What is "mahagonny-songspiel"

Mahagonny-Songspiel, also known as The Little Mahagonny, is a "small-scale 'scenic cantata'" written by the composer Kurt Weill and the dramatist Bertolt Brecht in 1927. Weill was commissioned in the spring to write one of a series of very short operas for performance that summer, and he chose to use the opportunity to create a "stylistic exercise" as preparation for a larger-scale project that they had begun to develop together (the two had met for the first time in March), their experimental ' epic opera' The Rise and Fall of the City of Mahagonny (1930).

The Little Mahagonny was based on five 'Mahagonny Songs', which had been published earlier in the year in Brecht's collection of poetry, Devotions for the Home (Hauspostille), together with tunes by Brecht. To these five was added a new poem, "Poem on a Dead Man", that was to form the finale. Two of the songs were English-language parodies written by Elisabeth Hauptmann: the " Alabama Song" and "Benares Song". Using one or two of Brecht's melodies as a starting-point, Weill began in May to set the songs to music and to compose orchestral interludes along the following pattern:

Song One | Little March | Alabama Song | Vivace | Song Two | Vivace assai | Benares Song | Sostenuto (Choral) | Song Three | Vivace assai | Finale: Poem on a Dead Man

The Little Mahagonny was first produced at the new German chamber music festival at Baden-Baden on 17 July 1927. Brecht directed, Lotte Lenya played Jessie, and the set-design was by Caspar Neher, who placed the scene in a boxing-ring before background projections that interjected scene-titles at the start of each section. According to a sketch published years later, they read:

1. The great cities in our day are full of people who do not like it there.
2. So get away to Mahagonny, the gold town situated on the shores of consolation far from the rush of the world.
3. Here in Mahagonny life is lovely.
4. But even in Mahagonny there are moments of nausea, helplessness and despair.
5. The men of Mahagonny are heard replying to God's inquiries as to the cause of their sinful life.
6. Lovely Mahagonny crumbles to nothing before your eyes.

A programme note for the performance stated:

Mahagonny is a short epic play which simply draws conclusions from the irresistible decline of our existing social classes. It is already turning towards a public which goes to the theatre naïvely and for fun." The production lasted about forty-five minutes and was a great success, although there were no immediate plans for a revival.

Stephen Sondheim was asked to translate this piece once with W. H. Auden, but declined. He said of this event, "But, I'm not a Brecht/Weill fan and that's really all there is to it. I'm an apostate: I like Weill's music when he came to America better than I do his stuff before...I love The Threepenny Opera but, outside of The Threepenny Opera, the music of his I like is the stuff he wrote in America—when he was not writing with Brecht, when he was writing for Broadway."