See below under “Adaptations and Translations” or read here to learn more about the available alternate versions.
"Prologue"
Excerpt sung by Lotte Lenya, 1956
0:00/0:00
Interview with Lotte Lenya
Lenya talks about the 1958 New York City Ballet production of The Seven Deadly Sins, 1970
0:00/0:00
Anna II (Tilly Losch) and Anna I (Lotte Lenya) are two sides of the same personality in the premiere of ballet chanté Die sieben Todsünden; Paris, Les Ballets, 1933
Production photo from the original production, 1933
Production photo from the original production, 1933
George Balanchine (left) and Lotte Lenya (right), preparing for the American premiere of The Seven Deadly Sins at the New York City Ballet, 1958
Lotte Lenya (Anna I) snaps Allegra Kent's (Anna II) picture, New York City Ballet production, 1958
Lotte Lenya (Anna I) with Karen von Aroldingen (Anna II) in the German stage premiere of Die sieben Todsünden, 1960
Lotte Lenya (Anna I) with Karen von Aroldingen (Anna II) in the German stage premiere of Die sieben Todsünden, 1960
Patti LuPone (Anna I) and Wendy Whelan (Anna II) in The Seven Deadly Sins; New York City Ballet, 2011 | Photo: Paul Kolnick
Co-production by Staatsoper Stuttgart, Stuttgart Ballet and Schauspiel Stuttgart featuring Peaches as Anna I; Stuttgart, 2019 | Photo: Bernhard Weis
Nora Fischer as Anna I and Gabriella Schmidt as Anna II with the LA Philharmonic in a semi-staged concert version of Die sieben Todsünden; Los Angeles, 2019 | Photo: Genaro Molina
Choreographer Pina Bausch recreates the 1976 production at the Tanztheater Wuppertal; 2020 | Photo: Oliver Look
Shelley Eva Haden (Anna II) and Wallis Giunta (Anna I) in The Seven Deadly Sins; Opera North, 2021 | Photo: Tristram Kenton
Wallis Giunta as Anna I; Opera North, 2021 | Photo: Tristram Kenton
Shelley Eva Haden (Anna II) and Wallis Giunta (Anna I) in The Seven Deadly Sins; Opera North, 2021 | Photo: Tristram Kenton
Kate Lindsey (Anna I) and Lauren Michelle (Anna II) in the La Scala production; 2021 | Photo: Marco Brescia & Rudy Amisano
Eva-Maria Westbroek as Anna I in the Dutch National Opera production; 2021 | Photo: Sanne Peper
Anna I (who sings) and Anna II (who dances) are two facets of one personality. At the behest of her family, they travel to seven different American cities (only six are named) in order to make enough money to build a little house on the banks of the Mississippi. In each city, she/they encounter a different deadly sin, and Anna I (the practical side) rebukes Anna II (the artistic side) for engaging in sinful behavior–that is, behavior which hinders the accumulation of wealth.
Anna I sets out the plot, explaining the relationship between her and Anna II (“Actually, we’re not two persons, only one”) and their quest, and identifies the rest of the family: a mother, a father, and two brothers.
Anna’s parents note that she has always been lazy but in other ways has been a dutiful child, while the brothers intone, “Idleness is mother of all vices.” The Family closes with a prayer that God will keep Anna on the path that leads to prosperity and happiness.
Anna I and Anna II are in Memphis. Anna II’s new clothes have made her stuck up. When she takes a job as an exotic dancer, she tries to turn it into art, to the displeasure of the paying customers. Anna I scolds her for her pride and reminds her that she must do what is demanded of her.
The Family notes with displeasure that the Annas have not been sending enough money. They are in Los Angeles, and things are going quite well until Anna II witnesses acts of cruelty and rebels against injustice. Then Anna I reminds her that such anger will make her unemployable and therefore useless, so she must set it aside.
The family has received a letter from the Annas in Philadelphia. They are making good money, but Anna II’s contract specifies that she may not gain any weight, even a gram. They recall that Anna II loves to eat and acknowledge her hardship but trust her to remember that a contract is a contract.
In Boston, Anna II has found a wealthy lover, but she prefers another man, who is poor. Anna I points out that the rich lover will not tolerate divided loyalty. Anna II rebels, but finally gives in reluctantly and renounces the poor lover.
The Family learns that the Annas are in Baltimore. Men are committing suicide over Anna II, which will increase her earning power, but they fear she will get too greedy. They hope she will be moderate and not make herself too unpopular to earn money.
From San Francisco, Anna I tells us that Anna II is worn out and envious of those who do not have to work hard. Anna I preaches of the need to renounce the pleasures of the world and promises a reward to come. The Family seconds her, saying that strict self-control is the path to glory.
The Annas return to Louisiana after seven years. The house is complete, and they rejoin the Family.
Introduktion
0:00/0:00
Faulheit (Sloth)
0:00/0:00
Stolz (Pride)
0:00/0:00
Zorn (Wrath)
0:00/0:00
Völlerei (Gluttony)
0:00/0:00
Unzucht (Lust)
0:00/0:00
Habsucht (Covetousness)
0:00/0:00
Neid (Envy)
0:00/0:00
Finaletto
0:00/0:00
Cast
Singing Roles
Anna I (soprano)
The Family (2 tenors, baritone, bass)
Non-Singing Roles
Anna II (dancer)
Corps de ballet
Instrumentation
2 Flutes (2 picc)
Oboe
2 Clarinets
Bassoon
2 French horns
2 Trumpets
Trombone
Tuba
Harp
Piano
Banjo (guitar)
Timpani, percussion
Strings
Piano-vocal score
(German-English), B. Schott’s Söhne, 6005
Die sieben Todsünden. Lotte Lenya, Wilhelm Brückner-Rüggeberg, cond.
Sony Masterworks Heritage MHK 63222 (reissued 2006 as Sony Classical 82876 78754 2; reissued 2007 on Line Music 5.00991; reissued 2009 Membran Music (232580); re-issued on Sony Classical (88691932192), 2012