I took a Performance course from Martha Schlamme at the New School in about 1974 to 1975. She would have been in her early 50s at that time. Her students were all aspiring singers, often with some cabaret experience, like her. The diversity of singing styles in the class was broad from opera, to rock, to pop, to Broadway musical, but I remember Martha encouraging us all and enjoying each musical performance,however quirky. One particularly talented young woman sang an Elton John standard, after which Martha confessed to loving John's breakthrough hit "Your Song". And then she sang it for us. Sweet and sincere, she was a great vocal interpreter. Martha is known for her Jewish folk songs and she might have sung a couple for us, but I do not recall. What I do remember is how much she liked traditional Christmas carols, though they would hold no religious significance for her, and she sang a few with affection, tenderness and a sense of joy. I also remember being impressed with stories she told of both Kurt Weill and Lotte Lenya, and at the time I had the feeling she had performed with Lenya. I do know from this biography that she helped popularize Kurt Weill's songbook in America and that she performed in "Threepenny Opera".
I took a Performance course from Martha Schlamme at the New School in about 1974 to 1975. She would have been in her early 50s at that time. Her students were all aspiring singers, often with some cabaret experience, like her. The diversity of singing styles in the class was broad from opera, to rock, to pop, to Broadway musical, but I remember Martha encouraging us all and enjoying each musical performance,however quirky. One particularly talented young woman sang an Elton John standard, after which Martha confessed to loving John's breakthrough hit "Your Song". And then she sang it for us. Sweet and sincere, she was a great vocal interpreter. Martha is known for her Jewish folk songs and she might have sung a couple for us, but I do not recall. What I do remember is how much she liked traditional Christmas carols, though they would hold no religious significance for her, and she sang a few with affection, tenderness and a sense of joy. I also remember being impressed with stories she told of both Kurt Weill and Lotte Lenya, and at the time I had the feeling she had performed with Lenya. I do know from this biography that she helped popularize Kurt Weill's songbook in America and that she performed in "Threepenny Opera".