I think the whole Graham Vick production from Glyndebourne with Christine Schafer and a marvellou Dr Schoen/ Jack is also on this platform. I love the way Jack is wandering around with a Sainsbury’s plastic bag in act 3 :) On reflection, I suspect DVDs/ video streams are the best way into this particular opera.
Great review! What an astonishing masterpiece Berg left us. Not only does he bring back key performers in different roles to great dramatic and psychological effect, he even has Jack reprise Dr Schön's line, "Das war ein Stück Arbeit."
The two plays were adapted into another 20th century masterpiece: Pabst's film 'Pandora's Box', starring the immortal Louise Brooks. Both the Berg and the film are essential Modernist works.
This is one of those operas where text projection is as important as the music. Even if you don't fully respond to Berg's idiom, as long as you're able to follow the lines you will have a worthwhile experience.
Some of the comments I've read elsewhere about Lulu being a tough listen had put me off, but I've liked everything I've heard by him (including Wozzeck) so decided to give it a shot with a used copy. Hopefully the original owner ditched the foam.
It is a tough listen, but then, it's supposed to be. What matters is that it's a rewarding listen, and the music fits the story like a hand in a glove. If you've enjoyed the rest of Berg, then you'll enjoy this too.
This is just an awe inspiring work, you do hardly notice it’s serial once you adjust to the sound world with the saxophone, piano etc. For the overall structure and feel to work you have to have Act 3. This recording of course is by and large the best, but a little shout out to Daniel’s Chandos recording in English with Lise Saffer. I think it brings out that jazz/Weimar sexiness a bit better. Plus as this is one apotheosis of musical and dramatic complexity, it really helps to hear it in English is your German isn’t so good ! « Jetz kommt Die Hinrichtung » is another great line, which you only quite get at the end of Act 3 I can’t think of a greater 20th century opera.
Of course, Lulu is an example to give to people who claim that serial music is not part of the popular repertoire. Performances of it still make the news because of its "racy" reputation.
Lulu's line to Alwa on the sofa is the most horrifyingly (or horrippulating) comic moment in opera. The soprano usually delivers it with a clever, faux-naive, distracted quality--but it's a victory dance! She knows it will barely "spoil the moment" on the sofa, but it will compound Alwa's feelings of shame to the end.
This is one of those reviews which makes me wanting to try Berg again. The other line from ein also demented opera which is similar to that (at least for me) is "Wer hat meinen Ring genommen!". It is one of the ultimate "I am now so screwed" lines in opera.
I am not entirely convinced by the completion of Act III, scene 1. It is by far the most complicated, jumbled music in the opera, and I can't help but think Berg would have done something to clarify it. On the other hand, I've seen it live in the theatre, where the music was still helplessly tangled, but the action on stage at least gave the audience something to hold on to. Then the conclusion, Act III, scene 2, is perfect as it stands.
That’s a good point, and I know Robin Holloway has made it. But better to hear it as entangled as it may be (maybe the entangled ness is part of the point as it’s about the stock market etc) than not hear it at all?
I wish I'd picked this up years ago when it came out. Dang. Only recently saw a version of it and liked it alot. Frankly I thought it was thrillingly absurd; it made me laugh! Not at all surprised that the recording is so good. Boulez had a way with this music. I love his recording of Wozzeck with Walter Berry. Why didn't Schoenberg finish Lulu? Just asking.
I bought that CD as soon as it came out, but although I was familiar with the incomplete version (Karl Boehm), I had some kind of resistance to hearing the completed version until about two months ago. I opened the box, only to find that the 45 year-old foam packing had deteriorated and wrecked the disks! I was hoping you would mention Lulu so that I could ask you if you had a spare to sell!
Oh that is sad. I know Dave could have, but didn’t mention, that that cinematic episode in act 2 is a musical palindrome, which implies it’s the very centre of something larger, so Act 3 is really essential to get t(e symmetrical « game ». There’s a very good DG « collector’s edition » box called the Alban Berg Collection. No librettos but it has fantastic recordings of just about everything including Abbados very good Wozzeck. No styrofoam!
I remember now the reason for my hesitancy was that a music professor made fun of my excitement that the complete Lulu was to be premiered, and I think I may have been afraid that I would have been disappointed if he was right. I am glad to hear that my excitement was not misplaced!
