Rise and Fall of the City of Mahagonny (German: Aufstieg und Fall der Stadt Mahagonny) is a political-satirical opera composed by Kurt Weill to a German libretto by Bertolt Brecht. It was first performed on 9 March 1930 at the Neues Theater in Leipzig.
Some interpreters have viewed the play as a critique of American society. Others have perceived it as a critique of the chaotic and immoral Weimar Republic, particularly Berlin of the 1920s with its rampant prostitution, unstable government, political corruption, and economic crises.[1][unreliable source?]
Composition history
Weill was asked by the 1927 Baden-Baden music festival committee to write a one-act chamber opera for the festival. He ended up writing Mahagonny-Songspiel, sometimes known as Das kleine Mahagonny, a concert work commissioned for voices and a small orchestra. The work was written in May 1927, and performed in June. It consisted of eleven numbers, including "Alabama Song" and "Benares Song".[2]
Weill then continued to rework the material into a full opera while Brecht worked on the libretto. The opera had its premiere in Leipzig on 9 March 1930 and played in Berlin in December of the following year. The opera was banned by the Nazis in 1933 and did not have a significant production until the 1960s.[3][4][5]
The lyrics for the "Alabama Song" and another song, the "Benares Song", are in English (albeit specifically idiosyncratic English) and are performed in that language even when the opera is performed in its original (German) language.
A few lines of the briefly interpolated song, "Asleep in the Deep" (1897), lyrics by Arthur J. Lamb, music by H. W. Petrie, referred to in the opera by its opening words, "Stürmisch die Nacht " or "Stormy the Deep", are sung in the German version of the song, composed on verses of Martell, under the title "Des Seemanns Los" (The Sailor's Fate), when the opera is sung in the original German.
Although the name of the city itself sounds like the English word mahogany and its German-language equivalent, Mahagoni, the character Leokadja Begbick states that it means "City of Nets"[a] while Brecht stated that it was a made-up word.[5][6]
Performance history
The opera has played in opera houses around the world. Never achieving the popularity of Weill and Brecht's The Threepenny Opera,Mahagonny is still considered a work of stature with a haunting score. Herbert Lindenberger in his book Opera in History, for example, views Mahagonny alongside Schoenberg's Moses und Aron as indicative of the two poles of modernist opera.
Following the Leipzig premiere, the opera was presented in Berlin in December 1931 at the Theater am Schiffbauerdamm conducted by Alexander von Zemlinsky with Lotte Lenya as Jenny, Trude Hesterberg as Begbick, and Harald Paulsen as Jimmy. Another production was presented in January 1934 in Copenhagen at the Det Ny Teater. Other productions within Europe waited until the end of the Second World War, some notable ones being in January 1963 in London at Sadler's Wells Opera conducted by Colin Davis and in Berlin in September 1977 by the Komische Oper.
It was not presented in the United States until 1970, when a short-lived April production at the Phyllis Anderson Theatre off Broadway starred Barbara Harris as Jenny, Frank Porretta as Jimmy, and Estelle Parsons as Begbick.[7] It was then presented in Boston in 1973 under the direction of Sarah Caldwell.[8]
The first university production in the US was in 1973 at UC Berkeley, directed by Jean-Bernard Bucky and Michael Senturia.[9]
A full version was presented at the Yale Repertory Theatre in New Haven, Connecticut, in 1974, with Gilbert Price as Jimmy and Stephanie Cotsirilos as Jenny. Kurt Kasznar played Moses. The libretto was performed in an original translation by Michael Feingold; the production was directed by Alvin Epstein. In October 1978, Yale presented a "chamber version" adapted and directed by Keith Hack, with John Glover as Jimmy and June Gable as Begbick. Mark Linn-Baker played Fatty; Michael Gross was Trinity Moses. In November 1979, Mahagonny debuted at the Metropolitan Opera in a John Dexter production conducted by James Levine. The cast included Teresa Stratas as Jenny, Astrid Varnay as Begbick, Richard Cassilly as Jimmy, Cornell MacNeil as Moses, Ragnar Ulfung as Fatty and Paul Plishka as Joe. The production was televised in 1979 and was released on DVD in 2010. This production was streamed through the Met Opera on Demand platform on 12 December 2020 and 3-4 July 2021.
