Lotte Lenya Competition

Guidelines for Repertoire and Preparation

In response to numerous inquiries about repertoire and sources, we offer the following list of suggestions and resources.

  1. Singers may wish to consult Kurt Weill: A Guide To His Works, 3rd ed., ed. Mario Mercado and Carolyn Weber (European American Music Corp., 2002). This paperback contains almost complete information on Weill's works, including availability of scores and recordings. Complete song lists allow the user to track down the original stage work. Additional information, including an up-to-date discography, is readily available at the website of the Kurt Weill Foundation for Music.
  2. Accompanists should distinguish carefully among works written for piano and voice by Weill himself, where accurate renderings of what's written is desirable, and works which are published in piano-vocal format that were originally conceived for orchestral accompaniment. In most of these latter cases, the piano reduction is not by Weill and is often intended for rehearsal only or in lieu of a full orchestral score in performance, thus the many cues. Seldom are these scores pianistic, and the piano parts often double the vocal line. Performers are urged to listen to the original orchestration and utilize the piano-vocal score only as a blueprint in such cases.
  3. Note: Sheet music of individual songs is often transposed to an intermediate vocal range that does not correspond with that of the original dramatic role. Therefore, when available, it is better to use vocal scores of dramatic works rather than sheet music. Having said this, in some cases the sheet music carefully reproduces the original version, and Warner Brothers Publications has published a two-volume collection of all individual songs published in popular format during Weill's lifetime. This may be a very useful collection for contestants.
  4. It is likely that the judges will allow contestants to choose the first number they will sing; thereafter the judges will pick and choose among the remaining three pieces. Contestants should be prepared to sing all four selections, though they may not be asked to sing them in their entirety, at least not in the preliminary round.
  5. Weill wrote an amazing variety of music for the stage. Most of it is available in print and on recording. It is difficult to make an impact with all-too-familiar material, so contestants are encouraged to explore lesser-known repertoire. If you are having difficulty finding a copy of a particular selection, feel free to contact the Kurt Weill Foundation in New York, 212-505-5240, kwfinfo@kwf.org.
  6. Please try to match repertory to your vocal technique. Broadway belt numbers seldom succeed when sung legit.
  7. Give yourself something to act in these songs. Third-person narratives ("There once was a princess...") are hard to make compelling outside of the context of the show itself.

Weill Repertoire Suggestions

(The list is highly selective; there are many other suitable options.)
Compiled by Kim H. Kowalke, President, Kurt Weill Foundation for Music

Soprano

  • Role of Angèle in Der Zar lässt sich photographieren
  • "Alabama Song" from Aufstieg und Fall der Stadt Mahagonny
  • "Havana Lied" from Aufstieg und Fall der Stadt Mahagonny
  • "Denn wie man sich bettet" from Aufstieg und Fall der Stadt Mahagonny
  • "Arie der Lucy" from Die Dreigroschenoper
  • "Barbara-Song" from Die Dreigrsochenoper (also mezzo)
  • "Seeräuberjenny" from Die Dreigroschenoper (also mezzo)
  • "Matrosen-Tango" from Happy End
  • "Kleine Leutnant des lieben Gottes" from Happy End
  • "Surabaya Johnny" from Happy End
  • "Ich bin eine arme Verwandte" from Der Silbersee
  • Role of Anna I in Die sieben Todsünden
  • Role of Minny Belle in Johnny Johnson
  • Role of Tina in Knickerbocker Holiday
  • Role of Angela in Firebrand of Florence
  • Role of Venus in One Touch of Venus
  • Role of Rose (lyric) and Anna (dramatic) in Street Scene
  • Role of Susan Cooper in Love Life
  • Role of Jenny in Down in the Valley
  • Songs from Marie Galante

Mezzo-Soprano/Alto

  • "Ballade von der sexuellen Hörigkeit" from Die Dreigroschenoper
  • "Salomon-Song" from Die Dreigroschenoper
  • "Zweites Dreigroschenfinale" from Die Dreigroschenoper
  • "Die Ballade von der Höllen-Lili" from Happy End
  • Begbick's aria from Aufstieg und Fall der Stadt Mahagonny
  • "Oh meine Tochter, warum kommst du nicht zurück" from Die Bürgschaft
  • "Ballade von Cäsars Tod" from Der Silbersee
  • Role of Anna I in Die sieben Todsünden
  • "One Life to Live" from Lady in the Dark
  • "My Ship" from Lady in the Dark
  • "This is New" from Lady in the Dark
  • "Sing Me Not a Ballad" from Firebrand of Florence

Broadway Belt

  • "Moonfaced, Starry-eyed" from Street Scene
  • "Mr. Right" from Love Life
  • "Who'll Buy" from Lost in the Stars
  • "Women's Club Blues" from Love Life

Tenor

  • "Ballade vom angenehmen Leben" from Die Dreigroschenoper
  • "Zweites Dreigroschenfinale" from Die Dreigroschenoper
  • "Ruf aus der Gruft" from Die Dreigroschenoper
  • "Nur die Nacht" from Aufstieg und Fall der Stadt Mahagonny
  • "Jetzt hab' ich gegessen zwei Kälber" from Aufstieg und Fall der Stadt Mahagonny
  • Lotterieagent Tango from Der Silbersee
  • Severin's Revenge Aria from Der Silbersee
  • Odysseus-Arie from Der Silbersee
  • Role of Rodney in One Touch of Venus
  • Role of Sam in Street Scene
  • Role of Brack Weaver in Down in the Valley (also high baritone)
  • Role of Leader in Lost in the Stars

Baritone

  • Role of the Zar in Der Zar lässt sich photographieren
  • "Bilbao Song" from Happy End
  • "Das Lied von der harten Nuss" from Happy End
  • "Das Lied vom Branntweinhändler" from Happy End
  • "Der Song von Mandelay" from Happy End
  • Role of Mattes in Die Bürgschaft
  • "Johnny's Song" from Johnny Johnson
  • Captain Valentine's Tango from Johnny Johnson
  • "Psychiatry Song" from Johnny Johnson
  • Role of Brom Broeck in Knickerbocker Holiday
  • "This is New" from Lady in the Dark
  • "Tschaikowsky and Other Russians" from Lady in the Dark
  • Role of Benvenuto Cellini in Firebrand of Florence
  • Buffo Role of Duke in Firebrand of Florence
  • Role of Savory in One Touch of Venus
  • "Love Song" from Love Life
  • "Wouldn't You Like to be on Broadway?" from Street Scene
  • "Marble and a Star" from Street Scene
  • Role of Stephen Kumalo in Lost in the Stars

Bass-Baritone and Bass

  • Role of Orth in Die Bürgschaft
  • "Let Things Be the Way They Always Was" from Street Scene
  • "Here I'll Stay" from Love Life
  • "This is the Life!" from Love Life
  • "I'm Your Man" from Love Life
  • "My Kind of Night" from Love Life

Contestants may also consider dramatic songs from The Unknown Kurt Weill and Unsung Weill (both published by European American Music).