Berg - Lulu / Davis, Schafer, Bailey, Kuebler, Harries, Schone, Bardon, Glyndebourne

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.

great acting. great voices.the music is a picture of hidden emotions, not just hidden cliches used as emotions. the best opera.

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.

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).

I accidentally bought this version of Lulu instead of the 2010 Salzburg Festival one starring Patricia Petibon (which I bought anyway after I learned my error). This opera is rather wrenching and haunting, musically and story-wise. Of the two versions I now own, I must say I much prefer this 1996 Glyndebourne production. I suppose the director of the Salzburg production thought the phrase "less is more" was bull and painted this already dark piece black with it's ultra surreal sets and staging. Petibon seemed mentally disturbed with the ultra-giant eyes she seemed to make at every development. (And what was the deal with the Mink Stole red hair?) I will say though, as much as I didn't really appreciate many of the acting and staging choices, the music was played and sung beautifully all around.I appreciated that the Glyndebourne production didn't add any unnecessary darkness, and wasn't quite so over the top. Schafer played the lead beautifully with grace and subtlety. What a stunning voice! Ordering this production was a fine mistake on my part; I would suggest if one is torn between the two, pick the Schafer Glyndebourne production.

The singing is outstanding and the orchestral playing is excellent. The video and audio shows its age but still a very worthwhileaddition to my library because of Christine Schafer outstanding performance.

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.

Great cast, great musicianship, great production. Schafer was born for this role & brings the (highly complex, difficult) music to life! Highly recommend this modern production.

Although this is a twenty year old production it remains fresh and new due to both the superb cast and the wonderful conducting of Sir Andrew Davis. This production is to be highly recommended and I would pick out the singing of both Christine Schafer and Kathryn Harries. This is not an opera for the faint hearted both tonally and for the subject matter. Alban Berg is easily misunderstood until you have gone through the works of Wagner and Schonberg first. Then you can fully appreciate the beauty of the score and acknowledge it as a twentieth century masterpiece.

I do believe Berg himself would be proud of this production, even I'd scenery and costumes aren't exactly as directed in the libretto, this I'm sure would be forgiven. Schäfer is an absorbing, and suitably cold, Lulu. Berg's almost cinematic (note I am not saying melodic) and certainly highly theatrical score is played to perfection. The conductor really does get this piece. Infused between extremes of raging noise to sardonic music hall passages, it is not always easy but always effective.Clever revolving and versatile stage adds to the drama.Highly recommended

Lulu is a very dramatic opera with very expressive music. Thus it requires singers with acting skills. This 1996 Glyndenbourne performance is fully satisfactory musically and theatrically. All characters are very dell bit Christine Schäfer's Lulu is really outstanding.This video has very sharp 4:3 picture and stereo sound, which is very satisfactory.Overall, it is excellent!

Good recording of unusual music

Wonderful performance. The English subtitles (optional) proved a help.