The Makropulos Case in Berlin
- Krenek, Weill and the Moderns: the 24th Kurt Weill Festival
Keith Warner’s new production of The Threepenny Opera premières today at the Theater an der Wien.
Johannes Kalitzke conducts the Klangforum Wien, the production stars Tobias Moretti, Florian Boesch, Anne Sofie von Otter, Nina Bernsteiner, Angelika Kirchschlager and others.
Watch a short introduction to the production by Austrian TV station ORF.
The full programme of the Kurt-Weill-Fest 2016 has been announced. The festival will be running from 26 February until 13 March under the slogan “Krenek, Weill & die Moderne”.
Among the special guests of the festival are artist-in-residence Ernst Kovacic, Nina Hagen and HK Gruber.
The opera, which stars Willard White as Dreieinigkeitsmoses and Measha Brueggergosman as Jenny Hill, will still be performed three more times this month: on 13, 15 and 17 October.
Read Cristina Iacoboni’s (Italian) review on Online Merker.
A trailer is available on YouTube:
- Wolfgang Rihm: Die Eroberung von Mexico
- Kurt Weill: The Threepenny Opera
- Celebrating the 90th birthday of Pierre Boulez
- The Barber of Seville for children
Find out more about Universal Edition at this year’s Salzburg Festival in our current newsletter.
Music in 1920s Berlin and Vienna: cool, sleek, jazzy and very modern. A generation of young composers swept away the 19th century and established a new kind of music that was bold, astringent, accessible and topical. But by 1934, denounced by the Nazi government and their music banned, they were swept away into exile leaving their work neglected and forgotten for over seventy-five years.
Ripe for rediscovery, the exciting opera, chamber, orchestral and vocal music of Ernst Toch, Kurt Weill, Erwin Schulhoff, Mischa Spoliansky, Friedrich Hollander and others of this lost generation is performed in a festival of five concerts over three days, much of it never before performed in the U.K.
You can find the full programme on the website of Kings Place.
Tonight, John Fulljames presents a new production of Bertolt Brecht’s and Kurt Weill's “furiously impassioned operatic satire” Rise and Fall of the City of Mahagonny. Find out more on the website of the Royal Opera House.
On Wednsday 1 April, Rise and Fall of the City of Mahagonny will be screened live in various cinemas all over the world – find out more with the ROH’s Screening search.
Artistic director Miyata Keiko has opened the New National Theatre’s fifth season with a production of The Threepenny Opera. The work forms the ninth production in the series “JAPAN MEETS─A Look at the Lineage of Contemporary Drama”. The production will be running until 28 September.
On 15 August, German chanteuse and actress Ute Lemper joined the Scottish Chamber Orchestra for an evening of “Weimar Republic decadence” at the Edinburgh International Festival, with music by Kurt Weill, Hanns Eisler and Igor Stravinsky.
The two-and-a-half-hour long programmewill be available for stream for four weeks on BBC Radio 3, where you can also find a list of works performed.
Bertolt Brecht’s and Kurt Weill’s school opera Der Jasager will be performed today by Eszter Novák and students of the University of Theatre and Film Arts at the Budapest Festival Theatre. Zsolt Jankó conducts the Budapest Festival Orchestra.
The school opera goes back to the Japanese fable Tanikô, a play from the Nôh theatre. Weill composed Der Jasager in the first half of 1930, pausing only for the turbulent première of Aufstieg und Fall der Stadt Mahagonny on 9 March 1930. The term “school opera” gave Weill a number of possibilities for combining the concepts of “education” and “opera”: the opera teaches the composer – or a whole new generation of composers – to approach the operatic genre in a new way. But it is also a question of re-training the process of operatic performance, with the end goal of staging the work so naturally and simply that children become the ideal performers. And finally, Weill also considered “school operas” as meant for use in schools: “it is thus essential that a piece for schools should give children the opportunity to learn something, beyond the joy of making music.”
Kurt Weill’s and Bertolt Brecht’s Der Lindberghflug (also Der Ozeanflug / The Flight across the Ocean) was premièred 85 years ago, on 27 July 1929 at the Kurhaus Baden-Baden.
Aged just 26, Kurt Weill realised that radio offered the potential for a new genre of art. Subtitled ‘Radiolehrstück’ (teaching piece for radio), Der Lindberghflug was a product of this idea. It consists of 16 short sections, the shortest lasting barely a minute and the longest four minutes. The rapid alternation of soloists (narrator, tenor, baritone, bass), choir passages and instrumental interludes, as well as of styles – recitative, ‘sprechgesang’ (speech-song), baroque-style passages for choir, Weill’s typical bitter-sweet melodies – creates immense dramatic tension. It is not surprising that Weill also envisaged the work for stage.