"P. Fleischhacker"" (which Piscator's theatre announced in its programme for the 1927–28 season). It wasn't until his ""Saint Joan of the Stockyards"" (written between 1929–1931) that Brecht solved it. In 1928 he discussed with Piscator plans to stage Shakespeare's ""Julius Caesar"" and Brecht's own ""Drums in the Night"", but the productions did not materialize. 1927 also saw the first collaboration between Brecht and the young composer Kurt Weill. Together they began to develop Brecht's ""Mahagonny"" project, along thematic lines of the biblical Cities of the Plain but rendered in terms of the ""Neue Sachlichkeit""'s ""Amerikanismus"", which had informed Brecht's previous"
"his new theatre company at the Theater am Schiffbauerdamm in Berlin, but was not impressed by the sound of Fleischhacker. Brecht immediately proposed a translation of The Beggar's Opera instead, claiming that he himself had been translating it. He delivered Hauptmann's translation to Aufricht, who immediately signed a contract for it. Brecht's major addition to Hauptmann's text was the addition of four songs by the French poet François Villon. Rather than translate the French himself, he used (uncredited) the translations by (), the same source he had been using since his earliest plays. The score by Weill uses only one"
"The Beggar's Opera The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time. ""The Beggar's Opera"" premiered at"
"massive worker arts organisation that existed in Germany and Austria in the 1920s. So did Brecht's first great play, ""Saint Joan of the Stockyards"", which attempts to portray the drama in financial transactions. This collective adapted John Gay's ""The Beggar's Opera"", with Brecht's lyrics set to music by Kurt Weill. Retitled ""The Threepenny Opera"" (""Die Dreigroschenoper"") it was the biggest hit in Berlin of the 1920s and a renewing influence on the musical worldwide. One of its most famous lines underscored the hypocrisy of conventional morality imposed by the Church, working in conjunction with the established order, in the face"
"characterisation. Following is a list of some of the most highly regarded 20th-century arrangements and settings of the opera. The Beggar's Opera The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set"
"Beggar's Holiday Beggar's Holiday is a musical with a book and lyrics by John La Touche and music by Duke Ellington. An updated version of ""The Beggar's Opera"" by John Gay, it focuses on a corrupt world inhabited by rakish mobsters and their double crossing gangs, raffish madams and their dissolute whores, panhandlers and street people as they conduct their dirty business, ply their trade, and struggle to survive in brothels, shanty towns, and prisons. The Broadway production, directed by Nicholas Ray and choreographed by Valerie Bettis, opened on December 26, 1946 at The Broadway Theatre, where it ran for"
"Der Bettelstudent Der Bettelstudent (""The Beggar Student"") is an operetta in three acts by Carl Millöcker with a German libretto by Camillo Walzel (under the pseudonym of F. Zell) and Richard Genée, based on ""Les noces de Fernande"" by Victorien Sardou and ""The Lady of Lyons"" by Edward Bulwer-Lytton. However, the librettists added the element of combining love and politics to the French comedy plots. It premiered in Vienna in 1882. A German film adaptation, ""The Beggar Student"", was directed by Georg Jacoby in 1936 and a West German film adaptation, ""The Beggar Student"", was directed by Werner Jacobs in"
"The Beggar's Opera (film) The Beggar's Opera is a 1953 Technicolor film version of John Gay's 1728 ballad opera directed by Peter Brook and starring Laurence Olivier, Dorothy Tutin, Stanley Holloway and others. Olivier and Holloway do their own singing in this film, but Dorothy Tutin and several others were dubbed. This was Laurence Olivier's only film musical. With additional dialogue and lyrics by Christopher Fry, the film expands on some elements in the opera, notably giving Mrs Trapes (Athene Seyler) a larger role and adding dramatic action sequences to Macheath's escape. The framing device is also changed: the Beggar"
"cemetery. Reinhard Sorge Reinhard Sorge (29 January 1892, Berlin, German Empire – 20 July 1916, Ablaincourt, France) was a German dramatist and poet. He is best known for writing the Expressionist play ""The Beggar"" (""Der Bettler""), which won the Kleist Prize in 1912. Sorge served in the Imperial German Army in World War I beginning in 1915. He was killed in action at the Battle of the Somme in summer 1916. Sorge was born in Berlin-Rixdorf, the son of a middle class salesman. When he was nine years old, his family moved to Jena. According to Tim Cross, ""The blight"
