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Úvodní stránka » NOMINATED ARTISTS FOR 2018y. » Ute Lemper — But One Day...
Ute Lemper — But One Day... (March 11, 2003)

Ute Lemper — But One Day... (March 11, 2003)

     Ute Lemper — But One Day... (March 11, 2003)   Ute Lemper — But One Day... (March 11, 2003)ψ♣      Ute Lemper is the quintessential Femme Fatale. Universally praised for her interpretations of cabaret songs, the German diva’s latest show ~ Ultimo Tango ~ is a homage to Astor Piazzolla. In this unique collaboration with virtuoso musicians from Buenos Aires, this multi~talented singer embraces the passion of Argentinian culture and makes this vibrant repertoire her own. Her magnetic stage presence will mesmerize her Lebanese audience!
Genre: Jazz, Vocal, Cabaret
Born: 4 July 1963, Münster, West Germany
Location: New York City
Album release: March 11, 2003
Record Label: Decca
Duration:     54:30
01. September Song
02. I Surrender
03. Speak Low
04. Lena
05. Ne Me Quitte Pas
06. But One Day
07. Buenos Aires
08. Living With You
09. Oblivion
10. Little Face
11. Amsterdam
12. Ballad Of Marie Sanders
13. On Brecht — Epilogue
Written by:
ψ♣      Kurt Weill, Maxwell Anderson     1
ψ♣      Ute Lemper (tracks: 2, 4, 6, 10)
ψ♣      Jacques Brel     5, 11
ψ♣      Astor Piazzolla, Horacio Ferrer     7
ψ♣      Robert Ziegler, Werner Richard Heymann     8
ψ♣      Angela Tarenzi, Astor Piazzolla     9
ψ♣      Adapted by — Mort Shuman
ψ♣      Bertolt Brecht, Hanns Eisler     12
Credits:
•   Adapted by — Ute Lemper (tracks: 7, 9)
•   Arranged by, Directed by [Musical Direction] — Robert Ziegler
•   Producer — Peter Scherer, Todd Turkisher, Ute Lemper
•   Violin [Solo] — Laurie Anderson     4
•   Translated by — Eric Bentley     12
•   Musical Assistance — Laurie Anderson
•   “The singer, not the song” — it’s an adage as old as cabaret itself, yet one that seems to have generated as much stifling cliche as liberating music. German chanteuse Ute Lemper has forged a career that’s willfully confounded the first at the same time it’s gratifyingly taken the latter mission to heart. While this release turns from Punishing Kiss’s more contemporary Tom Waits/Elvis Costello/Nick Cave flirtations to the traditions of Lemper’s beloved Weill/Brel/Piazolla repertoire, it also folds four of her own original compositions into the mix for the first time, songs that underscore her forceful voice and muse with ambitious grace. The melodic sophistication of “Lena” (the tale of her manager’s Holocaust survivor mother, with guest Laurie Anderson providing subtle colorations) is the most artfully determined of the quartet, a song that seems more akin to the intensely personal prog/alterna universe of Bush and Amos than it does a smokey Berlin club. That sense of illumination is the key throughout this masterful, beautiful portfolio. Lemper’s takes on Weill’s “September Song” and “Speak Low” sparkle gently, while her covers of Brel’s “Ne Me Quitte Pas” and Piazolla’s “Buenos Aires” and “Oblivion” positively glow with determination. At once musically expansive and thematically personal, Lemper boldly challenges any number of hoary genre assumptions with what’s arguably her most accomplished and satisfying album. — Jerry McCulley
Review
BY CHARLOTTE ROBINSON, 24 March 2003
•   German chanteuse Ute Lemper has been caught between worlds for some time, but never has it been more apparent than on her latest disc, But One Day. A respected stage actress who has appeared in Cats, Cabaret, and Chicago, Lemper has expanded beyond Broadway blockbusters to sing French chansons, cabaret, and the songs of Kurt Weill, of which she is today’s foremost interpreter. While her interpretations of standards and Broadway fare have earned Lemper the respect of mainstream theatre audiences, her edgier, more sexually charged work (not to mention her film noir good looks) attract a younger, more hip crowd. Lemper took a big gamble on the latter audience with the 2000 release of Punishing Kiss. Featuring songs by Tom Waits, Elvis Costello, Nick Cave, and the Divine Comedy, plus a cover photo of Lemper looking like a real leather~clad bad girl, the album was an obvious attempt to please the hipster fan base and lure new pop/rock fans. While Punishing Kiss generated some positive press, it wasn’t a pop breakthrough, leaving Lemper in the unenviable position of deciding what direction to pursue on her follow~up.
