Performing both works for the first time, the RCO capered crisply through Shostakovich’s Suite from The Nose and played sumptuously in Weill’s The Seven Deadly Sins, with captivating songstress Wende.
At their recital at the Bergen International Festival, Bryn Terfel and pianist Caradog Williams presented a programme of overwhelming sameness and neverending joviality.
Weill’s New York Street Scene is a successful ensemble end of year piece for the students of RCS, ably directed by Alexandra Spencer-Jones, Robert Houssart conducting with the orchestra on top form.
A modern Mahagonny rises and falls in Mannheim, brought to life by a great cast of singer-actors and a conductor (Benjamin Reiners) and orchestra who celebrate Weill's catchy score.
The backstory doesn’t bode well: three fugitive criminals decide to found a city that will pander to society’s most vital needs: food, sex, warfare, and alcohol.
The first edition of the New Life Festival, dedicated to Jewish musicians who fled from or suffered under the National Socialist regime during the Second World War, uncovered some hidden gems.
Nationaltheater Mannheim's new production of Brecht and Weill's collaboration is a true company achievement and a thrilling evening of music and theatre.
A revival of Bertolt Brecht and Kurt Weill's Die Dreigroschenoper at the Théâtre des Champs-Élysées is a remainder of director and visual artist Robert Wilson's greatest achievements.
In the finale to Der Dreigroschenoper the sinister incantation of "Denn wovon lebt der Mensch?" ("For what does man live?") ran delightfully close to the bone in these plush surroundings
Barry Humphries’ Weimar Cabaret – a witty, urbane valentine to the musical culture of Germany in the 1920s and 30s, from the opera house to the concert hall to Berlin’s revues and cabarets.
HK Gruber's wit shines through this concert centred on Brecht and Weill's bitingly sarcastic songs from The Threepenny Opera; Håkan Hardenberger thrills with magical playing of trumpet and flugelhorn.
Requiring trained opera singers to focus primarily on acting and asking actors to sing in a renowned opera house puts everyone out of their comfort zone, which is not necessarily a bad thing.
This was raw Mahler at its most all-embracing. The musicians seemed to embrace the entire world. As an audience member made to leave the hall, Axelrod leant over the balustrade to shake his hand.
From its stunningly filmic opening to its faux-Golgotha finale, the Royal Opera House’s new production of Weill’s Rise and Fall of the City of Mahagonny demands our attention.
She made cynics swoon and skeptics burst: Jessye Norman, along with pianist Mark Markham, serenaded eager listeners with love songs from the Great American Songbook and 20th-century France.
Friday’s concert served as an interesting showcase of music that, undeservedly, isn’t performed too often. Even though the performances were somewhat lacking, the quality of the music shone through.
Ute Lemper's barnstorming performance of songs from the Weimar Republic chimes perfectly with the Edinburgh Festival's barbed-wire-and-bluebell logo for 2014.
Opera Parallèle combines Kurt Weill's Mahagonny Songspiel and Francis Poulenc's Les Mamelles de Tirésias in a riotous opera-within-an-opera production.
In conversation with Petroc Trelawny at the fourth of the Proms Chamber Music concerts, the 25-year-old Norwegian trumpeter Tine Ting Helseth casually dismissed her ten-piece brass ensemble tenThing’s all-female set-up as “just a gimmick”.
The New Zealand Symphony Orchestra really has the perfect Wagner sound. Their full, vibrant string tone and magnificent pealing brass were fully in evidence in a thrilling rendition of the concert version of the overture from Tannhäuser.
When one sees the word “Erotica” in connection with classical music, one is usually safe in assuming that it’s a misprint in the title of Beethoven’s Third Symphony.
The seldom-seen opera musical Lost in the Stars found prominence Friday night, enrapturing a full house at Glimmerglass Festival in New York, moving some of the actors themselves to tears, and stirring the audience to its feet for curtain call.
Imagine a small company of just seven dancers being served a smorgasbord of eclectic new works, dished up by a quartet of today’s best young British choreographers from different top-ranking British companies. Ballet Black has just had the good fortune to present this spring season’s fare to a full house capacity at the Linbury Theatre in Covent Garden.
Two of the world’s most sought-after opera singers giving Lieder recitals on the same night. The kind of painful choice which Viennese musical institutions and their chaotic schedules throw up all too regularly. I went for Nina Stemme over Jonas Kaufmann on the basis that she gives fewer solo recitals, despite harbouring reservations about how her big voice would fare in this repertoire.
If you are looking for a show for all the family this Christmas, look no further. Magical Night is a heart-warming production of dance-theatre in which one night a host of toys come to life. Along with two children, the lovable Chimpy the monkey, Sir Green Knight, baby Tumble Tot, Fire Flame and Mighty Robot have a great adventure.
Back in London after a sell-out US tour, English tenor Ian Bostridge CBE, with his wonderful pianist Julius Drake, proved his extraordinary range and versatility as a singer with a programme featuring music by Tippett, Britten, Bach, Haydn and Weill. This special concert had an extra resonance, as it marked Sir John Tusa’s last day as Chairman of the Wigmore Hall Trust.
A handful of times in operatic history, a composer has thrown away the rule book and produced a work which defies categorisation because it simply isn't like anything else in the repertoire. Kurt Weill's Die Dreigroschenoper is one such work: musically and dramatically, neither Weill himself or anyone else has ever written anything remotely similar.
Einen weiten Bogen spannten Amarcord Wien und Iris Vermillion bei der Styriarte; von Schönbergs Brettl-Liedern über Weills Opern bis hin zu Stolz‘schen Operettenmelodien.
Lahav Shani dirigierte das Philharmonische Orchester Rotterdamm bei Weills zweiter Symphonie, spielte das Solo bei Gershwins Rhapsody in Blue und tanzte bei Bernsteins West Side Story.
 and the cast-c-liza-voll-photography-resized.jpg "James Maddalena (Jonathan Peachum), Kelly Kaduce (Polly Peachum) and Michelle Trainor (Mrs Peachum) © Liza Voll Photography")
