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Titled “Kurt Weill: Berlin, Paris, New York,” Saturday’s performance — the first of two at San Jose’s California Theatre — followed the arc of Weill’s career, from his influential collaborations with playwright Bertolt Brecht to his work in America as a composer of Broadway musicals and film scores inside pointe shoes uk online. Conducted with verve and considerable insight by Weill scholar James Holmes, and featuring the invaluable soprano Lisa Vroman as one of five vocal soloists, the performance was a splendid reflection of a composer who consistently charted his own path..
The evening’s centerpiece was a concert performance of “The Seven Deadly Sins,” Weill’s “ballet with song,” premiered in Paris in 1933. Adroitly scored and pointedly sardonic, the piece employs the cardinal sins — greed, lust, and so forth — as symbols of 20th century exploitation and decline. The central characters are a pair of naive sisters, both named Anna, who leave their small town in Louisiana with the intention of striking it rich as nightclub performers in the big city — one a singer, the other a dancer inside pointe shoes uk online.
Vroman, assuming the role of Anna the vocalist, was the ideal soloist. (The second Anna, originally played by a dancer, was represented here by a seamstress’s dress form.) The soprano, who made her mark on Broadway as Christine in “The Phantom of the Opera,” has since commanded a wide variety of repertoire inside pointe shoes uk online. Saturday, singing in German (with English supertitles) and looking svelte in a black halter dress, she proved a sublime Weill interpreter, handling Anna’s music with effortless projection, articulate phasing and an air of steely, world-weary allure..
The other vocal roles — a quartet representing Anna’s family, who make wry comments on her progress at key intervals — were sung with robust energy and tonal assurance by tenors Joseph Meyers and Mark Hernandez, baritone Jordan Shanahan, and bass Kirk Eichelberger inside pointe shoes uk online. The singers also excelled in the second half’s set of songs composed by Weill in New York. Holmes introduced these with the Overture to the Weill musical “One Touch of Venus,” noting just how far the composer had come in his move to America. In this swinging, jazzy music, and in other Weill songs from 1938-48 — during which the composer collaborated with lyricists from Ira Gershwin to Ogden Nash — one could hear the ways that Weill paved the way for 20th century works by Leonard Bernstein, Marc Blitzstein, Stephen Sondheim, Kander and Ebb and others..