•   Anyone in the same situation would be bound to feel a little lost, and Lemper is no exception. She admitted in a recent interview that her first impulse was to continue in the modern direction of Punishing Kiss and record an album of her original songs, but she also wanted to make an album that would please her theatre audience. No wonder the resulting album — which contains five Lemper compositions, two each by Kurt Weill and Jacques Brel, and even two Astor Piazzolla tangos (!) — feels more like a document of a transitional period in Lemper’s career than a fully realized album. It is almost as if two different albums, one contemporary and one classical, are battling for space on one disc. Adding to the disunity is the fact that Lemper’s original songs were recorded with producers/musicians Peter Scherer and Todd Turkisher, while the remaining tracks were produced by Robert Ziegler, whose Matrix Ensemble provides strings, as it also did on Lemper’s excellent Berlin Cabaret Songs. With the exception of the simple arrangements of “Living without You” and “Oblivion”, Ziegler’s tracks display an elaborate theatrical bent that is at odds with the adult contemporary style of the Scherer/Turkisher productions. Ziegler can’t really be faulted for this, though, because not only are his arrangements excellent, but they are essential to the spirit of the songs.
•   For her part, Lemper handles both strains of material well, proving once again on the classical material that she is an excellent dramatic singer while giving the modern songs an intimacy and violence of feeling that a mere Celine Dion could never accomplish. As a songwriter, Lemper’s varied subject matter includes a smoldering love song (“I Surrender”), an ode to the daughter of Holocaust survivors (“Lena”, featuring Laurie Anderson on violin), an abusive kiss~off (“But One Day”), a sweet tribute to her children (“Little Face”), and a poem inspired by Bertolt Brecht (“On Brecht — Epilogue”). It will be interesting to follow Lemper’s development as a songwriter, as she’s certain to pursue composition now that the writing bug has bitten her. In the future, though, she will have to make some tough decisions about how to pursue her many musical passions. By trying to serve two audiences on her current release, Lemper has created an album that is likely to fully satisfy neither.
•   http://www.popmatters.com/
Lambros, 28/02/2003 ...   Score: 7
•   http://www.mic.gr/record-review/ute-lemper-one-day
Interview, Vladimír Říha, Právo
•   https://www.novinky.cz/kultura/145489-slavna-nemecka-sansonierka-ute-lemper-vystoupila-v-praze.html
Discography
•   1986 — Singt Kurt Weill
•   1987 — Life Is A Cabaret
•   1988 — Chante Kurt Weill
•   1988 — Ute Lemper Sings Kurt Weill
•   1989 — Crimes Of The Heart
•   1990 — The Threepenny Opera
•   1990 — The Seven Deadly Sins
•   1991 — Songbook (with Michael Nyman)
•   1991 — Live / Ihre Grossen Tournee~Erfolge
•   1992 — Illusions
•   1993 — Ute Lemper Sings Kurt Weill vol.2
•   1993 — Espace Indécent
•   1995 — Portrait Of Ute Lemper
•   1995 — City Of Strangers
•   1996 — Berlin Cabaret Songs (Sung In German)
•   1996 — Berlin Cabaret Songs (Sung In English)
•   1997 — Nuits Étranges
•   1998 — All That Jazz (The Best Of Ute Lemper)
•   2000 — Punishing Kiss
•   2002 — But One Day...
•   2005 — Blood and Feathers
•   2008 — Between Yesterday and Tomorrow
•   2012 — Paris Days, Berlin Nights
Soundtracks
•   1984 — Cats (Deutsche Originalaufnahme)
•   1988 — Starlight Express (Deutsche Originalaufnahme)
•   1990 — Roger Waters / The Wall (Live In Berlin)
•   1991 — Prospero’s Books
•   1998 — Chicago
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Ute Lemper — But One Day... (March 11, 2003)

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