"November 2012 in Paris. David Serero has also performed, arranged and produced the only Cast Album Recording of Beggar's Holiday. Beggar's Holiday Beggar's Holiday is a musical with a book and lyrics by John La Touche and music by Duke Ellington. An updated version of ""The Beggar's Opera"" by John Gay, it focuses on a corrupt world inhabited by rakish mobsters and their double crossing gangs, raffish madams and their dissolute whores, panhandlers and street people as they conduct their dirty business, ply their trade, and struggle to survive in brothels, shanty towns, and prisons. The Broadway production, directed by"
"The Mother (Brecht play) The Mother is a play by the German modernist playwright Bertolt Brecht. It is based on Maxim Gorky's 1906 novel of the same name. It was written in collaboration with Hanns Eisler, Slatan Dudow and Günther Weisenborn in 1930–31 in prose dialogue with unrhymed irregular free verse and ten initial songs in its score, with three more added later. Eisler rewrote the incidental music as a cantata, op. 25, for chorus, solo voices and two pianos for a 1935 New York stage production. The play's full German title is (The mother. Life of the Revolutionary Pelagea"
"Reinhard Sorge Reinhard Sorge (29 January 1892, Berlin, German Empire – 20 July 1916, Ablaincourt, France) was a German dramatist and poet. He is best known for writing the Expressionist play ""The Beggar"" (""Der Bettler""), which won the Kleist Prize in 1912. Sorge served in the Imperial German Army in World War I beginning in 1915. He was killed in action at the Battle of the Somme in summer 1916. Sorge was born in Berlin-Rixdorf, the son of a middle class salesman. When he was nine years old, his family moved to Jena. According to Tim Cross, ""The blight of"
"Bernd Alois Zimmermann Bernd Alois Zimmermann (20 March 1918, Bliesheim, Rhine Province – 10 August 1970, Königsdorf (Frechen); full name ""Bernhard Alois Zimmermann"") was a German composer. He is perhaps best known for his opera ""Die Soldaten"", which is regarded as one of the most important German operas of the 20th century, after those of Berg. As a result of his individual style, it is hard to label his music as avant-garde, serial or postmodern. His music employs a wide range of methods including the twelve-tone row and musical quotation. Zimmermann was born in Bliesheim (now part of Erftstadt) near"
"of the melodies which Johann Pepusch wrote for the original "" Beggar's Opera"". The title ""Die Dreigroschenoper"" was determined only a week before the opening; it had been previously announced as simply ""The Beggar's Opera"" (in English), with the subtitle ""Die Luden-Oper"" (""The Pimp's Opera""). Writing in 1929, Weill made the political and artistic intents of the work clear:With the ""Dreigroschenoper"" we reach a public which either did not know us at all or thought us incapable of captivating listeners [...] Opera was founded as an aristocratic form of art [...] If the framework of opera is unable to withstand"
"Opera"" of 1728. It had a libretto by John Gay and music arranged by Johann Christoph Pepusch, both of whom probably experienced vaudeville theatre in Paris, and may have been motivated to reproduce it in an English form. They were also probably influenced by the burlesques and musical plays of Thomas D'Urfey (1653–1723) who had a reputation for fitting new words to existing songs; a popular anthology of these settings was published in 1700 and frequently re-issued. A number of the tunes from this anthology were recycled in ""The Beggar's Opera"". After the success of ""The Beggar's Opera"", many similar"
"Beggar's Opera"". But that would deprive us of hearing German's fine martial songs; his convoluted, challenging chorus writing; some very catchy ditties for the soubrette, Honour; the famous coloratura waltz-song for the heroine, Sophia; and most important, his sweeping finales, which have a breadth that occasionally just touches Ralph Vaughan Williams territory. You may ... tire of so many jigs and other intrusive country dances, but that's Edward German for you, exactly. The opera is best known for a suite of three of its dance numbers for orchestra and the Act III waltz song, which can be found on numerous"
"Bernhard Flies Bernhard Flies (about 1770 in Berlin – ?) was a German amateur composer and a doctor of medicine. Little is known about Flies. He composed some piano pieces and songs. He is best known for the romantic music to the lullaby ""Schlafe, mein Prinzchen, schlaf ein"", (Sleep, my little prince, go to sleep) attributed to him, also known as ""Das Wiegenlied"" (the Cradle Song), from the theatre play ""Esther"" written by Friedrich Wilhelm Gotter (1746–1797). Recent research suggests that the song was originally composed by Johann Friedrich Anton Fleischmann. For a long time, the composition was mistakenly attributed"
