Music for Johnny Johnson

On this CD:

1. Johnny Johnson, musical play
Composed by Kurt Weill
Performed by Anne Azema, John Delorey, Bruce Fithian, D'Anna Fortunato, Paul Guttry, Ellen Santaniello, Donald Wilkinson
Conducted by Joel Cohen

Tracks:

Home For The Holidays - Perry Como
White Christmas - Bing Crosby
Jingle Bells - Ella Fitzgerald
Do You Hear What I Hear? - Andy Williams
Carol Of The Bells/Deck The Halls - The Robert Shaw Chorale
I Heard The Bells On Christmas Day - Harry Belafonte
Blue Christmas - Elvis Presley
My Favorite Things - Eddie Fisher
Joy To The World - Julie Andrews
Here We Come A-Caroling - The Mormon Tabernacle Choir
March Of The Toys - The Saint Louis Symphony Orchestra
O Holy Night - Luciano Pavarotti

Tracks:

Rudolph The Red-Nosed Reindeer - Gene Autry
It's The Most Wonderful Time Of The Year - Andy Williams
The Twelve Days Of Christmas - Roger Whittaker
Dance Of The Sugar Plum Fairy - The Boston Pops Orchestra
Mary's Boy Child - Harry Belafonte
I'll Be Home For Christmas - Elvis Presley
Rockin' Around The Christmas Tree - Brenda Lee
Sleigh Ride - Johnny Mathis
Tennessee Christmas - Alabama
Baby's First Christmas - Connie Francis
The Little Drummer Boy - Harry Simeone Chorale
Auld Lang Syne - Guy Lombardo

Customer Reviews:

Only half the songs of the original set!!.......2007-01-17

Although I love the CDs, I was disappointed that there were only about half of the songs I thought there would be. I bought the original double cassette set back in the early 90's and when I found the CDs with the same name and cover, I thought I was getting the same thing only on CD. But the Cassettes had twice as many songs, including Let it Snow,Have Yourself a merry Little Christmas,The First Noel, Jingle Bells by Jim Reeves, The Christmas song by the Carpenters and so many others!!

Its all Christmas.......2007-01-09

It reminded me of Christmas as a child. I played this all throughout the holidays.

A Good Basic Collection.......2006-02-11

This is a good, basic collection of Christmas Music. As a general rule, Time-Life has selected what is probably the definative artist/arangement of each song.

My only complaints are that there are only 24 songs on two disks and one or two of them are not ones that I would have picked (not my style).

Overall, it's a good set that I would recommend to anyone who wants to start a collection.

cd reviews.......2006-01-15

this cd was very good, much recommended

Poor Quality.......2005-12-05

The only good thing about this collection is the inclusion of so many Christmas standards. I was very disappointed in the quality of the recordings, they obviously need digital inhancement.

Average customer rating:

A great addition
Joan Morris and William Bolcom return to their roots

Moonlight Bay: Songs as Is Songs as Was

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

After The Ball plus Highlights from Vaudeville
On the Level, You're a Little Devil--Songs of Vaudeville and Tin Pan Alley
Gershwin: Piano Music
Sing Gus Kahn
Cabaret Songs (Complete)

ASIN: B00000HXME
Release Date: 1999-02-09

Tracks:

On The Road To Mandalay
Moonlight Bay
Hello, Ma Baby
Billy
School Days
Mirandy
Poor Butterfly
Nobody's Lookin But De Owl An' De Moon
Asleep In The Deep
Beale Street Blues
Life's A Funny Proposition After All
I'm Forever Blowing Bubbles
Can't You Heah Me Callin', Caroline?
I Might Be Your 'Once - In - Awhile'
Heaven Will Protect The Working Girl
The Man That Broke The Bank At Monte Carlo
Some Little Bug Is Going To Find You
Daisy Bell
Just A - Wearyin' For You
Little Annie Rooney
The Widow Nolan's Goat
Forty - Five Minutes From Broadway
My Gal Sal
Oh Johnny, Oh Johnny, Oh!

Customer Reviews:

A great addition.......2005-08-20

Joan Morris and her husband, composer William Bolcom, take another trip back to the early days of Broadway musicals and earlier. In the same groove as their earlier albums, After the Ball and Vaudeville. A great addition to your collection if you love this kind of music, performed the way it was meant to be heard.

