City Speak

1. City Speak

2. Walk the Walk

3. Unspoken Words

4. Amazon

5. I'll Make Love to You

6. Scotland

7. Sweet Surrender

8. Downhill Run

9. When the Lights Go Out

10. All I Need

11. That's All She Wrote

City Speak,Richard Elliot,Blue Note Records,Crossover Jazz,Fusion,Instrumental Pop,Jazz,Jazz Music,Jazz-Pop,Pop,Quiet Storm,Smooth Jazz,Urban

Jazz

Music

jazz

Tracks:

Mack The Knife - Nick Cave
Ballad Of The Soldier's Wife - P.J. Harvey
Alabama Song - David Johansen
Youkali Tango - Teresa Stratas
Lost In The Stars - Elvis Costello
Pirate Jenny - Lotte Lenya
Speak Low - Charlie Haden
Oh, Heavenly Salvation - The Persuations
Lonely House - Betty Carter
Surabaya- Johnny - Teresa Stratas
Furchte Dich Nicht - Mary Margaret O'Hara
September Song - Lou Reed
Mack The Knife - Bertolt Brecht
What Keeps Mankind Alive? - William S. Burroughs

Customer Reviews:

some brilliant renditions, but can't quite all mix together.......2006-10-19

I like the spirit of this album, which is to let the music of Kurt Weill attach itself to the many worlds it came from. This was classical music that also used elements of popular music at the time, all with a very dark and almost mechanical tone. So it would seem fitting to have exquisite voices like Teresa Stratas rub elbows with darker elements like Nick Cave in this collection. There are also the jazz influences developed by Charlie Haden and Betty Carter.

In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"

But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."

Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.

Cool and Camp.......2006-08-24

This is a very biased review- I originally had much of Weill's work on cassette tape- way back in the olden days- before CD's- so I am already very partial to many of the tracks on this CD- I would recommend it not only to Kurt Weill fans, and the fans of the various artists featured, but I would also strongly recommend this to anyone who likes artsy, camp, fun burlesque, Bohemian European stuff. The record, even though performed by contemporary artists still retains much of it's zeitgeist, it evokes the era in which Weill was writing and it rounds out any great eclectic record collection. It's a great musical discovery for fans of all sorts of genres, and EVERYONE should own at least one recorded arrangement of "Mack The Knife". (You know, for parties and stuff!)

September Song Music of Kurt Weill.......2006-08-22

Songs from the film-documentary done by various artists. Excellent choice if you like Mr Weill's music. I saw the film and always wanted the CD. Now I have and I recommend it highly.

It's a long time between January and December.......2004-06-11

Kurt Weill is one of those composers who juggles Jewish angst with Catholic guilt: and possibly vice versa. As a collection, it is nonpareil. Each interpretation becomes a definitive reading of the "song". Lord, it is one of the best assemblies of contemporary artists going. Lou couldn't be better; Ms O'Hara, in fine form, performs her deranged puppet-dance to the X. OK. An unknown. Roping-in, such a postmodern figure as, well, you-know-who, to orate Weill's lyrics is never less than exceptional. An amazing collection. Is there a DVD?

Paul

Ain't we Hip?!!?.......2003-07-23

This is the avant version of these songs, everything done with that Downtown fingers-across-the-blackboard screech. They even got Johanson doing it, which is no less than amazing. The sole exception is the Persuasions' "O Heavenly Salvation", but one song does not an album make.

Tracks:

The Winter's Tale: Fennimores Lied
The Winter's Tale: Casars Tod
The Winter's Tale: Die Moritat Von Mackie Messer
The Winter's Tale: Salomon - Song
The Winter's Tale: Die Ballade Von Der Sexuallen Horigkeit
The Winter's Tale: Zu Potsdam Unter Den Eichen
The Winter's Tale: Nannas Lied
The Winter's Tale: Lied Des Lotterieagenten
The Winter's Tale: Alabama-Song
The Winter's Tale: Denn Wie Man Sich Bettet
The Winter's Tale: Je Ne T'Aime Pas
The Winter's Tale: I'm A Stranger Here Myself
The Winter's Tale: Westwind
The Winter's Tale: Speak Low

Customer Reviews:

Affecting but oversold.......2006-11-28

Prompted by both friends and reviewers, I've tried to learn to like Ute Lemper's Weill, but after valiant efforts, I must say I don't. She has great facility, it's true, in several languages, and she knows the timbre of a song and works hard to put it across. For me, however, she works too hard, whether it's the distracting breathiness of "je ne t'aime pas" or the "street kid" Berlin Rrrs in "Mackie Messer" or the aggressive Noo Yorking in "I'm a Stranger Here Myself", I end up feeling that I'm having the song pushed at me rather than allowed to flower for itself. In a cabaret setting they might (maybe) work better, but on disk, I don't find her vocally strong enough to carry the music alone. Too much wobble in the voice and not always either the breath or the pitch to make the longer phrases work. The comparison with Theresa Stratas in "Je ne t'aime pas" (or even better, the terrifying German version "Wie Lange Noch") is instructive. Lemper is small, touching, you can feel why someone would have left her, she oozes powdery pathos over a nightclub table. Stratas, Piaf-like, is riven by love and music alike and takes the song's lines where they naturally lead. For me, it's no contest.

