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Seven Deadly Sins Import

3.5 out of 5 stars 6 customer reviews

Price: CDN$ 76.47
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Product Details

  • Audio CD (Sept. 29 1998)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: RCA
  • ASIN: B00000BIIK
  • Other Editions: Audio CD
  • Average Customer Review: 3.5 out of 5 stars 6 customer reviews
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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

3.5 out of 5 stars
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Top Customer Reviews

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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Format: Audio CD
This is the only English translation I have heard of Weill/Brecht's SEVEN DEADLY SINS. It's a treat to hear the part of Anna sung in English and one full octave lower than usual. The smoky voice of Marianne Faithfull adds new life and perspective to this piece. It seems as if she were primed to sing Weill. Her hard life flows through each song, adding an extra poignancy to these songs. This is a live recording and hearing Marianne cough in the background makes the performance even closer. In addition to the full SEVEN DEADLY SINS, four other Weill songs are included, and with each, Marianne Faithfull makes them her own. I highly recommend this version of THE SEVEN DEADLY SINS for anyone wanting an introduction to Kurt Weill's music. For those familiar with traditional versions of this's not Lotte Lenya. It's something new. That may be a good thing or a bad thing. Depends on your taste.
If you like enjoy this CD, I would also recommend Marianne Faithfull's 20TH CENTURY BLUES.
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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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