Thousands of Miles
£14.49
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Label: Alpha
Cat No: ALPHA272
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 19th May 2017
Contents
Works
Mond, so gehst du wieder aufDie stille Stadt
Hymne
Berlin im Licht
Buddy on the Nightshift
Der Abschiedsbrief
Die Dreigroschenoper (The Threepenny Opera)
Je ne t'aime pas
Lost in the Stars
Street Scene
Und hat der Tag all seine Qual
Artists
Kate Lindsey (mezzo-soprano)Baptiste Trotignon (piano)
Works
Mond, so gehst du wieder aufDie stille Stadt
Hymne
Berlin im Licht
Buddy on the Nightshift
Der Abschiedsbrief
Die Dreigroschenoper (The Threepenny Opera)
Je ne t'aime pas
Lost in the Stars
Street Scene
Und hat der Tag all seine Qual
Artists
Kate Lindsey (mezzo-soprano)Baptiste Trotignon (piano)
About
This journey through three European languages brings the listener to the very beginnings of jazz, and features all-new arrangements and deft improvisations by pianist Baptiste Trotignon. Lindsey and Trotignon also pay homage to three composers who, like Weill, all emigrated to the United States: Alma Mahler, Zemlinsky and Korngold. London-based American mezzo-soprano Kate Lindsey joins Alpha Classics for several recordings over the coming years.
“a stunning encounter between two performers”
Sound/Video
Paused
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1Weill - Nanna's Lied
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2Weill - The Threepenny Opera: Pirate Jenny - Barbara Song
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3Weill - Lost in the Stars: Trouble Man
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4A Mahler - Hymne
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5Weill - Je ne t’aime pas
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6Weill - Lost in the Stars: Thousands of Miles - Big Mole
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7Weill - Don’t Look Now
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8Korngold - Schneeglöckchen
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9A Mahler - Die stille Stadt
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10Korngold - Mond, so gehst du wieder auf
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11Weill - Street Scene: Lonely House - We’ll Go Away Together
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12Weill - Der Abschiedsbrief
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13Weill - Rise and Fall of the City of Mahagonny: Denn wie man sich bettet, so liegt man
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14Weill - Buddy on the Nightshift - Berlin im Licht
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15Zemlinsky - Und hat der Tag all seine Qual
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16Zemlinsky - Selige Stunde
Europadisc Review
Weill’s output may be inextricably linked with the singing of Lotte Lenya and, in more recent years, Ute Lemper, but when a classically trained singer approaches this repertoire with a mixture of technical élan and musical imagination, the results, as here, can be stunning. Kate Lindsey perfectly captures the downtrodden but defiant spirit of Weill’s heroines, carefully deploying irony when called for, but taking the sort of care over tone and text that one would normally associate with high-end Schubert performances. Some of the songs – like ‘Trouble Man’ from the musical Lost in the Stars – are truly harrowing, while others, such as ‘Big Mole’ from the same show, bristle with quick-fire humour and dazzling technique. In these numbers, as in Buddy on the Night Shift, Lindsey is predictably idiomatic; more welcome, though, is that she is obviously just as much at home with the German texts of such classics as Nannas Lied and the ‘Barbara Song’ from Die Dreigroschenoper.
Another standout feature of the disc is Lindsey’s vocal range – not just across the stave, from deep-throated huskiness to soaring high notes, but dynamic and tonal as well. This is memorably evident in the old-world charms of Alma Mahler’s Hymne and Die stille Stadt, but above all in the extraordinary focus at hushed dynamic levels in Korngold’s Mond, so gehst du wieder auf, and Zemlinsky’s Selige Stunde, which brings the recital to its beautifully poised close. This is a striking vocal instrument that is not just destined for great things but already accomplishing them.
Trotignon’s contribution to the disc’s success is likewise considerable. He not only matches Lindsey in the range of tone and constant sensitivity to nuance, but has recast several of the Weill accompaniments, many of which in their published form have the appearance of workaday reductions rather than true performing scores. Numbers like the title track, ‘Thousands of Miles’ are transformed by his jazz artistry into musical jewels, and his deft touch graces even the ‘straight’ classical works: his voicing of the chords that launch Zemlinsky’s Und hat der Tag all seine Qual, for example, is exquisite.
Even those for whom Weill’s high stylisation is normally a closed (song)book should investigate this disc as a matter of urgency. As an imagination combination not just of repertoire but of artists, too, it’s well-nigh unbeatable, an astonishing tribute to a golden era of song, and an artistic triumph.
Reviews
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