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(Vocal Selections). The triumphant presentation of this work ran for five years in New York. Includes: "Ballad of Mack the Knife." Approved by the Kurt Weill Society.
- Sales Rank: #1704775 in Books
- Brand: Alfred Music
- Published on: 1984-12-01
- Original language: English
- Number of items: 1
- Dimensions: 12.00" h x .16" w x 9.00" l, .45 pounds
- Binding: Sheet music
- 56 pages
- Manufactured to the Highest Quality Available.
- With True Enhanced Performance.
- Latest Technical Development.
Review
"The Threepenny Opera and Mother Courage are the great plays of our time."
-Lillian Hellman
Language Notes
Text: English (translation)
Original Language: German
About the Author
Nadine Gordimer is the author of eleven previous novels, as well as collections of stories and essays. She has received many awards, including the Booker Prize (for The Conservationist in 1974) and the Nobel Prize in Literature in 1991. She lives in Johannesburg, South Africa.
Most helpful customer reviews
1 of 2 people found the following review helpful.
Bertolt Brecht s Threepenny Opera as the greatest hit play during the Weimar era in Germany
By C. M Mills
The Threepenny Opera was first on stage in 1928. Bertholt Brecht (1898-1956) is the playwright. The musical comedy is a retelling of John Gay s
The Beggars Opera first performed in 1728. The work is the story of Mack the Knife a nefarious criminal who is love with Polly Peacham. He is recued from the gallows in the last scene of the play. The work is notable for its witty score and music by Kurt Weill. The play is a staple of the modern theatre and made Brecht and Weill famous in Germany and throughout the world.
12 of 16 people found the following review helpful.
AN IMPORTANT LESSON IN OUR AGE OF CORRUPT GLOBALIZATION AND "FREE TRADE AGREEMENTS"
By Love Thy Enemy
and our local crime as well.
The Threepenny Opera is so well known and sought after (without many taking the time seriously to study it) that it can be pricey here on the open amazonian market. Don't go for the collector's editions; go for the one you can throw into a pocket and pull out and read. Get the book you will read.
Grove once more, like Beckett, comes to the rescue. Grove (and its Black Cat Evergreen extension) over forty years ago was noted for alone publishing what others would not. Over forty years later Grove's mass market editions still make available to us what otherwise might be out of reach. Bertolt Brecht, the banned playwright, remains here easily acquired, and read.
Certainly this is a bare bones edition. Other critical editions and essays are avaialble, but this is something very portable and readable. For instance for critical essays you might find Bertolt Brecht and Critical Theory: Marxism, Modernity and the Threepenny Lawsuit of interest. The Threepenny Opera (Penguin Classics) may contain more supplementary materials (I do not know). But I find what is supplied here adequate for now, and for reading.
We find here the lyrics to the songs at the proper place in the play, but not Kurt Weil's music. We do have a deeply moving (in the end) and eloquently written Foreword by Lotte Lenya who created her career here, and whose definitive presentation may yet be seen in The Threepenny Opera - Criterion Collection.
We also have included here the excellent stage notes to the actors by the author, Bertolt Brecht, who after general political and philosophical comments about the dramatic arts, gives precise suggestions for staging his play, including never to cut the horse in the end.
In fact, he gives some very good direction for our only surviving widespread and popular form of live dramatic entertainment - the local karaoke: "The actor must not only sing but show a man who is singing. He does not attempt so much to project the emotional content of the song (can one offer others food which one has already eaten?) as to display gestures which are, so to speak, the customs and usages of the body. To this end, he would do well, when studying his part, to use not the words of the text, but common current forms of speech which express similar meanings in the everyday idiom. So as far as the melody is concerned, he need not follow it blindly; there is a way of speaking-against-the-music which can be very effective just because of an obstinate matter-of-factness, independent of and incorruptible by the music and rhythm. If he drops into the melody, this must be an event; to emphasize this, the actor can show clearly his own delight in the melody (pp. 106-107)." SO next time you are forced at a wedding, etc., to sing Karaoke, just read it, against the music, until discovering a section you enjoy singing, and make it show!
I avoid the story for now, as it should be well known to everyone. As Lenya's foreword recounts well, Brecht based this play on an excellent and popular work from the early 1700's by John Gay which mocked the official extortion and theft by the London aristocracy. These well sanctioned thieves and immoral organized crime was thinly disguised with the trade of much poorer (as less royally favored) thieves who were liable for the courts for not having received royal license and monopolies (at a price). That earlier play is called The Beggar's Opera, By John Gay; To Which Is Added the Music To Each Song, available now in several editions, and also a DVD production starring the Who's Roger Daltrey at John Gay - The Beggar's Opera / Jonathan Miller · John Eliot Gardiner · Roger Daltrey · English Baroque Soloists. Yale's ubiquitous Harold Bloom also offers a critical edition at John Gay's the Beggar's Opera (Bloom's Modern Critical Interpretations).
Please read this book, as being the most easily available, and open yourself for further study of this work and related works, including the interesting remarks on the evils of corporate capitalist globalization which close Sacramentum Caritatis: el Sacramento de la Caridad: una Exhortacion Apostolica Postsinodal. This present work available in a variety of translations (of varying literalness or free translation and interpretation) and formats, including Die Dreigroschenoper: Berlin 1930 and The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation).
1 of 1 people found the following review helpful.
"Or is it only those who have the money / Can enter in the land of milk and honey?"
By R. M. Peterson
I bought this paperback eons ago (as evidenced by the 95 cent price tag), but I never read it. What I knew about THE THREEPENNY OPERA came instead from listening to various songs from it, the music composed by Kurt Weill. Of course almost everyone over the age of thirty knows "The Ballad of Mack the Knife", but there are several other songs that are almost as entrancing. Once heard, many of the Weill/Brecht songs are unforgettable. So perhaps it was inevitable that I was a tad disappointed in reading THE THREEPENNY OPERA in print, without Kurt Weill's contribution.
Written in 1928, it is a bitter play. It is nominally set in London, perhaps because it is an update of John Gay's "The Beggar's Opera", which according to something I recently read was the world's first musical. But to me the play seems to be a depiction of Weimar Germany: criminality, licentiousness, greed, political corruption, and a disintegration of civil order. It is manic, mostly nihilistic but at times absurdist.
Also evident is Brecht's contempt for capitalism. In this regard, two excerpts stand out. Peachum, the lord of the city's beggars, says: "We all obey the law. The law is simply and solely made for the exploitation of those who do not understand it or of those who, for naked need, cannot obey it." And then there is Mackie on banks: "We bourgeois artisans, who work with honest jimmies on the cash boxes of small shopkeepers, are being swallowed up by large concerns backed by banks. What is a picklock to a bank share? What is the burgling of a bank to the founding of a bank?" (Lines that still resonate.)
This Grove Press edition, with the same cover, has been around since 1964. Besides the play, it features a fascinating Foreword by Lotte Lenya, written in 1956. In it, she tells about the creation of THE THREEPENNY OPERA and its premier in August 1928. Here are two tidbits from her Foreword. 1) Brecht had entitled the work, "Bettler Oper". The musical was in rehearsal when a kibitzer, the playwright Lion Feuchtwanger, suggested that it instead be called "Die Dreigroschenoper". Brecht agreed and at once that name went up on the marquee. 2) Also while in rehearsal, the actor playing Mackie Messer insisted that there should be a song introducing his character. Brecht produced the verses for the "Moritat" of Mack the Knife over one night, gave them to Weill the next day, and Weill produced the tune over the following night. Genius.
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