Weill: Die sieben Todsünden & Chansons

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Kurt Weill composed La complainte de la Seine in 1934, while he was living in France. It was first sung and recorded by Lys Gauty. In the introduction to the first verse, Weill weaves in a quote... — Gramophone Classical Music Guide, 2010 More…

Release Date: 6th Mar 2006
Catalogue No: HMA1951420
Label: Harmonia Mundi
Series: Musique d'Abord
Length: 54 minutes

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Weill, K: The Seven Deadly Sins

Work length34:11

$9.00

$11.25

Cord Garben, Radio-Philharmonie Hannover des NDR, Brigitte Fassbaender

I. Prolog

Track length3:04

$1.00

$1.25

II. Faulheit (La Paresse)

Track length4:21

$1.00

$1.25

III. Stolz (L'Orgueil)

Track length4:36

$1.00

$1.25

IV. Zorn (La Colère)

Track length4:40

$1.00

$1.25

V. Völlerei (La Gourmandise)

Track length3:36

$1.00

$1.25

VI. Unzucht-Lust (La Luxure)

Track length5:03

$1.00

$1.25

VII. Habsucht (L'Avarice)

Track length3:09

$1.00

$1.25

VIII. Neid (L'Envie)

Track length4:18

$1.00

$1.25

IX. Epilog

Track length1:24

$1.00

$1.25

Weill, K: Complainte de la Seine (Text: Maurice Magre)

Work length3:16

$1.00

$1.25

Brigitte Fassbaender, Cord Garben

Weill, K: Youkali, Tango Habanera

Work length5:33

$1.00

$1.25

Cord Garben, Brigitte Fassbaender

Weill, K: Nanna's lied (Text: Bertolt Brecht)

Work length3:17

$1.00

$1.25

Cord Garben, Brigitte Fassbaender

Weill, K: Wie lange noch?

Work length3:30

$1.00

$1.25

Cord Garben, Brigitte Fassbaender

Weill, K: Es regnet

Work length3:03

$1.00

$1.25

Cord Garben, Brigitte Fassbaender

Weill, K: Berlin im Licht-Song

Work length1:53

$1.00

$1.25

Brigitte Fassbaender, Cord Garben

Reviews
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Reviews

2010

Kurt Weill composed La complainte de la Seine in 1934, while he was living in France. It was first sung and recorded by Lys Gauty. In the introduction to the first verse, Weill weaves in a quote from the marching theme at the end of Die sieben Todsünden. The two are neatly linked here, as Brigitte Fassbaender sings the chanson directly after the ballet-chanté. Of all the opera singers who have recorded The Seven DeadlySins, Fassbaender's has always been a favourite.
She sings it in the original, higher key, and although some of the tempi chosen by Cord Garben seem a little slow, Fassbaender's luscious mezzo invests the work with a superb sense of world-weariness. All the other songs come from the cache of unpublished work that we first got to know in 1982 through Teresa Stratas's 'The Unknown Kurt Weill' (Nonesuch). Stratas gives the songs more urgency; Fassbaender seems relaxed by comparison, which is not to say that she doesn't extract every last ounce of irony from the lyrics, including one unique contribution from Jean Cocteau (Es regnet). The original issue had full texts and translations; here there are merely synopses. Nevertheless, at its modest price, this is highly recommended.

July 2006

Of all the opera singers who have recorded The Seven Deadly Sins, Fassbaender's has always been my favourite version. She sings it in the original, high key, and although some of the tempi chosen by Cord Garben seem a little slow, Fassbaender's luscious mezzo invents the work with a superb sense of world-weariness.

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