Wanted: Dagmar Peckova sings Kurt Weill | Supraphon SU42262

Wanted: Dagmar Peckova sings Kurt Weill

£12.56

Currently out of stock at the UK suppliers. Available to order, but is likely to take longer than usual to despatch

Label: Supraphon

Cat No: SU42262

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 19th May 2017

Contents

Works

Weill, Kurt

Berlin im Licht
Buddy on the Nightshift
Das Lied von den braunen Inseln
Der Abschiedsbrief
Die Dreigroschenoper (The Threepenny Opera)
» Barbara Song
» Cannon Song
» Die Seerauber-Jenny (Pirate Jenny)
» Moritat von Mackie Messer (Ballad of Mack the Knife)
» Zuhalterballade (Tango ballad)
Happy End
» Surabaya Johnny
Je ne t'aime pas
Mahagonny
» Alabama Song
» Denn wie man sich bettet, so liegt man
One Touch of Venus
» I'm a stranger here myself
Youkali

Artists

Dagmar Peckova (mezzo-soprano)
Jiri Hajek (baritone)
Jan Kucera (vocals,piano)
Epoque Quartet & Orchestra
Miroslav Hloucal Jazz Band

Conductor

Jan Kucera

Works

Weill, Kurt

Berlin im Licht
Buddy on the Nightshift
Das Lied von den braunen Inseln
Der Abschiedsbrief
Die Dreigroschenoper (The Threepenny Opera)
» Barbara Song
» Cannon Song
» Die Seerauber-Jenny (Pirate Jenny)
» Moritat von Mackie Messer (Ballad of Mack the Knife)
» Zuhalterballade (Tango ballad)
Happy End
» Surabaya Johnny
Je ne t'aime pas
Mahagonny
» Alabama Song
» Denn wie man sich bettet, so liegt man
One Touch of Venus
» I'm a stranger here myself
Youkali

Artists

Dagmar Peckova (mezzo-soprano)
Jiri Hajek (baritone)
Jan Kucera (vocals,piano)
Epoque Quartet & Orchestra
Miroslav Hloucal Jazz Band

Conductor

Jan Kucera

About

“We cannot approach opera from the position of snobbish dismissal. We cannot write operas while at the same time lamenting the deficiencies of the genre. We must fulfil our own ideal by making use of that which the stage has to offer,” so wrote Kurt Weill in 1926. At the time, he had just begun seeking a new musical genre, one that would supersede the conventional opera.

The resounding success of Die Dreigroschenoper proved that the path he had taken was the right one; the new genre emerged at an appropriate time, and it seemed that the audience had been waiting for opera’s resurgence too. The results of his efforts were considerable simplification of the musical idiom, inspiration by pop and jazz, and the assignment of the vocal parts to actors without traditional professional voice training. It was a true revolution.

Dagmar Pecková has throughout her illustrious career appeared on the world’s most prominent stages as an artist acclaimed as a refined performer of music by Mozart, Mahler, Bizet ...

The singular poetics of Weill’s songs, a fabulous orchestra and splendid arrangements blending classical music and jazz – and, of course, Dagmar Pecková, who has never been “just” a diva, but a singer who makes her dreams come true and does everything with great enthusiasm.

Recorded at the Czech Radio–Studio Karlín, Prague, July 2016

Reviews

The prolifically recorded Czech singer [Dagmar] Peckova specialises not only in her native music, but in Brahms, Mahler, Schoenberg and Zemlinsky. Here she follws Brigitte Fassbaender and Anne Sofie von Otter in recording Weill, with a nod to Teresa Stratas and the composer’s favourite, Lotte Lenya. ... her mezzo has an authentic rasping edge. Terrific accompaniments, too.  Hugh Canning
The Sunday Times 9 July 2017

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