Katie Bray's latest collaboration with pianist William Vann, accordionist Murray Grainger, and double bassist Marianne Schofield brings to life the enigmatic songbook of Kurt Weill, a master of chameleonic composition. Their rendition of Youkali, the 1935 tango that Weill so poignantly captured as a land of unattainable desires, serves as a poignant starting point for their journey through Weill's eclectic and fascinating oeuvre.
The programme unfolds like a lyrical tapestry, weaving together songs in German, French, and English, some familiar to the listener, others less so. Alongside Weill's more well-known works, they include numbers penned for the Huckleberry Finn musical that Weill was actively working on at the time of his death. The arrangement is tasteful, with subtle color palettes provided by Grainger's accordion and Schofield's double bass.
However, it is Katie Bray's singing voice that truly shines in this performance. Her vocal range and control are a marvel to behold, effortlessly conveying an elevated yet natural sound in Weill's complex music. From the biting acerbity of "Barbarasong" to the bleak emotional depth of "Je ne t'aime pas," Bray demonstrates a mastery over her craft, showcasing how her refined training can be applied with effortless communicative power.
As this programme is part of an ongoing development between Bray and Vann, it is clear that their artistic partnership has only strengthened with time. Their performances, like the arrangement as a whole, demonstrate a fluency born from years of collaboration. Ultimately, It's Katie Bray who steals the show, bringing an unbridled passion to her performance that elevates Weill's music to new heights.
The programme unfolds like a lyrical tapestry, weaving together songs in German, French, and English, some familiar to the listener, others less so. Alongside Weill's more well-known works, they include numbers penned for the Huckleberry Finn musical that Weill was actively working on at the time of his death. The arrangement is tasteful, with subtle color palettes provided by Grainger's accordion and Schofield's double bass.
However, it is Katie Bray's singing voice that truly shines in this performance. Her vocal range and control are a marvel to behold, effortlessly conveying an elevated yet natural sound in Weill's complex music. From the biting acerbity of "Barbarasong" to the bleak emotional depth of "Je ne t'aime pas," Bray demonstrates a mastery over her craft, showcasing how her refined training can be applied with effortless communicative power.
As this programme is part of an ongoing development between Bray and Vann, it is clear that their artistic partnership has only strengthened with time. Their performances, like the arrangement as a whole, demonstrate a fluency born from years of collaboration. Ultimately, It's Katie Bray who steals the show, bringing an unbridled passion to her performance that elevates Weill's music to new heights.
OMG, I'm OBSESSED with this latest collab! Katie Bray's vocals are simply stunning 
, it's like she was born to sing Kurt Weill's songs!!! The way she weaves in and out of the complex harmonies is pure magic 
. And William Vann's piano accompaniment? 
perfection! But what really gets me is how Katie brings this music to life with her own unique energy 
. I'm already counting down the days until the next show 
. And I love how the rest of the musicians complemented her voice, it felt like a cohesive unit performing together. It's clear that their collaboration has been building towards this moment and it really paid off. But what struck me most was how Bray brought a sense of vulnerability to Weill's music - she conveyed an emotional depth that made me feel like I was experiencing the songs on a whole new level 
. Can't wait to see what they come up with next!
The whole programme feels very cohesive and well-crafted, but Bray's vocals really bring it all together... can't wait to see what they do next! 
but some parts of the arrangement feel a bit safe for me? like, i get that weill's music is complex and all, but can't they take more risks with the instrumentation? 
also, what's up with the lack of context on weill's life and works? i mean, it's a master of chameleonic composition and all, but who is this guy again 
. But what really blew my mind was how well Bray's voice holds its own against Weill's complex compositions - she's like a master puzzle solver, effortlessly navigating the intricate melodies 
. And can we talk about Vann and Grainger's instrumentation? The accordion adds this gorgeous texture that takes the performance to another level 
. All in all, I'm thoroughly impressed by their musical chemistry 
.
. but let's be real, bray's vocals are literally the star of the show 
She's got this range and control that just blows my mind. I mean, I've heard some talented singers before but this girl takes it to another level. The way she brings out the emotions in Weill's music... it's like she's channeling his soul or something. 
! I mean, have you heard her voice? It's like butter for your soul 
. But what really gets me is how Bray brings this depth to Weill's songs - it's like she's speaking straight to your soul 
. Vann and Grainger are doing their thang too, but Bray's got this special something that takes it from great to TRULY GREAT 
️. Can't wait for more collabs between these three! 
. I'm already counting down the days until their next collab! 
but Bray is just on another level 
I love that they're doing more collaborations, I'm literally dying to hear what else they come up with next! 
, but i'm also kinda nitpicky about how they chose some songs... like, i get it weill was a master of chameleonic composition, but 'huckleberry finn' numbers are kinda an acquired taste for me 
The way Katie Bray's voice just glides over those complex melodies is pure magic 
. The arrangement with Murray Grainger's accordion and Marianne Schofield's double bass is sublime, but let's be real, Bray's the real star of the show 
The rest of the ensemble is solid, but Bray's got some serious pipes 