Great vocalist in three languages. Very best Weill interpreter.......2005-10-01

`Ute Lemper Sings Kurt Weill, Volumes 1 and 2' released in 1988 and 1993, plus the third album of Weill's two most important song cycles in German, `The Seven Deadly Sins' (`Die sieben Todsunden') and `Mahagonny Songspiel' released in 1990 unequivocally established Ms. Lemper as the leading Kurt Weill interpreter since Lotte Lenya, Weill's wife and the singer for whom many of his vocal pieces were written. These three disks, sample pieces from most major Weill works written in German, including his most famous musical play, `The Threepenny Opera' (`Die Dreigroschenoper').

The first disc has fourteen tracks with three from `Der Silbersee' with lyrics by Kaiser, three from `Die Dreigroschenoper' with lyrics by Bertolt Brecht, two from `Berliner Requiem' with lyrics by Brecht, two from `Mahagonny' with lyrics by Mahagonny, `Je ne t'aime pas with French lyrics by Magre, and three from `One Touch of Venus' with English lyrics by S.J. Perelman and Ogden Nash.

The middle disc includes both works performed in their original German. After having listened to `The Seven Deadly Sins' done by several different artists, and having just reviewed a CD on which Anne Sofie von Otter does this work, I discover for the first time that the piece was written in two versions, one for a low voice and one for a high voice. Von Otter does the version for high voice and Lemper does the version for low voice that, I suspect, is the way it was originally performed by Fraulein Lenya. One service done by comparing Lemper and von Otter's performance is to see how much closer Lemper is to the original spirit of the work than is von Otter. Weill's venue was not the opera stages of Berlin or Vienna, it was the popular stage, actually much closer to what we see in the movie `Cabaret' than what we see in `Amadeus'. I enjoy von Otter's rendition, but Lemper stirs my heart where von Otter does not. Lemper also seems to have the benefit of a much better cast of supporting voices on the two works on Volume 1.

All albums are done with the backing of the RIAS Berlin Sinfonietta, conducted by John Mauceri who seems to get just the right tone of sleaze out of his ensemble to match the tone of the composition and lyrics by Weill and his various librettists, especially Berthold Brecht.

Volume 2 showcases Lemper's ability to sing with equal facility and understanding in German (Songs from `Happy End'), French (Songs from `Marie Galante'), and English (Songs from `Lady in the Dark'). While my understanding of French is far weaker than my understanding of the German and the English, when I compare Ms. Lemper's French interpretations with the French of Ms. Von Otter, I definitely prefer Lemper's treatment. She may not quite match Edith Piaf, but I feel she has a cachet all her own.

Lemper is a vocalist in that great European femme fatale tradition of Lenya, Piaf, and Dietrich and certainly to my lights the leading interpreter today of Weill's songs plus works by other European composers for the musical and cabaret (See her album `City of Strangers'). Compared to even some of the greatest contemporary American female vocalists on the stage such as Streisand and Minelli, both Yanks have their strength, but they can't or don't try to achieve the same depth of feeling behind the European `Weltschmertz' you hear from Lemper and her forerunners. The closest may be Minelli's performance as Sally Bowles in `Cabaret', but even there, she can't seem to hide her American innocence.

Of the three albums, the first of the three, `Ute Lemper Sings Kurt Weill' may be the best introduction, as it includes two of Weill's best English songs, `I'm a Stranger Here Myself' and `Speak Low'. The third, `Ute Lemper Sings Kurt Weill Vol. 2' has two of Weill's most famous German songs outside of `Die Dreigroschenoper', `Bilbao-Song' and `Surabaya-Johnny'.

If you encounter this review and have never heard Ute Lemper, I strongly urge you to try one of these albums. If the German and French turns you off, try Lemper's recent album, `Punishing Kiss'.

Very highly recommended.

Ute dramatically renders the best of Weill and Brecht!.......2004-09-25

This album is full of many highlights, Zu Potsdam, Die Sexuelle Hoerigkeit, Wenn Die Man Sich Bettet, etc. From beginning to end it is a triumph and masterpiece by the international singing sensation Ute Lemper.

Voice non par excellence.......2004-03-18

It seems that everywhere you turn there is someone "with a unique voice." Usually we nod and upon hearing the voice in question shake our heads and head on to the next great talent. But the trite saying is, for this case, proven beyond a shadow of a doubt.

These interpretations are just incredible, ultra-clear, and just the way one would imagine these songs presented. Several of the selections are more suited to a smoky speakeasy rather than the stage which is just fine by me. Lemper runs the gamut from the catty growl to the ultra-lush to the quiet melancholy to the joyous Bronx of "I'm Just a Stranger Here Myself." The three languages presented absolutely no problems: The German was sufficiently guttural, the French erotic and the English - well, as only English can sound.

