“Welcome to Weimar — to the year 2025,” Ute Lemper announced.
The German-born singer and actress was greeting friends and colleagues who had squeezed into the Birdsong Society’s small headquarters by Gramercy Park to hear her perform songs from her latest album, which celebrates Kurt Weill, a composer Lemper has championed for four decades.
Sliding into the album’s title number, “Pirate Jenny,” Lemper got even closer to a listener who had been standing just a few feet away, fixing him with a snarling grin. Featured in “The Threepenny Opera,” the most celebrated of Weill’s noted collaborations with the playwright Bertolt Brecht, the tune has been covered by artists from Nina Simone to Judy Collins. It’s also the only standard written from the perspective of a hotel maid waiting for a ship of pirates to arrive and, at her behest, murder all the guests.
“It’s a song about revolution and rebellion,” Lemper explained in an interview before the event. The singer is less intimidating in conversation than she is when channeling bloodlust. She’ll turn 62 in July, and with her long, lean frame and impossibly high cheekbones, she still projects the cool beauty of a runway model.
Lemper was perceived as something of a rebel herself, at least in her native country, when Decca Records released “Ute Lemper Sings Kurt Weill” in 1988. The album, which evolved from “a little fringe record I made in Berlin” a couple of years earlier, earned Lemper an international fan base — with one notable exception.
“The Germans hated it,” Lemper recalled. “They weren’t interested in speaking about the past.” Decca’s chief executive at the time, Roland Kommerell, German himself, had started a project dedicated to bringing back music that had been banned under the Nazis, including classical symphonies and Weimar-era cabaret songs — music composed by Jews who were persecuted or, like Weill, forced into exile.
“It was a huge chapter to rip open; it was still bleeding at the time,” Lemper said. “And suddenly, I was in the position to have to respond to hundreds of journalists about this music. I became almost the representative of my generation, the Cold War generation, in Germany.”
Lemper lived for a while in Paris and in London, where she starred in the Brecht- and Weill-inspired musicals of John Kander and Fred Ebb, winning an Olivier Award for her portrayal of the merry murderess Velma Kelly in “Chicago,” a role she also played on Broadway. Since 1998 she has called New York home; she currently resides on the Upper West Side with her second husband, the musician Todd Turkisher.
Turkisher played percussion on “Pirate Jenny,” which also features “Mack the Knife,” “My Ship,” “Speak Low” and “Surabaya Johnny.” Co-produced by David Chesky, Turkisher’s frequent collaborator, and Lemper, the tracks wrap her pungent, dramatically astute vocals — applied through the years to the words and music of artists as diverse as Jacques Brel, Philip Glass, Nick Cave and the Chilean poet Pablo Neruda — in Chesky’s atmospheric, often eerie arrangements.
The album sprang from a conversation Lemper had last year with Chesky, who released it on his label, the Audiophile Society. Lemper pointed out to Chesky, also a composer, that 2025 would be the 125th anniversary of Weill’s birth. “And he said, ‘you should do something different. Let’s make it more accessible for a new generation, with a groovy component, but without watering down the strength of the stories.’”
In an email exchange, Chesky wrote, “Ute owns this genre of Weill material; she understands the world of Brecht and Weill better than anyone I have ever encountered. But I proposed to her, what if we took these classic songs and set them in this dark, late-night, Berlin cabaret vibe, while using the electronic language of today’s music? Then you have versions that still honor the songs but have a more direct connection to today’s world.”
Adrienne Haan, another German-born, New York-based singer who has won acclaim performing a range of international material, including Weill’s songs, was a teenager when she first discovered Lemper. In a phone interview, Haan, 47, said she had been influenced by many artists who recorded from the 1920s through the ’50s, “but Ute was much closer to my age, and she was such a strong interpreter. There was a certain steel in her voice, and I found it fascinating that someone from Germany, from the generation above me, could make it in America.”
A prolific live performer, Lemper will trace Weill’s life and songbook on May 27 and 29 at the Manhattan cabaret venue 54 Below. The engagement follows one earlier this month at Neue Gallerie, where she presented another favorite program, “Rendezvous With Marlene,” based on a three-hour phone conversation she had in the late 1980s with another German woman known for denouncing Hitler: Marlene Dietrich.
Lemper had written Dietrich, then in her late 80s, “to apologize” for comparisons that had been drawn between them, “and to thank her for the inspiration she had given to generations of women,” she said.
“Marlene was a woman ahead of her time; she raised the gender question 100 years ago — she was bisexual, she dressed like a man,” she added. “And she became an American citizen and fought against the Nazis, entertaining troops on the front lines. She wanted to go home later, but the Germans thought she was a traitor.”
Attentive to history’s darker recurrences as well as its nuances, Lemper is wary of certain comparisons that have been made involving President Trump. “There is only one Hitler,” she said, but called the current moment a “new chapter,” that is “really worrisome” in no uncertain terms.
Lemper has also been interested in expressing herself more through songwriting. In 2023 she released “Time Traveler,” consisting entirely of original material, as well as a memoir in German with the same title, “Die Zeitreisende” — featuring an epilogue by her daughter, Stella, who just earned her master’s degree in creative writing at Columbia University.
“I had already published a memoir when I was 30,” Lemper mused. “An East German publisher asked me to write it, because so much had already happened with my career, and living through the fall of the Wall.” She hopes the new book, which has been translated into Italian, can also be made available in English: “I incorporated tales from those times, and obviously followed that up with more decades of life and motherhood and ups and downs. I so appreciate aging. I would never want to turn the wheel back — except maybe for a little less backache, and a new hip.”
Lemper is considering a replacement, but only when she can find time in her schedule — which this spring alone has also included a German revival of a staging of Brecht and Weill’s “The Seven Deadly Sins,” which she first performed in more than three decades ago. “We’re going to take it to Paris next year, and then London,” she said. “I still have more to give, and I have to give it at every performance. The more you give, the more you have.”
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