Joan Morris and William Bolcom return to their roots.......1999-03-13

Back in 1974, mezzo-soprano Joan Morris, and her husband, William Bolcom, recorded "After the Ball," a collection of turn-of-the-century popular songs, some of which hadn't been recorded since the early part of the century, if ever. Now, after bringing their talents to the music of Jerome Kern, Cole Porter, Rodgers and Hart, and most recently, Vincent Youmans, they return to the turn of the century with this delightful collection. Note: no compromises were made with the original turn-of-the-century lyrics; this CD is not for those obsessed with "political correctness." But then, those obsessed with political correctness generally don't have much taste, anyway.

Average customer rating:

The best is wonderful, but there are a few duds
Beautiful Voice, Bad Choices
A Great Showcase of Hampson's Voice and Artistry
Comprehensive coverage of Hampson's range in song

Thomas Hampson - A Portrait

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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Leading Man
The Very Best of Thomas Hampson
Christmas with Thomas Hampson
Song of America
Verdi - Rigoletto / Domingo, MacNeil, Cotrubas, Diaz, Levine, Metropolitan Opera

ASIN: B000024D1I
Release Date: 1997-01-01

Customer Reviews:

The best is wonderful, but there are a few duds.......2006-07-17

No portrait of a singer can satisfy all cmers, so EMI has shrugged its shoulders and tossed a bit of everything into the pot. (Without including any bonus tracks, one should note.) Hampson is without a doubt the successor to Fischer-Dieskau as the world's most famous operatic baritone. His strengths, like F-D's, are in song, especially American song. Seven of the 19 cuts here are American songs, which isn't enough. We don't really need Hampson's rather plodding and earnest Viennese operetta aria, nor his duet, "Anything You Can Do, I Can Do Better" with the shrill Kim Criswell (to tell the truth, neither does very well). Two small slivers from Schumann's Dichterlieve cycle seems rather silly, too.

But that leaves a lot that's wonderful--all the American selections, the Rossini and Liszt songs, the aria form Korngold's Die Tote Stadt, and above all Hampson's rollicking, let-'er-rip rendition of Figaro's aria form the Barber of Seville. If this omnium gatherum entices listeners to bu the complete recordings, it will serve a very good purpose.

Beautiful Voice, Bad Choices.......2003-11-25

Short and Sweet.

I love listening to this beautiful baritone's voice, but I really don't like his choice of songs on this album. Beautiful Dreamer is so hackneyed and I can't stand to listen to it (also why I didn't buy the Stephen Foster album). I did like is choice of two classic lieder by Schumann. I would have chosen more lieder for a different album, he does great things with it. The Live recording of Largo al factotum from Barber is distracting with audience claps and poor mics for the recording. You can hear him walking away from the mics (fading in and out). The absolute worst choice is "Anything You Can Do" from Annie Get Your Gun. It sounds nice but I hate this song. The rest of the songs swing from Sappy awful to beautifully sung.

Bottom Line: Inconsistent and Not worth your money. He can do much better

A Great Showcase of Hampson's Voice and Artistry.......2002-02-23

Thomas Hampson is definitely one of the greatest artists on today's musical scene. This CD displays the beauty of Hampson's voice and the intelligence and artistry that he brings to a great variety of musical styles (German, French and Italian Opera; Italian, French and German art song, and American music). Among the highlights are the first selection, the beautiful "Mein Sehnen, mein Wähnen" from DIE TOTE STADT by Korngold, sung with great control and melting pianissimos. The same can be said of the aria from TANNHAUSER. His live "Largo al Factotum" from IL BARBIERE DI SIVIGLIA is just virtuosistic, with effortless high notes (even a cadenza up to high C) and energetic vocal acting. In the art songs he is no less impressive, with total involvement in the style and mood of the songs, being particularly impressive "Oh, quand je dors" by Lizt. The American repertoire is also a delight. Hampson displays all kind of nuances for this repertoire, from the estatic quality of "Beautiful Dreamer" to the humor and bawdiness of "Where Is The Life that Late I Led". In summary, this is a delightful and eclectic souvenir from one of the most charismatic and intelligent singers of our time.

