|21 January – Der Silbersee
Deutsches Nationaltheater und Staatskapelle Weimar (Friedrich Praetorius, conductor; Andrea Moses, director) Performances through 1 May.Der Silbersee, Weill’s last work completed in Germany, has enjoyed a resurgence in recent years. This new production in Weimar holds the promise of another important step forward for the piece. The house’s opera leader, Andrea Moses, directs, with rising conductor Friedrich Praetorius in the pit.
3 February – Die sieben Todsünden
Madison Opera (John DeMain, conductor; Kristine McIntyre, director). Also 5 February.
The new fifteen-player version of Die sieben Todsünden has established itself in Europe with more than a dozen performances in its few short years of life. Now, it receives its long-awaited US premiere, in a staging under the baton of veteran Weill conductor John DeMain and director Kristine McIntyre, with choreography by Lisa Thurrell.
4 February – Die Verheißung
Orchestra Miami (Elaine Rinaldi, conductor). Also 5 February.
This oratorio version of Weill’s legendary Eternal Road features chorus, orchestra, and a host of vocal soloists, led in these performances by Metropolitan Opera veteran Allan Glassman in the pivotal role of The Rabbi. Conductor Elaine Rinaldi has proven her ability to artfully preside over large musical forces, not least with last season’s uniquely successful pairing of Weill’s Der Lindberghflug with Marc Blitzstein’s Airbourne Symphony.
9 February – Symphonic Nocturne from Lady in the Dark
London Symphony Orchestra (Marin Alsop, conductor).
Marin Alsop was the first conductor to record the Symphonic Nocturne from Lady in the Dark. She continues her artistic advocacy of the piece, this time with the London Symphony in a program pairing the Weill with Rachmaninoff’s Symphonic Dances.
18 February – Tom Sawyer
Komische Oper Berlin (Kai Tietje, conductor; Tobias Ribitzky, director). Performances through 29 April.
In a culmination of years of development, Komische Oper Berlin premieres the full version of this family musical telling the story of Tom Sawyer through a score constructed entirely of songs by Weill, with lyrics by Ira Gershwin and Maxwell Anderson as well as some newly imagined.