Setting the songs of Kurt Weill in today's cultural context provides an interesting insight into the resistance quality (although populist) of music in the environment of changed social norms and systems. Simultaneously are reviewed, different possible forms of cabaret and related forms of musical theater with the use of modern technologies. Finally, addressing (each day smaller in number, but more demanding) audiences of contemporary music and theater, the author questions: Whether the understanding of artistic values of old popular songs changed? Whether today's listener believes that Weill's music, texts of Brecht and Cocteau are anachronistic? Whether they still convey some universal (artistic, leftist, intimate ...) messages beyond the ramp to the present listeners?