Comprehensive coverage of Hampson's range in song.......2001-11-01

This EMI disc, "Thomas Hampson, Portrait" is an excellent example of the wide range of this melliflous baritone. From the first German aria, Korngold's "Mein Sehnen, mein Wahnen" one of my personal favourites, to Jerome Kern's "The Last Time I saw Paris" you have great variety of opera, lieder and popular song offering you examples of Hampson's great talent. Buy and enjoy! Jill Whitburn

Average customer rating:

"A MAJOR REDISCOVERY" -- SO SAYS THE BOSTON GLOBE, AND I AGREE. . . .
Excellent Musical Play, but not Weill's Best
A complete recording of an American musical masterpiece!
Johnny Johnson
weill's first american score

Music for Johnny Johnson

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000005E5F
Release Date: 1997-11-25

Tracks:

Music For Johnny Johnson: Introduction
Music For Johnny Johnson: Act I - Over In France
Music For Johnny Johnson: Act I - Democracy Advancing
Music For Johnny Johnson: Act I - Up Chickamuga Hill - The Battle Of San Juan Hill
Music For Johnny Johnson: Act I - Johnny's Melody
Music For Johnny Johnson: Act I - Aggie's Song
Music For Johnny Johnson: Act I - Oh Heart Of Love
Music For Johnny Johnson: Act I - Farewell, Goodbye
Music For Johnny Johnson: Act I - The West-Pointer Song
Music For Johnny Johnson: Act I - The Sergeant's Chant
Music For Johnny Johnson: Act I - Captain Valentine's Song
Music For Johnny Johnson: Act I - Army Interlude
Music For Johnny Johnson: Act I - Farewell, Goodbye (Interlude)
Music For Johnny Johnson: Act I - Song Of The Goddess
Music For Johnny Johnson: Act I - Song Of The Wounded Frenchmen
Music For Johnny Johnson: Act I - The Tea Song
Music For Johnny Johnson: Act I - Oh The Rio Grande - Cowboy Song
Music For Johnny Johnson: Act I - Johnny's Dream
Music For Johnny Johnson: Act I - Song Of The Guns
Music For Johnny Johnson: Act I - Music Of The Stricken Redeemer
Music For Johnny Johnson: Act II - Mon Ami, My Friend
Music For Johnny Johnson: Act II - The Allied High Command
Music For Johnny Johnson: Act II - The Laughing Generals
Music For Johnny Johnson: Act II - The Battle
Music For Johnny Johnson: Act II - In Times Of War And Tumults
Music For Johnny Johnson: Act II - In No Man's Land
Music For Johnny Johnson: Act II - Johnny's Homecoming
Music For Johnny Johnson: Act II - The Psychiatry Song
Music For Johnny Johnson: Act II - Asylum Chorus
Music For Johnny Johnson: Act II - A Hymn To Peace
Music For Johnny Johnson: Act II - Asylum Chorus (Instrumental)
Music For Johnny Johnson: Johnny's Song

Customer Reviews:

"A MAJOR REDISCOVERY" -- SO SAYS THE BOSTON GLOBE, AND I AGREE. . . . .......2006-12-22

One would think that, with the current feelings about the US presence in Iraq and Afghanistan, there would be frequent stagings throughout the country of Kurt Weill's JOHNNY JOHNSON, his awe-inspiring anti-war "play with songs" and his first work for the American theater. (Not coincidentally, where are all productions of Joan Littlewoood's OH, WHAT A LOVELY WAR and the Gershwin/Kaufman STRIKE UP THE BAND?)

Although it has never found a large audience, JOHNNY JOHNSON is an essential piece of American Musical Theatre. Most theatre critics were positive about its 1936 premiere, but it lasted for only 68 performances. Staged by Lee Strasberg, the cast included Group Theatre members Lee J. Cobb, Elia Kazan, Luther Adler, Morris Carnovsky, and John Garfield. In October, 1956, Stella Adler directed an off-Broadway revival, with Samuel Matlowsky as musical director, at the Carnegie Hall Playhouse. It lasted a week, arguably better than the April, 1971 Broadway revival, staged by Jose Quintero, that lasted for only one night. (Matlowsky also conducts the wonderful 1956 MGM/Polygdor studio cast.) More recent productions include a thirteen-week run at The Odyssey Theater in Los Angeles (1986), a York Theatre Company "Musicals in Mufti" staging in the fall of 2000, and two performances by the Oakland Opera Theatre in December, 2005.

This recording, inspired by the 1996 Boston Camerata's performance at the Longy School, has been called " . . . the most important new Weill recording in several years . . . " (BOSTON GLOBE, 2/19/98). Recipient of France's "Diapason d'Or," it also was included in LE MONDE's and the BOSTON GLOBE's best classical albums of the year for 1997. (Reviews of the recording, as well as Boston Camerata musical director Joel Cohen's informative "Metamorphosis and Parody in Kurt Weill's JOHNNY JOHNSON," can be accessed on the Boston Camerata web site.)

