Mack the Knife: An Evening of Kurt Weill

Duration: 90 mins
Composer: Kurt Weill
Librettist: Various

Join us for an evening of song that celebrates The Atlanta Opera Company and Studio Players. The collaboration between theatrical innovator Bertolt Brecht and composer Kurt Weill is legendary.  We’ll feature songs from their famous opera The Threepenny Opera, plus tuneful selections written by Weill that you may not know. Players Jasmine Habersham, Brian Vu, and Megan Marino are all winners of The Kurt Weill Foundation for Music’s prestigious Lotte Lenya Competition.

Concert Program

Alabama Song
I Got a Marble and a Star
Trouble Man
What Good Would the Moon Be?
That’s Him
My Ship
Song of the Blind Girl
September Song
And, more…



Jasmine Habersham

A versatile and dynamic performing artist.

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Megan Marino

American-Italian mezzo-soprano Megan Marino is a “gifted actress with a strong, appealing voice graced by a rich lower register” (Opera News). Her recent credits include the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Opéra National de Paris and the Atlanta Opera, where she made her company debut as Olga in Eugene Onegin.

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Brian Vu

Described by The New York Times as having an “ample and pleasing tone,” tenor Brian Vu creates visceral and interdisciplinary art on the operatic, theatrical, and concert stages.

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Elena Kholodova

Elena Kholodova is an internationally recognized collaborative pianist and vocal coach. Menton’s French magazine called her “the brilliant Russian pianist, who impressed the audience with the beauty of the sound and amazing technique.”

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Kurt Weill (1900 – 1950)

Kurt Weill was born on March 2, 1900 in Dessau, Germany. The son of a cantor, Weill displayed musical talent early on. By the time he was twelve, he was composing and mounting concerts and dramatic works in the hall above his family’s quarters in the Gemeindehaus. During the First World War, the teenage Weill was conscripted as a substitute accompanist at the Dessau Court Theater. After studying theory and composition with Albert Bing, Kapellmeister of the Theater, Weill enrolled at the Berlin Hochschule für Musik, but found the conservative training and the infrequent lessons with Engelbert Humperdinck too stifling. After a season as conductor of the newly formed municipal theater in Lüdenscheid, he returned to Berlin and was accepted into Ferruccio Busoni’s master class in composition. He supported himself through a wide range of musical occupations, from playing organ in a synagogue to piano in a Bierkeller, by tutoring students (including Claudio Arrau and Maurice Abravanel) in music theory, and, later, by contributing music criticism to Der deutsche Rundfunk, the weekly program journal of the German radio.

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