Kurt Weill & Bertolt Brecht - The Seven Deadly Sins (Die sieben Todsünden) (1933) [Score-Video]

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The Seven Deadly Sins (Die sieven Todsünden)
Composed by Kurt Weill in 1933 with a libretto by Bertolt Brecht
English translation by W. H. Auden und Chester Kallman
Recording: Portraying Passion (2018)
00:00 - Titles
0:16 - Prologue
3:50 - Faulheit / Sloth
8:07 - Stolz / Pride
12:37 - Zorn / Anger
17:19 - Völlerei / Gluttony
20:53 - Unzucht / Lust
26:24 - Habsucht / Covetousness
29:42 - Neid / Envy
35:14 - Epilogue
36:44 - Personnel
While living in Paris in 1932, Weill received a commission from wealthy Englishman Edward James to compose a piece for James' wife, ballerina Tilly Losch, to dance opposite Weill's wife, singer Lotte Lenya. Weill invited long-time collaborator playwright Bertolt Brecht to join him in Paris and work on the libretto. It was the last major collaboration between the two.
The resulting piece was 'Die Sieben Todsünden,' a 'ballet chanté.' The story was of a young girl, Anna, who left her four family members in Louisiana to travel to all the great American cities. After seven years, she would return to Louisiana with enough money to build a house for her family on the Mississippi river. Anna is represented as two performers, her passionate, artistic, and impulsive side represented by a dancer (Anna II), and her level-headed conscience by a singer (Anna I).
The work premiered on June 7th, 1933 in Paris at the Théâtre des Champs-Élysées, with Lotte Lenya as Anna I, and Tilly Losch as Anna II.
After Weill's death, Lenya revived the work in the 1950s, recording a version in 1997. The work has had multiple major revivals over the years, proving to be a perfect example of the genius of Weill and Brecht.
www.kwf.org/works/sieben-tods...

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26 июл 2021

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Комментарии : 11

@skitzo429 2 года назад

The recording is the original version, the score is a “cabaret” version, which is lowered a fourth whenever Anna is singing. The lower version was prepared for Weill’s wife Lotte Lenya so she could still sing the role as she got older (she also originated it as a younger woman). Both versions are still used, the lower “cabaret” version is used by non-classical singers (e.g., Storm Large), while opera singers sing the original higher version. This mixup is actually pretty common, I used to be a professional orchestra librarian and we once ordered the wrong version of the sheet music that didn’t match what the soloist had prepared.

@ziusudra970 Год назад

That's interssting context. Thank you for sharing

@lightspeed174 29 дней назад

I must say, this is fantastic. Just love it. The soloist are just outstanding. A magnificent recording. This is to me is the best rendition I've ever heard. I thank you so much for uploading this most beautiful recording of, The Seven Deadly Sins.

@geigerbauer 11 месяцев назад

I like the singing so much.....

@dianadaher9870 2 года назад

Que maravilha! Amarei essa obra pra sempre ❤❤❤❤❤❤❤❤

@hannureittu4310 2 года назад

👏👏👏

@MaestroWenarto 2 года назад

who is this wonderful singer?

@mpcadence7572 2 года назад

Tora Augestad! :)

@lesterrocks2439 2 года назад

Ok. The score is partly in a lower key. It’s a little confusing.just saying

@mirandaaad-4285 2 года назад

it's probably because Weill's wife (to whom the role of Anna I was intended) sang it in this key when she was older, even though it was initially written in a different (higher) key, which is what you hear and is how most sopranos sing it.