As for the incomplete opera, the, Dohnányi from Vienna is mighty fine with Anja Silja in the lead role (as was their early 1970's Lulu Suite). As this was recorded in 1978 just before the Paris premiere of the Cerha completion, it is criminally under-rated. At the last count, I have five DVDs and eight CD recordings. A bit of an obsession!
For me, and of course it's only an opinion, Berg wrote the two best operas in all 20th century. After him, we have Janacek, and Britten, and R. Strauss... But he's just on the top. And perhaps not only in 20th century...
I agree Jose and have thought about this a lot. Love many 20th century operas (it was a really great opera century) But the Berg ones really have a technical/ structural and above all emotional and sonic brilliance that put them at the top. He was a model, among other things, for Britten, I believe. And Lulu has historical depth, I mean the hiding in closets, unexpected encounters, the rise and fall of certain characters, really reaches right back to Mozart and the earlier Viennese thing more effectively in the end than Strauss (although of course I enjoy many of the Strauss operas)
@@murraylow4523 , and aside all you have mentioned, wich I agree absolutely, the music depicts the dramatic action in a way never seen before, and little seen after, without losing its musical caracter. And Berg never judges his characters, he lets them go, with a kind of pity which is heartbreaking.
I don't buy it. It's simply unnecessary to play these zero-sum rating games with great works, and I find it very unhelpful and rather pointless. Is Berg "better" than Puccini, Britten, Janacek, Shostakovich, Gershwin etc? Really, who cares? All of them wrote great operas, and the rest is truly irrelevant.
@@DavesClassicalGuide , I understand your point, and perhaps "the best" is not the right expression. But, for me, Berg's operas have this emotional component which make me love them a little more than the rest. But I agree, musically they are all exceptional.
The now famous Boulez performance with most of this cast from Paris in 1979 is now on TH-cam. Must see TV!
Thanks for the heads up!
I think the whole Graham Vick production from Glyndebourne with Christine Schafer and a marvellou Dr Schoen/ Jack is also on this platform. I love the way Jack is wandering around with a Sainsbury’s plastic bag in act 3 :) On reflection, I suspect DVDs/ video streams are the best way into this particular opera.
Great review! What an astonishing masterpiece Berg left us. Not only does he bring back key performers in different roles to great dramatic and psychological effect, he even has Jack reprise Dr Schön's line, "Das war ein Stück Arbeit."
The two plays were adapted into another 20th century masterpiece: Pabst's film 'Pandora's Box', starring the immortal Louise Brooks. Both the Berg and the film are essential Modernist works.
This is one of those operas where text projection is as important as the music. Even if you don't fully respond to Berg's idiom, as long as you're able to follow the lines you will have a worthwhile experience.
Some of the comments I've read elsewhere about Lulu being a tough listen had put me off, but I've liked everything I've heard by him (including Wozzeck) so decided to give it a shot with a used copy. Hopefully the original owner ditched the foam.
It is a tough listen, but then, it's supposed to be. What matters is that it's a rewarding listen, and the music fits the story like a hand in a glove. If you've enjoyed the rest of Berg, then you'll enjoy this too.
Lulu with Stratas is indeed a top recording. Probably at her best, although her Traviata, directed by Zeffirelli (only on DVD) shall not be forgotten.
This is just an awe inspiring work, you do hardly notice it’s serial once you adjust to the sound world with the saxophone, piano etc. For the overall structure and feel to work you have to have Act 3. This recording of course is by and large the best, but a little shout out to Daniel’s Chandos recording in English with Lise Saffer. I think it brings out that jazz/Weimar sexiness a bit better. Plus as this is one apotheosis of musical and dramatic complexity, it really helps to hear it in English is your German isn’t so good !
« Jetz kommt Die Hinrichtung » is another great line, which you only quite get at the end of Act 3
I can’t think of a greater 20th century opera.
Apologies for the typos…
@@murraylow4523 I also enjoy that recording, for the reasons you mention.
The whole "completion" issue is fascinating to me. It really is a case-by-case situation in my humble opinion.
Of course, Lulu is an example to give to people who claim that serial music is not part of the popular repertoire. Performances of it still make the news because of its "racy" reputation.
I inherited that LP from my grandad.
Lulu's line to Alwa on the sofa is the most horrifyingly (or horrippulating) comic moment in opera. The soprano usually delivers it with a clever, faux-naive, distracted quality--but it's a victory dance! She knows it will barely "spoil the moment" on the sofa, but it will compound Alwa's feelings of shame to the end.
