Joshua Barone: “Kurt Weill is often described as if he were two composers. One spun quintessential sounds of Weimar-era Berlin in works like The Threepenny Opera, and the other wrote innovative earworms for Broadway’s golden age. His career was bifurcated, so the story goes — split not only by a shift in style, but also by the Atlantic Ocean, when he fled Nazi Germany and eventually settled in the United States. Yet it’s possible to trace an unbroken line from Weill’s earliest works, as a teenager, to his final projects for the American stage, before his death in 1950.” – The New York Times
