Rating: 
Summary: Don't miss this one
Review: Berg's LULU is a stunning work. Possibly the best opera of the twentieth century - certainly in the top five. This Glyndebourne production is musically, dramatically and technically impeccable, although the minimalist staging probably worked better in the theater than it does on video. Nevetheless, this is definitely one to own for anyone who has a taste for modern opera, or who is open to developing one. (Now I hope someone will release the Teresa Stratas video from the eighties which is out on DVD only in Japan, and not playable in the US).
Rating:
Summary: Don't miss this one
Review: Berg's LULU is a stunning work. Possibly the best opera of the twentieth century - certainly in the top five. This Glyndebourne production is musically, dramatically and technically impeccable, although the minimalist staging probably worked better in the theater than it does on video. Nevetheless, this is definitely one to own for anyone who has a taste for modern opera, or who is open to developing one. (Now I hope someone will release the Teresa Stratas video from the eighties which is out on DVD only in Japan, and not playable in the US).
Rating:
Summary: Hair Raising - a Perfect Performance
Review: I cannot say enough good about Glyndebourne's 1996 production of Berg's
opera recently (and finally) released on video here in the States.
Initially I believed I'd be disappointed in this unit set. Wrong. A tall,
brick semi-circular wall of red brick with offset white bricks that extend
as necessary into beams, creating an angular stage wide staircase joining
otherwise impossible to use doorways, etc. A bare floor with 3 or 4
concentric circles revolves (sometimes in opposite directions) as necessary
denoting scene changes etc. At its direct center is a vast round hole.
This circular concept is fascinatingly explored bookending Lulu's going
full circle - beginning and ending in the gutter. Interesting too watching
her rise from this hole (a really great visual) in her first scene to
sinking permanently into it in the final. Once again the team of Graham
Vick and Paul Brown shed new light on one of opera's best bad girl
stories. That said light is brilliant is a cause for celebration!
Andrew Davis leads the London Philharmonic in a reading of the score that
may well be the most heavily romantic I've encountered. Berg's exquisite
melodies have never sounded more obvious (and sometimes drawn out -
wondrously so) as here. The jazz elements never sound foreign or archly
intrusive as they sometimes can, but rather all of a piece. The audience -
already berserk at final curtain goes berserker still at Maestro Davis's
bow.
If ever a singer was made for a role it is Christine Schaefer. Ms.
Schaefer's incarnation of this notoriously and fiendishly difficult role
comes off, both in voice and body, as an almost "victoire trop facile" for
she is, quite simply, Lulu. Schaefer exudes a raw, otherwordly femininity
and sensuality - the first notable gal to play by her own rules, facing
odds and consequences with an aplomb most men either find shocking or
forget completely the scruples they once possessed. Brilliantly
costumed Schaefer looks amazing whether she's in leather, lace or latex.
Heck, this Lulu even makes a bath towel look like evening wear. (And
the "painting" with her in almost painted on pants is hot stuff.)
Wolfgang Schoene paints Schoen in broad strokes on a huge emotional canvas
and the payoff is huge! Wonderful throughout, he is particularly
mesmerizing watching this "giant" of a human reduced to putty in the letter
writing scene. He is a helpless bear and he gets his just desserts, alright!
While not vocally - physically, in Kathryn Harries's portrayal of Geschwitz
looks like Frederica von Stade. Her countess is particularly pitiable, a
frightened bird - her act of heroism in the escape comes off with
incredible passion. Also a little creepy since I found it impossible to
decide whether the act was purely selfless or selfish. Her grizzly, filthy
demise following Lulu's horrifying screams were particularly chilling and
heartbreaking.
Stephan Drakulic offers a tremendous portrayal of the Painter. Here we see
Lulu's first victim (not, of course, sequentially) trapped in a fatal
obsession where he's so hot for her he can't keep his hands off her (or his pants on). His Act II with Schoen is really played out bigger than I recall in any other Lulu and it is shattering to watch both ego and love fly out the
window as Schoen repeatedly suggests his sole success was having "married a
half a million" - reducing the artist to nothing in a matter of minutes.
His return as a post punk, metal white trash Negro was initially a
humorous, then chilling turn.
Wonderful to see Norman Bailey as a more human than usual Schigolch, yet
retaining a wonderful bum-like craziness.
