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Event is Live
Carnegie Hall Presents

Justin Austin, Baritone
Howard Watkins, Piano

Don’t Be Angry
Tuesday, March 5, 2024 7:30 PM Weill Recital Hall
Justin Austin by Gillian Riesen, Howard Watkins by Dario Acosta
Baritone Justin Austin's star has risen considerably since his 2017 Carnegie Hall debut. In his return to the Hall—featured as part of the Fall of the Weimar Republic: Dancing on the Precipice festival—the inimitable Weill and Brecht songbook takes the spotlight. Hear the tale of “Mack the Knife” in selections from the uncategorizable Threepenny Opera, which premiered in Berlin in 1928; one of the rousing Walt Whitman poems Weill set to music after immigrating to the United States; and additional pieces by Ravel, Wolf, Eisler, Ricky Ian Gordon, and more.

Part of: Fall of the Weimar Republic: Dancing on the Precipice

Performers

Justin Austin, Baritone
Howard Watkins, Piano

Program

WEILL/BRECHT "Mack the Knife" from The Threepenny Opera

RAVEL "Chanson à boire" from Don Quichotte à Dulcinée

WOLF "Herr, was trägt der Boden hier" from Spanisches Liederbuch

WEILL "Oh Captain! My Captain!" from Four Walt Whitman Songs

BIENERT "Augen in der Großstadt"

EISLER "Embrace the Fascists"

WEILL/BRECHT "Ballad of the Easy Life" from The Threepenny Opera

WEILL/BRECHT "Call from the Grave" from The Threepenny Opera

WEILL/BRECHT "Death Message" from The Threepenny Opera

RICKY IAN GORDON "Song for a Dark Girl" from Only Heaven

RICKY IAN GORDON Marvin Gaye Songs

OWENS Mortal Storm


Encore:

TRAD. "I'm a poor li'l orphan in this worl'" (arr. Julia Perry)

Event Duration

The printed program will last approximately 90 minutes, including one 20-minute intermission. 

Salon Encores

Join us for a free drink at a post-concert reception in Weill Recital Hall’s Jacobs Room.
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This performance is funded in part by the Kurt Weill Foundation for Music, Inc.
Support for the Fall of the Weimar Republic festival is provided by the Horace W. Goldsmith Foundation and the Hearst Foundations.

This Concert in Context

Although the artistic collaboration between composer Kurt Weill and playwright Bertolt Brecht lasted barely four years (1927–1931), it was among the most storied of the Weimar period. Before the rise of the Nazis compelled both artists to flee the country in 1933, their Threepenny Opera—written in collaboration with Elisabeth Hauptmann—was among the most admired and commercially successful plays of its time. Neither Weill nor Brecht shied away from having their art reflect some of the pressing social and political questions of the day, and The Threepenny Opera was no exception. Such music would inspire future artists such as Bob Dylan, whose “When the Ship Comes In” was partly inspired by the song “Pirate Jenny” from Weill and Brecht’s masterpiece. When Weill made his way to America in 1935, he mostly left the world of art music behind and turned his attention to American idioms, such as musical theater. Although he would undoubtedly have previously encountered Walt Whitman’s poetry in translation in his native Germany, the Japanese attack on Pearl Harbor in 1941 spurred Weill to set three Civil War poems to music: “Beat! Beat! Drums!”; “O Captain! My Captain!”; and “Dirge for Two Veterans.” A fourth, Weill’s setting of Whitman’s “Come Up from the Fields Father,” would follow in 1947, three years before Weill’s early death from a heart attack shortly after his 50th birthday.

—Brendan Fay, author of Classical Music in Weimar Germany

Bios

Justin Austin

Praised as “a gentle actor and elegant musician” (Opera News) and a “mellifluous baritone” (The Wall Street Journal), Justin Austin has been performing ...

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Howard Watkins

American pianist Howard Watkins is a frequent associate of some of the world’s leading musicians on the concert stage and as an assistant conductor at the Metropolitan Opera. His ...

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