The Cohen recording follows a performance edition realized by Lys Simonette, " . . . a close friend of the Weills and co-founder with [Lotte] Lenya of the Kurt Weill Foundation for Music." (from Larry L. Lash's liner notes) Compared to the 1956 recording, this one includes more incidental music and additional verses to some of the songs. It also contains music cut from the original production: Minny Belle's "Farewell, Goodbye," "The West-Pointer Song," "The Sergeant's Chant," "The Tea Song," "The Asylum Chorus," and an instrumental reprise of "Farewell, Goodbye." A 1997 stereo recording, the CD has outstanding dynamics with speaker-testing tympani passages.

However, as wonderful as this recording is, I still prefer the 1956 studio recording, now available as a CD-On-Demand from the Archiv Music web site. Matlowsky's "band" - recorded in crystal clear "mono" - has more bite than Cohen's Otare Pit Band. And I find the whole production just a little too polite. There are times that Matlowsky's forces seem on the verge of losing control, which I think is appropriate for Weill's score. And, finally, there are the singers: Both Donald Wilkinson & Burgess Meredith sound a little too-long-in-the-teeth to me, but Scott Merrill's "Macheath-infused" reading of "Captain Valentine's Tango" can't be bettered, nor can Lotte Lenya's incredible version of "Mon Ami, My Friend." It's apparent that the singers on the 1956 recording are more attuned to Weill's style - and the listener can understand practically every word. I'm also partial to the mostly-spoken version of "In Times of Tumult and War," making it easier to understand the prayer of the American priest and the German priest.

Both recordings are very highly recommended; both should part of your library. It's also a crime that Universal Music Group (Decca, ECM, Philips, Deutsche Grammophon) and Warner Classics (Erato, Teldec) have eliminated this important work from their catalogues. Perhaps if enough of us let them know how we feel . . . . . .

Excellent Musical Play, but not Weill's Best.......2005-10-16

`Lost in the Stars' and `Johnny Johnson' are two Broadway shows scored by Kurt Weill in collaboration with Maxwell Anderson and Paul Green respectively for the librettos, both in English. Both are distinguished works and both were, I believe, fairly popular when they were first performed. What these two works have in common is that they are both works aimed at our social conscience.

`Johnny Johnson' is a mildly anti-war play dealing with America's entering the First World War, written in the mid 1930s, when Germany was already uncomfortable for Jews, but not yet on the brink of precipitating World War II. What is most interesting to me about the libretto is the reluctance of the principle character, Johnny, to enlist in the army, while his fiancée (contrary to many famous antiwar works of the past), is all in favor of his enlisting and threatens to break their engagement if he does not enlist. As a work of art, I believe the work is more interesting as a milepost in American antiwar sentiments than as an important artistic work for either the composer or the lyricist. To my ear, there is not a single song from this work that finds its way into the repertoire of balladeers. This is from a composer who has given us `September Song', `Speak Low', `Lost in the Stars', `Saga of Jenny', and `Lonely House', not to mention all the great songs from his German works such as `Mack the Knife' and `Pirate Jenny'. On top of this, there is my feeling that much of the instrumental music sounds very similar to earlier German works, especially `Mahagonny'.

`Lost in the Stars' is based on Alan Paton's novel, `Cry, the Beloved Country' and was written after World War II, in 1948-1949, and has much of the musical interest of what is missing from `Johnny Johnson'. Throughout the play, the instrumental music is much less similar to earlier Weill works and all songs seem stronger. At least two of these songs, `Lost in the Stars', `Trouble Man' and `Stay Well' are often performed by Lotte Lenya and other vocalists. While it may be pushing it a bit, this work seems almost as strong as Gershwin's `Porgy and Bess'.

I bought both because I am a big fan of Kurt Weill's music, and I would recommend both recordings to any and all Weill enthusiasts, especially as both have extensive notes and complete librettos. But, to the person mostly interested in Broadway in general, I would recommend only `Lost in the Stars'.

I will say that the performances of both vocalists and orchestra are excellent on both; however the vocalists on `Lost in the Stars' seem to give just a little extra, possibly because their material is just a bit more substantial.