This is one of those reviews which makes me wanting to try Berg again. The other line from ein also demented opera which is similar to that (at least for me) is "Wer hat meinen Ring genommen!". It is one of the ultimate "I am now so screwed" lines in opera.
Very much so!
I am not entirely convinced by the completion of Act III, scene 1. It is by far the most complicated, jumbled music in the opera, and I can't help but think Berg would have done something to clarify it. On the other hand, I've seen it live in the theatre, where the music was still helplessly tangled, but the action on stage at least gave the audience something to hold on to. Then the conclusion, Act III, scene 2, is perfect as it stands.
That’s a good point, and I know Robin Holloway has made it. But better to hear it as entangled as it may be (maybe the entangled ness is part of the point as it’s about the stock market etc) than not hear it at all?
Sounds fine to me.
I wish I'd picked this up years ago when it came out. Dang. Only recently saw a version of it and liked it alot. Frankly I thought it was thrillingly absurd; it made me laugh!
Not at all surprised that the recording is so good. Boulez had a way with this music. I love his recording of Wozzeck with Walter Berry.
Why didn't Schoenberg finish Lulu? Just asking.
Actually, Berg's wife wouldn't let anyone touch it.
I bought that CD as soon as it came out, but although I was familiar with the incomplete version (Karl Boehm), I had some kind of resistance to hearing the completed version until about two months ago. I opened the box, only to find that the 45 year-old foam packing had deteriorated and wrecked the disks! I was hoping you would mention Lulu so that I could ask you if you had a spare to sell!
Oh that is sad. I know Dave could have, but didn’t mention, that that cinematic episode in act 2 is a musical palindrome, which implies it’s the very centre of something larger, so Act 3 is really essential to get t(e symmetrical « game ». There’s a very good DG « collector’s edition » box called the Alban Berg Collection. No librettos but it has fantastic recordings of just about everything including Abbados very good Wozzeck. No styrofoam!
I remember now the reason for my hesitancy was that a music professor made fun of my excitement that the complete Lulu was to be premiered, and I think I may have been afraid that I would have been disappointed if he was right. I am glad to hear that my excitement was not misplaced!
@@murraylow4523 The Alban Berg Collection is arguably the most consistently fine box in DG's Collector's Edition series. Every disc a winner.
@@ftumschk yes :)
As for the incomplete opera, the, Dohnányi from Vienna is mighty fine with Anja Silja in the lead role (as was their early 1970's Lulu Suite). As this was recorded in 1978 just before the Paris premiere of the Cerha completion, it is criminally under-rated. At the last count, I have five DVDs and eight CD recordings. A bit of an obsession!
For me, and of course it's only an opinion, Berg wrote the two best operas in all 20th century. After him, we have Janacek, and Britten, and R. Strauss... But he's just on the top.
And perhaps not only in 20th century...
I agree Jose and have thought about this a lot. Love many 20th century operas (it was a really great opera century)
But the Berg ones really have a technical/ structural and above all emotional and sonic brilliance that put them at the top. He was a model, among other things, for Britten, I believe.
And Lulu has historical depth, I mean the hiding in closets, unexpected encounters, the rise and fall of certain characters, really reaches right back to Mozart and the earlier Viennese thing more effectively in the end than Strauss (although of course I enjoy many of the Strauss operas)
@@murraylow4523 , and aside all you have mentioned, wich I agree absolutely, the music depicts the dramatic action in a way never seen before, and little seen after, without losing its musical caracter.
And Berg never judges his characters, he lets them go, with a kind of pity which is heartbreaking.
I don't buy it. It's simply unnecessary to play these zero-sum rating games with great works, and I find it very unhelpful and rather pointless. Is Berg "better" than Puccini, Britten, Janacek, Shostakovich, Gershwin etc? Really, who cares? All of them wrote great operas, and the rest is truly irrelevant.
@@DavesClassicalGuide , I understand your point, and perhaps "the best" is not the right expression. But, for me, Berg's operas have this emotional component which make me love them a little more than the rest.
But I agree, musically they are all exceptional.
@@josecarmona9168 That makes perfect sense. Thank you for clarifying.
Yes that seduction line in German sounds vicious... but not much more than any other line in German!
On one reasonable English translation, the sentence ends with "death." Isn't that even creepier?