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Seven Deadly Sins [Import]

Marianne Faithfull , Weill , Davies , Rso Vienna Audio CD
3.5 out of 5 stars  See all reviews (6 customer reviews)

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Product Details


1. The Seven Deadly Sins: Prologue (Andante sostenuto) (Anna I, Anna II)
2. The Seven Deadly Sins: Sloth (Allegro vivace)
3. The Seven Deadly Sins: Pride (Allegretto, quasi andantino -Schneller Walzer) (Anna I)
4. The Seven Deadly Sins: Anger (Molto agitato) (Anna I, Anna II)
5. The Seven Deadly Sins: Gluttony (Largo)
6. The Seven Deadly Sins: Lust (Moderato) ( Anna I, Anna II)
7. The Seven Deadly Sins: Covetousness (Allegro giusto)
8. The Seven Deadly Sins: Envy (Allegro non troppo - Alla marcia, un poco tenuto) (Anna I)
9. The Seven Deadly Sins: Epilogue (Andante sostenuto) (Anna I, Anna II)
10. The Seven Deadly Sins: Alabama Song
11. The Threepenny Opera: The Ballad Of Sexual Dependency
12. The Seven Deadly Sins: Bilbao Song
13. The Threepenny Opera: Pirate Jenny

Customer Reviews

Most helpful customer reviews
5.0 out of 5 stars Prototype of "Tell me on a Sunday?" May 7 2004
Format:Audio CD
I must admit I have not heard the incomparable Lotte Lenya sing this - but then she apparently never quite got round to recording the English version (it was written for her and she did perform it). In fact I had not even heard of this work before getting my copy (I didn't buy it on Amazon, for once!). I did buy it very much on Weill's name - certainly not that of Marianne Faithful, who I'd not heard of since she sung teeny pop back in the sixties.
Another confession - I much prefer my Weill sung in English - to me his music matches the meaning of the words at least as much as the sound - and if I miss the meaning I am losing half the point of the music. Maybe if I knew German I would get both and a much deeper experience? But then much of Weill is actually written to be sung in English, and German speaking listeners prefer these works in translation (and, so I am told, often very poor translation) into German.
Marianne Faithful's account does bring out what a natural vehicle this work was for Lotte Lenya - but for me at least it is very persuasive indeed in its own right. Without too obviously trying to sound like Lotte, Marianne has a great deal of the same smokey bluesy quality in her mature voice.
The main point, however, is the work itself, an earthier (and very much better written) prototype of Andrew Lloyd Webber's "Tell me on a Sunday". Its merits are really inexcapable, and could survive, I suspect, a much worse translation and certainly much less effective interpretation and still be very interesting.
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4.0 out of 5 stars THE SEVEN DEADLY SINS in English! May 19 2003
By A Customer
Format:Audio CD
W. H. Auden and Chester Kallman wrote a beautiful English translation of this stunning Weill-Brecht piece in 1958. This was originally performed at the New York City Ballet in December of that year starring my number one, ace interpreter of Kurt Weill, Lotte Lenya, as Anna I. In 1956, Lenya made a glorious recording of the piece in German (its original language) and it was released by Columbia Records the following year. Not a single recording since that original can touch Lenya's striking dramatic projection, but Marianne Faithfull's must be given due credit.
Part of what makes Lenya's recording legendary is not only her vocal fervor as Anna but her history as the original interpreter of the role in 1933. (George Balanchine was dance choreorapher in both productions she was in--pretty distinguished company!)
The smooth English translation from the 1950's was never recorded until Marianne Faithfull decided it was high time in 1997. Too right, Marianne!
Marianne Faithfull, a smoky-voiced pop/rock veteran, has rightly adopted a chanteuse style in recent years and it definitely suits her. She can not worry about sounding 'pretty' and it is just as well because 'pretty' does not suit THE SEVEN DEADLY SINS. There is a fine blend of technique such as superb phrashing and diction combined with a wonderful world-weary desperation and knowingness, all amounting to a fine display of acting and singing within her range. Knowing that she loves Kurt Weill's music, and knowing that Lenya is her "sort of household goddess" as far as singing influence goes, (also mentioning Marlene Dietrich) I'm quite grateful for this CD, though it is not quite flawless.
Dennis Russell Davies conducts a magnificent, stirring orchestra.
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3.0 out of 5 stars Mixed feelings July 11 2002
Format:Audio CD
Yes, she offers an interesting interpretation, although this version is somewhat of an oddity for me, having become familiar with the various original language versions available. If you're a fan of Faithful already, then by all means. My felling is that reading the libretto and translation (if necessary) ahead of time is not such a big deal. Brecht is highly nuanced German, after all, and this work is extremely interesting as literature alone. If you're looking for a definitive version of the work, don't even think about this one. I suggest those seriously interested in the work try three others: 1) Lotte Lenya, of course, 2) Gisela May, maybe even more *perfect* and 3) Brigitte Fassbaender, for a deeply felt and vocally magnificent take.
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