A complete recording of an American musical masterpiece!.......2000-07-21

This was Weill's first American score, and it is funny to hear the European roots and his search for the Amerian vernaculur (I hope I didn't mispell that). But this does not make this score or show bad. It simply heightens the drama. This powerful musical theatre piece has been unfairly swept under the rug, being merely a footnote in musical theatre history. It deserves new life, rebirth. The score is a gem, from the cowboy song, "Oh, the Rio Grande" ("which is really close to the real thing for a German immigrant," I believe the liner notes say), and "Mon Ami, My Friend" ("a touch of old Paris"). Then there is the beautiful "Oh, Heart of Love" and the startlingly effective "Song of the Goddess," sung in the show by none other than the Statue of Liberty herself! All of the incedental music is great, and the Otaré Pit Band is perfect for this score (they really need to do a recording of Weill's THREEPENNY OPERA score, maybe a nice, English-language one). I will admit that having classically-trained singers sing the score is not as effective as if they had great actors who were only so-so singers, but I think you will be able to look past this fact quickly, like I did. Things you might not look past are the fact that while Ellen Santaniello has a pretty little singing voice, her acting leaves much to be desired. And someone needs to slap Bruce Fithian on "The Tea Song," because he cannot seem to grasp what a British accent is. Fithian does do a good job on the "Sergeant's Chant," though. "The West-Pointer Song" and the "Song of the Guns" are two pieces which were not typical 1930's musical comedy faire, and they are brilliant. The ending of this will surely have moved you, and you will either be crying or speechless, unless you are an army admiral or Adolf Hitler, that is.

Johnny Johnson.......2000-03-21

I like this rarely performed work. As such, I'm glad to have this version although I found it disappointing. I became familiar with this work through a recording starring Burgess Meredith. And on listening to this new version I realized that the "cultured" voices here are totally inappropriate. A Met baritone should not sing "Home on the Range". Pavarotti should not sing "O Danny Boy". I hope they make this again sometime and use good but non-trained voices. Vibratto seems to me to be a no-no! But then again, what do I know? Well, I know what I like!

weill's first american score.......1999-01-03

the music for JOHNNY JOHNSON was weill's first score for the american theatre, and as such, contains many reminders of his european works. the play, by paul green, is itself a take-off from the czeck classic, THE GOOD SOLDIER SCHWEIK, which weill had considered for operatic treatment while still in germany. among the musical numbers, a weill fan will recognize 'the song of the brandy merchant' from HAPPY END used as a theme here, but may not immediately recall 'johnny's song' as a re-working of a tune from MARIE GALANTE. the orchestra here gives a magnificent reading of weill's score, although the solo singers lack the appeal of the seasoned professionals on the older, out-of-print M-G-M recording. for anyone interested in weill's conversion to the american scene, this is an important release.bob seigler

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Too Little Broadway Weill
I didn't know Kurt Weill wrote that!

Kurt Weill on Broadway

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Kurt Weill: The Centennial

ASIN: B000002RVU
Release Date: 1997-03-11

Tracks:

One Touch Venus: Westwind
Knickerbocker Holiday: It Never Was You
Knickerbocker Holiday: How Can Tell An American
The Firebrand Of Florence Act 1, Scene Act 1: Song Of The Hangman
The Firebrand Of Florence Act 1, Scene Act 1: Civic Song- 'Come to Florence'
The Firebrand Of Florence Act 1, Scene Act 1: Aria-'My Lords And Ladies'
The Firebrand Of Florence Act 1, Scene Act 1: Farewell Song-'There Was Life, There Was Love'
The Firebrand Of Florence Act 1, Scene Act 1: Love Song-'You're Far Too Near Me'
Procession; Chant Of Law And Order-'The World Is Full Of Villians'
Trail By Music-'You Have To Do What You Have To Do Do
Duet-'Love Is My Enemy'
Love Life: Who Is Samuel Cooper?; My Name Is Samuel Cooper
Love Life: Here I'll Stay
Love Life: I Remember It Well
Love Life: This Is The Life
Johnny Johnson: Johnny's Song

Amazon.com

These little known selections from Weill's extensive Broadway career--including the entire Act I, Scene 1 from his operetta The Firebrand of Florence--are unpopular for good reason. They lack the melodic brilliance of his more familiar material. The only memorable song is the familiar "There Never Was You," known for its lush vocal lines, moving sentiment, and ease of interpretation. Thomas Hampson excels in this material; his rich baritone resounds with vibrant overtones and crystal clear diction. In contrast, Elizabeth Futral has no affinity for Weill's music, singing with an unappealing huskiness and vibrato-burdened tone. Miles Kreuger's program notes provide a fascinating historical perspective of Weill's American career, and alone are worth the price of admission. --Barbara Eisner Bayer

Customer Reviews:

Too Little Broadway Weill.......2006-04-14

It would seem a bit disingenuous to criticize a disc called "Kurt Weill on Broadway" for excluding selections from "Die Dreigroschenoper," a work written in 1920's Berlin in a style so distinctly different from that of his Broadway years. There are many, many recordings of "3-Penny" in both German and English, both complete and selections; there's no reason for their inclusion here. These Broadway years called for a very different Weill, one whose work is not well-enough represented on disc. Would that these beautifully-assembled selections had been more extensive, in a 2-disc set -- and that the full scores from all his American productions could be so well presented as these little-known selections.

