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On this CD:
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(12) Cabaret songs
Composed by William Bolcom
with Bengt-Ake Lundin, Malena Ernman
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Nannas Lied, 'Meine Herren, mit Siebzehn Jahren'
Composed by Kurt Weill
with Bengt-Ake Lundin, Malena Ernman
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Complainte de la Seine
Composed by Kurt Weill
with Bengt-Ake Lundin, Malena Ernman
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Je ne t'aime pas
Composed by Kurt Weill
with Bengt-Ake Lundin, Malena Ernman
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La mich einmal deine Carmen sein
Composed by Frederick Hollander
with Bengt-Ake Lundin, Malena Ernman
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Nimm dich in acht vor blonden Frau'n
Composed by Frederick Hollander
with Bengt-Ake Lundin, Malena Ernman
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Ich bin von Kopf bis Fu auf Liebe eingestellt
Composed by Frederick Hollander
with Bengt-Ake Lundin, Malena Ernman
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(Die) Kleptomanin
Composed by Frederick Hollander
with Bengt-Ake Lundin, Malena Ernman
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(4) Cabaret songs
Composed by Benjamin Britten
with Bengt-Ake Lundin, Malena Ernman
Product Description
Amazon.co.uk Review
Great cabaret artists sing into your soul, and as this one--a severely Swedish mezzo, light in vocal colouring and texture--barely gets beyond your skin, it doesn't make for a collector's disc. But what she lacks, her pianist--also Swedish, but more intimate and interesting--supplies, with just the qualities demanded by this kind of short, sharp, instant-attraction repertory where you either grab your listeners' attention in the first three bars or not at all. The choice of repertory is interesting too: an anglo-German survey that compares what Britten and Kurt Weill were doing at roughly the same time on opposite sides of the Channel/Atlantic and reaching one way to the songs Friederich Hollander was writing for Marlene Dietrich in the early 1930s, the other to a selection from the many settings by a later-generation song-specialist, the American William Bolcom. It amounts to something like an hour of encores, although the emotional range of this kind of cabaret music is wider--and deeper--than you'd think, especially the Britten songs, whose Auden texts give them a definite linguistic kick. --Michael White
Great cabaret artists sing into your soul, and as this one--a severely Swedish mezzo, light in vocal colouring and texture--barely gets beyond your skin, it doesn't make for a collector's disc. But what she lacks, her pianist--also Swedish, but more intimate and interesting--supplies, with just the qualities demanded by this kind of short, sharp, instant-attraction repertory where you either grab your listeners' attention in the first three bars or not at all. The choice of repertory is interesting too: an anglo-German survey that compares what Britten and Kurt Weill were doing at roughly the same time on opposite sides of the Channel/Atlantic and reaching one way to the songs Friederich Hollander was writing for Marlene Dietrich in the early 1930s, the other to a selection from the many settings by a later-generation song-specialist, the American William Bolcom. It amounts to something like an hour of encores, although the emotional range of this kind of cabaret music is wider--and deeper--than you'd think, especially the Britten songs, whose Auden texts give them a definite linguistic kick. --Michael White
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