A near perfect recording by a near perfect artist.

Ute! She knows how to trill me!.......2003-11-17

I'd never heard of Ute Lemper until I received a brochure announcing her March concert at the Cleveland Museum of Art. I fell for her picture. I saw a women who oozed style, class, and sensuality; she had to be a great singer, right? So I purchased the "Ute Lemper Sings Kurt Weill" CD, and fired it up as soon as UPS delivered. I didn't know what to think. The music was strange, the singing was stranger. Foreign. Had I wasted my money? Did I fall for slick marketing and a pretty face? I listened again...and again...and again... Ute's way of singing these haunting, powerful melodies-her key changes, her haughtiness, her sarcasm, her way of emphasizing key words and phrases, her trills (Oh, those trills)-grabbed me by the throat and shook me in a way that I thoroughly enjoyed. I can't get the songs out of my head. I find myself singing the last two lines of "Caesar's Tod" and "Zu Potsdam unter den Eichen" and the chorus of "Nanna's Lied" at work, auf Deutsche. These songs don't let go! I can't wait 'til March.

Average customer rating:

A mediocre album by Richard Elliot

City Speak
Richard Elliot
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Smooth Jazz | Jazz | Styles | Music

General | Pop | Styles | Music

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Quiet Storm | R&B | Styles | Music

Blue Note Records | Amazon.com Label Stores | Stores | Music

Dance Pop | Dance & DJ | Indie Music | Stores | Music

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Similar Items:

Soul Embrace
After Dark
On the Town
Jumpin' Off
Crush

ASIN: B000005GZZ
Release Date: 1996-04-02

Tracks:

City Speak
Walk The Walk
Unspoken Words
Amazon
I'll Make Love To You
Scotland
Sweet Surrender
Down Hill Run
When The Lights Go Out
All I Need
That's All She Wrote

Customer Reviews:

A mediocre album by Richard Elliot.......1999-12-11

I will start by saying that this is not Richard Elliot's best album (After Dark is his best, but that's beside the point.) Many of the songs on this album are rather boring and sound like the others. There are a few good songs like "Amazon" and "Unspoken words." This is not by any means a bad album, but it isn't a great one.

Tracks:

Mile After Mile
Bilbao Song
Stay Well
Life, Love And Laughter
My Ship
Green-up Time
The Little Gray House
Blues Potpourri
September Song
All At Once
Le Roi d'Aquitaine (Waltz)
Foxtrot Potporri
Alabama Song
Lied Der Jenny
Speak Low
It Never Was You
What Good Would the Moon Be
Tango Ballade
Kanonen-Song

Amazon.com

Here's a disc of 19 familiar and unfamiliar Kurt Weill songs arranged for dance band and played by an expert group of specialists in Roaring Twenties band music. They're led by singer-conductor-composer H.K. Gruber, whose previous recordings include Weill's Die Dreigroschenoper. The result is a start-to-finish delight. From the first notes, you're beamed back in time to one of those sleek transatlantic passenger liners, sitting in an art deco ballroom watching elegant couples in tuxedos and ball-gowns swirl by while the band plays hits from Weill's German and Broadway triumphs. Sure, the venom is leached from the originals, but who needs agitprop when you're on a dance floor? The arrangements are by a variety of hands, hired by Weill's European and American publishers with his approval to get more mileage from his musical theater works. They're delightfully square rhythmically and formulaic in transferring Weill's music to conventional dance bands, but the music still holds up and is fun to hear in its new clothes. A special treat is the eight tracks with Max Raabe, whose light tenor and falsetto singing preserve the spirit of Weill's songs, as well as perfectly mimic the boy band singers of times gone by. --Dan Davis

Customer Reviews:

SAIL ON, KURT!.......2006-04-23

I wouldn't take offence here oh, Weill purists! These reconstructions are charming and harmonically reverent to their originals, more than could be said for many versions of the Weill Songbook through the decades, including Lou Reed's friendly `adaptation' of the September Song's chord progression and melodic line!

Shoenberg and Webern expressed their disdain of Weill's music; curiously, Arnold had also disclosed a secret wish of having his own audiences walk back home "whistling his tunes", oh, don't ask why... You can certainly whistle, hum and sway your partner now, as the transatlantic's bouncy dancehall sails on just as Kurt, Lotte and the lot of them did when escaping the lethal hounds of early 30s Berlin.... the-next-little-dollar bound.

Not at All Vile Weill.......2001-08-13

The ever versatile HK Gruber has done it again digging up these gorgeous dance arrangements for Weill's music--proving, if anything, Weill's versatility. Anyone familiar with the Capriccio historical Weill recordings will be aware of the long tradition of dance bands taking Weill's music as the lead for dance music or pop music incarnations (all the way up through the more obvious appropriations familiar to Americans: Mack the Knife and September Song). Hardly MUZAK arrangements (listen to the delicate violin in track 17's "What Good Would the Moon Be" to hear what I mean), this generous helping of 19 songs offers a chance to see Weill through a delightfully different but entirely compatible lens. Max Raabe provides the ideal vocal compliment on 8 of the tracks, his tenor floating effortlessly into his head voice suggesting a "period" sound reminiscent of Bing Crosby. The import title for this disc is "Charming Weill," and that modest adjective expresses the least of its virtues.

