Threepenny Opera: The Music
Weill talks about his music
Surprised by success? Well…
“Now that I've finished work on the Beggar’s Opera, I think I've written a good piece and that several numbers in it, at least musically, have the best prospects for becoming popular very quickly.” (letter to his publisher 10 days before the premiere)
Why would anyone sing onstage?
“With every musical work for the stage the question arises: how is music, particularly song, at all possible in the theatre? Here the question was resolved in the most primitive way possible. I had a realistic plot, so I had to set the music against it, since I do not consider music capable of realistic effects. Hence the action was either interrupted, in order to introduce music, or it was deliberately driven to a point where there was no alternative but to sing.” (letter to the journal “Anbruch”, January 1929)
Don’t mess with my “Klangbild”…
“I hear from Frankfurt that they already want to start making all kinds of orchestra reductions in the Dreigroschenoper. I consider that very dangerous and ask that you forbid the director from making any changes in the music or instrumentation without my permission.” (letter to his publisher on October 11, 1928)
“In the twenty years of its existence, the Dreigroschenoper has become a classic, and thousands of performances have rendered proof of its artistic strength as well as of its power over an audience. In music schools, the work’s full score is being taught as an example of great orchestration achieved by modest means, and up to now, no one has ever gotten the idea that this full score should be improved on. … In no case would I allow my music to be changed arbitrarily.” (letter to a theater in Switzerland, January 31, 1949)
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Take a closer look at the composer's handwriting: here's the first page of full score for "Seeräuberjenny" / "Pirate Jenny."
Click image to enlarge. |
Tschaikowsky? Stravinsky!
“Stravinsky is really enthusiastic about Dreigroschenoper. … It’s seen as a play that could have originated only on German soil, but just the same an entirely new mixture of Shakespeare and Dickens. The music, he said, is perfect. I’m supposed to send him all recordings and music immediately, because he wants the piece to be with him always.” (letter to Lenya on January 27, 1930)
The Orchestra
The music sounds so easy but when you look at it … how did the 7 original band members manage 23 instruments?
The Orchestra: The Lewis Ruth Band (photo) led by Theo Mackeben at the piano. They were placed on stage in a prop of a fairground organ. Most of today's bands need 11 to 13 players to cover all the parts. [Special thanks to Archiv Dr. Jürgen Schebera, Berlin, for the photo.]
"If Jenny ever becomes a major
role, then there's something goddam wrong with the whole production." -Lotte Lenya (1962) |
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The Cast
Countless actors have mesmerized audiences with their skills but when it came to singing they stopped the show for all the wrong reasons. Likewise, many a trained singer has beautifully hit all the right notes but could audition successfully only for Madame Tussaud’s. So casting is key. Threepenny can’t be done with pure singers, and it can’t be done with pure actors. Each role calls for specific qualities, and no one should be fooled — Polly and Macheath are vocally demanding parts. Here’s a portrait of the original cast: |
Macheath: The role was written for the dapper Harald Paulsen, a seasoned operetta tenor with excellent acting skills. |
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Polly: The substantial soprano part was conceived for Berlin’s shooting star, 27-year-old Carola Neher. Because of her husband’s sudden death she had to be replaced at the premiere, but she joined the cast some months later and also played the part in the 1931 film version. Roma Bahn played Polly on opening night in Berlin. |
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Mr. Peachum: Erich Ponto, a noted stage actor and later a film star (“The Third Man”), had no trouble with this straightforward bass-baritone part. |
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Mrs. Peachum: Rosa Valetti was a political cabaret performer, handling the part of Mackie’s true antagonist with a fine mezzo voice and accomplished acting skills. |
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Jenny: Lotte Lenya’s name was accidentally omitted from the opening night program, but in this mezzo part she made a memorable impression on Berlin’s feared theater critic, Alfred Kerr: “Who was she? She was good!” |
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Lucy: Kate Kühl had wanted to become an opera singer but ultimately chose the career of a chanteuse and actress. The number “Lucy’s Aria” had to be cut at the premiere because it requires the skills of a coloratura. |
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Tiger Brown: A trouble-free baritone part, it was performed by Berlin’s famous and beloved Kurt Gerron, who starred in countless plays, revues, and films (e.g., “The Blue Angel”). |
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