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  • Contributors

Jonathan Eaton is well known for his pioneering productions of works by Weill. He directed the American stage premiere of Die Bürgschaft at the Spoleto Festival USA in 1999 and at the Bielefeld Opera in Germany in 1998, the first full production of the work since its premiere in Berlin in 1932. He directed Royal Palace at the University of Cincinnati’s Conservatory of Music in February 2000 and translated and directed the British and American premieres of Kurt Weill’s The Protagonist and The Tsar Has His Photograph Taken for the Santa Fe Opera. His extensive directing credits include the British premiere of Silverlake for London’s Camden Festival; Songplay (which he conceived and wrote based on Weill’s Broadway numbers) for Cincinnati Playhouse and Repertory Theatre of Saint Louis; and parts 3 and 4 of The Eternal Road, staged at New York’s Avery Fisher Hall in 1998.

Michael Evenden is chair of theater studies and resident dramaturg for Theater Emory at Emory University. He is the author of Silence and Selfhood: The Desire of Order in Mozart’s “Magic Flute” and has contributed to Theater and to Before His Eyes: Essays in Honor of Stanley Kauffmann.

Peter W. Ferran is professor of fine arts in the College of Liberal Arts at Rochester Institute of Technology. He was cofounder of the Brecht Company in Ann Arbor, Michigan.

Elinor Fuchs is a professor of dramaturgy and dramatic criticism at the Yale School of Drama. Her books include The Death of Character, winner of the 1997 George Jean Nathan Award for dramatic criticism; Plays of the Holocaust: An International Anthology; the documentary play Year One of the Empire, which won the Drama-Logue Best Play Award; and the forthcoming LAND/SCAPE/THEATER, coedited with Una Chaudhuri. She was guest editor of The Apocalyptic Century, a special issue of Theater (29:3).

Iwan Goll, surrealist and expressionist poet and playwright, was born in Lorraine in 1891 and died in 1950, “by fate a Jew, born by chance a Frenchman, made by the whim of a rubber stamp a German.” His plays include The Immortals (1918) and Methusalem, or The Eternal Bourgeois (1922). His two collaborations with Kurt Weill, Der neue Orpheus (1925) and Royal Palace (1925–26), were performed at the State Opera House in Berlin in 1928. [End Page i]

Kim H. Kowalke is professor of musicology at the Eastman School of Music and the College of the University of Rochester. He is the author or editor of four books, including Speak Low: The Letters of Kurt Weill and Lotte Lenya, and is the founding member of the editorial board of the Kurt Weill Edition. Since Lotte Lenya’s death in 1981, he has served as president of the Kurt Weill Foundation for Music in New York.

Christian Kuhnt is the dramaturg at the Schleswig-Holstein Musik Festival in Lübeck, Germany. Since 1993 he has been a member of the Arbeitsgemeinschaft Exilmusik at the Institute of Musicology in Hamburg, a group of musicologists attempting to preserve the memory of murdered or expelled musicians.

Tamara Levitz is an associate professor of musicology at McGill University in Montreal, Canada. During the 1999–2000 year she was a fellow at the Stanford Humanities Center, where she worked on a book on dance, music, and cultural identity in Europe, the United States, and Cuba in the twentieth century. She has published on Ferruccio Busoni, Igor Stravinsky, Kurt Weill, and other aspects of twentieth-century music.

Bruce D. Mcclung is completing a book entitled American Dreams: Kurt Weill’s Lady in the Dark for Oxford University Press. He is associate professor of musicology at the University of Cincinnati’s College-Conservatory of Music.

Caspar Neher (1897–1962), one of the greatest stage designers of the twentieth century, was the author of five opera librettos, including four for Rudolf Wagner-Régeny: Der Günstling [The favorite] (1935), Die Bürger von Calais [The burghers of Calais] (1938), Johanna Balk (1941), and Der Darmwäscher (1951). He wrote Die Bürgschaft for Kurt Weill in 1931.

Alexander Ringer is professor emeritus of musicology at the University of Illinois, Urbana-Champaign. He is the...


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pp. ii-iv
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Archived 2005
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