Wilhelm Brückner-Rüggeberg - Sender Freies Berlin
Moritatensänger: Wolfgang Neuss
Herr Peachum: Willy Trenk-Trebitsch
Frau Peachum: Trude Hesterburg
Macheath: Erich Schellow
Polly Peachum: Johanna von Kóczián
Jenny: Lotte Lenya
Tiger Brown: Wolfgang Grunert
Lucy: Inge Wolffberg
Gangster 1: Kurt Helling
Gangster 2: Paul Otto Kuster
Gangster 3: Joseph Hausmann
Gangster 4: Martin Hoeppner
Music by Kurt Weill
Text by Bertolt Brecht
Lossless: Ape (img + cue + log) = 342 mb
Lossy: Mp3 (lame "preset standard") = 99 mb
Full libretto @ 300dpi = 20 mb (pdf) or 51 mb (jpg)
Total playing time: 68:25
Recorded: Afifo Studio, Tempelhof, Berlin 1958
Released: 1982, CBS MK 42637
Track listing:
1. Ouvertüre
2. Die Moritat von Mackie Messer
3. Der Morgenchoral des Peachum
4. Anstatt-daß-Song
5. Hochzeitslied für ärmere Leute
6. Kanonensong
7. Liebeslied
8. Der Song vom Nein und Ja (barbara-Song)
9. Die Unsicherheit menschlicher Verhältnisse
10. Der Pferdestall
11. Pollys Abschiedslied
12. Zwischenspiel
13. Die Ballade von der sexuellen Hörigkeit
14. Die Seeräuber-Jenny oder Träume eines Küchenmädchens
15. Die Zuhälterballade
16. Die Ballade vom angenehmen Leben
17. Das Eifersichtsduett
18. Kampf um das Eigentum
19. Ballade über die Frage: "Wovon lebt der Mensch?"
20. Das Lied von der Unzulänglichkeit
21. Salomon-Song
22. Ruf aus der Gruft
23. Ballade in der Macheath jedermann Abbitte leistet
24. Der reitende Bote
25. Dreigroschen-Finale
26. Die Schluß-Strophen der Moritat
Reviews:
Amazon.com (customer review)
Kurt Weill was once quoted as saying "there are only two kinds of music - good music and bad music". This is great music whipped into a frenzy - the Threepenny Opera as true opera and not as a musical play. The casting is superb, a direct reflection of Lotte Lenya's musical supervision of the project. It is one of the few complete recordings of the work, including both the "Jealousy Duet", often omitted because of the vocal demands placed on the performers, and the Ballad of Sexual Dependency, usually omitted because of its frank content.
Lotte Lenya steals the show. Pirate Jenny has an almost maniacal lilt in the final verse. The Tango Ballade hits its full stride only after Lenya's voice takes over the lead. Her delivery of, perhaps, Brecht's most famous line; "erst kommt das fressen, dann kommt die moral" in the Ballad "What Keeps Mankind Alive" is as authoritative as Brecht could ever hope it to be. Lenya's exploitation of the musical interval of a tritone at "Rocke heben" adds a lifetime of experience and conviction to the work.
Not to be overlooked is the excellent musical direction of Wilhelm Bruckner-Ruggeberg of the musicians and singers. Trude Hesterburg as Frau Peachum delivers a delightful performance of the Ballad of Sexual Dependency, and the Peachum family triumphs in the finale to Act I, the Uncertainty of Human Conditions. A true virtuoso performance all around.
Kurt Weill suceeded beyond his wildest dreams - he truly was the poor man's Verdi.
