Kurt Weill
Rise and Fall of the City of Mahagonny
Short instrumentation: 2 1 1 2 - 2 3 2 1 - s.sax, alto sax, t.sax, timp, perc, pno, bass guit, bjo, band, str - on stage: zith, pno, 3 vl
Duration: 140'
Libretto von: Bertolt Brecht
Choir: SATB
Roles:
Leokadja Begbick
mezzosoprano
Fatty
tenore
Dreieinigkeitsmoses
baritone
Jenny Hill
soprano
Jimmy Mahoney
tenore
Jack O'Brien
tenore
Bill
baritono
Joe
basso
Tobby Higgins
tenore
six girls and the men from Mahagonny
Instrumentation details:
1st flute (+2ndpicc
on stage)
2nd flute (+1st picc
on stage)
oboe
clarinet in B and A (+on stage)
soprano saxophone in Bb (+bar.sax(Eb)
2ndcl(Bb)
on stage)
alto saxophone in Eb (+on stage)
tenor saxophone in Bb (+on stage)
1st bassoon (+on stage)
2nd bassoon (+cbsn
on stage)
1st horn in F (+on stage)
2nd horn in F (+on stage)
1st trumpet in Bb (+on stage)
2nd trumpet in Bb (+on stage)
3rd trumpet in Bb
1st trombone (+on stage)
2nd trombone (+on stage)
bass tuba (+on stage)
timpani
percussion (+on stage)
bass guitar
banjo (+hawaii guit
on stage)
bandoneon (+on stage)
piano (+harm ad lib.)
violin
viola
violoncello
double bass
on stage: zither
piano
3 violins
Weill - Aufstieg und Fall der Stadt Mahagonny
Printed/Digital
Translation, reprints and more
Kurt Weill
Weill: Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny)Type: Libretto/Textbuch
Language: Deutsch
Kurt Weill
Weill: Rise and Fall of the City of MahagonnyType: Klavierauszug
Language: Deutsch
Sample pages
Audio preview
Work introduction
Kurt Weill wrote to UE in 1927, during his work on Mahagonny:
It is beyond question that at present a completely new kind of stage work is emerging, which addresses itself to a different and incomparably larger audience, and whose effect will proliferate in completely unaccustomed ways. This movement – whose most powerful proponent, in the field of theatre, is Brecht – has until now never encroached upon opera, even though music is one of its essential elements. The piece that we plan to write will not exploit contemporary events that will be obsolete in a year’s time, but give our own time a definitive form. Thus its effectiveness will extend far beyond the time of its creation. It is indeed a matter of creating the new genre that will deal with the utterly different expressions of life in our time in an appropriate form.