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The Seven Deadly Sins (ballet chanté)
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The Seven Deadly Sins (ballet chanté) : ウィキペディア英語版
The Seven Deadly Sins (ballet chanté)

''The Seven Deadly Sins'' ((ドイツ語:Die sieben Todsünden),〔Sometimes identified as ''Die sieben Todsünden der Kleinbürger'' ("The Seven Deadly Sins of the Petty Bourgeoisie").〕 (フランス語:Les sept péchés capitaux)) is a satirical ''ballet chanté'' ("sung ballet") in seven scenes (nine movements) composed by Kurt Weill to a German libretto by Bertolt Brecht in 1933 under a commission from Boris Kochno and Edward James. It was translated into English by W. H. Auden and Chester Kallman. It was the last major collaboration between Weill and Brecht.
==Origins==
With the Nazi seizure of power following the Reichstag fire of 28 February 1932, Brecht and Weill–especially Weill as a Jew–recognized that Berlin could no longer serve as their artistic home. Brecht left Berlin and traveled to Paris, stayed briefly in Prague, and then in Vienna. Less than a month later he was in Zurich and then moved to less expensive lodgings in Lugano, Switzerland. There a patron offered him living quarters in his summer home in Carona, outside Lugano. Weill spent time in Paris in December 1932, where he obtained the commission for the ''Seven Deadly Sins''.〔Ronald K. Shull, “A New Orpheus,” The Genesis of Die sieben Todsünden, comp. Kim H. Kowalke (New Haven: Yale University Press, 1986)〕 He contacted Brecht in Carona and Brecht promptly joined him in Paris.〔Ronald K. Shull, “A New Orpheus,” The Genesis of Die sieben Todsünden, comp. Kim H. Kowalke (New Haven: Yale University Press, 1986)〕 The scenario of the libretto mirrors Brecht's own travels, expanded to one-year sojourns in each of seven cities.
==Performance history==
Kurt Weill was commissioned to compose ''Die sieben Todsünden'' by Edward James, a wealthy Englishman who had been in Paris during Weill's visit in December 1932. James's wife, Tilly Losch, was a ballerina who James described as having a striking resemblance to Weill's wife, Lotte Lenya.〔Ronald K. Shull, “A New Orpheus,” The Genesis of Die sieben Todsünden, comp. Kim H. Kowalke (New Haven: Yale University Press, 1986), 206.〕 Because James knew that Weill was going to write for Lenya, he included language in the contract commissioning the work requiring that his wife, Losch, dance opposite her lookalike.〔Jurgen Schebera: ''Kurt Weill: An Illustrated Life''; New Haven, Conn.: Yale University Press, 1997 (ISBN 0-300-07284-8).〕 This dictated the complicated split personality plot before Bertolt Brecht was even asked to write the libretto.
''The Seven Deadly Sins'' premiered in the ''Théatre des Champs-Elysées'' in Paris on 7 June 1933. It was produced, directed and choreographed by George Balanchine with ''mise en scène'' by Caspar Neher. The lead roles were played by Lotte Lenya (Anna I) and Tilly Losch (Anna II).〔Jurgen Schebera: ''Kurt Weill: An Illustrated Life''; New Haven, Conn.: Yale University Press, 1997 (ISBN 0-300-07284-8).〕 According to Nils Grosch, it "was met with bewilderment by the French audience (not just because the work was sung entirely in German). German émigrés living in Paris, however, were enthusiastic and considered it 'a grand evening.'"〔Nils Grosch, album notes, Weill, ''The Seven Deadly Sins'', Marianne Faithfull / Vienna Radio Symphony Orchestra (BMG Classics 2004 CD 82876060872-2, reissue of 1997 recording)〕 The production went to London and opened at the Savoy Theatre under the title ''Anna-Anna'' on 28 June of the same year in an impromptu translation by Lenya.
The work was revived by Weill's widow Lenya in the 1950s, with the main singing part transposed to a fourth below its original pitch level in order to allow her to perform her original role.〔Nils Grosch, Joachim Lucchesi, Jürgen Schebera: ''Kurt Weill-Studien''; Stuttgart: M & P Verlag für Wissenschaft und Forschung, 1996 (ISBN 3-476-45166-6).〕 Another version transposed down a full octave was used by Marianne Faithfull in her 1997 recording.〔 The original version has been recorded by, among others, Elise Ross, Anne Sofie von Otter, Teresa Stratas, and Anja Silja.

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