organization:threepenny opera

Kurt Weill opera silenced by Nazis to be heard again after 80 years | Stage | The Guardian

▻https://www.theguardian.com/stage/2019/apr/27/kurt-weill-opera-the-tsar-wants-his-photograph-taken-revived-quashed-na

Il y a quand même, parfois des bonnes nouvelles : Le grand Kurt Weill avec “le Tsar qui voulait sa photo” !

https://i.guim.co.uk/img/media/9054675fc1398644a213c0ba2c7ba8c967a41e35/0_0_480_480/master/480.jpg?width=380&quality=85&auto=format&fit=max&s=0d1db663b7adac6da095bb040fc2b67c https://i.guim.co.uk/img/media/2868682dd77aa43324fd9b94b86c9f2012911965/0_142_1988_2484/master/1988.jpg?width=380&quality=85&auto=format&fit=max&s=85ead5db1cf5d37926cb413691623ec8 https://i.guim.co.uk/img/media/8766ae953463ec5a6abc6f6b82fa2fd7ac85c12a/0_357_6016_3608/master/6016.jpg?width=1200&height=630&quality=85&auto=format&fit=crop&overlay-align=bottom%2Cleft&overlay-width=100p&overlay-base64=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdG8tZGVmYXVsdC5wbmc&s=d189b445d1954bb521ebb39a047a076e

German composer Kurt Weill is ranked high among the best of the 20th century and his music remains popular outside the classical world, from the enduring jazz standard Mack the Knife in his Threepenny Opera, to the Alabama Song covered by the Doors and David Bowie. But not all of Weill’s melodies survived the Nazi clampdown on Jewish culture.

Now, thanks to the work of an academic at University College London, a suppressed Weill stage hit that posed a puzzle for modern musicians is to be revived and performed in a fresh translation. The research of Michael Berkowitz, professor of Jewish history at UCL, in collaboration with the show’s new translator and director, Leo Doulton, has unlocked the mystery of The Tsar Wants His Photograph Taken and made it clear why this satirical work of 1927 was once so heavily suppressed. A performance on 4 May, the first with a full professional cast and orchestra for almost 40 years, will at last set the opera in its proper context, after 80 years of being largely ignored both in Germany and elsewhere.

#musique #kurt_weill #opéra

Hear a Newly Found #Kurt_Weill Song That Surprised Experts - The New York Times

▻https://www.nytimes.com/2017/11/06/arts/music/kurt-weill-song-of-the-white-cheese-discovered.html

Merveille signalée par Irène (merci Irène B.)

https://static01.nyt.com/images/2017/11/07/arts/music/07weill-item-lede/07weill-item-lede-facebookJumbo.jpg

A previously unknown song by Kurt Weill, the composer best known for “The Threepenny Opera,” has been discovered in Berlin and taken some of the world’s pre-eminent Weill experts by total surprise.

The piece, “Lied vom weissen Käse” (“Song of the White Cheese”) — which was written for a Weimar-era musical revue and sung by the actress Lotte Lenya, Weill’s wife — was recently found in an archive unrelated to Weill at the Free University of Berlin and is the most significant discovery of the composer’s music since the early 1980s. The song previously existed only in Lenya’s memory and was written off as chimerical.

#chanson #musique

Die Dreigroschenoper, Berliner Ensemble 2012
▻https://www.youtube.com/watch?v=nv2SiBcE9dM

N’ont pas aimé

Theatre Review : Die Dreigroschenoper (The Threepenny Opera) 5/09/2010
By Tim Berendse
▻http://creative-writers.blog.co.uk/2010/09/06/theatre-review-die-dreigroschenoper-the-threepenny-opera-93

as I leafed through the first few pages of the cast list and the actors playing them, I came across the name of the director. Robert Wilson. Oh no. I had seen Robert Wilson’s work previously in the very same theatre I was standing in today and I knew exactly what I was in for.

The Threepenny Opera Enters the Dead Zone
By Michael Feingold
▻http://www.villagevoice.com/2011-10-12/theater/the-threepenny-opera-s-dead-zone/full

Wilson has never really had any interest in the theater. He actively seems to disapprove of the theatrical impulse and even to resent its continued existence. Least of all, engaged as he has been in a world of wealthy backers, museums, and foundations, has he ever had any interest in theater with the kind of social-activist impulses that partially fueled the creation of Threepenny.
...
Wilson carefully removed all these aspects of the piece, turning Brecht and Weill’s middle-class wake-up call into dead entertainment for rich people.