Productions within the US have included those in November 1998 by the Lyric Opera of Chicago directed by David Alden. Catherine Malfitano repeated her role as Jenny, while Felicity Palmer sang Begbick, and Kim Begley sang the role of Jimmy. The Los Angeles Opera's February 2007 production directed by John Doyle and conducted by James Conlon included Audra McDonald as Jenny, Patti LuPone as Begbick, and Anthony Dean Griffey as Jimmy. This production was recorded on DVD, and subsequently won the 2009 Grammy Awards for "Best Classical Album" and "Best Opera Recording."[11]
In 2014 it was performed using an alternate libretto as a "wrestling opera" at the Oakland Metro by the performers of Hoodslam.[12]
A truck breaks down. Three fugitives from justice get out and find themselves in the city of Mahagonny: Fatty the Bookkeeper, Trinity Moses, and Leocadia Begbick. Because the federal agents pursuing them will not search this far north, and they are in a good location to attract ships coming south from the Alaskan gold fields, Begbick decides that they can profit by staying where they are and founding a pleasure city, where men can have fun, because there is nothing else in the world to rely on.
The news of Mahagonny spreads quickly, and sharks from all over flock to the bait, including the whore Jenny Smith, who is seen, with six other girls, singing the "Alabama Song", in which she waves goodbye to her home and sets out in pursuit of whiskey, dollars and pretty boys.
Scene 3
In the big cities, where men lead boring, purposeless lives, Fatty and Moses spread the gospel of Mahagonny, city of gold, among the disillusioned.
Scene 4
Four Alaskan Lumberjacks who have shared hard times together in the timberlands and made their fortunes set off together for Mahagonny. Jimmy Mahoney and his three friends– Jacob Schmidt, Bank Account Billy, and Alaska Wolf Joe– sing of the pleasures awaiting them in "Off to Mahagonny", and look forward to the peace and pleasure they will find there.
Scene 5
The four friends arrive in Mahagonny, only to find other disappointed travelers already leaving. Begbick, well-informed about their personal tastes, marks down her prices, but for the penurious Billy, they still seem too high. Jimmy impatiently calls for the girls of Mahagonny to show themselves, so he can make a choice. Begbick suggests Jenny as the right girl for Jack, who finds her rates too high. She pleads with Jack to reconsider ("Havana Song"), which arouses Jim's interest, and he chooses her. Jenny and the girls sing a tribute to "the Jimmys from Alaska."
Scene 6
Jimmy and Jenny get to know one another as she asks him to define the terms of their contact: Does he wish her to wear her hair up or down, to wear fancy underwear or none at all? "What is your wish?" asks Jim, but Jenny evades answering.
Scene 7
Begbick, Fatty, and Moses meet to discuss the pleasure city's financial crisis: People are leaving in droves, and the price of whiskey is sinking rapidly. Begbick suggests going back to civilization, but Fatty reminds her that the federal agents have been inquiring for her in nearby Pensacola. Money would solve everything, declares Begbick, and she decides to soak the four new arrivals for all they've got.
Scene 8
Jimmy, restless, attempts to leave Mahagonny because he misses the wife he left in Alaska.
Scene 9
In front of the Rich Man's Hotel, Jimmy and the others sit lazily as a pianist plays Tekla Bądarzewska's "A Maiden's Prayer". With growing anger, Jimmy sings of how his hard work and suffering in Alaska have led only to this. Drawing a knife, he shouts for Begbick, while his friends try to disarm him and the other men call to have him thrown out. Calm again, he tells Begbick that Mahagonny can never make people happy: it has too much peace and quiet.
Scene 10
As if in answer to Jimmy's complaint, the city is threatened by a hurricane. Everyone sings in horror of the destruction awaiting them.
