Love Song: The Lives of Kurt Weill and Lotte Lenya (英語) ハードカバー – 2012/10/16
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For the first time, Ethan Mordden chronicles the romance of Kurt Weill and Lotte Lenya in "Love Song", a dual biography that unfolds against the background of the tumultous twentieth century, scored to music from Weil's greatest triumphs: "Knickerbocker Holiday", "Lost in the Stars", "Lady in the Dark", "Happy End", "One Touch of Venus" and "The Rise and Fall of the City of Mahagonny". The romance of Weill, the Jewish cantor's son, and Lenya, the Viennese coachman's daughter, changed the history of Western music. With Bertolt Brecht, they created one of the definitive works of the twentieth century, The Threepenny Opera, a smash that would live on in musical theatre history. Weill, the jazz Mozart, was the creator whose work is backstage, unseen. Lenya, his epic-theatre femme fatale, was the performer who put the work into view. They heard the same unique music, but he gave it form while she gave it life. "Love Song" is ultimately the story of a great romance scored to some of the twentieth century's greatest music.
"With smart, chatty and occasionally hilarious prose...Mordden ably captures both artists and their ever-changing geographical and professional locales." "Kirkus Reviews""商品の説明をすべて表示する
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the matter at hand to elaborate on some apparently minor point. But by the time he's done, you realize that it isn't a minor point at all. This is a rich story told in a very lively, even sprightly manner. I mostly know the author's work from his quixotic fiction, and he has the same personality when narrating his non-fiction. It's all storytelling, with
cliffhanger chapter endings and sudden twists. I like his theory that there aren't two different Kurt Weill careers, one in Germany and one in the U. S. Mordden says Weill was interested in creating a new kind of music play all the way along, and in America he perfected it. Readers should also look up Foster Hirsch's Kurt Weill book, because he goes into details about the Weill shows that Mordden doesn't get to.