BERG: Lulu (complete opera–Friedrich Cerha version of Act III), Blu-ray (2010)
Orchestra of the Royal Opera House/Antonio Pappano
Stage director: Christof Loy
Cast = Lulu: Agneta Eichenholz/ Dr. Schon, Jack the Ripper: Michael Volle/ Alwa: Klaus Florian Vogt/ Countess Gerschwitz: Jennifer Larmore/ Schigolch: Gwynne Howell/ Animal Trainer, Athlete: Peter Rose/ Prince, Manservant, Marquis: Philip Langridge/ Dresser, Schoolboy, Groom: Heather Schipp/ Painter, Policeman, Negro: Will Hartmann/ Professor of Medicine, Theater Manager, Banker, Professor: Jeremy White
Studio: Opus Arte
[Distr. by Naxos]
Video: 16:9 1080i HD Color
Audio formats: PCM Stereo 2.0, DTS-HD MA 5.1
Bonus Features: Cast Gallery; Interviews with Antonio Pappano, Agneta Eichenholz
Length: 205 minutes
Subtitles: English, French, German, Spanish
Rating: ****
If it was anyone else but Covent Garden I would be very suspicious of a director’s motives for reducing the constructs of an opera set to nearly nothing; but since I assume they have the budget for a more robust production this effort must be born of valid artistic inferences. The idea of shrinking Lulu to a psychological drama similar to the Wieland Wagner Bayreuth Festival naked stages would almost smack of overkill; after all, Lulu is quite psychological no matter what you see on the stage, and in a way this nakedness just emphasizes that fact, sometimes to almost excessive minimalism. If one gives the completed version of the opera (and Berg left a lot—a completely-scored first 268 bars, the instrumental interlude between scenes 1 and 2; and most of the finale) then one is preparing for a 3-hour session of some of the most dramatic, intense, thorny, and brilliant music one is ever going to hear. What we get in this production is not very far removed from a concert performance, and there are some who think that this opera should be performed that way; I don’t. The variety of cast members and settings to me demands a reasonable variance in production settings, and though the opera certainly works the way we get it here—it is after all one of the greatest of the 20th century, and surpasses even Wozzeck—paring it down to bare bones ultimately does it a disservice.
But what launches this version into the front rank of Lulus—and there are just a few—is the singing. Even though the justly acclaimed 1997 video of Humphrey Burton’s production featuring Christine Schafer at Glyndebourne has been out for six years, Schafer can’t compare to the lithe and superbly agile vocalism of Swedish soprano Agneta Eichenholz. Not only does she look great at 38, and this is a role you have to look good in or it just doesn’t work, unless—see concert version above, her mannerisms seem so fitting and natural for the role that it is a little eerie. And her singing is extraordinarily flexible in this most unforgiving of roles which takes the soprano from low lows to super-high highs in a flash, with catastrophe-in-the-making intervallic leaps. Now be aware that no one can possibly sing this music note for note perfectly—it simply cannot be done. But Agneta Eichenholz’s attempt comes closest to any I have heard before, and her tour-de-force is one which has to be reckoned with. Technical matters aside, she also possesses a sweet tonal palate that is just perfect for this role, not too heavy as is often the case for those tackling the expressionist composers, and a sexual vulnerability that is equally femme fatale and victim to her own life experiences.
The rest of the cast is equally fine. The wonderful Jennifer Larmore makes a frightened and culpable appearance as Countess Gerschwitz, the lover and comrade-in-death with Lulu at the hands of Jack the Ripper, singing at the top of her game. Michael Volle is an outstanding Dr. Schon/Ripper, playing the hypocritical husband/father figure/pimp to Lulu while still loving her in a way that makes his ultimate death at her hands more comprehensible. The pathetic role of Alwa is nicely realized by Klaus Florian Vogt.
I won’t mention any more as there are no weak links anywhere in the singing at all, and the direction by veteran Antonio Pappano, whose knowledge of the score equals that of any conductor alive makes for an intense and often quite radiant experience. The black/white tenor of the set is often dullish and monochromatic—I still wish we had something else—but even if something does eventually come along (and Lulu is a tough role to cast) if will have to be golden in order to beat this performance. It could have been five stars if the set values were higher. As is, with terrific Blu-ray sound and visuals it has to occupy first place.
— Steven Ritter