Scene 11
Tensely, people watch for the hurricane's arrival. The men sing a hymn-like admonition not to be afraid. Jim meditatively compares Nature's savagery to the far greater destructiveness of Man. Why do we build, he asks, if not for the pleasure of destroying? Since Man can outdo any hurricane, fear makes no sense. For the sake of human satisfaction, nothing should be forbidden: If you want another man's money, his house or his wife, knock him down and take it; do what you please. As Begbick and the men ponder Jimmy's philosophy, Fatty and Moses rush in with news: The hurricane has unexpectedly struck Pensacola, destroying Begbick's enemies, the federal agents. Begbick and her cohorts take it as a sign that Jimmy is right; they join him, Jenny, and his three friends in singing a new, defiant song: If someone walks over someone else, then it's me, and if someone gets walked on, then it's you. In the background, the men continue to chant their hymn as the hurricane draws nearer.
Act 2
Scene 12
Magically, the hurricane bypasses Mahagonny, and the people sing in awe of their miraculous rescue. This confirms Begbick's belief in the philosophy of "Do what you want," and she proceeds to put it into effect.
The men sing of the four pleasures of life: Eating, Lovemaking, Fighting, and Drinking. First comes eating: To kitschy cafe music, Jimmy's friend Jacob gorges until he keels over and dies. The men sing a chorale over his body, saluting "a man without fear".
Scene 14: Loving.
While Begbick collects money and issues tips on behavior, Moses placates the impatient men queuing to make love to Jenny and the other whores. The men sing the "Mandalay Song", warning that love does not last forever, and urging those ahead of them to make it snappy.
Scene 15: Fighting.
The men flock to see a boxing match between Trinity Moses and Jim's friend Alaska Wolf Joe. While most of the men, including the ever-cautious Billy, bet on the burly Moses, Jim, out of friendship, bets heavily on Joe. The match is manifestly unfair; Moses not only wins but kills Joe in knocking him out.
Scene 16: Drinking.
In an effort to shake off the gloom of Joe's death, Jimmy invites everyone to have a drink on him. The men sing "Life in Mahagonny", describing how one could live in the city for only five dollars a day, but those who wanted to have fun always needed more. Jim, increasingly drunk, dreams of sailing back to Alaska. He takes down a curtain rod for a mast and climbs on the pool table, pretending it is a ship; Jenny and Billy play along. Jimmy is abruptly sobered up when Begbick demands payment for the whiskey as well as for the damage to her property. Totally broke, he turns in a panic to Jenny, who explains her refusal to help him out in the song "Make your own bed"– an adaptation of the ideas he proclaimed at the end of act 1. Jim is led off in chains as the chorus, singing another stanza of "Life in Mahagonny", returns to its pastimes. Trinity Moses assures the crowd that Jimmy will pay for his crimes with his life.
Scene 17
At night, Jim alone and chained to a lamppost sings a plea for the sun not to rise on the day of his impending trial.
Act 3
Scene 18: In the courtroom
Moses, like a carnival barker, sells tickets to the trials. He serves as prosecutor, Fatty as defense attorney, Begbick as judge. First comes the case of Toby Higgins, accused of premeditated murder for the purpose of testing an old revolver. Fatty invites the injured party to rise, but no one does so, since the dead do not speak. Toby bribes all three, and as a result, Begbick dismisses the case. Next Jimmy's case is called. Chained, he is led in by Billy, from whom he tries to borrow money; Billy of course refuses, despite Jim's plea to remember their time together in Alaska. In virtually the same speech he used to attack Higgins, Moses excoriates him for not paying his bills, for seducing Jenny (who presents herself as a plaintiff) to commit a "carnal act" with him for money, and for inciting the crowd with "an illegal joyous song" on the night of the typhoon. Billy, with the chorus's support, counters that, in committing the latter act, Jimmy discovered the laws by which Mahagonny lives. Moses argues that Jim hastened his friend Joe's death in a prizefight by betting on him, and Billy counters by asking who actually killed Joe. Moses does not reply. But there is no answer for the main count against him. Jim gets short sentences for his lesser crimes, but for having no money, he is sentenced to death. Begbick, Fatty, and Moses, rising to identify themselves as the injured parties, proclaim "in the whole human race / there is no greater criminal / than a man without money". As Jim is led off to await execution, everyone sings the "Benares Song", in which they long for that exotic city "where the sun is shining." But Benares has been destroyed by an earthquake. "Where shall we go?" they ask.