ELEVATOR MUSIC.......2001-05-23

This is a very strange CD: why would anyone want to take the quirky rhythms and melodies of the great Kurt Weill and "tame" them into dance arrangements? Certainly one has listened to (& even perhaps admired) dance arrangements of composers from Victor Herbert to Cole Porter to Jerry Herman, but these are all, if you will, main stream composers-- men whose music sounds good in original Broadway or Hollywood arrangements and just as good (or almost as good) as played by a dance band...think "Begin The Beguine" as done by Fred Astaire on film or "Begin The Beguine" done by Jo Stafford with the Paul Weston Orchestra.

But Weill was an innovator: a man who can still be listened to experiencing the thrill of something fresh and new. One immediately thinks of his collaborations with Bertolt Brecht in Germany: "Threepenny Opera" and "The Rise & Fall Of The City of Mahagonny" or "The Seven Deadly Sins", etc. his American opera, "Street Scene" with Langston Hughes or his American musical plays: "One Touch of Venus" with Ogden Nash or "Love Life" with Alan Jay Lerner, etc. The songs on this CD all deserve great recordings from the "Alabama Song" to "September Song" but they turn into a kind of flattened elevator music instead of having fresh interpretations or even more traditional ones. What happens is that the longing in "What Good Would the Moon Be" and the romance of "Speak Low" and the raucousness of "Bilbao Song" are all much too similar and much too easy.

Tracks:

Wine And Come Up
Speak No Evil
Tom Drunk
Never Get Away
Lead The Way
Athea Smith
Send For Me
Turn Back
Your Dreams
Tuffa Dan Lion
My Destiny
Name Your Poison
Unlucky Day
What Is This
I'm Your Puppet
Dance Crasher

Kurt Weill from Berlin to Broadway - a selection

Average customer rating:

Kurt Weill from Berlin to Broadway - a selection

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Lotte Lenya Sings Kurt Weill / Levine, Lenya, Armstrong, Gilford, et al
Kurt Weill: The Centennial
Kurt Weill / Songs Volume 2 - A Centennial Anthology
Kurt Weill / Songs Volume 1 - A Centennial Anthology
Knickerbocker Holiday

ASIN: B00004WZTK
Release Date: 2000-10-24

Tracks:

The Threepenny Opr: Mack The Knife - Harald Paulsen With Orch
The Threepenny Opr: Cannon Song - Harald Paulsen With Orch
The Threepenny Opr: Pirate Jenny - Lotte Lenya With The Lewis Ruth Band/Theo Mackeben
The Threepenny Opr: Babarasong - Lotte Lenya With The Lewis Ruth Band/Theo Mackeben
The Threepenny Opr: Lied Von Der Unzulanglichkeit Menslichen Strebens - Bertolt Brecht With Theo Mackeben And His Orch
Happy End: Mandalay Song - Lewis Ruth Band
Happy End: Surabaya Johnny - Lotte Lenya With Pno
Rise And Fall Of The City Of Mahagonny: Moon Of Alabama - Lotte Lenya With The Three Admirals And Orch
Rise And Fall Of The City Of Mahagonny: Denn Wie Man Sich Bettet - Lotte Lenya With Pno
Knickerbocker Holiday: September Song - Walter Huston With Orch/Maurice Abravanel
Knickerbocker Holiday: There's Nowhere To Go But Up - David Brooks With Orch/Maurice Abravanel
Knickerbocker Holiday: The Scars - Walter Huston With Orch/Maurice Abravanel
Lady In The Dark: One Life To Live - Gertrude Lawrence With Orch/Leonard Joy
Lady In The Dark: The Princess Of Pure Delight - Danny Kaye With Orchestra/Maurice Abravanel
Lady In The Dark: And Other Russians - Danny Kaye With Chor And Orch/Maurice Abravanel
Lady In The Dark: The Saga Of Jenny - Gertrude Lawrence With Chor And Orch/Leonard Joy
Lady In The Dark: My Ship - Gertrude Lawrence With Chor And Orch/Leonard Joy
One Touch Of Venus: I'm A Stranger Here Myself - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Westwind - Kenny Baker With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Foolish Heart - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Speak Low - Mary Martin/Kenny Baker With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: That's Him - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
Ulysses Africanus: Lost In The Stars - Walter Huston With Orch/Victor Young
Ulysses Africanus: Lover Man - Lotte Lenya With Pno
One Touch Of Venus: Very, Very, Very - Kurt Weill
One Touch Of Venus: Wooden Wedding - Kurt Weill
One Touch Of Venus: Jersey Plonk - Kurt Weill
One Touch Of Venus: The Trouble With Women - Kurt Weill

Webster Booth: Handel Arias; Operatic Arias

Average customer rating:

The finest British oratorio tenor

Webster Booth: Handel Arias; Operatic Arias

Manufacturer: Dutton Laboratories
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Wedding Music | Miscellaneous | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000G3Z7
Release Date: 1998-12-08

Tracks:

Acis And Galatea: Love Sounds Th' Alarm
Acis And Galatea: Love In Her Eyes Sits Playing
Messiah: Comfort Ye, My People
Messiah: Ev'ry Valley Shall Be Exalted
Messiah: Thy Rebuke Hath Broken His Heart
Messiah: Behold, And See If There Be Any Sorrow
Messiah: He Was Cut Off Out Of The Land
Jephtha: Deeper And Deeper Still
Jephtha: Waft Her, Angels, Through The Skies
Samson: Total Eclipse
Serse: Ombra Mai Fu
Il Seraglio: Constanze, Constanze
The Magic Flute: O Loveliness Beyond Compare
Don Giovanni: Speak For Me To My Lady
Aida: Heavenly Aida
I Pagliacci: On With The Motley
The Mastersingers: The Prize Song
La Boheme: In A Coupe
Hiawatha's Wedding Feast: Onaway! Awake Beloved

Customer Reviews:

The finest British oratorio tenor.......2005-01-14

Webster Booth is remembered today for his musical association with his wife, Anne Ziegler, but he was also one of the finest oratorio tenors of the twentieth century.

On this CD he is in command of every emotional nuance of the recitative. 'Deeper and deeper still' from Jephtha is a good example of the emotional range. His diction is perfect and the Handelian runs are effortless.

He had an amazingly wide range, extending from a baritonal quality in the lower registers to the effortless high notes in the arias from 'Acis and Galatea'.

He also sings some standard operatic arias on the CD. All these are sung in English and he observes every expression mark to the letter.

I can thoroughly recommend this CD to potential buyers.

Average customer rating:

Impeccable taste

Tell Me the Truth about Love

Manufacturer: White Line
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Easy Listening | Pop | Styles | Music
ASIN: B00004NJJU
Release Date: 2000-04-25

Customer Reviews:

Impeccable taste.......2006-02-17

Mary Carewe is a Britisher with impeccable taste in lyrics and a delightful and fascinating voice. This is high-toned cabaret or, as she dubs her intimate program, "serious cabaret". If you like Ute Lemper or Bolcom and Morris, you'll enjoy Mary Çarewe. This is her only solo CD to date, but I can't help but believe that more are in the works for this talented soprano. Her big vocal range is matched by her big voice, which regularly accompanies symphonic orchestras in the UK and Europe in programs of modern music and pop, i.e., would you believe a program of James Bond film title songs with the Hallé orchestra?

Average customer rating:

Brecht sings!
Some good, some bad, all Weill.

Weill: From Berlin to Broadway

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
Similar Items:

The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs
The Collector's The Threepenny Opera
Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner
Stratas Sings Weill

ASIN: B000000WQ7
Release Date: 1996-01-23

Tracks:

Die Dreigroschenoper: Ballade von angenehmen Legen - K. Weill
Die Dreigroschenoper: Zweiter Dreigroschenfinale: Ballade uber die Frage, 'wovon lebt der Mensch?' - K. Weill
Die Dreigroschenoper: Die Songs der Dreigroschenoper: Seerauber - Jenny - Kanonensong - Liebeslied - Barbarasong - Tango-Ballade - Ballade von angenehmen Leben - Lied von der Unzulanglichikeit menslichen Strebens - Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Overture - K. Weill
Die Dreigroschenoper: Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Ballade von angenehmen Leben - K. Weill
Die Dreigroschenoper: Liebeslied - K. Weill
Die Dreigroschenoper: Kanonensong - K. Weill
Die Dreigroschenoper: Seerauber - Jenny - K. Weill
Die Dreigroschenoper: Ernster Dreigroschenfinale - K. Weill
Die Dreigroschenoper: Barbarasong - K. Weill
Die Dreigroschenoper: Eifersuchtsduett - K. Weill
Die Dreigroschenoper: Abschied ... Zweiter Dreigroshenfinale - K. Weill
Die Dreigroschenoper: Zuhalterballade - K. Weill
Die Dreigroschenoper: Lied von der Unzullichkeit menschlichen Strebens - K. Weill
Die Dreigroschenoper: Moritat - K. Weill
Die Dreigroschenoper: Schlusschoral - K. Weill
Die Dreigroschenoper: Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Lied von der Unzulanglichkeit menslichen Strebens - K. Weill
Kleine Dreigroschenmusik: Moritat von Mackie Messer - K. Weill
Kleine Dreigroschenmusik: Die Ballade von angenehmen Leben - K. Weill
Kleine Dreigroschenmusik: Tango - Ballade - K. Weill
Kleine Dreigroschenmusik: Kanonensong - K. Weill
Happy End: Bilbao Song - K. Weill
Aufstieg und Fall der Stadt Mahagonny: Alabama Song - K. Weill
Mahagonny - Excerpts: Auf nach Mahagonny - Alabama Song - Ach, bedenken Sie, Herr Jakob Schmidt...Havana Song - Wunderbar ist das Heraufkommen des Abends - Ihr habt gelernt das Cocktail-Abc - Erstens, vergesst nicht, kommt das Fressen - Meine Herren, m... - K. Weill
Der Silbersee: Das Lied von Schlaraffenland - K. Weill
Der Silbersee: Der Backer backt ums Morgenrot - K. Weill
Knickerbocker Holiday: September Song - K. Weill

