Berliner Morgenpost, 20 October, 2017
By: Ronald Klein

Ute Lemper singt Lieder, die in den Konzentrationslagern und Ghettos entstanden.

Mit der Interpretation von Kurt-Weill-Songs wurde Ute Lemper 1986 von Kritik und Publikum gleichermaßen gefeiert. Ein Jahr später war sie an dem Album „Entartete Musik“ beteiligt, das Werke von jüdischen Komponisten enthält. Einige von ihnen, etwa Erich Wolfgang Korngold oder Mischa Spoliansky, gingen nach der Machtergreifung der Nationalsozialisten ins Exil. Andere, wie Viktor Ullmann, wurden vom Regime interniert und schließlich ermordet….

Click here for a pdf of the full article.

Here are some photos by Yan Revazov from the performance:

Review by: 

Wilkommen, bienvenue, welcome (and of course, ‘Hullawrerr Chinas!’, for any visitors from Glasgow), meine damen und herren. Tonight, this part of Edinburgh may journey through space and time to the Wiemar Republic, or the Paris of Piaf? Passports are strictly optional.

Ute Lemper last graced an Edinburgh stage at a packed Usher Hall during the 2014 International Festival. Tonight, the surroundings are much more intimate, cabaret tables with candles. This is to be an up close and personal performance. Goody.

Preceded by her three piece band (on piano, double bass and accordion), Lemper enters the arena, opening with Want to Buy Some Illusions, followed by Falling in Love Again, in its original German version…

Click here for the full review online

From the Southside Advertiser:

Ute Lemper  Last Tango in Berlin – The Best of Ute tour sees the return of one of the world’s most iconic singers and performance artists to the Queen’s Hall stage in Edinburgh after a far too long gap of over five years.

Last Tango in Berlin is a walk back through the elusive waters of time that we all pass through but can never hold onto as it washes over us all leaving little but memories. This is a personal trip by Ute Lemper as she acts not only as our guide to the music that has inspired her over her life, but also some very special moments in her own  life.  Our story takes us back to the last days of the Weimar Republic and the subversive music of the Cabaret bars of 1920s Berlin, through the terrible years of World War 2, the rise and fall of the Berlin wall and into Ute Lemper immersing herself in the music and ideals of 1980s Paris…

Click here to read the full review online

Bristol’s St George’s is full tonight, parking was a more challenging than usual, and there’s barely room to move as people queue to enter the auditorium. It’s so full in fact, sold-out, that our seats have been given to someone else and we have to perch on the bench at the very back of the hall (thanks Joe on the auditorium door, and the box office staff for doing everything possible to get us seated)

Everyone is here to see Ute Lemper, actor, star of musicals, and chanteuse perform her ‘Last Tango in Berlin – The Best of Ute’ not something I might normally get excited about, but it would be silly to miss a singer of this quality in our own backyard.

If you were asked to imagine a German cabaret singer you’d almost certainly have a picture of Ute Lemper in mind, both my plus one and myself couldn’t help but compare her appearance tonight to that of Jessica Rabbit, just much less rabbity. Dressed in a long split dress she looks every inch the classic cabaret act. I was in Berlin in the mid ’80s as a 17 year-old, I didn’t see anything like this – I didn’t try hard enough!

I’ve previously criticised the venue for being too brightly lit but it works very well tonight to show off Ute & her supporting musicians perfectly.

The music is a mix of songs in French, German and English, and it’s obvious that Ute is fluent in all three. I favour the songs sung in German, my companion loved those in French, a lot to do with those being the languages we speak, respectively. The songs invariably lose a little in translation – the meaning comes through, mostly but some of the word play suffers. The Moritat von Mackie Messer just sounds so much better, how Brecht intended it, than any version I’ve ever heard translated to English.
I am aware that I’ve learned quite a bit about the origins of the songs we heard, and what they mean to Ute as she schools the audience as she introduces each song. It certainly doesn’t detract from the experience; it’s great to be able to understand the context of what we hear, although sat so far back, behind the audience, it was difficult to hear Ute’s softly-spoken commentary, pitched perfectly, as it was, for those in the paying seats.

Ute sings playfully at times, her jazz improvisation is stunning, mesmerising; in fact I struggled to remember any detail as the performance came to a close as I seemed to go into a bit of a trance, enjoying the moment rather than trying to analyse it in any meaningful way.

I know that I smiled for most of the performance, and left with a new appreciation for a genre I’d not normally seek out.