I didn't know Kurt Weill wrote that!.......2005-10-08

'Kurt Weill on Broadway' sung by Thomas Hampson is a good Kurt Weill album, but not the best it could have been. I have a strong suspicion that rather than do a collection of those English stage songs for which Weill is best known, Hampson simply did a collection of songs by Kurt Weill in which Hampson has already performed. Most of Weill's more famous English songs such as 'Sing Low' and 'September Song' are missing. And that doesn't even touch on the fact that there is nothing from 'The Threepenny Opera' which, although it was written in German, ran for a very long time on Broadway (or off Broadway)in a famous English translation by Mark Blitzstein. And, a third of the album is taken up by selections from 'The Firebrand of Florence', not one of Weill's best pieces.

I am happy to have these performances, but as an album, it probably only appeals to Kurt Weill fans. One thing I will say, however, is that it is really nice to have a male voice doing some Weill, since so much of his stuff was written and is performed by female Weill specialists.

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God Bless America

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B000003ENA
Release Date: 1990-10-25

Tracks:

America the Beautiful
Give Me Your Tired, Your Poor
America
Shenandoah
God of Our Fathers
Battle Hymn of the Republic
Star-Spangled Banner
Lift Ev'ry Voice and Sing
Blowin' in the Wind
When Johnny Comes Marching Home
Mighty Fortress Is Our God
God Bless America

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The Ultimate Lotte Lenya Collection

Manufacturer: Bear Family
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Vocal Jazz | Jazz | Indie Music | Stores | Music
ASIN: B0000251AF
Release Date: 1999-03-22

Tracks:

'Happy End': Surabaya-Johnny (1929)
'Happy End': Bilbao-Song (1929)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930) - Lotte Lenya/The Three Admirals
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930) - Lotte Lenya/The Three Admirals
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930)
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930)
'Die Dreigoschenoper': Ouverture/Moritat/Ballade Vom Angenehmen Leben (1931) - Kurt Gerron/Willy Trenk-Trebitsch
'Die Dreigoschenoper': Liebeslied/Kanonensong (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
'Die Dreigoschenoper': Die Seerauberjenny (1931) - Kurt Gerron/Lotte Lenya
'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke/Erich Ponto
'Die Dreigoschenoper': Barbarasong/Eifersuchtsduett (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke
'Die Dreigoschenoper': Abschied/Zweites Dreigroschen-Finale (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
'Die Dreigoschenoper': Zuhalter-Ballade/Lied Von Der Unzulanglichkeit Menschlichen Strebens (1931) - Kurt Gerron/Willy Trenk-Trebitsch/Lotte Lenya/Erich Ponto
'Die Dreigoschenoper': Moritat/Schlusschoral (1931) - Kurt Gerron/Lotte Lenya/Chorus
Querschnitt, 1. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
Querschnitt, 2. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
'Happy End': Surabaya-Johnny (1943) - Lotte Lenya/Kurt Weill
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1943) - Lotte Lenya/Kurt Weill
Complainte De La Seine (1943) - Lotte Lenya/Kurt Weill
J'Attends Un Navire (1943) - Lotte Lenya/Kurt Weill
'Lost In The Stars': Lover Man (1943) - Lotte Lenya/Kurt Weill
'Lost In The Stars': Lost In The Stars (1943) - Lotte Lenya/Kurt Weill
'I've Got The Tune': And So The Last Thing, Too (1937 Interview) - Lotte Lenya/Marc Blitzstein/Shirley Booth

Tracks:

'Die Dreigoschenoper': Moritat (1955)
'Die Dreigoschenoper': Barbara-Song (1955)
'Die Dreigoschenoper': Seerauberjenny (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Lied (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1955)
'Happy End': Bilbao-Song (1955)
'Happy End': Surabaya-Johnny (1955)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1955)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1955)
'Der Silbersee': Ich Bin Eine Arme Verwandte (1955)
'Der Silbersee': Casar-Ballade (1955)
'Die Sieben Todsunden': Prolog/Introduktion (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Faulheit (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Stolz (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Zorn (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Vollerei (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Unzucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Habsucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Neid (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Epilog (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen

Tracks:

'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 1 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 2 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 3 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 4 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 5 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 6 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 7 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 8 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 9 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 10 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 11 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 12 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 13 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

Tracks:

'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 14 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15a (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15b (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 16 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 17 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 18 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 19 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Finale (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

Tracks:

'Knickerbocker Holiday': September Song (1957)
'Knickerbocker Holiday': It Never Was You (1957)
'Lady In The Dark': Saga Of Jenny (1957)
'One Touch Of Venus': Foolish Heart (1957)
'One Touch Of Venus': Speak Low (1957)
'The Firebrand Of Florence': Sing Me Not A Ballad (1957)
'The Eternal Road': Song Of Ruth (July Version) (1957)
'Street Scene': Lonely House (1957)
'Street Scene': A Boy Like You (1957) - Lotte Lenya/Darryl Richard
'Love Life': Green-Up Time (1957)
'Lost In The Stars': Trouble Man (1957)
'Lost In The Stars': Stay Well (1957)
'Lost In The Stars': Lost In The Stars (1957)
'The Eternal Road': Song Of Ruth (August Version) (1957)
'The Threepenny Opera': Pirate Jenny (1954)
'The Threepenny Opera': Solomon-Song (1954)
'The Threepenny Opera': Tango-Ballad (1954) - Lotte Lenya/Scott Merrill
'The Threepenny Opera': Lenya & Blitzstein TV Interview (1954) - Lotte Lenya/Marc Blitzstein
'Johnny Johnson': Mon Ami, My Friend (1956)
Young Blood (1969)
Welcome Home (1969)

Tracks:

'Die Dreigoschenoper': Ouverture (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Morgenchoral Des Peachum (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Anstatt-Dass-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Hochzeitslied Fur Armere Leute (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Kanonensong (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Liebeslied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Barbara-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Der Pferdestall (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Abschiedslied Der Polly (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zwischenlied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade Von Der Sexuellen Horigkeit (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Die Seerauberjenny (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zuhalter-Ballade (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade Vom Angenehmen Leben (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Eifersuchtsduett (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Arie Der Lucy (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zweites Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Lied Von Der Unzulanglichkeit Menschlichen Strebens (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Solomon-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ruf Aus Der Gruft (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade In Der MacHeath Jedermann Abbitte Leistet (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Der Reitende Bote (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Drittes Driegroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Schlusstrophen Der Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...

Tracks:

'Happy End': Introduktion (Hosiannah) (1960)
'Happy End': Bilbao-Song (1960)
'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
'Happy End': Geht Hinein In Die Schlacht (Heilsarmee-Lied 1) (1960)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
'Happy End': Bruder, Gib Dir Einen Stoss (Heilsarmee-Lied 2) (1960)
'Happy End': Das Lied Vom Branntweinhandler (1960)
'Happy End': Der Song Von Mandelay (1960)
'Happy End': Furchte Dich Nicht (Heilsarmee-Lied 3) (1960)
'Happy End': Surabaya-Johnny (1960)
'Happy End': Das Lied Von Der Harten Nuss (1960)
'Happy End': In Der Jugend Gold'Nem Schimmer (Heilsarmee-Lied 4) (1960)
'Happy End': Die Ballade Von Der Hollen-Lili (1960)
'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
'Cabaret': So What? (1966)
'Cabaret': It Couldn't Please Me More (1966) - Lotte Lenya/Jack Gilford
'Cabaret': Married (1966) - Lotte Lenya/Jack Gilford
'Cabaret': What Would You Do (1966)
'Cabaret': Finale (1966) - Lotte Lenya/Bert Convy/Jill Haworth/Jack Gilford/Joel Grey

Tracks:

Unter Der Linde (1958)
Menschlich Elende (1958)
Das Rosenband (1958)
Der Tod Und Das Madchen (1958)
Abendlied (1958)
Der Bauer (1958)
Lebenspflichten (1958)
Gesang Der Geister Uber Den Wassern (1958)
Aus 'Romische Elegein' (1958)
Gefunden (1958)
Wo Bist Du Itzt (1958)
Der Handschuh (1958)
Hyperions Schicksalied/Aus 'Hymnen Der Nacht' (1958)
Mondnacht (1958)
Das Schloss Boncourt (1958)
Kommen Und Scheiden (1958)
Auf Geheimem Waldespfade (1958)
Der Weiher (1958)
Das Verlassene Magdlein (1958)
Der Wirtin Tochterlein (1958)
Mit Dummen Madchen (1958)
Im Wunderschonen Monat Mai (1958)
Ich Wollte Meine Lieder (1958)
Nachtlich Am Busento (1958)
Kehr Ein Bei Mir! (1958)
Altassyrisch (1958)
Die Musik Kommt (1958)
Wer Weiss Wo (1958)
Der Romische Brunnen (1958)
Vereinsamt (1958)
Der Werwolf (1958)
Der Arbeitsmann (1958)
Die Bieden (1958)
Du Schlank Und Rein Wie Eine Flamme (1958)
Spanische Tanzerin (1958)
Ich Liebe Frauen (1958)
An Den Leser (1958)
Die Entwicklung Der Menschheit (1958)
Der Vater (1958)
Erinnerung An Die Marie A (1958)
Von Der Freundlichkeit Der Welt (1958)
Kinderkreuzzug (1958)

Tracks:

A Hunger Artist (1959)
An Imperial Message (1959)
A Fratricide (1959)
The Care Of A Family Man (1959)
Up In The Gallery (1959)
A Dream (1959)
The Bucket Rider (1959)
Vergnugungen: What I Enjoy (Last Song) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Inscription On A China Lion (The Lion) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Die Dreigroscheneroper': The Solomon Song (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Buckower Elegien': Changing Wheels (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Burning Books (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Written On The Wall (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Lied Der Courage (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Song Of A German Mother (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Buckower Elegien': The Dog (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
To The Next Generation (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Bad Times For Poetry (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Und Was Bekam Des Soldaten Weib (1943) - Lotte Lenya/Kurt Weill
Wie Lange Noch (1943) - Lotte Lenya/Kurt Weill
Lied Einer Deutschen Mutter (1943) - Lotte Lenya/Kurt Weill

Tracks:

'Die Dreigroscheneroper': Moritat Von Mackie Messer (1960)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Leid (1960)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1960)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1960)
'Die Dreigroscheneroper': Die Seerauberjenny (1960)
'Happy End': Bilbao-Song (1960)
Carnegie Hall Introduction (1965)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1965)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Song (1965)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1965)
'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1965)
'One Touch Of Venus': Speak Low (1965)
'One Touch Of Venus': Foolish Heart (1965)
'One Touch Of Venus': Bilbao-Song (1965)
'One Touch Of Venus': Surabaya-Johnny (1965)
'Love Life': Love-Song (1965)
'Love Life': Susan's Dream (1965)
'Happy End': Was Die Matrosen Sagen (Matrosen-Tango) (1965)
'Happy End': Der Song Von Mandelay (1965)
'Happy End': Das Lied Von Der Harten Nuss (1965)
'Happy End': Lilli Of Hell (1965)
'Knickerbocker Holiday': September Song (1965)
'Die Dreigroscheneroper': Barbara Song (1965)

Tracks:

Moritat (1965)
Moritat (German Version) (1965) - Lotte Lenya/Turk Murphy
Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
Lied Der Courage I (1965) - Lotte Lenya/Harry Buckwitz
Das Lied Vom Weib Und Soldaten (1965)
Lied Von Der Grossen Kapitulation (1965)
Lied Der Courage II (1965)
Lied Der Courage III (1965)
Eia Popeia, Was Ras Im Stroh (1965)
Lied Der Courage IV (1965)
The Dick Cavett Show (1975) - Lotte Lenya/Dick Cavett
Start (1975) - Lotte Lenya/Dick Cavett
American Films (1975) - Lotte Lenya/Dick Cavett
The Opening Night Ot The Rise And Fall Of The City Of Mahagonny (1975) - Lotte Lenya/Dick Cavett
'One Touch Of Venus': I'm A Stranger Here Myself (1975) - Lotte Lenya/Dick Cavett
Anita Berber (1975) - Lotte Lenya/Dick Cavett
The Great Inflation (1975) - Lotte Lenya/Dick Cavett
Thoughts On 'Oh, Calcutta' (1975) - Lotte Lenya/Dick Cavett
Berlin Visit 1955 (1975) - Lotte Lenya/Dick Cavett
Introduction To 'Bilbao-Song' (1975) - Lotte Lenya/Dick Cavett
Bilbao-Song (1975) - Lotte Lenya/Dick Cavett
Introduction (1966)
'Knickerbocker Holiday': How Can You Tell An American (1966)
'Knickerbocker Holiday': September Song (1966)