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An elite celebrated artists and performers, as one was used to from the great epoch of German theatre art'. Walter Mehring writes in the exile magazine 'Das neue Tagebuch': 'It was a great evening. Kurt Weill throws himself into the work, composes the ballet 'Die sieben Todsünden der Kleinbürger' ('The Seven Deadly Sins of the petty bourgeois'), which has its triumphant premiere under the choreography of Georges Balanchine on 7 June 1933 in the 'Theätre des Champs Elysees'.

On 21 March 1933 Kurt Weill fled to Paris together with Lotte Lenya, experiencing the encouragement and courage of personalities such as Igor Srawinsky, Darius Milhaud, Arthur Honegger, Andre Gide, Jean Cocteau, Pablo Picasso and Fernand Leger.

Weill, this might have been the last attempt of your destructive work! now it has an end forever!'. One month after the premiere in March 1933, issue 4/5 of the same magazine 'Deutsche Bühnen-korrespondenz' read: 'Mr. After the premiere of another opera 'Der Silbersee', for which Georg Kaiser wrote the libretto, the threat became more open and brutal. What was meant here was Weill's music for the opera 'Die Bürgschaft'. In 1932 the Nazi 'Kampf-bund für deutsche Kultur', which raged in issue 6 of the magazine 'Deutsche Bühnenkorrespondenz' (German Stage Correspondence), stood out particularly: 'Common jazz and negro rhythms, hideous, completely unmotivated dissonances, then again in-between boring banalities, vulgar melodies of the most popular lanes, everything without any artistic elaboration in killing primitiveness pasted-together, in one word: the perfect, absolute impotence.' As a German Jew, born on 2 March 1900 in Dessau, he was downright disgusted out of this country in 1933. Kurt Weill American SongsKurt Weill did not leave Germany voluntarily. Jewelcases / Trays / Protection jackets.

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