It took 68 years for [Aufstieg und Fall der Stadt] Mahagonny to come to the Salzburg Festival, but it arrived in style. In Peter Zadek’s bold 1998 production the denizens of Brecht and Weill’s sin city crowd the vast stage of the Grosses Festspielhaus, and conductor Dennis Russell Davies brings an uncompromising zest and grit to the playing of the Radio-Symphonieorchester Wien. But Weill was always adamant that Mahagonny is an “epic opera”, and Salzburg never stints on that score. Catherine Malfitano and Jerry Hadley head a cast that stars Dame Gywyneth Jones as Widow Begbick: performances exactly as outsized, and as gripping, as Weill demanded.
Bryn Terfel – Bad Boys
Bass-baritone Bryn Terfel is a towering figure in today’s musical world – both physically and artistically. Whether in the opera house or on the recital stage, he blends his powerful, versatile voice with commanding stage presence. Since bass-baritones are usually the “bad boys” in opera, the Welsh singer has put together a program that portrays a gallery of rogues and villains, the “demonic misfits and malcontents of this wonderful music” (Bryn Terfel). The concert features Terfel in a number of demonic roles, including two Satans (one by Gounod and one by Boito), a murderous barber (Sondheim’s Sweeney Todd), a swaggering drug dealer (Gershwin’s Sporting Life) and much more. He is accompanied in this program – recorded at Cardiff’s St. David’s Hall in his native Wales – by the Sinfonia Cymru under Gareth Jones.
Joana Mallwitz – The Inaugural Concert
Joana Mallwitz was welcomed as the new principal conductor of the Konzerthausorchester Berlin with a triumphant inaugural concert. The program included three first symphonies by Sergei Prokofiev, Kurt Weill, and Gustav Mahler. The audience gave enthusiastic standing ovations and critics labeled her inaugural concert “a triumph.” (Süddeutsche) PROGRAM Prokofiev: Symphony No.1; Weill: Symphony No.1; Mahler: Symphony No.1
Wainwright does Weill
Rufus Wainwright’s fascination with Kurt Weill’s music goes back for decades — in his early twenties he wore out the vinyl grooves of Teresa Stratas’ famous Weill album. Never has he dedicated an entire evening to singing the German musician’s songs. With the Paci?c Jazz Orchestra under the baton of Chris Walden he is now expanding the orchestral palette for his approach to Kurt Weill. Wainwright interjects some of his own compositions, old and utterly new ones that have been in?uenced by the German composer who had a long career in the US after migrating here from Nazi Germany. Furthermore, the Theatre at Ace Hotel in Los Angeles now o?ers a stage that provides the perfect visual setting for the period in which Weill’s songs were written.