Love Song: The Lives of Kurt Weill and Lotte Lenya by Ethan Mordden

By Ethan Mordden

Famous historian of the Broadway musical chronicles the braided lives of 2 of the 20 th century's so much influential artists  

For the 1st time, Ethan Mordden chronicles the romance of Kurt Weill and Lotte Lenya in Love Song, a twin biography that unfolds opposed to the history of the tumultuous 20th century, scored to tune from Weil's maximum triumphs: Knickerbocker vacation, misplaced within the Stars, woman at the hours of darkness, chuffed finish, One contact of Venus and The upward push and Fall of the town of Mahagonny. The romance of Weill, the Jewish cantor’s son, and Lenya, the Viennese coachman’s daughter, replaced the historical past of Western tune. With Bertolt Brecht, they created one of many definitive works of the 20th century, The Threepenny Opera, a damage that may survive in musical theatre historical past. Weill, the jazz Mozart, was once the author whose paintings is behind the curtain, unseen. Lenya, his epic-theatre femme fatale, used to be the performer who positioned the paintings into view. They heard a similar specific tune, yet he gave it shape whereas she gave it life.  Love Song is finally the tale of an exceptional romance scored to a few of the 20th century's maximum song.

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Extra resources for Love Song: The Lives of Kurt Weill and Lotte Lenya

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Of its production of Fatinitza, with music by Franz von Suppé, the theater critic for the Los Angeles Times noted “[t]he rendition . . was up to the high standard established by the Bostonians, and gave very evident satisfaction to the large audience. ” 51 Works by the American composer Reginald De Koven were particularly in demand. His Robin Hood, written with the librettist Harry B. Smith, came to the Los Angeles Theatre on several occasions. 53 The music, which The Bostonians’ own orchestra performed, was equally delightful.

Of its production of Fatinitza, with music by Franz von Suppé, the theater critic for the Los Angeles Times noted “[t]he rendition . . was up to the high standard established by the Bostonians, and gave very evident satisfaction to the large audience. ” 51 Works by the American composer Reginald De Koven were particularly in demand. His Robin Hood, written with the librettist Harry B. Smith, came to the Los Angeles Theatre on several occasions. 53 The music, which The Bostonians’ own orchestra performed, was equally delightful.

A reviewer noted that “those charming midgets” managed “to draw an audience which . . ”61 Local talent, while by no means as flourishing as traveling acts, had some opportunities to present their abilities. 62 Mr. C. M. ”64 As in San Diego, which had the “San Diego Amateur Opera Society,” Los Angeles had a similar group, which called itself the “Society Amateur THEATER MUSIC DURING THE BOOM YEARS 25 Opera Club” and produced a variety of vocal and instrumental works. 65 Not all local performers were created equal.

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