Ute Lemper

RIAS Sinfonietta Berlin

John Mauceri

Weill: The Seven Deadly Sins (2024 Remaster)

Jeff Cohen

Weill: Die sieben Todsünden (Transposed Version) : Prologue. Andante sostenuto "Meine Schwester" (2024 Remaster)

Helmuth Wildhaber

Guido Haazen

Thomas Mohr

Manfred Jungwirth

Weill: Die sieben Todsünden (Transposed Version) : I. Sloth. Allegro vivace "Müssiggang ist aller Laster" (2024 Remaster)

Weill: Die sieben Todsünden (Transposed Version) : II. Pride. Allegretto, quasi Andantino "Als wir aber" (2024 Remaster)

Weill: Die sieben Todsünden (Transposed Version) : III. Anger. Molto agitato "Das geht nicht vorwärts" (2024 Remaster)

Weill: Die sieben Todsünden (Transposed Version) : IV.  Gluttony. Largo "Das ist ein Brief aus Philadelphia" (2024 Remaster)

Weill: Die sieben Todsünden (Transposed Version) : V. Lust. Moderato "Und wir fanden einen Mann in Boston" (2024 Remaster)

Weill: Die sieben Todsünden (Transposed Version) : VI. Avarice. Allegro giusto "Wie hier in der Zeitung" (2024 Remaster)

Weill: Die sieben Todsünden (Transposed Version) : VII. Envy. Allegro non troppo "Und die letzte Stadt" (2024 Remaster)

Weill: Die sieben Todsünden (Transposed Version) : Epilogue. Andante sostenuto "Darauf kehrten wir zurück nach Lousiana" (2024 Remaster)

Pirate Jenny

Speak Low

Mack the Knife

Rendezvous with Marlene

Forever: The Love Poems of Pablo Neruda


Ute Lemper专辑介绍：The title "Paris Days, Berlin Nights" is a little misleading.
One might expect French songs about morning-after regrets and German ones about living cynically hedonistically, but this collection goes way beyond that.
It includes songs about war, abandonment, the indifference of time to human suffering, and gritty street life, with music by Piazzolla and Polish-Jewish composer Chava Alberstein in addition to the expected Kurt Weill, Hanns Eisler, and Jacques Brel.
Uniting them all is Lemper's incredible voice and sense of drama, no matter what language. The energy she puts into songs such as "Der Graben" or "Ballade vom Wasserrad" is so great, it's hard to believe that no physical harm is done, but she comes right back every time, putting just as much into the next one.
She is well supported by the Vogler Quartet and accordionist/clarinetist/pianist Stefan Malzew, all of whom come close to matching Lemper's intensity when needed. Malzew made all the arrangements, and they are very well done.
They not only provide interesting, textural accompaniment to the voice, the gestures also support the character and theme of the texts.
Malzew even sneaks in little details, such as quoting "La Marseillaise" in "L'Accordéoniste" or a sustained, high-pitched note (like what is heard when a grenade falls) in "Der Graben".
Although the album's title might not fit the contents, Lemper and colleagues do make these culturally diverse songs go together.
The concentration of their passion keeps the set as a whole from becoming desperately bleak and gives the music a fascinating presence. P. Morita


Paris Days, Berlin Nights

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Weill: The Seven Deadly Sins (2024 Remaster)

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