COURTESY of the Goethe Institute as part of its programme of events to celebrate Brecht's centenary, this was the sole Scottish performance by one of the most authoritative interpreters of his songs.
Hagen, mother of punkrocker Nina, was a member of the Berliner Ensemble under Bertolt Brecht in the 50s, and looks every inch the part. In a superb black dress, four inch heels and jet jewellery, she is an actress singing, wringing the songs for meaning in a way that eludes the sweeter approach of Ute Lemper or the abrasiveness of Dagmar Krause or Marianne Faithful. Hagen is the genuine article whether on the familiar Kurt Weill tunes, his work with Hanns Eisler and Paul Dessau, or the settings of the poems by Wolf Bierman, her support of whom led to her emigration to the West. They were firmly in the tradition - as is Bierman's own tribute Herr Brecht, which she delivered a capella - and it was Brecht's own music for the charming Remembering Maria A that turned out to be surprisingly lyrical.
Dancing, stamping, snapping her fingers and clutching at the skirt of her dress, Hagen jumped between her two voices - a narrative, theatrical one, and a surprising but effective girlish soprano. Her charisma carried the audience through the less familiar material to dramatic performances of The song of Yes and No, Surabaya Johnny (her favourite), The song of Mandelay, Mac the Knife, and Alabama Song.
Her recordings of the songs feature an excellent band and arrangements by Siegfried Gerlich. Live and left to his own devices, Herr Gerlich's piano accompaniment was the perfect foil. A one-off evening to cherish.
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