"Felix Mendelssohn Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 1809 4 November 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for ""A Midsummer Night's Dream"", the ""Italian Symphony"", the ""Scottish Symphony"", the overture ""The Hebrides"", his mature Violin Concerto, and his String Octet. His ""Songs Without Words"" are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism"
"24 April 1902 at the Bösendorfer Saal in Vienna. Schreker had copies of the libretto and vocal score printed to try to promote the work but it met with little interest from the conductors and opera houses he sent it to. The full score was never published. However, Schreker did have two individual numbers from the opera published by Universal Edition in Vienna in 1922: ' (""Agnes' prayer"") (from Scene 11) and ' (""Irmgard's song"") (from Scene 17): both are scored for soprano and orchestra. On 2 June 1985 the opera's first staged performance took place at the Pianopianissimo Musiktheater"
"are deliberately kept very short to minimize disruptions to the flow of the story. Rather than the more aristocratic themes and music of the Italian opera, the ballad operas were set to the music of popular folk songs and dealt with lower-class characters. Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was ""The Beggar's Opera"" of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced"
"Neprigozhaya Neprigozhaya (Russian Непригожая, English The Ugly Girl), also known by its German language title Die Tochter des Bojaren (The Boyar's Daughter), is a one-act opera of 1873 by Ella Adayevskaya (the pseudonym adopted by the composer Elizaveta von Schultz). The opera, which was listed by Adayevskaya as her Op. 5, has a libretto by Rudolf Minzlow (also known as Muntzloff) (1811-1883) adapted by Georg von Schultz and translated from its original German into Russian by Peter Ivanovich Kalashnikov, who translated many lyrics for Adayevskaya's songs. The opera was composed in the period 1872/3, but was frequently revised by the"
"Der langwierige Weg in die Wohnung der Natascha Ungeheuer Der langwierige Weg in die Wohnung der Natascha Ungeheuer (The Tedious Way to Natascha Ungeheuer's Apartment) is a composition by the German composer Hans Werner Henze. It represents one of the most ""outré"" examples of his early socialist-inspired works. Described as a ""show for 17 performers"", it is a setting of a libretto by the Chilean poet Gaston Salvatore, who had been prominent in the student disturbances of 1968 in Berlin. It features a baritone soloist, whose demanding role includes sprechstimme, screeches and spoken passages. He is accompanied by an organist,"
"Zagrosek; this was released in Decca Records' ""Entartete Musik"" series. Deutsche Sinfonie Deutsche Sinfonie, Op. 50, is a composition for soloists, chorus and orchestra by Hanns Eisler. Despite the title, it is considered to be more in the style of a cantata than a symphony. Principally composed between 1935 and 1947, but not completed until 1957, it is an eleven-movement setting of poems by Bertolt Brecht, drawn mainly from Brecht's ""Songs, Poems and Choruses"" of 1934, and by Ignazio Silone, adapted by Eisler. It was premiered in its full form at the German State Opera, East Berlin, on 24 April"
"to Wolfgang Amadeus Mozart (K.350 in the Köchel-Verzeichnis). Bernhard Flies Bernhard Flies (about 1770 in Berlin – ?) was a German amateur composer and a doctor of medicine. Little is known about Flies. He composed some piano pieces and songs. He is best known for the romantic music to the lullaby ""Schlafe, mein Prinzchen, schlaf ein"", (Sleep, my little prince, go to sleep) attributed to him, also known as ""Das Wiegenlied"" (the Cradle Song), from the theatre play ""Esther"" written by Friedrich Wilhelm Gotter (1746–1797). Recent research suggests that the song was originally composed by Johann Friedrich Anton Fleischmann. For"
"Der Arbeitsmann ""Der Arbeitsmann"" (English: ""The workman"") is an art song for voice and piano composed by Richard Strauss in 1889, setting a poem by the German poet Richard Dehmel. The song is part of the collection """" (English: ""Five songs for high voice with piano accompaniment""). Strauss orchestrated the song in 1918. Strauss set 11 poems by the German poet Richard Dehmel over the period 1895-1901, four of them in his Opus 39 collection (""Leises Lied"", ""Befreit"" and ""Lied am meinem Sohn"" being the other Opus 39 Dehmel settings) and another the 1899 orchestral song Notturno. Dehmel was a"