There is a wonderful black and white film during Act II's great intermezzo -
showing the action we "miss", Lulu's trial, the Countess's panty exchange,
all in a silent "film noire" style. The film ends back at Glyndebourne in
an empty house with Maestro Davis conducting. Amazing!
I could go on for pages more - but will spare you by saying: if you love
Lulu - you won't want to be without this most exciting DVD. It really is
remarkable and Schaefer gives a performance that simply cannot be missed!
Rating:
Summary: A stunner.
Review: It might be said that the 20th Century brought along opera's entry into the adult age. Little by little, operas started treating "delicate" subjects in a more serious way, one the largely victorian 19th century never dreamt of. Perhaps the trend was started by Richard Strauss, first with Salome and later on with Elektra. And others followed gladly suit, Schönberg with his Moses & Aron, depicting on stage a savage orgy that even today, almost three quarters of a century later, stage directors have a hard time devising tastefully (and perhaps tactfully). Berg was no exception: the 20's saw his Wozzeck and its tormented characters, the 30's this, his unfinished crown jewel with its decadent world of wealth, lust and manipulation that is given here, as is now customary, in the Cerha completion of the last act that Berg's untimely death prevented the composer from finishing.
At last, this production allows for a credible stage Lulu; the Graham Vick production, filmed here almost ten years ago at Glyndebourne's then new theatre does away with the usual overaged singer attempting a rôle that is inextricably linked like few others to the visual image of its portrayer and has for us the excellent Christine Schäfer, not just looking the part (her young, attractive looks undoubtedly helped) but also despatching its fiendishly difficulty with ease and applomb.
The other parts are also effectively cast, rendering this a winning all-round team effort. Katryn Harries is a superior Geschwitz, David Kuebler an intriguing Alwa. The veteran Norman Bailey appears as Schigolch.
The London Philharmonic, not an ensemble one usually associates with 20th century music, play stupendously and are very well conducted by an Andrew Davis that shows an absolute understanding of the score. Vicks's staging encompasses all three acts with minimum changes (more to do with objects on stage rather than actual scenery modifications) and I've read some critics in UK periodicals whose authors at the time (summer of 1996) did not seem to like it much. Granted, there's no actual displaying of the painter's atélier in Act 1 or Paris saloon, London street, etc. in other parts of the work, but to me it flows well; the work is so well directed you don't actually need scenery changes.
This video (in its VHS incarnation, back in 1997) deservedly won the prestigious Award for Best Video granted by the well-known Gramophone magazine in the UK, and may we say very much so especially in this new, DVD edition.
Rating:
Summary: Perfect!!!
Review: Lulu is a very complex work. This DVD makes justice to all of the complexness of the work: musical and dramatic. First of all: Christine Schäfer. Since Teresa Stratas she is the most impressive singer to play this difficult role. As she is a genuine coloratura , Schäfer can handle with all these crazy cadenzas with naturality. And her personification of Lulu is as ambigous as Wedekind( the play ' s writer) has though. But it isn' t only Schäfer that is fantastic in this DVD. Wolfgang Schöne is a convincent Schon and Jack the riper.Stephan Drakulich as The Painter and the Neger is very sexy and exciting . The old wagnerian bass-baritone Norman Bailey is a moving and repulsive Schigolch (and yet in a very good voice).Alwa, one of the most demanding tenor roles in all lyric repertoire, is very well sung by David Kuebler, and his naive looking is very moving during all the performance.Kathryn Harries as Geschwitz is fantastic too. Her final singing is a golden key for this performance. Far from one analytical aproach, Andrew Davies made a romantic and effective reading of the score. The London Philharmonic is in a special day, sounding realy as a great orchestra. The violin and piano solos, at the first scene of act three are very well played.
The staging, transposed for a modern time ( Lulu is atemporal) is fantastic by the simplicitiy of the sets and the coherence (the steps marking Lulu's ascension and fall !!!). Sexuality flows over all the singers.But always with naturality.And I would like to remark also that this mise en scene has a fine movie during the intermezzo of the second act, folowing all the instructions of Berg.
For this ( low) price you will have one of the best readings of the score , only comparable with that of Boulez (1978), and one very special staging of one of the most important opera of the history, maybe .....the last great opera.
Rating:
Summary: Perfect!!!
