Kurt Weill/Bertolt Brecht – Die Dreigroschenoper-The Original 1930 Recordings (FLAC)

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Kurt Weill / Bertolt Brecht – Die Dreigroschenoper / Songs & Chansons – The Original 1930 Recordings

Marlene Dietrich – Lotte Lenya – Kurt Gerron – Erich Ponto

Tracklist:

1 Dreigroschenoper – Ouvert�re und Moritat von Mackie Messer 2:08
2 Dreigroschenoper – Seer�uberjenny 3:13
3 Dreigroschenoper – Kanonensong 1:36
4 Dreigroschenoper – Liebeslied 1:48
5 Dreigroschenoper – Barbara Song 2:03
6 Dreigroschenoper – Erstes Dreigroschen-Finale 3:06
7 Dreigroschenoper – Abschied 1:27
8 Dreigroschenoper – Zuh�lterballade 1:41
9 Dreigroschenoper – Ballade vom angenehmen Leben 1:26
10 Dreigroschenoper – Eifersuchtsduett 1:25
11 Dreigroschenoper – Zweites Dreigroschen-Finale 2:12
12 Dreigroschenoper – Lied von der Unzul�nglichkeit des menschlichen Strebens 1:38
13 Dreigroschenoper – Moritat und Schlusschoral 3:27
14 Aufstieg und Fall der Stadt Mahagonny – Wie man sich bettet 2:59
15 Aufstieg und Fall der Stadt Mahagonny – Alabama Song 3:03
16 Berlin 1930 – Das Nachtgespenst (Kurt Gerron) (Rudolf Nelson) 3:42
17 Berlin 1930 – Peter (Rudolf Nelson) 3:21
18 Berlin 1930 – Guck doch nicht immer nach dem Tangogeiger hin (Friedrich Holl�… 2:56
19 Berlin 1930 – Jonny (Friedrich Holl�nder) 3:01
20 Berlin 1930 – Vom Seemann Kuttel Daddeldu (Wilhelm Grosz) 5:55
21 L’Op�ra de quat’sous – Chant des Canons 2:16
22 L’Op�ra de quat’sous – Chant d’amour 2:58
23 L’Op�ra de quat’sous – Tangoballade 3:19
24 L’Op�ra de quat’sous – Ballade de la vie agr�able 2:00

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———- Post added at 12:51 AM ———- Previous post was at 12:51 AM ———-

The Threepenny Opera (German: Die Dreigroschenoper) is a musical by German dramatist Bertolt Brecht and composer Kurt Weill, in collaboration with translator Elisabeth Hauptmann and set designer Caspar Neher. It was adapted from an 18th-century English ballad opera, John Gay’s The Beggar’s Opera, and offers a Socialist critique of the capitalist world. It opened on 31 August 1928 at Berlin’s Theater am Schiffbauerdamm.

By 1933, when Brecht and Weill were forced to leave Germany by Hitler’s Machtergreifung, the play had been translated into 18 languages and performed more than 10,000 times on European stages. Songs from The Threepenny Opera have been widely covered and become standards, most notably "Die Moritat von Mackie Messer" ("The Ballad of Mack the Knife") and "Seer�uberjenny" ("Pirate Jenny"). The Threepenny Opera was first performed at the Theater am Schiffbauerdamm in Berlin in 1928. Despite an initially poor reception, it became a great success, playing 400 times in the next two years. The performance was a springboard for one of the best known interpreters of Brecht and Weill’s work, Lotte Lenya, who was married to Weill.

In the United Kingdom, it took some time for the first fully staged performance to be given (9 February 1956, under Berthold Goldschmidt). There was a concert version in 1933, and there was a semi-staged performance on 28 July 1938. In between, on 8 February 1935 Edward Clark conducted the first British broadcast of the work. It received scathing reviews from Ernest Newman and other critics. But the most savage criticism came from Weill himself, who described it privately as "… the worst performance imaginable … the whole thing was completely misunderstood". But his criticisms seem to have been for the concept of the piece as a Germanised version of The Beggar’s Opera, rather than for Clark’s conducting of it, of which Weill made no mention.

The Threepenny Opera has been translated into 18 languages and performed more than 10,000 times. A French version produced by Gaston Baty and written by Nicole Steinhof and Andr� Mauprey was presented in October of 1930 at the Th��tre Montparnasse. It was rendered as L’Op�ra de quat’sous; (quatre sous, or four pennies being the idiomatically equivalent French expression for Threepenny and, by implication, cut-price, cheap). Georg Wilhelm Pabst produced a German film version in 1931 called Die 3-Groschen-Oper, and the French version of his film was again rendered as L’Op�ra de quat’sous.

It has been translated into English several times. One was published by Marc Blitzstein in the 1950s and first staged under Leonard Bernstein’s baton at Brandeis University in 1952. It was later used on Broadway. Other translations include the standard critical edition by Ralph Manheim and John Willett (1976), one by noted Irish playwright and translator Frank McGuinness (1992), and another by Jeremy Sams for a production at London’s Donmar Warehouse in 1994.

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