Tracks:

Knickerbocker Holiday: The Scars - Kurt Weill
Lady In The Dark: Glamour Music Medley Including: Oh Fabulous One - Huxley - Girl Of The Moment - Kurt Weill
Lady In The Dark: One Life To Live - Kurt Weill
Lady In The Dark: This Is New - Kurt Weill
Lady In The Dark: The Princess Of Pure Delight - Kurt Weill
Lady In The Dark: It's Never Too Late To Mendelssohn - Kurt Weill
Lady In The Dark: Tchaikovsky (And Other Russians) - Kurt Weill
Lady In The Dark: The Saga Of Jenny - Kurt Weill
Lady In The Dark: My Ship - Kurt Weill
One Touch of Venus: I'm A Stranger Here Myself - Kurt Weill
One Touch of Venus: Ballet: Forty Minutes For Lunch - Kurt Weill
One Touch of Venus: Westwind - Kurt Weill
One Touch of Venus: Foolish Heart - Kurt Weill
One Touch of Venus: The Trouble With Women - Kurt Weill
One Touch of Venus: Speak Low - Kurt Weill
One Touch of Venus: That's Him - Kurt Weill
One Touch of Venus: Wooden Wedding - Kurt Weill
One Touch of Venus: Ballet: Venus In Ozone Heights - Kurt Weill
One Touch of Venus: Finaletto: Speak Low - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Ulysses Africanus: Lost In The Stars - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Ulysses Africanus: Lover Man - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Marie Galante: J'attends un navire - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Complainte del a Seine - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Happy End: Surabaya Johnny - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Aufstieg und Fall der Stadt Mahagonny: Den wie man sich bettet - Kurt Weill

Customer Reviews:

Brecht sings!.......2003-02-02

Come on! A chance to hear Bertolt Brecht sing his own Mack the Knife before Bobby Darrin messed it up! How many CDs are going to have that?!

Some good, some bad, all Weill........2003-01-02

Kurt Weill and Broadway fans will probably feel an intense need to have this album, and I'm not sure I'd be able to dissuade them. There's some good stuff on this recording, to be sure, but a great deal of it is in German, and much of it might not interest even someone with just a casual interest in the material chronicled. While there's a strong representation of The Threepenny Opera (all in German), the selections from Lady in the Dark featuring Gertrude Lawrence and Danny Kaye are vital, as are the tracks of Mary Martin and Kenny Baker performing selected numbers from One Touch of Venus. (You can also hear Walter Huston performing a song from Knickerbocker Holiday, though it is, for some strange reason, "The Scars." It's an interesting historical record, but not a great song.) Lotte Lenya also sings some as well, which is a treat, but overall, this is a highly variable recording. Make sure you know exactly what you're getting beforehand, or you may be likely to find yourself--as I do--listening to only half the album.

Average customer rating:

The Ultimate Lotte Lenya Collection

Manufacturer: Bear Family
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Vocal Jazz | Jazz | Indie Music | Stores | Music
ASIN: B0000251AF
Release Date: 1999-03-22

Tracks:

'Happy End': Surabaya-Johnny (1929)
'Happy End': Bilbao-Song (1929)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930) - Lotte Lenya/The Three Admirals
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930) - Lotte Lenya/The Three Admirals
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930)
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930)
'Die Dreigoschenoper': Ouverture/Moritat/Ballade Vom Angenehmen Leben (1931) - Kurt Gerron/Willy Trenk-Trebitsch
'Die Dreigoschenoper': Liebeslied/Kanonensong (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
'Die Dreigoschenoper': Die Seerauberjenny (1931) - Kurt Gerron/Lotte Lenya
'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke/Erich Ponto
'Die Dreigoschenoper': Barbarasong/Eifersuchtsduett (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke
'Die Dreigoschenoper': Abschied/Zweites Dreigroschen-Finale (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
'Die Dreigoschenoper': Zuhalter-Ballade/Lied Von Der Unzulanglichkeit Menschlichen Strebens (1931) - Kurt Gerron/Willy Trenk-Trebitsch/Lotte Lenya/Erich Ponto
'Die Dreigoschenoper': Moritat/Schlusschoral (1931) - Kurt Gerron/Lotte Lenya/Chorus
Querschnitt, 1. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
Querschnitt, 2. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
'Happy End': Surabaya-Johnny (1943) - Lotte Lenya/Kurt Weill
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1943) - Lotte Lenya/Kurt Weill
Complainte De La Seine (1943) - Lotte Lenya/Kurt Weill
J'Attends Un Navire (1943) - Lotte Lenya/Kurt Weill
'Lost In The Stars': Lover Man (1943) - Lotte Lenya/Kurt Weill
'Lost In The Stars': Lost In The Stars (1943) - Lotte Lenya/Kurt Weill
'I've Got The Tune': And So The Last Thing, Too (1937 Interview) - Lotte Lenya/Marc Blitzstein/Shirley Booth

