Kurt Weill (1900-1950) is best known for his Three Penny Opera, in collaboration with German playwright Bertolt Brecht, where the hit song "Mack the knife" originated. Popularized by the likes of Jazz greats Ella Fitzgerald, Bobby Darin and Louis Armstrong, it epitomizes Weill's achievements in beautiful melodies and catchy style. Yet, the diversity of this composer's art is startling, from 'straight' classical compositions to works for the German theatre (Rise and Fall of the City of Mahagonny, The Seven Deadly Sins), to Broadway hits ("Lady in the Dark", "A Touch of Venus") in America. However, it has been recognized that his German works were more musically significant than his American ones, attractive as they are. As the American composer and critic Virgil Thomson wrote: "His American work was viable but not striking, thoroughly competent but essentially conformist. His German works, on the other hand, made musical history".

The Seven Deadly Sins is perhaps the best example of Weill's ingenuity that led to Thomson's high praise. It weaves together different styles, from the German art song to the Barbershop quartet to present this "ballet chante" (as Weill - pictured left - called it) which was also described by critics as a "short opera" and even an "immorality play". I'm not sure if it was meant to be danced to, but by itself the score certainly can stand on its own. The "plot" of the piece revolves around the story of Anna, a lonely peasant girl made to venture out into the city, on a dream that she can make a fortune to send back to her family (represented by an all-male vocal quartet!).

Curiously, even though specifically written into 2 parts, Anna I and Anna II, Weill calls for the part to be played and sung only by one person. Anna I asks Anna II: "We are both named Anna, we have one past and one future, one heart and one savings account, and each does only what is good for the other. Isn't that so, Anna?" And Anna II answers, "Yes, Anna".

Anna's sadness and pathetic condition is so vividly potrayed, even more so with Anne Sofie von Otter's sincere and beautiful delivery. The "Seven Deadly Sins" refered to here are of Biblical source. Another man's Lust, the affluent society's Pride or Anna's Envy of the people around her; dramatic elements of a well-conceived plot taking each sin in turn, hiding a socio-political message of how society takes advantage of an individual. This was characteristic of Brecht's theatre as well as Weill's activist nature. In the epilogue, Anna reiterates her dream; with as much hopefulness as she did in the beginning, only this time, the listeners know that she is not going to make it. How Weill affects us is the magic of this music.

The English songs in this collection represent Weill's contributions to the American Broadway theatre. The popular success of songs such as "One Life to Live", "Buddy on the Nightshift" and "My Ship" is almost too obvious, jazzy rhythms and tuneful melodies. Almost commercial if not for the subtle social messages that they carry.

Especially notable also are the songs from Happy End. "Bilbao-Song" sings of Bill's dance hall in Bilbao (with puddles of brandy on the chair and grass growing on the dance floor) which was the "best in the world"! Anne Sofie von Otter's emotional performance in "Surabaya-Johnny" fleshes out woman forsaken by her Burmese lover in a mixture of passionate love and bitter hate. The title track "Speak Low" is a melancholic monologue on love that shows off von Otter's lovely mezzo-soprano vocals.

Accompanying her (left) is John Eliot Gardiner with the North German Radio Symphony Orchestra and Bengt Forsberg on the piano. I've always found Gardiner's approach to music rather too academic to my tastes but I was truly pleasantly surprised at his easy and natural approach to the Jazz in this collection. The orchestra played splendidly with the right amount of syncopation and 'kick' (without sounding like a noisy Jazz Band), providing a cushion for von Otter's beautiful voice. Likewise, the chemistry between her and Forsberg is remarkable. A soloist and an accompanist who does not work well together happens too often but in this case, at times when it is necessary I even forget the piano is there.

Anne Sofie von Otter's versatility is astounding as she handles the jazzy numbers as well as the serious songs, capable of an easy nonchalance or deep emotion. Her articulation is almost flawless, sometimes almost spitting out the words in anger, at other times serenading like a lover (listen to "Surabaya-Johnny"!). Listen out also for her contribution to Bach's St. Matthew's Passion (DG Archiv 427 648-2) and Handel's Ariodante and Cantatas (DG Archiv 457 271-2 and 439 866-2 respectively), demonstrating the talents of this truly gifted musician that must be a most treasured asset in DG's artist line-up.

On a personal note, this was one of those CDs a teacher of mine played for me demonstrating what was good musicality. The music always stayed in mind and I was overjoyed when I chanced upon this CD at Borders! A million thanks to Joost C. Flach for showing me this wonderful music. I've been sharing this with my friends ever since... I'm sure you'll do the same.

In Singapore, this CD is available at or can be ordered from Sing Discs (Raffles City), Borders (Wheelock Place), Tower (Pacific Plaza & Suntec City) or HMV (The Heeren).

Adrian Tan is happy to be back in action after not having any CD reviews in two issues. Anyone missed me?

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