Titre
Speak low ( when you speak ). The letters of Kurt Weil and Lotte Lenya
Auteur
Symonette, Lys, Kim H. Kowalke
Langue
Anglais
ISBN
9780520078536
Éditeur
University of California Press
Prix
€ 37,50(Excl. toute livraison)
Détails
1996, 554 pp., hardcover met stofomslag. Als nieuw
Plus d'informations
Als nieuw.
They were an unlikely couple. Kurt Weill was a German cantor's son, cerebral, well-educated. Lotte Lenya was two years older, an Austrian Catholic coachman's daughter, waif-like, less than beautiful but always appealing to men. She survived the abuse of an alcoholic father, escaping to Zurich and finally Berlin, working as a would-be dancer turned actress. When they met, she was a domestic worker in the home of the playwright he had come to recruit as a librettist. Much to his family's dismay, they married in 1926.
Fiercely independent and yet codependent, Weill and Lenya spent twenty-five years discovering a way to live together after realizing that they couldn't live apart. Weill gave music to her voice, Lenya gave voice to his music. Their correspondencefirst in German and later, after their move to America, in highly flavored Englishis uninhibited, intimate, and irreverent. It offers a backstage view of German music and theater, the American musical theater in the late thirties and forties, and Hollywood. The letters are candid, vivid commentaries on world events, the creative process, and the experience of exile.
Never before published, this collection reflects the vibrancy of Weimar culture in the Golden Twenties and the vitality that èmigrès brought to American culture. Lenya's unfinished autobiographical account of her life before Weill is also included, along with a prologue, epilogue, and connective commentary. Immensely touching as well as informative, Weill and Lenya's letters preserve a portrait of a memorable love that somehow survived its turbulent surroundings.
They were an unlikely couple. Kurt Weill was a German cantor's son, cerebral, well-educated. Lotte Lenya was two years older, an Austrian Catholic coachman's daughter, waif-like, less than beautiful but always appealing to men. She survived the abuse of an alcoholic father, escaping to Zurich and finally Berlin, working as a would-be dancer turned actress. When they met, she was a domestic worker in the home of the playwright he had come to recruit as a librettist. Much to his family's dismay, they married in 1926.
Fiercely independent and yet codependent, Weill and Lenya spent twenty-five years discovering a way to live together after realizing that they couldn't live apart. Weill gave music to her voice, Lenya gave voice to his music. Their correspondencefirst in German and later, after their move to America, in highly flavored Englishis uninhibited, intimate, and irreverent. It offers a backstage view of German music and theater, the American musical theater in the late thirties and forties, and Hollywood. The letters are candid, vivid commentaries on world events, the creative process, and the experience of exile.
Never before published, this collection reflects the vibrancy of Weimar culture in the Golden Twenties and the vitality that èmigrès brought to American culture. Lenya's unfinished autobiographical account of her life before Weill is also included, along with a prologue, epilogue, and connective commentary. Immensely touching as well as informative, Weill and Lenya's letters preserve a portrait of a memorable love that somehow survived its turbulent surroundings.
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