Tracks:

'Die Dreigoschenoper': Moritat (1955)
'Die Dreigoschenoper': Barbara-Song (1955)
'Die Dreigoschenoper': Seerauberjenny (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Lied (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1955)
'Happy End': Bilbao-Song (1955)
'Happy End': Surabaya-Johnny (1955)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1955)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1955)
'Der Silbersee': Ich Bin Eine Arme Verwandte (1955)
'Der Silbersee': Casar-Ballade (1955)
'Die Sieben Todsunden': Prolog/Introduktion (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Faulheit (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Stolz (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Zorn (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Vollerei (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Unzucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Habsucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Neid (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Epilog (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen

Tracks:

'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 1 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 2 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 3 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 4 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 5 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 6 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 7 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 8 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 9 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 10 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 11 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 12 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 13 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

Tracks:

'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 14 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15a (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15b (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 16 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 17 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 18 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 19 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Finale (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

Tracks:

'Knickerbocker Holiday': September Song (1957)
'Knickerbocker Holiday': It Never Was You (1957)
'Lady In The Dark': Saga Of Jenny (1957)
'One Touch Of Venus': Foolish Heart (1957)
'One Touch Of Venus': Speak Low (1957)
'The Firebrand Of Florence': Sing Me Not A Ballad (1957)
'The Eternal Road': Song Of Ruth (July Version) (1957)
'Street Scene': Lonely House (1957)
'Street Scene': A Boy Like You (1957) - Lotte Lenya/Darryl Richard
'Love Life': Green-Up Time (1957)
'Lost In The Stars': Trouble Man (1957)
'Lost In The Stars': Stay Well (1957)
'Lost In The Stars': Lost In The Stars (1957)
'The Eternal Road': Song Of Ruth (August Version) (1957)
'The Threepenny Opera': Pirate Jenny (1954)
'The Threepenny Opera': Solomon-Song (1954)
'The Threepenny Opera': Tango-Ballad (1954) - Lotte Lenya/Scott Merrill
'The Threepenny Opera': Lenya & Blitzstein TV Interview (1954) - Lotte Lenya/Marc Blitzstein
'Johnny Johnson': Mon Ami, My Friend (1956)
Young Blood (1969)
Welcome Home (1969)

Tracks:

'Die Dreigoschenoper': Ouverture (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Morgenchoral Des Peachum (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Anstatt-Dass-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Hochzeitslied Fur Armere Leute (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Kanonensong (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Liebeslied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Barbara-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Der Pferdestall (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Abschiedslied Der Polly (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zwischenlied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade Von Der Sexuellen Horigkeit (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Die Seerauberjenny (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zuhalter-Ballade (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade Vom Angenehmen Leben (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Eifersuchtsduett (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Arie Der Lucy (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zweites Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Lied Von Der Unzulanglichkeit Menschlichen Strebens (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Solomon-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ruf Aus Der Gruft (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade In Der MacHeath Jedermann Abbitte Leistet (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Der Reitende Bote (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Drittes Driegroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Schlusstrophen Der Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...

Tracks:

'Happy End': Introduktion (Hosiannah) (1960)
'Happy End': Bilbao-Song (1960)
'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
'Happy End': Geht Hinein In Die Schlacht (Heilsarmee-Lied 1) (1960)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
'Happy End': Bruder, Gib Dir Einen Stoss (Heilsarmee-Lied 2) (1960)
'Happy End': Das Lied Vom Branntweinhandler (1960)
'Happy End': Der Song Von Mandelay (1960)
'Happy End': Furchte Dich Nicht (Heilsarmee-Lied 3) (1960)
'Happy End': Surabaya-Johnny (1960)
'Happy End': Das Lied Von Der Harten Nuss (1960)
'Happy End': In Der Jugend Gold'Nem Schimmer (Heilsarmee-Lied 4) (1960)
'Happy End': Die Ballade Von Der Hollen-Lili (1960)
'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
'Cabaret': So What? (1966)
'Cabaret': It Couldn't Please Me More (1966) - Lotte Lenya/Jack Gilford
'Cabaret': Married (1966) - Lotte Lenya/Jack Gilford
'Cabaret': What Would You Do (1966)
'Cabaret': Finale (1966) - Lotte Lenya/Bert Convy/Jill Haworth/Jack Gilford/Joel Grey

Tracks:

