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Berg: Lulu [Import]

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Product Details

  • Format: Classical, NTSC, Import
  • Language: German
  • Subtitles: German, English, French, Spanish, Italian
  • Region: Region 2 (This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • MPAA Rating: UNRATED
  • Studio: Arthaus Musik
  • Release Date: May 31 2011
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Amazon.com: HASH(0x9ec8bb58) out of 5 stars 3 reviews
20 of 22 people found the following review helpful
HASH(0xb1bca630) out of 5 stars Would You Really Want a Tame "Lulu"? Nov. 21 2011
By Gio - Published on Amazon.com
Format: DVD Verified Purchase
A respectably-costumed bourgeoise Sunday matinee 'Lulu'? Then this production by the Zurich Opera House is NOT for you! This is a lurid, tawdry, narratively fragmented, erotically supercharged 'Lulu', exactly what it should be, in short: defiantly "entartete Kunst"! After all, Max Beckmann and Georg Grosz didn't paint water-lilies, and "The Cabinet of Doctor Caligari" didn't rely on realistic sets. Alban Berg's unfinished opera "Lulu" is one of the icons of German Expressionism in music, alongside Berg's own earlier opera "Wozzeck", and despite the brutal depravity both works portray, both have become 'standards' in the repertoires of opera companies around the world. This popularity really isn't because proper middle/upper class opera audience relish seeing their psychological closets flung open, though that might contribute. It's the music, the astounding idiomatic musical energy of Berg's vocal lines and especially his orchestral interludes. Berg's version of "twelve-tone' serial composition is every bit as rigorous as his master Arnold Schoenberg could have demanded, yet Berg imbues his intellectualism with a passionate melodicism that no other serialist ever achieved.

This staging is a Caligarian cabinet stuffed with symbols and foreshadowings, and lacking some of the usual 'markers' of identity that more timid stagings employ in order to keep the characters straight. All the males, for instance, look much alike in clothing and hair-styling. The stage props are meticulously illogical and self-conscious. If you've never seen a different production of Lulu or read a solid synopsis of the libretto, you'll need the sort of intuition to follow the 'plot' that you need to interpret a painting by Kirchner, Nolde, or Munch. But frankly, this is not a staging intended to 'introduce' anyone to Berg. Like many European productions of mainstream operas today, this is a staging that assumes that you've seen/heard more conventional Lulus half a dozen times. It's therefore an 'expansion' of prior expectations, not 'revisionist' but rather a 'restoration' of the original shock value of such a work. It IS intended to be shocking, dear opera fans, and if a staging lacks any SHOCK! it's hardly what Berg intended.

Laura Aiken is a shocking Lulu, and not merely because her breasts are exposed much of the time. She's a lascivious Lulu, brittle and predatory, too sexually cruel to be compared tritely to a tigress, and Laura Aiken has both the face and the acting skills to play the role. She's the only physically convincing Lulu I've ever seen, among that prerequisite half-dozen stagings, compellingly sensual enough to wring all morality and rationality out of the men around her. The acting in this production is as precisely choreographed and stylized as a Kabuki theater piece or a Russian ballet, and Laura Aiken deploys every element of her physical stage presence, from her eyebrows to her toes, expressively. Fortunately, she also sings consistently with her character portrayal. Her voice glitters like the ever-present razor in her high passages. Her tuning is scalpel precise and needs no vibrato for projection. Her musicianship, in this opera more important than mere singership, reveals the melodic allusions encased in Berg's serialism.

Every other character, especially Dr. Schön as sung by Alfred Muff, achieves the same effective unity of acting and singing. The rehearsals for this production must have been exhausting. Likewise, the Zurich Orchestra renders Berg's complex music as precise as a Swiss watch. Franz Welser-Möst is a formidable perfectionist, as skillful at exposing the inner voices of an orchestration as Wilhelm Furtwängler was.