Review: Lulu is a very complex work. This DVD makes justice to all of the complexness of the work: musical and dramatic. First of all: Christine Schäfer. Since Teresa Stratas she is the most impressive singer to play this difficult role. As she is a genuine coloratura , Schäfer can handle with all these crazy cadenzas with naturality. And her personification of Lulu is as ambigous as Wedekind( the play ' s writer) has though. But it isn' t only Schäfer that is fantastic in this DVD. Wolfgang Schöne is a convincent Schon and Jack the riper.Stephan Drakulich as The Painter and the Neger is very sexy and exciting . The old wagnerian bass-baritone Norman Bailey is a moving and repulsive Schigolch (and yet in a very good voice).Alwa, one of the most demanding tenor roles in all lyric repertoire, is very well sung by David Kuebler, and his naive looking is very moving during all the performance.Kathryn Harries as Geschwitz is fantastic too. Her final singing is a golden key for this performance. Far from one analytical aproach, Andrew Davies made a romantic and effective reading of the score. The London Philharmonic is in a special day, sounding realy as a great orchestra. The violin and piano solos, at the first scene of act three are very well played.
The staging, transposed for a modern time ( Lulu is atemporal) is fantastic by the simplicitiy of the sets and the coherence (the steps marking Lulu's ascension and fall !!!). Sexuality flows over all the singers.But always with naturality.And I would like to remark also that this mise en scene has a fine movie during the intermezzo of the second act, folowing all the instructions of Berg.
For this ( low) price you will have one of the best readings of the score , only comparable with that of Boulez (1978), and one very special staging of one of the most important opera of the history, maybe .....the last great opera.
Rating:
Summary: A winner
Review: Lulu is not an easy opera to get to know. It is written in a twelve tone style (serial) invented by Arnold Schoenberg. But Berg's serial music is easier to listen to than Schoenberg and many parts of Lulu are beautiful in their own way.
This DVD is a perfect way to get acquainted with the score. It is a perfect performance and Christine Schafer has both the vocal resources for this difficult part as well as the looks and acting ability for this femme fatale. The rest of the cast are fully up to her.
The production is pretty bare: a brick wall with a stairway up to two doors, a wooden floor and chairs. But don't let that steer you off. The important thing in Lulu is passion, and it is here in spades.
Rating:
Summary: please someone review this dvd...
Review: so i know if i should get it
Rating:
Summary: amazing opera
Review: This is one of the best operas of 20th century and the opera is realist and story is narrated with a heavy language, very effective...And this performance is really excellent. Decor is minimalist and very good. The cast has no weak link and Andrew Davis with his London Philharmonic bring dramatic and powerful interpretation. The silent film (in 2 Act) is terrific and they followed all instructions of Berg. This music has a different form: music starts with film, continues and arrives to centre of music, and then music runs backward! (with whole orchestra takes mutes in instruments). This is a story about the rise and fall in society of a "femme fatale", from life as a society hostess in a casino in Paris to prostitution in London's dirty streets. She makes three wedding, which ends all her three husbands deaths and she be indifferent in all of them (from the Proffesor to Alwa). She eventually descends into prostitution and eventual bloody death at the hands of Jack the Ripper! And he kills Countess Geschwitz, too, who is the in love to Lulu! Lulu's three husbands:
The Professor Goll - deaths with a suddenheart disease The Painter - who painted Lulu's portrait Dr. Schön - Alwa's father These three man first appears in 1st and 2nd Acts, are appears once more in 3rd Act (2nd Scene in London) with these characters: The Professor - the first client of Lulu The Negro (actually the Painter)- 2nd client and kills Alwa (the last husband of Lulu), because of The Negro attacks Lulu and Alwa wants to save Lulu but the Negro kills him... Jack the Ripper (actually Dr. Schön) And this situation is not an economy in singer's cast. This means that, Lulu's dead husbands to take vengeance. Highly recommended for any Alban Berg and opera admirers.
Rating:
Summary: Stunning
Review: This modern reinterpretaion of the timeless opera shows the eternal character of the story. The minimal set that exudes the old adage, "simple is best" and removes distractions and brings the audience to the soul.
Christine Schäfer is terribly seductive while the male characters are utterly convincing, with the impeccable singing technique and wildly expressive acts.
How wonderful it is to have it available on a recorded medium, as the richness and the density of the material allows the viewer to take it in a little by little.
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