Paris Days, Berlin Nights
- 歌唱: Ute Lemper (邬蒂·兰普)
- 发行时间:2012-03-20
- 唱片公司:Steinway and Sons
- 唱片编号:Steinway30009
- 类型:录音室专辑
- 歌曲
- 时长
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作曲家:Louis Maitrier
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作品集:Elle frequentait la rue Pigalle (Arr. S. Malzew)
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作曲家:Kurt Weill
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作品集:Happy End
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作曲家:Hanns Eisler
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作品集:Hollywooder Liederbuch
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作曲家:Astor Piazzolla
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作品集:Maria de Buenos Aires
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作曲家:Michel Emer
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作品集:L'Accordeoniste (Arr. S. Malzew)
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作曲家:Hanns Eisler
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作品集:Der Graben (Arr. S. Malzew)
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作曲家:Hanns Eisler
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作品集:Die Ballade vom Wasserrad
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作曲家:Astor Piazzolla
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作品集:La ultima grela (Arr. S. Malzew)
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作曲家:Astor Piazzolla
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作品集:Oblivion (Arr. S. Malzew)
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作曲家:Nikita Vladimirovich Bogoslovsky
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作品集:Tyomnaja Notch (Arr. S. Malzew)
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作曲家:Chava Alberstein
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作品集:Ikh shtey unter a bokserboym (Arr. S. Malzew)
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作曲家:Chava Alberstein
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作品集:Stiller abend (Arr. S. Malzew)
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作曲家:Jacques Brel
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作品集:Ne me quitte pas (Arr. S. Malzew)
简介
Ute Lemper专辑介绍:The title "Paris Days, Berlin Nights" is a little misleading. One might expect French songs about morning-after regrets and German ones about living cynically hedonistically, but this collection goes way beyond that. It includes songs about war, abandonment, the indifference of time to human suffering, and gritty street life, with music by Piazzolla and Polish-Jewish composer Chava Alberstein in addition to the expected Kurt Weill, Hanns Eisler, and Jacques Brel. Uniting them all is Lemper's incredible voice and sense of drama, no matter what language. The energy she puts into songs such as "Der Graben" or "Ballade vom Wasserrad" is so great, it's hard to believe that no physical harm is done, but she comes right back every time, putting just as much into the next one. She is well supported by the Vogler Quartet and accordionist/clarinetist/pianist Stefan Malzew, all of whom come close to matching Lemper's intensity when needed. Malzew made all the arrangements, and they are very well done. They not only provide interesting, textural accompaniment to the voice, the gestures also support the character and theme of the texts. Malzew even sneaks in little details, such as quoting "La Marseillaise" in "L'Accordéoniste" or a sustained, high-pitched note (like what is heard when a grenade falls) in "Der Graben". Although the album's title might not fit the contents, Lemper and colleagues do make these culturally diverse songs go together. The concentration of their passion keeps the set as a whole from becoming desperately bleak and gives the music a fascinating presence. P. Morita