Gramophone:
Gramophone (1961 review - click to enlarge):
Click here to download
Moritatensänger: Wolfgang Neuss
Herr Peachum: Willy Trenk-Trebitsch
Frau Peachum: Trude Hesterburg
Macheath: Erich Schellow
Polly Peachum: Johanna von Kóczián
Jenny: Lotte Lenya
Tiger Brown: Wolfgang Grunert
Lucy: Inge Wolffberg
Gangster 1: Kurt Helling
Gangster 2: Paul Otto Kuster
Gangster 3: Joseph Hausmann
Gangster 4: Martin Hoeppner
Music by Kurt Weill
Text by Bertolt Brecht
Lossless: Ape (img + cue + log) = 342 mb
Lossy: Mp3 (lame "preset standard") = 99 mb
Full libretto @ 300dpi = 20 mb (pdf) or 51 mb (jpg)
Total playing time: 68:25
Recorded: Afifo Studio, Tempelhof, Berlin 1958
Released: 1982, CBS MK 42637
Track listing:
1. Ouvertüre
2. Die Moritat von Mackie Messer
3. Der Morgenchoral des Peachum
4. Anstatt-daß-Song
5. Hochzeitslied für ärmere Leute
6. Kanonensong
7. Liebeslied
8. Der Song vom Nein und Ja (barbara-Song)
9. Die Unsicherheit menschlicher Verhältnisse
10. Der Pferdestall
11. Pollys Abschiedslied
12. Zwischenspiel
13. Die Ballade von der sexuellen Hörigkeit
14. Die Seeräuber-Jenny oder Träume eines Küchenmädchens
15. Die Zuhälterballade
16. Die Ballade vom angenehmen Leben
17. Das Eifersichtsduett
18. Kampf um das Eigentum
19. Ballade über die Frage: "Wovon lebt der Mensch?"
20. Das Lied von der Unzulänglichkeit
21. Salomon-Song
22. Ruf aus der Gruft
23. Ballade in der Macheath jedermann Abbitte leistet
24. Der reitende Bote
25. Dreigroschen-Finale
26. Die Schluß-Strophen der Moritat
Reviews:
Amazon.com (customer review)
Kurt Weill was once quoted as saying "there are only two kinds of music - good music and bad music". This is great music whipped into a frenzy - the Threepenny Opera as true opera and not as a musical play. The casting is superb, a direct reflection of Lotte Lenya's musical supervision of the project. It is one of the few complete recordings of the work, including both the "Jealousy Duet", often omitted because of the vocal demands placed on the performers, and the Ballad of Sexual Dependency, usually omitted because of its frank content.
Lotte Lenya steals the show. Pirate Jenny has an almost maniacal lilt in the final verse. The Tango Ballade hits its full stride only after Lenya's voice takes over the lead. Her delivery of, perhaps, Brecht's most famous line; "erst kommt das fressen, dann kommt die moral" in the Ballad "What Keeps Mankind Alive" is as authoritative as Brecht could ever hope it to be. Lenya's exploitation of the musical interval of a tritone at "Rocke heben" adds a lifetime of experience and conviction to the work.
Not to be overlooked is the excellent musical direction of Wilhelm Bruckner-Ruggeberg of the musicians and singers. Trude Hesterburg as Frau Peachum delivers a delightful performance of the Ballad of Sexual Dependency, and the Peachum family triumphs in the finale to Act I, the Uncertainty of Human Conditions. A true virtuoso performance all around.
Kurt Weill suceeded beyond his wildest dreams - he truly was the poor man's Verdi.
Gramophone:
This is, of course, the classic 1958 recording (first issued in the UK in mono in 1961) of Die Dreigroschenoper, featuring the composer's widow, Lotte Lenya, in the role of Jenny that she created back in 1928. Though 30 years on Lenya's voice had lost its youthful characteristics, no other recording of the work has approached this for bringing out, on the one hand, the pungency of its satire and, on the other, the catchiness of the dance-band rhythm. Probably none ever will.
It is also the only absolutely complete version there has been, since it includes not only Mrs Peachum's "Ballad of Sexual Dependency" but even Lucy's rarely heard "Jealousy Song".
Originally the recording was on four LP sides, and then reissued on three. Now it finds its ideal format on a single CD, in which form it should be in every record collection. The sound is very good early stereo.
It is also the only absolutely complete version there has been, since it includes not only Mrs Peachum's "Ballad of Sexual Dependency" but even Lucy's rarely heard "Jealousy Song".
Originally the recording was on four LP sides, and then reissued on three. Now it finds its ideal format on a single CD, in which form it should be in every record collection. The sound is very good early stereo.
Gramophone (1961 review - click to enlarge):
Click here to download
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