Sony's release of Frances Bourne's first solo album features the British mezzo-soprano singing cabaret songs by German, Czech, and British composers. The majority of songs are by Kurt Weill, several of which were written in French during the composer's Parisian sojourn in the early '30s, including selections from the musical play Marie Galante. Bourne makes the interesting choice of singing all the Weill songs in French translation, even the selections from Die Dreigroschenoper and Happy End. She doesn't have a particularly ...
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Sony's release of Frances Bourne's first solo album features the British mezzo-soprano singing cabaret songs by German, Czech, and British composers. The majority of songs are by Kurt Weill, several of which were written in French during the composer's Parisian sojourn in the early '30s, including selections from the musical play Marie Galante. Bourne makes the interesting choice of singing all the Weill songs in French translation, even the selections from Die Dreigroschenoper and Happy End. She doesn't have a particularly Gallic sensibility to bring to the repertoire, so the choice seems somewhat random, but there's no harm done, either; the songs retain Weill's brusque, rather dark charm. Several originally written for voice and piano have the added appeal of idiomatic new orchestral arrangements by Robert Ziegler. Weill may be the gold standard for cabaret songs of the era, but Benjamin Britten's Four Cabaret Songs from the late '30s come closer to the loose-limbed idiom than what listeners...
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