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The Unknown Kurt Weill / Teresa Stratas


Release Date: 06/25/1991 
Label:  Nonesuch   Catalog #: 79019   Spars Code: DDD 
Composer:  Kurt Weill
Performer:  Richard WoitachTeresa Stratas
Number of Discs: 1 
Recorded in: Stereo 
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This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

Lotte Lenya, Kurt Weill's widow, once told Teresa Stratas that "nobody can sing Weill's music better than you do" and offered the singer this set of previously unpublished songs to perform. The New York Times called it a "landmark" recording that "blended theatrical spunk with classical vocalism." Lotte Lenya, Kurt Weill's widow, once told Teresa Stratas that "nobody can sing Weill's music better than you do" and offered the singer this set of previously unpublished songs to perform. The New York Times called it a "landmark" recording that "blended theatrical spunk with classical vocalism." Read less

Works on This Recording

1. Nanna's Lied by Kurt Weill
Performer:  Richard Woitach (Piano), Teresa Stratas (Soprano)
Period: 20th Century 
Written: 1939; New York, USA 
Date of Recording: 2/1981 
Length: 4 Minutes 34 Secs. 
2. Complainte de la Seine by Kurt Weill
Performer:  Richard Woitach (Piano), Teresa Stratas (Soprano)
Period: 20th Century 
Written: 1934; Paris, France 
Date of Recording: 2/1981 
Length: 4 Minutes 4 Secs. 
3. Klops-Lied by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1925 
Date of Recording: 2/1981 
Length: 0 Minutes 50 Secs. 
Language: German 
4. Berlin im Licht by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1928; Berlin, Germany 
Date of Recording: 2/1981 
Length: 2 Minutes 52 Secs. 
5. Und was bekam des Soldaten Weib? by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1942; USA 
Date of Recording: 2/1981 
Length: 4 Minutes 7 Secs. 
6. Konjunktur: Die Muschel von Margate by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1928; Berlin, Germany 
Date of Recording: 2/1981 
Length: 4 Minutes 3 Secs. 
7. Wie lange noch? by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1944; USA 
Date of Recording: 2/1981 
Length: 4 Minutes 50 Secs. 
8. Youkali "Tango Habanera" by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1934/1946; USA 
Date of Recording: 2/1981 
Length: 5 Minutes 57 Secs. 
Notes: This song is Weill's vocal version of the tango from "Marie Galante." 
9. Der Abschiedsbrief by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1933; Germany 
Date of Recording: 2/1981 
Length: 3 Minutes 31 Secs. 
10. Es regnet by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1933; Paris, France 
Date of Recording: 2/1981 
Length: 3 Minutes 14 Secs. 
11. Propaganda Songs (9): Buddy on the Nightshift by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1942; USA 
Date of Recording: 2/1981 
Length: 2 Minutes 39 Secs. 
Language: English 
12. Propaganda Songs (9): Schickelgruber by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1942; USA 
Date of Recording: 2/1981 
Length: 2 Minutes 40 Secs. 
Language: English 
13. Je ne t'aime pas by Kurt Weill
Performer:  Teresa Stratas (Soprano), Richard Woitach (Piano)
Period: 20th Century 
Written: 1934; France 
Date of Recording: 2/1981 
Length: 4 Minutes 41 Secs. 
14. Petroleuminseln: Das Lied von den brauenen Inseln by Kurt Weill
Performer:  Richard Woitach (Piano), Teresa Stratas (Soprano)
Period: 20th Century 
Written: 1928; Berlin, Germany 
Date of Recording: 2/1981 
Length: 3 Minutes 4 Secs. 

Customer Reviews

Average Customer Review:  2 Customer Reviews )
 Good performance but no words. August 18, 2013 By D. Dunbar (Melbourne, Victoria) See All My Reviews "I had not heard these songs before and have not heard other performers so cannot make any valid comparisons. Nevertheless, I have heard Stratas sing other Weill songs and it seems she is highly suited to this repertoire where sheer beauty of voice is not as important as vocal expressiveness. I tried a couple of other performers singing some of these songs on You Tube and they were unable to match Stratas, mainly due to exaggeration of the sentiment of the songs. My main complaint and disappointment with this recording is that there is no text or translation, a major drawback with these songs where the meaning is paramount. I spent a lot of time on the internet looking for text and translations, but could not find all of the songs, and in any case one would hope that this search should be unnecessary." Report Abuse
 Lost Diamonds Found June 18, 2013 By Glen Watkins (Greeley, CO) See All My Reviews "This collection brings together in one package a glittering array of rarely heard songs by Kurt Weill to words by everyone from Brecht to Oscar Hammerstein II. Simply put, it comes as close to pure gold as recordings ever get. Stratas sings with all the intelligence and variety available in her remarkable repertoire of vocal techniques, infusing each one of the very different songs with everything from cooing American popular sounds to bell-like resonances in the French material and sawing intensity for the German, each precisely as needed. And the songs themselves? Each is a lost gem reflecting Weill’s seemingly inexhaustible font of melody and harmonic invention, while communicating their poetic material with every bit of wit, insight, emotional pathos, and depth called for by the texts. A special standout is “Und was bekam als Soldaten Weib” (“So what’d she get now, the Soldier’s Wife?”), a WWII propaganda text by Brecht which is one of the most simple yet eloquent anti-war statements ever produced, a surprise heartbreaker that Stratas invests with exactly the emotional restraint to give it a knock-out punch. From the quirky Sprechstimme of “Klops-Lied” to the wailing melancholy of “Wie lange noch?”/” Je ne t'aime pas” (the same melody set first in German then French) to the gentle big-band bounce of “Buddy on the Night Shift,” the songs move brilliantly across the entire spectrum of Weill’s output, ranging from Berlin to Broadway." Report Abuse
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