Scene 19: At the gallows
Jim says a tender goodbye to Jenny, who, dressed in white, declares herself his widow. He surrenders her to Billy, his last remaining companion from Alaska. When he tries to delay the execution by reminding the people of Mahagonny that God exists, they play out for him, under Moses' direction, the story of "God in Mahagonny", in which the Almighty condemns the town and is overthrown by its citizens, who declare that they can not be sent to Hell because they are already in Hell. Jim, chastened, asks only for a glass of water, but is refused even this as Moses gives the signal for the trap to be sprung.
Scene 20
A caption advises that, after Jim's death, increasing hostility among the city's various factions has caused the destruction of Mahagonny. To a potpourri of themes from earlier in the opera, groups of protesters are seen on the march, in conflict with one another, while the city burns in the background. Jenny and the whores carry Jim's clothing and accessories like sacred relics; Billy and several men carry his coffin. In a new theme, they and the others declare, "Nothing you can do will help a dead man". Begbick, Fatty, and Moses appear with placards of their own, joining the entire company in its march and declaring "Nothing will help him or us or you now," as the opera ends in chaos.
Musical numbers
Act 1
Scene 1: Gesucht werden Leokadja Begbick ("The Desired Progress of Leocadia Begbick")
Scene 1: Sie soll sein wie ein Netz ("It Should Be Made Like a Net")
Scene 2: Rasch wuchs ("Growing Up Quickly" ) / Moon of Alabama ("Oh, Show Us The Way...")
Scene 3: Die Nachricht ("The News")
Scene 4: In den nächsten Tagen ("In the Next Few Days")
Scene 5: Damals kam unter Anderen ("Among the Crowd There Came")
Scene 5: Heraus, ihr Schönen von Mahagonny ("Come Out, You Beauties of Mahagonny")
Scene 5: Ach, bedenken Sie ("Oh Worries")
Scene 6: Ich habe gelernt ("I Have Learned")
Scene 7: Alle großen Unternehmungen ("All Great Things")
Scene 7: Auch ich bin einmal ("Also I Was Once")
Scene 8: Alle wahrhaft Suchenden ("All Seekers of the Truth")
Scene 8: Aber etwas fehlt ("But Something is Missing")
Scene 9: Das ist die ewige Kunst ("That is the Eternal Art")
Scene 9: Sieben Jahre ("Seven Years!")
Scene 10: Ein Taifun! ("A Typhoon!")
Scene 11: In dieser Nacht des Entsetzens ("In This Night of Terror")
Scene 11: Nein, jetzt sage ich ("No, I Say Do It Now")
Scene 11: So tuet nur, was euch beliebt ("So, Just Do What You Like")
Act 2
Scene 12: Hurrikan bewegt ("The Eventful Hurricane")
Scene 12: O wunderbare Lösung! ("O Wonderful Result!")
Scene 13: Von nun an war der Leitspruch ("From Then On The Motto Was...")
Scene 13: Jetzt hab ich gegessen zwei Kälber ("Now I Have Eaten Two Calves")
Scene 14: Zweitens kommt die Liebe dran! ("Secondly Comes Being in Love")
Scene 14: Sieh jene Kraniche ("Look at Those Cranes") / The Duet of the Cranes
Scene 14: Erstens, vergesst nicht, kommt das Fressen ("Firstly, Don't Forget, Comes the Eating")
Scene 15: Wir, meine Herren ("We, My Dear Sirs...")
Scene 15: Dreimal hoch, Dreieinigkeitsmoses! ("Three Cheers for Trinity Moses!")
Scene 16: Freunde, kommt, ich lade euch ein ("Friends, Come, I Summon You")
Scene 16: Meine Herren, meine Mutter prägte ("My Dear Sirs, My Mother Impressed [Upon Me]")
Scene 17: Wenn der Himmel hell wird ("When the Sky is Bright")
Act 3
Scene 18: Haben all Zuschauer Billete? ("Do All The Gawkers Have Tickets?")
