Word: bertolt
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Dates: during 1970-1979
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Once in a while, one may notice a similar visibility problem in the Leverett House production of the opera, but Weill's music and Bertolt Brecht's words ultimately triumph over all obstacles...
While the Berlin section of the evening is less well done, it is more meaningful because Weill's collaborator was Bertolt Brecht. Between them they fashioned a dramatic rhetoric of music and lyrics that moved with deceptive ease from the beat of the goose step to the glide of the tango. Decadence was their target, but they were half in love with what they hated; Weill could decant sin from a saxophone. The music that he later composed in the U.S. somehow lacks that moral bite that Brecht inspired...
...Threepenny Opera, Bertolt Brecht refined the characters that Gay created, while Kurt Weill provided a tart and tangy score that is one of the marvels of the musical theater. The juice of art and life, however, flows richly enough through the original Beggar's Opera. The dominant motif-Gay's as well as Brecht's-is that money is thicker than blood. By now, the characters are classic, and they all live up to their names: Peachum (Gordon Cornell), the informer and fence; Lockit (Ralston Hill), the venal jailer of Newgate; and MacHeath (Timothy Jerome), the saucy...
THAT WHIRRING NOISE you hear is Kurt Weill spinning in his grave. When he and Bertolt Brecht wrote Threepenny Opera, Happy End, and Mahagonny, they never dreamed that their operas would be performed in the ballroom of the Somerset Hotel, in front of a group of Scotch-sipping, fur-clad, overstuffed suburbanites. The producers of September Song have done to Weill exactly what Brecht complained had been done to Billy's Bawd House in Balbao: "They've made it bourgeois...
...Exception and the Rule. By Bertolt Brecht. Caravan Theatre, Harvard-Epworth Methodist Church, 1555 Mass. Ave., Cambridge. Fri., Sat., 9 p.m. $3. Thru...