Lulu is an unfinished opera. One has to deal with that problem both on stage and in the audience. The first two acts used to be performed without any third act, since Berg's widow refused permission for anyone to attempt to complete the third act from the portions that were left in various forms after Berg's death. In 1979, Friedrich Cerha finally completed a version of the third act, one that has become the standard of most productions. This staging in Zurich, however, eschewed Cerha's third act and reverted to any earlier modus of performance. The third act is simply a truncated pantomime of Lulu's grisly death -- her throat slashed by Jack the Ripper -- using the orchestration from Berg's "Lulu Suite". You'll have to decide for yourselves whether such an finale is satisfactory, but I think the decision will be easiest for those who have seen/heard other performances of Lulu.

There are at least four other recent DVD versions of Lulu available, with Evelyn Lear, Patricia Petibon, Agneta Eicheholz, and Christine Schäfer in the title role. They all have their merits, though Schäfer's performance is the least satisfactory, but this one with Laura Aiken is the most vivid.
2 of 2 people found the following review helpful
HASH(0x9ed0a108) out of 5 stars Aikin anchors a revisionist "Lulu" June 20 2016
By David McKee - Published on Amazon.com
Format: DVD
Arguing that, as with Bruckner's ninth and Schubert's eighth symphonies, a torso is in itself a statement, Zurich Opera House music director Franz Welser-Moest reverts to the pre-Cerha, two-act trunk from which many -- perhaps most -- of us learned "Lulu." The result is satisfyingly linear and dramatically compact. Stage director Sven-Eric Bechtolf, making his operatic debut, deploys a fair amount of unhelpful abstract symbolism, and has all the male characters interchangeably costumed and coiffed (excepting Schigolch's chrome dome), vitiating the idea that each man in the opera sees Lulu as a projection of his own fantasies. Other, less controversial deviations from the norm include the unscripted murder of Schigolch -- only possible if the Cerha act is omitted -- and the introduction of a silent, blonde child who represents an avatar of Lulu at the point at which Dr. Schon deprived her of her innocence. At the end (spoiler alert) the child is murdered and Lulu, whose spirit had died long before, is merely buried by Jack the Ripper in a pile of newspapers.

Bechtold's staging puts back some of the teeth that Welser-Moest's soft-grained reading extracts. While I had never before sensed so much of a kinship to Schreker and Zemlinsky in "Lulu," FW-M is also guilty of underplaying some of Berg's most visceral moments. He has a perfect Lulu in Laura Aikin, whether in her coloratura fluency or the knowing sexual charisma. In addition to a rich, beautiful voice, she brings -- as the accompanying, 34-minute documentary demonstrates -- a deep understanding of the role. She is flanked by two lovely sounding tenors (in most "Lulu" productions you are lucky to get one) in Peter Straka's Alwa and Steve Davislim's Painter. The latter character is portrayed as a cross-dresser, for obscure reasons, but it adds humorous touch. Alfred Muff's Dr. Schon is most pitched bellowing and he renders the important Sprechgesang as straightforward spoken dialogue. (Find, if you can, Christoph von Dohnanyi's recording, with Walter Berry as Schon, to hear how it should be done.) Although Rolf Hauntstein is a capital Animal Tamer/Acrobat, Guido Goetzen's Schigolch is utilitarian and Cornelia Kallisch makes a squally Countess Geschwitz. Aside from a disturbing film during the Act II intermezzo that is the work of Bechtold himself, the scenes are punctuated with Expressionistic, black-and-white video montages vividly dreamt up by TV director Thomas Grimm. Though this would not be my first choice among "Lulu" DVDs (the Otto Schenk/Karl Bohm performance from the 1962 Vienna Festival would fill that bill), neither would it be my last, especially judging by liberties taken in other DVD versions reviewed here.
3 of 4 people found the following review helpful
HASH(0x9ed0990c) out of 5 stars The Best "Lulu" EVER! Sept. 22 2015
By Louis Santacroce - Published on Amazon.com
Format: DVD Verified Purchase
I own three other videos of Lulu (one of the two act version -- never released to the general public, featuring Evelyn Lear in the title role, and two of the three act version -- but this is, without a doubt, the greatest, most searing rendition of this opera ever conceived. The decision to use the two-act score, the imaginative film used to bridge the gap between the unfinished (as was thought) third act and the final scene, and the addition of a second, thirteen year old (but silent) Lulu are decisions of pure genius. Be sure to watch the bonus feature to learn the rationale behind all of these decisions. Great singing, great acting, great staging.