"based on dramas. He was internationally recognized after the premiere of his opera ""Dantons Tod"" at the Salzburg Festival of 1947. His last operas, starting with ""Jesu Hochzeit"", are based on libretti by his wife. In 1973 he wrote as a commission of the UN to commemorate the 30th anniversary of its foundation the cantata ""An die Nachgeborenen"" for mezzo-soprano, baritone, chorus and orchestra, based on diverse texts. The title is taken from a poem of Bertolt Brecht, translated as ""To Those Who Follow in Our Wake"". The premiere in 1975 in New York with Julia Hamari, Dietrich Fischer-Dieskau, the"
"The Good Person of Szechwan The Good Person of Szechwan (, first translated less literally as The Good Woman of Setzuan) is a play written by the German theatre practitioner Bertolt Brecht, in collaboration with Margarete Steffin and Ruth Berlau. The play was begun in 1938 but not completed until 1941, while the author was in exile in the United States. It was first performed in 1943 at the Zürich Schauspielhaus in Switzerland, with a musical score and songs by Swiss composer Huldreich Georg Früh. Today, Paul Dessau's composition of the songs from 1947-48, also authorized by Brecht, is the"
"Elisabeth Hauptmann Elisabeth Hauptmann (20 June 1897, Peckelsheim, Westphalia, German Empire – 20 April 1973, East Berlin) was a German writer who worked with fellow German playwright and director Bertolt Brecht. She got to know Brecht in 1922, the same year she came to Berlin. She worked as a secretary for the German-American poet and writer, Herman George Scheffauer. She began collaborating with Brecht in 1924, and is listed as co-author of ""The Threepenny Opera"" (1928). She purportedly wrote the majority of the text as well as providing a German translation of John Gay's ""The Beggar's Opera"", on which the"
"production of ""The Mother"", rather than the quotes by Karl Marx and Vladimir Lenin called for in the original script. The Mother (Brecht play) The Mother is a play by the German modernist playwright Bertolt Brecht. It is based on Maxim Gorky's 1906 novel of the same name. It was written in collaboration with Hanns Eisler, Slatan Dudow and Günther Weisenborn in 1930–31 in prose dialogue with unrhymed irregular free verse and ten initial songs in its score, with three more added later. Eisler rewrote the incidental music as a cantata, op. 25, for chorus, solo voices and two pianos"
"Trumpets and Drums Trumpets and Drums () is an adaptation of an 18th-century English Restoration comedy by Farquhar, ""The Recruiting Officer"". It was written by the German dramatist Bertolt Brecht in collaboration with Benno Besson and Elisabeth Hauptmann. It was first performed in 1955 in a production directed by Besson, with music by Rudolf Wagner-Régeny (whose songs for the play have been called ""Weill-like"" by John Willett). It was the first premiere of Brecht's final season at the Berliner Ensemble. Willett identifies an instance of Brecht's lifelong indebtedness to Rudyard Kipling in the play's ""Song of the Women of Gaa."""
"Les deux aveugles Les deux aveugles (, ""The Two Blind Men"" or ""The Blind Beggars"") is an 1855 one-act French ""bouffonerie musicale"" (operetta) by Jacques Offenbach. The libretto was written by Jules Moinaux and was a condensation of his 3-act ""Les musiciens ambulants"". The half-hour long piece is a comic sketch about two (supposedly) blind beggars, consisting of an overture and four numbers. Offenbach was bold in making light of the disabled poor, but he believed that his patrons would see the humour of the piece. Most Parisians had been pestered by beggars on Parisian street corners, and Offenbach's blind"
"Alabama Song The ""Alabama Song""—also known as ""Moon of Alabama"", ""Moon over Alabama"", and ""Whisky Bar""—is an English version of a song written by Bertolt Brecht and translated from German by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play ""Little Mahagonny"". It was reused for the 1930 opera ""Rise and Fall of the City of Mahagonny"" and has been notably covered by The Doors and David Bowie. The ""Alabama Song"" was written as a German poem and translated into idiosyncratic English for the author Bertolt Brecht by his close collaborator"
"slow march of the British Grenadier Guards is derived, was performed as a stopgap, waiting for the arrival of Faustina Bordoni. In 1727 Handel was commissioned to write four anthems for the Coronation ceremony of King George II. One of these, ""Zadok the Priest"", has been played at every British coronation ceremony since. In 1728 John Gay's ""The Beggar's Opera"", which made fun of the type of Italian opera Handel had popularised in London, premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time. After nine years the"