Noticing there are only 2 English 3PO cds on amazon, which one is the best to buy? I've heard through many reviewers it's the 1954 recording. Are there others available elsewhere on the internet?
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)
Get the 1954 recording, one of the greatest cast recordings ever made, with the Marc Blitztein translation that's never been topped (and which was approved by Lotte Lenya, Weill's widow).
Behind the fake tinsel of Broadway is real tinsel.
I wish they would've recorded the recent revival, too.
I might just get both, since one is Lenya approved (and I'm getting into Ms. Lenya)and the other wasn't edited because of executives from what I read on the threepenny website. www.threepennyopera.org
Was the Greene/Julia version recorded?
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)
Though Lenya performed in the Blitzstein translation, she did NOT "approve" that one, even though Blitzstein asked her to--if I'm not mistaken. Nonetheless, the '54 recording is absolutely beautiful--with Charlotte Rae giving some stunning vocal work.
That said, the Donmar's translation of The Ballad of Sexual Dependency is PERFECTION.
When I saw the revival one women was pretty miffed that Polly now sang "Pirate Jenny" and wasn't like the 'original' with Lenya, when she sang it in the second act.
I was like, eh....ok?...
It's nice to know what you are talking about, isn't it?
Well, to be fair, it's not uncommon to see a production with Jenny singing the song. The normal layperson should be forgiven for not absorbing every bit of trivia regarding Threepenny.
"How do you like THAT 'misanthropic panache,' Mr. Goldstone?" - PalJoey
I read a review on Amazon for the Dunmar recording and they liked it better because it used the "F Word" many times to great effect. Some people like it because the sound quality is better, but I think Bea Arthur's "Barbara Song" is wonderful, I didn't even recognize her.
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)
Am I the only one who thinks that Lotte Lenya had a terrible voice? The tone was OK, but she had terrible pitch and a vocal range of like, five notes (I'm exaggerating, but still...)
a friend of mine was in the Raul Julia version and said it was magnificant!
"Picture "The View," with the wisecracking, sympathetic sweethearts of that ABC television show replaced by a panel of embittered, suffering or enraged Arab women" -the Times review of Black Eyed
"Countless actors have mesmerized audiences with their skills but when it came to singing they stopped the show for all the wrong reasons. Likewise, many a trained singer has beautifully hit all the right notes but could audition successfully only for Madame Tussaud’s. So casting is key. Threepenny can’t be done with pure singers, and it can’t be done with pure actors. Each role calls for specific qualities, and no one should be fooled" <- from threepennyopera.org
Lenya is one of those singers who can reach out and say "I've lived this, here's my story" when she performs.
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)
What's better about the Donmar recording I ask you?
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)
Besides the sound quality (although some people think the rough soound is very fitting - not that Donmar is anything amazing when it comes to sound)...
Donmar has an all around great cast, besides maybe Sharon Small (Polly). The show is set in the near future - with a King, instead of Queen. They talk about modern things - cell phones, etc. The show also, in a great feat, uses modern (English) slang that is comparable to the way Brecht wrote.
If you saw, or liked, the recent revival you'll note that Cyndi Lauper's Jenny is closer to Tara Hugo's (Donmar) than Lenya's. The Moritat (called the Flick-Knife Song (one use of colloquial British speech)) is more of a terrifying listing of Mack's crimes - ending with a nice little Brecht twist. It isn't as happy as Blitzstein's. It also appears mid-show.
Barbara Song and Pirate Jenny were also given back to Polly. While Blitzstein's "Barbara Song" is great, the song sound so much better with the word "No" instead of "sorry" - and more powerful as well.
Consider also these lyrical differences:
The 54's "Jealousy Duet":
"Come on out, you Gutter Lily, you. Show your legs, and let's all see how pretty. I'm always glad to admire beauty - They're the thickest ankles in the city."
The Donmar's same verse:
"Here she is, the belle of Waterloo And her legs, they're supposed to be so gorgeous. I reckon half of the town has seen them - And the other half as been between them."
Also, the Donmar has the complete score, just about the complete score, as opposed to the '54's alternate orchestrations. (Interesting to note, the actors in the ensemble played the instruments and Peachum's Lied 17 is sung a capella (with Mrs. Peachum) and the ensemble singing the music.