Ont aimé

La magnifica “Die Dreigroschenoper” di Bob Wilson
Alessandro Rigolli
▻http://www.giornaledellamusica.it/rol/?id=3386

Va subito registrato il grande successo tributato da un pubblico da “tutto esaurito” che si è trovato di fronte ad un “classico” del teatro musicale del Novecento reinterpretato in chiave contemporanea dall’asciutta vena visionaria di Wilson. Una lettura che recuperava l’originaria tecnica del patchwork musicale sul quale si basava la settecentesca “The Beggar’s Opera” – fonte d’ispirazione per il lavoro di Brecht e Weill – declinandola sul piano visivo attraverso innumerevoli rimandi cinematografici. Tratteggiati da gesti marionettistici e stagliati su fondali in cui pulite forme geometriche si disegnavano su vividi colori compatti tipicamente wilsoniani, i protagonisti si muovevano in quadri che ricordavano ora il cinema espressionista di Robert Wiene, ora l’ambiguità di Helmut Berger che imita Marlene Dietrich ne “La caduta degli dei” di Visconti (Meckie Messer), fino a Nosferatu (Tiger Brown), a rimandi chapliniani e a un curioso Ziggy Stardust (il messaggero). Visioni “stranianti” che hanno ridato vita all’estetica brechtiana grazie a una perfetta compagnia di attori e musicisti, che andrebbero citati tutti.

Robert Wilson does The Threepenny Opera
Susan Bernofsky
▻http://berlinfromwithin.blogspot.de/2008/09/robert-wilson-does-threepenny-opera.html

In general, Wilson’s version of Brecht’s play is heavy on the ideas and light on emotion; this is certainly in keeping with Brecht’s own stated intentions, though we’ve since learned that his plays appear at their best when pure epic theater is cut with psychological complexity, as in Martin Wuttke’s brilliant portrayal of Arturo Ui under Heiner Müller’s direction.

But at moments a bit of character psychology does in fact slip in, particularly in my favorite scene in this production, the moment of Mac’s return to the bordello after escaping from prison, where he sings the Zuhälterballade (Ballad of the Pimp) in a duet with Jenny, the whore who betrayed him to the police, brilliantly played by Angela Winkler. While it’s clear in the context of the play she turned him in for the money, the song offers a psychological explanation (it details his abusive treatment of her under the guise of nostalgia), and Kurt and Winkler bring such depth of feeling to their performance of this powerful pas de deux that the play does start to feel as though it truly is about human beings—which goes a long way toward giving life to a production that exults in its own artifice.

Susan Bernofsky se trompe quand elle acuse Wilson d’avoir introduit une caricature de marchand juif. C’est faux puisque dans le contexte de citations du théâtre asiatique le personnage paechum est clairement chinois. Il aurait suffi de bien regarder son maquillage pour l’identifier comme chinois, mais bon, ces critiques de théâtre ...

▻https://www.youtube.com/watch?v=rsBaIEDWoCw

Angela Winkler
▻http://de.wikipedia.org/wiki/Angela_Winkler

Film

1969: Jagdszenen aus Niederbayern – Regie: Peter Fleischmann
1975: Die verlorene Ehre der Katharina Blum – Regie: Volker Schlöndorff
1978: Die linkshändige Frau – Regie: Peter Handke
...
1978: Deutschland im Herbst
1979: Die Blechtrommel – Regie: Volker Schlöndorff
...
1983: Danton – Regie: Andrzej Wajda
...
2011: Brot (2011)– Regie: Ahmet Taş

Theater
...
2007: Die Dreigroschenoper von Bertolt Brecht (als Jenny, am Berliner Ensemble) – Regie: Robert Wilson
...

Flickr contient série de photos de la mise en scène de Wilson
▻http://www.flickr.com/photos/bam_brooklyn/5732213346/in/photostream

Enfin pour les amateurs des interprétations plus simples et classiques voici une vidéo de la RAI avec Giogio Strehler et la Milva.
▻https://www.youtube.com/watch?v=YfRFl2giWX4