Unter Der Linde (1958)
Menschlich Elende (1958)
Das Rosenband (1958)
Der Tod Und Das Madchen (1958)
Abendlied (1958)
Der Bauer (1958)
Lebenspflichten (1958)
Gesang Der Geister Uber Den Wassern (1958)
Aus 'Romische Elegein' (1958)
Gefunden (1958)
Wo Bist Du Itzt (1958)
Der Handschuh (1958)
Hyperions Schicksalied/Aus 'Hymnen Der Nacht' (1958)
Mondnacht (1958)
Das Schloss Boncourt (1958)
Kommen Und Scheiden (1958)
Auf Geheimem Waldespfade (1958)
Der Weiher (1958)
Das Verlassene Magdlein (1958)
Der Wirtin Tochterlein (1958)
Mit Dummen Madchen (1958)
Im Wunderschonen Monat Mai (1958)
Ich Wollte Meine Lieder (1958)
Nachtlich Am Busento (1958)
Kehr Ein Bei Mir! (1958)
Altassyrisch (1958)
Die Musik Kommt (1958)
Wer Weiss Wo (1958)
Der Romische Brunnen (1958)
Vereinsamt (1958)
Der Werwolf (1958)
Der Arbeitsmann (1958)
Die Bieden (1958)
Du Schlank Und Rein Wie Eine Flamme (1958)
Spanische Tanzerin (1958)
Ich Liebe Frauen (1958)
An Den Leser (1958)
Die Entwicklung Der Menschheit (1958)
Der Vater (1958)
Erinnerung An Die Marie A (1958)
Von Der Freundlichkeit Der Welt (1958)
Kinderkreuzzug (1958)

Tracks:

A Hunger Artist (1959)
An Imperial Message (1959)
A Fratricide (1959)
The Care Of A Family Man (1959)
Up In The Gallery (1959)
A Dream (1959)
The Bucket Rider (1959)
Vergnugungen: What I Enjoy (Last Song) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Inscription On A China Lion (The Lion) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Die Dreigroscheneroper': The Solomon Song (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Buckower Elegien': Changing Wheels (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Burning Books (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Written On The Wall (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Lied Der Courage (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Song Of A German Mother (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Buckower Elegien': The Dog (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
To The Next Generation (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Bad Times For Poetry (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Und Was Bekam Des Soldaten Weib (1943) - Lotte Lenya/Kurt Weill
Wie Lange Noch (1943) - Lotte Lenya/Kurt Weill
Lied Einer Deutschen Mutter (1943) - Lotte Lenya/Kurt Weill

Tracks:

'Die Dreigroscheneroper': Moritat Von Mackie Messer (1960)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Leid (1960)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1960)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1960)
'Die Dreigroscheneroper': Die Seerauberjenny (1960)
'Happy End': Bilbao-Song (1960)
Carnegie Hall Introduction (1965)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1965)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Song (1965)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1965)
'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1965)
'One Touch Of Venus': Speak Low (1965)
'One Touch Of Venus': Foolish Heart (1965)
'One Touch Of Venus': Bilbao-Song (1965)
'One Touch Of Venus': Surabaya-Johnny (1965)
'Love Life': Love-Song (1965)
'Love Life': Susan's Dream (1965)
'Happy End': Was Die Matrosen Sagen (Matrosen-Tango) (1965)
'Happy End': Der Song Von Mandelay (1965)
'Happy End': Das Lied Von Der Harten Nuss (1965)
'Happy End': Lilli Of Hell (1965)
'Knickerbocker Holiday': September Song (1965)
'Die Dreigroscheneroper': Barbara Song (1965)

Tracks:

Moritat (1965)
Moritat (German Version) (1965) - Lotte Lenya/Turk Murphy
Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
Lied Der Courage I (1965) - Lotte Lenya/Harry Buckwitz
Das Lied Vom Weib Und Soldaten (1965)
Lied Von Der Grossen Kapitulation (1965)
Lied Der Courage II (1965)
Lied Der Courage III (1965)
Eia Popeia, Was Ras Im Stroh (1965)
Lied Der Courage IV (1965)
The Dick Cavett Show (1975) - Lotte Lenya/Dick Cavett
Start (1975) - Lotte Lenya/Dick Cavett
American Films (1975) - Lotte Lenya/Dick Cavett
The Opening Night Ot The Rise And Fall Of The City Of Mahagonny (1975) - Lotte Lenya/Dick Cavett
'One Touch Of Venus': I'm A Stranger Here Myself (1975) - Lotte Lenya/Dick Cavett
Anita Berber (1975) - Lotte Lenya/Dick Cavett
The Great Inflation (1975) - Lotte Lenya/Dick Cavett
Thoughts On 'Oh, Calcutta' (1975) - Lotte Lenya/Dick Cavett
Berlin Visit 1955 (1975) - Lotte Lenya/Dick Cavett
Introduction To 'Bilbao-Song' (1975) - Lotte Lenya/Dick Cavett
Bilbao-Song (1975) - Lotte Lenya/Dick Cavett
Introduction (1966)
'Knickerbocker Holiday': How Can You Tell An American (1966)
'Knickerbocker Holiday': September Song (1966)

Jazz Music:

Jazz Music

jazz music