It's filled with motifs from his European works but the Broadway-musical direction he was headed in (because he had no choice) is very clear: the very bright big band sound, hammy Anglo voices, silly names like Minnie Belle. The second one is a little too orchestrated for my taste, but it does contain Le Roi d'Aquitaine, one of Weill's loveliest songs but for some reason rarely recorded.Įarly this morning I listened to more Weill, "The music for Johnny Johnson", the first work he staged in America. ![]() (It's also mentioned in several novels and memoirs of the period, for example Edmund White's The Farewell Symphony. ![]() I'm not fond of operatic voices outside their natural habitat and the two Stratas albums of Weill's songs are the only such examples I have-the first album, "The unknown Kurt Weill" from 1981, made a big hit at the time.
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