One of Bertolt Brecht's best-loved and most performed plays, The Threepenny Opera was first staged in 1928 at the Theater am Schiffbauerdamm, Berlin (now the home of the Berliner Ensemble). Based on the eighteenth-century The Beggar's Opera by John Gay, the play is a satire on the bourgeois society of the Weimar Republic, but set in a mock-Victorian Soho. With Kurt Weill's music, which was one of the earliest and most successful attempts to introduce the jazz idiom into the theatre, it became a popular hit throughout the western world. This new edition is published here in John Willett and Ralph Manhein's classic translation with commentary and notes by Anja Hartl.

Based on John Gay's eighteenth century Beggar's Opera, The Threepenny Opera, first staged in 1928 at the Theater am Schiffbauerdamm in Berlin, is a vicious satire on the bourgeois capitalist society of the Weimar Republic, but set in a mock-Victorian Soho. With Kurt Weill's unforgettable music - one of the earliest and most successful attempts to introduce jazz to the theatre - it became a popular hit throughout the western world. Published in Methuen Drama's Modern Classics series, this edition features extensive notes and commentary including an introduction to the play, Brecht's own notes on the play, a full appendix of textual variants, a note by composer Kurt Weill, a transcript of a discussion about the play between Brecht and a theatre director, plus editorial notes on the genesis of the play.

14 art songs dating from 1925 to 1944 as masterly performed by Teresa Stratas on the Nonesuch record. Includes: Berlin im Licht-Song * Buddy on the Nightshift * Es regnet * Je ne t'aime pas * Klops Lied * Nanna's Lied * Youkali (Tango Habanera) * and more.

Foster Hirsch, using Weill's letters, journals, and notes, and interviewing Weill's friends and colleagues, writes about his life, his experimental, political composing in Germany, his Broadway music in America - both aspects of his work being a source of controversy among music lovers for years. Lotte Lenya said, "There is no American Weill, there is no German Weill. There is no difference between them. There is only Weill." Hirsch details the writing, casting, and production of Weill's eleven hit shows. He writes about Weill's years in Hollywood and the friends he made and lost along the way. He evokes Weill's complicated, intense collaborations with Brecht, Maxwell Anderson, Langston Hughes, Alan Jay Lerner, Elmer Rice, Moss Hart, and Ira Gershwin. In this book Hirsch has given us a vivid portrayal of a remarkable artist and a fabulous era of American musical theatre.

Unavailable in the U.S.! The Very Best Of The Doors (Double disc/34 tracks ) cuts deeper into the band's studio albums with key songs that defined their sound including "Orange County Suite" "The W.A.S.P. (Texas Radio & The Big Beat)," "Five To One," "When The Music's Over," "Whiskey, Mystics And Men," plus the unedited version of "The End." Each track boasts a brand new mix supervised by The Doors and Bruce Botnick, the band's original engineer and producer. "We want our fans, both new and old, to hear what we discovered on listening to the actual multitrack recordings," says keyboard player Ray Manzarek. "There are background vocals by Jim Morrison, piano parts of mine that weren't used, and guitar stingers and solos by Robby Krieger that never made the original recordings that can now be heard for the first time. We used state-of-the-art techniques to bring these discs to the same sound quality we experienced in the studio when we initially recorded our songs. We invite all our fans to join us in this recreation of the legendary recording sessions of The Doors. And to be a part of our original conceptions." Also available as a 20 track single disc! Warner.