New York Times Feature on Kurt Weill Highlights the Breadth and Versatility of His Works
Apr. 01, 2021
Last month, Senior Culture Editor Joshua Barone of the New York Times used the opportunity of a “Critic’s Notebook” to consider the plethora of Kurt Weill’s works that have been performed without an audience and streamed online during the pandemic. He wrote, “Weill proved a master of balancing disparate voices, with a keen ear for precise orchestration. It’s why his works from the 1920s rarely call for a large ensemble — and perhaps why so many of them…have been programmed during the pandemic.” Read the article here.
Presenters and performers continue to grapple with restrictions imposed by coronavirus, unlike any we have seen before. As the performing arts community searches for ways to restart, Kurt Weill's ingenious, innovative scores offer a wide range of proven audience-pleasers. In both theaters and concert halls, producers may choose from a panoply of compositions--in original orchestrations or in authorized arrangements--that call for smaller ensembles and simplify the process of resuming live performances. The Kurt Weill Foundation has compiled a list of authorized arrangements and reduced orchestrations of Weill works for stage and concert performances. Read it here.