Kurt Weill Orden de los libros (cronológico)

Blick hinter die Kulissen. Kurt Weills intensive Korrespondenz mit der Universal Edition dokumentiert die Entstehung jedes der in Zusammenarbeit mit der Universal Edition entstandenen Werke, darunter auch Brechts Dreigroschenoper und Aufstieg und Fall der Stadt Mahagonny. Dabei präsentiert der Band ein wichtiges Stück Kultur-, Musik- und Theatergeschichte der Jahre 1924 bis 1933 aus erster Hand.

This collection features easy arrangements of 17 songs, each accompanied by a vocal line. Accompanying the music are stills from the renowned 1931 film adaptation of the opera, directed by Georg Wilhelm Pabst, which adds a visual dimension to the experience.

Contains the edited letters of Lotte Lenya and Kurt Weill. Their tortured relationship fuelled their individual geniuses - he wrote his best music for her and her singing was its most impassioned when she sang his songs.

In this prizewinning book, leading musical, theatrical, and literary scholars here examine different aspects of the life and work of Kurt Weill, one of the most controversial composers of the twentieth century. Making use of documentary material now available for the first time, the contributors present startling revelations not only about Weill’s career but also about his many collaborators—among them Brecht, Kaiser, Reinhardt, Werfel, Ira Gershwin, Klemperer, Moss Hart, and Elisabeth Hauptmann. "A welcome resource on the work of Kurt Weill, reflecting as it does the 'state of the art' in Weill scholarship. It provides new insights and observations on the legacy of an important and versatile composer."—Michale Colby, Notes "Anyone interested in opera should find . . . the book rewarding."—George Martin, Opera Quarterly "Enormously stimulating and provocative."—Richard Taruskin, Kurt Weill Newsletter "[A] probing and comprehensive collection of essays. . . . A seminal collection of essays."—Robert Henderson, Telegraph [London] "Fascinating, informative, thought-provoking, and illuminating."—Opera Canada

Als Angriff auf die Institution der traditionellen und "kulinarischen" Oper sucht Brecht am Modell eines Amüsierbetriebes für Goldgräber, bei dem man, wenn man Geld hat, "alles dürfen darf", das Wesen der spätkapitalistischen Gesellschaft zu erläutern. Kunstkritik und Gesellschaftskritik stehen nebeneinander.