Berg - Lulu
Laura Aikin; Cornelia Kallisch; Alfred Muff; Peter Straka; Zurich Opera; Franz Welser-Möst
ArtHaus Musik 101 565
Since its premiere in Zurich in 1937 Lulu cannot escape controversy. Granted, in 1937 the subject-matter of a sociopathic prostitute was as controversial as it is today, but there is so much more at stake here. Left unfinished by Berg, the opera was completed in the 1970s from Berg’s sketches and discarded drafts. Even so, this recording features the original, unfinished score, both to commemorate the 65th anniversary of its premiere and to satisfy those, who claim that Berg left the work unfinished on purpose.
It is an opera with probably the most complex female character in history. In parts Violetta, Lady Macbeth and Mélisande, Lulu is as conflicted as she is beguiling. The production takes a deep, psychological view of her character. She is a victim of childhood sexual abuse, illuminated by silent vignettes projected throughout. She also is treated by her husbands and lovers in a proprietary, misogynistic way - illustrated by female mannequin body parts encased in plastic that populate the stage. Like some macabre Damien Hirst sculptures, the body parts point to the commodification of Lulu and explain her coldness and at times hatred towards others. This approach actually works, portraying the heroine as damaged beyond repair and thus tragic, not just loathsome. As the principals sing the difficult music of Berg with ease (with Laura Aikin and Alfred Muff deserving of a special mention), Franz Welser-Möst handles the orchestra beautifully. Fair warning, though: given the graphic nature of the projections, this may be difficult for some viewers to watch. This Lulu is not for the faint of heart.
