Customer Reviews

Weill: The Seven Deadly Sins and other Songs

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4 star:		(4)
3 star:		(2)
2 star:		(0)
1 star:		(2)

 

 

W. H. Auden and Chester Kallman wrote a beautiful English translation of this stunning Weill-Brecht piece in 1958. This was originally performed at the New York City Ballet in December of that year starring my number one, ace interpreter of Kurt Weill, Lotte Lenya, as Anna I. In 1956, Lenya made a glorious recording of the piece in German (its original language) and it was released by Columbia Records the following year. Not a single recording since that original can touch Lenya's striking dramatic projection, but Marianne Faithfull's must be given due credit.

Part of what makes Lenya's recording legendary is not only her vocal fervor as Anna but her history as the original interpreter of the role in 1933. (George Balanchine was dance choreorapher in both productions she was in--pretty distinguished company!)
The smooth English translation from the 1950's was never recorded until Marianne Faithfull decided it was high time in 1997. Too right, Marianne!

Marianne Faithfull, a smoky-voiced pop/rock veteran, has rightly adopted a chanteuse style in recent years and it definitely suits her. She can not worry about sounding 'pretty' and it is just as well because 'pretty' does not suit THE SEVEN DEADLY SINS. There is a fine blend of technique such as superb phrashing and diction combined with a wonderful world-weary desperation and knowingness, all amounting to a fine display of acting and singing within her range. Knowing that she loves Kurt Weill's music, and knowing that Lenya is her "sort of household goddess" as far as singing influence goes, (also mentioning Marlene Dietrich) I'm quite grateful for this CD, though it is not quite flawless.

Dennis Russell Davies conducts a magnificent, stirring orchestra.
The recording's sound pitch is rather uneven and overpowering at times in complementing Faithfull's voice, and the singers who represent the Family are sometimes grating and too loud in contrast. One has just to adjust the volume control, but this can become tiresome after a while. Incidentally, the four songs at the end are rather unnecessary, as most of them are featured on Faithfull's 20TH CENTURY BLUES CD with piano accompaniment--much more intimate and suitable for say, the "Alabama Song."

If one appreciates THE SEVEN DEADLY SINS or Marianne Faithfull, one should definitely get this CD. Even though Lenya's recording will always be my absolute favorite, I find myself listening to this version more than I ever thought I would. Perhaps this is because Marianne Faithfull decided to pay tribute to an extraordinary work in the name of Kurt Weill and Lotte Lenya.
I think so!

I must admit I have not heard the incomparable Lotte Lenya sing this - but then she apparently never quite got round to recording the English version (it was written for her and she did perform it). In fact I had not even heard of this work before getting my copy (I didn't buy it on Amazon, for once!). I did buy it very much on Weill's name - certainly not that of Marianne Faithful, who I'd not heard of since she sung teeny pop back in the sixties.

Another confession - I much prefer my Weill sung in English - to me his music matches the meaning of the words at least as much as the sound - and if I miss the meaning I am losing half the point of the music. Maybe if I knew German I would get both and a much deeper experience? But then much of Weill is actually written to be sung in English, and German speaking listeners prefer these works in translation (and, so I am told, often very poor translation) into German.

Marianne Faithful's account does bring out what a natural vehicle this work was for Lotte Lenya - but for me at least it is very persuasive indeed in its own right. Without too obviously trying to sound like Lotte, Marianne has a great deal of the same smokey bluesy quality in her mature voice.

The main point, however, is the work itself, an earthier (and very much better written) prototype of Andrew Lloyd Webber's "Tell me on a Sunday". Its merits are really inexcapable, and could survive, I suspect, a much worse translation and certainly much less effective interpretation and still be very interesting.

The extra Weill songs, two from the Threepenny Opera, that are added for the sake of the "value for money" brigade who can't bear a half empty CD, are if anything even better sung than the main work, although they lose some of their dramatic impact by being pulled out of context.

Yes, it would be wonderful if Lenya had recorded this in English - and I may even hunt up her German version. But this recording is just superb - if you like Weill you really must get a copy.

Marianne Faithfull does an admirable job tackling Weill's Seven Deadly Sins. While it may be considered more highbrow to insist upon one's Weill sung in German, not being fluent in the language, I was grateful for the English translation. Ms. Faithfull clearly has a deep respect and understanding for Weill's work, and her weathered voice is very well suited for his more cynical songs. The sound quality of this version is also particularly good.

This is the only English translation I have heard of Weill/Brecht's SEVEN DEADLY SINS. It's a treat to hear the part of Anna sung in English and one full octave lower than usual. The smoky voice of Marianne Faithfull adds new life and perspective to this piece. It seems as if she were primed to sing Weill. Her hard life flows through each song, adding an extra poignancy to these songs. This is a live recording and hearing Marianne cough in the background makes the performance even closer. In addition to the full SEVEN DEADLY SINS, four other Weill songs are included, and with each, Marianne Faithfull makes them her own. I highly recommend this version of THE SEVEN DEADLY SINS for anyone wanting an introduction to Kurt Weill's music. For those familiar with traditional versions of this piece...it's not Lotte Lenya. It's something new. That may be a good thing or a bad thing. Depends on your taste.

If you like enjoy this CD, I would also recommend Marianne Faithfull's 20TH CENTURY BLUES.

I was given this CD as a "white elephant" gift, and it turned out to be one of the rare surprises in life that I can count. Although not familiar with Miss Faithful's previous work, I was delighted to hear the choices of artists accompanying her. Track 5 is definitely a fun sound, and made more so by the melodic harmony of an angelic Hugo Munday. One for the treasure trove of items to pass to the kids!

Yes, she offers an interesting interpretation, although this version is somewhat of an oddity for me, having become familiar with the various original language versions available. If you're a fan of Faithful already, then by all means. My felling is that reading the libretto and translation (if necessary) ahead of time is not such a big deal. Brecht is highly nuanced German, after all, and this work is extremely interesting as literature alone. If you're looking for a definitive version of the work, don't even think about this one. I suggest those seriously interested in the work try three others: 1) Lotte Lenya, of course, 2) Gisela May, maybe even more *perfect* and 3) Brigitte Fassbaender, for a deeply felt and vocally magnificent take.

I found this CD as an RCA ReMaster at another on line store. Loyal customers of Amazon may want to wait.

This is at best an interesting curiosity for the collector's library. Perhaps it was courageous for Faithfull to compete in an arena so dominated by one singer. But compared with the Lotte Lenya version (ASIN B000002991), her rendition sounds both mechanical and lugubrious.

Wonderful recording of a wonderful piece of music, with a wonderful singer. An excellent follow-up to her previous work. Very recommended.

The sounds of the German language play as important a role in this music as the notes themselves, and I cannot believe that anyone would waste time performing this in English. Moreover, this is the clumsiest, most unsingable English translation I've ever come across.

Thank God, beautiful recordings of this work are available -- for example, Anne Sophie von Otter's rendition, which is stunning. Marianne Faithfull should not be singing, let alone recording her work for all to hear. Avoid this recording at all costs.