Scene 18: Zweitens der Fall des Jimmy Mahoney ("Secondly, the Case of Jimmy Mahoney")
Scene 19: In dieser Zeit gab es in Mahagonny ("In This Time It Was In Mahagonny")
Scene 20: Hinrichtung und Tod des Jimmy Mahoney ("The Execution and Death of Jimmy Mahoney")
Scene 20: Erstens, vergesst nicht, kommt das Fressen ("Firstly, Don't Forget, Comes the Eating")
Scene 21: Wollt ihr mich denn wirklich hinrichten? ("Do You Really Want Me to Be Executed After All?")
Scene 21: In diesen Tagen fanden in Mahagonny ("To This Day Found In Mahagonny")
The 2005 movie Manderlay, directed by Lars von Trier, contains several references to the plot of Mahagonny. The most notable of these is the threat of a hurricane approaching the city during the first act. Von Trier's earlier movie Dogville, to which Manderlay is a sequel, was in large part based on a song from Brecht's Threepenny Opera ("Pirate Jenny"). In the brothel scene in act 2 of Mahagonny, the choir sings a "Song von Mandelay". The play Happy End (1929) by Elisabeth Hauptmann, Brecht and Weill, also contains a song called "Der Song von Mandelay", which uses the same refrain as in the brothel scene of Mahagonny. Brecht's use of the name Mandelay/Mandalay was inspired by Rudyard Kipling's poem "Mandalay".[according to whom?]
The Threepenny Opera is a 1928 German "play with music" by Bertolt Brecht, adapted from a translation by Elisabeth Hauptmann of John Gay's 18th-century English ballad opera, The Beggar's Opera, and four ballads by François Villon, with music by Kurt Weill. Although there is debate as to how much, if any, contribution Hauptmann might have made to the text, Brecht is usually listed as sole author.
Kurt Julian Weill was a German-born American composer active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work, The Threepenny Opera, which included the ballad "Mack the Knife". Weill held the ideal of writing music that served a socially useful purpose, Gebrauchsmusik. He also wrote several works for the concert hall and a number of works on Jewish themes. He became a United States citizen in 1943.
Lotte Lenya was an Austrian-American singer, diseuse, and actress, long based in the United States. In the German-speaking and classical music world, she is best remembered for her performances of the songs of her first husband, Kurt Weill. In English-language cinema, she was nominated for an Academy Award for her role as a jaded aristocrat in The Roman Spring of Mrs. Stone (1961). She also played the murderous and sadistic Rosa Klebb in the James Bond movie From Russia with Love (1963).
Teresa Stratas is a Canadian operatic soprano and actress of Greek descent. She is especially well known for her award-winning recording of Alban Berg's Lulu. She is formally retired.
The "Alabama Song"—also known as "Moon of Alabama", "Moon over Alabama", and "Whisky Bar"—is an English version of a song written by Bertolt Brecht and translated from German by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny. It was reused for the 1930 opera Rise and Fall of the City of Mahagonny and has been recorded by the Doors and David Bowie.
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Happy End is a three-act musical comedy by Kurt Weill, Elisabeth Hauptmann, and Bertolt Brecht which first opened in Berlin at the Theater am Schiffbauerdamm on September 2, 1929. It closed after seven performances. In 1977 it premiered on Broadway, where it ran for 75 performances.
Richard Cassilly was an American operatic tenor who had a major international opera career between 1954–90. Cassilly "was a mainstay in the heldentenor repertory in opera houses around the world for 30 years", and particularly excelled in Wagnerian roles like Tristan, Siegmund and Tannhäuser, and in dramatic parts that required both stamina and vocal weight, such as Giuseppe Verdi's Otello and Camille Saint-Saëns's Samson.
LoveMusik is a musical written by Alfred Uhry, using a selection of music by Kurt Weill. The story explores the romance and lives of Kurt Weill and Lotte Lenya, based on Speak Low : The Letters of Kurt Weill and Lotte Lenya, edited and translated by Lys Symonette and Kim H. Kowalke. Harold Prince had read Speak Low and suggested the idea for a musical to Uhry. Uhry and Prince worked on LoveMusik for four years to develop it into a stage work. The story spans over 25 years, from the first meeting of Lenya and Weill as struggling young artists, to their popularity in Europe and America, to Weill's death from a heart attack at age 50.
