Primary Instrument: Vocalist
Ute Lemper's performing career grows out of a passionate and enduring commitment to art, politics and history, and out of a contentious and complicated relationship with her homeland and its past. Her panache, versatility and sophisticated repertoire - including Berlin cabaret songs and the dark gems of Bertolt Brecht and Kurt Weill - have led her to international acclaim as a recording artist, and in the theatre, cabaret and film worlds.
Ute was born in Münster, Germany in 1963. After graduation from the Dance Academy in Cologne and the Max Reinhardt Seminary Drama School in Vienna, she started performing in Stuttgart with roles in plays by Fassbinder and others. She went on to dazzle audiences in Europe and worldwide in musical theatre roles - Velma Kelly in Chicago (London, New York, Las Vegas), Lola in The Blue Angel, Peter in Peter Pan (both in Berlin), Cats in Vienna and Sally Bowles in Jér�'me Savary's Paris production of Cabaret. Yet she has returned again and again to the dark, complex and powerfully creative German past, in solo concerts like Kurt Weill Recital and Berlin Cabaret Evening; in symphony concerts, including The Seven Deadly Sins and Songs from Kurt Weill; in Pina Bausch's Kurt Weill Revue; and on the discs Ute Lemper Sings Kurt Weill (Vols. I & II), The Threepenny Opera, The Seven Deadly Sins, Mahagonny Songspiel, and Berlin Cabaret Songs (comprising works of songwriters censored or persecuted by the National Socialists)....
Awards:Billboard magazine "Crossover Artist of the Year"
1998 Olivier Award (Best Actress in a Musical)
Molière Award (Best Actress)
American Theater Award
Italy's Premio Tenco Award
Frank Scheck, New York Post, 2009: “There’s no sexier language lesson these days than the one given nightly at the Café Carlyle, where Ute Lemper sings in German, French, English and Yiddish and manages to sound provocative in each one.”
Stephen Holden, The New York Times 2005: “Her material is invested with a “ferocity that infuses the art (and artifice) of cabaret with a dramatic intensity.”
Stephen Brookes, The Washington Post 2006: “Her voice is a wonder, one moment a husky growl, the next a lilting soprano, the nest a strangled cri de coeur-all while shifting effortlessly among French, English, and German. But the most striking thing about Lemper’s singing is its authenticity.
Between Yesterday and Tomorrow
The Greatest Ride; Stranger Friend; Blood and Feathers; Luna; Ghosts of Berlin; La Mémoire et la Mer; Wings of Desire; Nomad; Here is Love; Nevada; September Mourn
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