By Francis Carlin [Financial Times, 26 June 2006]

The Lindbergh Flight and The Seven Deadly Sins are stylistically opposed examples of Kurt Weill’s work with Brecht. The first, a little-known arid cantata that echoes Hindemith, is a didactic hymn to man’s courage, the second – frequently performed – is a withering satire on religious hypocrisy with Weill in a recognisably jaunty mood. Pairing the two is a long shot, but it pays off magnificently here thanks to François Girard’s imaginative, foot-sure stagings.