Mahagonny, ein Songspiel, or Mahagonny, a song-play, was written by composer Kurt Weill and dramatist Bertolt Brecht and first performed with that title and description in 1927. Elisabeth Hauptmann contributed the words to two of its songs. Just under half an hour in length, the work can be thought of as a staged or scenic cantata. By the end of 1929, however, Mahagonny had grown into a two-hour opera with the title Aufstieg und Fall der Stadt Mahagonny, or Rise and Fall of the City of Mahagonny. This was premiered in March 1930. Today the cantata and the opera are considered separately, the latter holding a place in the repertory, the former being an occasional piece staged in small theaters or programmed as an outgrowth of a song recital when resources permit. For this reason the shorter work is informally referred to as Das kleine Mahagonny, or The Little Mahagonny, or as Mahagonny-Songspiel.
Caspar Neher was an Austrian-German scenographer and librettist, known principally for his career-long working relationship with Bertolt Brecht.
The Threepenny Opera is a 1931 German musical film directed by G. W. Pabst. Produced by Seymour Nebenzal's Nero-Film for Tonbild-Syndikat AG (Tobis), Berlin and Warner Bros. Pictures GmbH, Berlin, the film is loosely based on the 1928 musical theatre success of the same name by Bertolt Brecht and Kurt Weill. As was usual in the early sound film era, Pabst also directed a French language version of the film, L'Opéra de quat'sous, with some variation of plot details. A planned English version went unproduced. The two existing versions were released on home video by The Criterion Collection.
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Eugen Berthold Friedrich Brecht, known as Bertolt Brecht and Bert Brecht, was a German theatre practitioner, playwright, and poet. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote The Threepenny Opera with Elisabeth Hauptmann and Kurt Weill and began a life-long collaboration with the composer Hanns Eisler. Immersed in Marxist thought during this period, Brecht wrote didactic Lehrstücke and became a leading theoretician of epic theatre and the Verfremdungseffekt.
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Olive Moorefield is an American actress and singer. She appeared in more than twenty films from 1954 to 1976.
Bertlies "Lys" Symonette was a German-American pianist, chorus singer and musical stage performer. In 1945 she took a job as rehearsal pianist, coach, understudy or multi-tasking "swing-girl" for The Firebrand of Florence, a Kurt Weill musical making its Broadway debut. This proved to be the start of a new career as Weill's musical assistant: from that point a principal focus of her professional life was on the composer and, more particularly after his early death in 1950, the career of his widow, the stage performer Lotte Lenya. When Lenya died, in 1981, Lys Symonette was appointed vice-president of the Kurt Weill Foundation, also serving as its "musical executive". When she died her friend and frequent collaborator, Prof. Kim H. Kowalke, published an affectionate tribute in which he described her as "the last and irreplaceable link to the inner artistic circle of Weill and Lenya".
Berlin to Broadway with Kurt Weill is a musical revue with a book by Gene Lerner, music by Kurt Weill, and lyrics by various songwriting partners Weill worked with over his career. The plot follows Weill's life as he begins his career in Germany writing the music for controversial musicals, through his journey fleeing Nazi persecution, immigrating to the United States, and becoming successful on Broadway. Songs featured include those Weill collaborated on with Maxwell Anderson, Marc Blitzstein, Bertolt Brecht, Jacques Deval, Michael Feingold, Ira Gershwin, Paul Green, Langston Hughes, Alan Jay Lerner, Ogden Nash, George Tabori and Arnold Weinstein.
Franz Servatius Bruinier was a pianist and composer. He was the first professional composer to collaborate with Bertolt Brecht. On account of his early death from tuberculosis, and because the results of his work went unpublished or were published only without attribution in respect of the musical score, his contribution went unrecognised by mainstream Brecht scholarship till the mid 1970s.
References
Informational notes
↑ Act 1, scene: Begbick: "Darum lasst uns hier eine Stadt gründen und sie nennen Mahagonny, das heißt: Netzestadt! ... Sie soll sein wie ein Netz, das für die essbaren Vögel gestellt wird." [Therefore let us here found a city und name it Mahagonny, which means: city of nets! It shall be like a net that is set for edible birds.]
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