Berg: Lulu

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The 2002 production of Berg's Lulu by Richard Jones is generally agreed to be one of the best things to come from troubled English National Opera in recent years. Chandos has done everyone a... — Gramophone Classical Music Guide, 2010 More…

Release Date: 30th Jan 2006
Catalogue No: CHAN3130(3)
Label: Chandos
Series: Opera in English
Length: 2 hours 45 minutes

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Berg: Lulu (sung in English)

Work length2:45:12

$64.05

$79.30

Stuart Kale (tenor), Gwynne Howell (bass), Toby Stafford-Allen (baritone), John Graham Hall (tenor), Robert Poulton (baritone), Graeme Danby (bass), Alan Oke (tenor), Susan Parry (mezzo-soprano), Anna Burford (soprano), Robert Hayward (baritone), Robert Begley (bass), Paul Napier-Burrows (bass), Lisa Saffer (soprano), Jane Powell (mezzo-soprano), Moira Harris (soprano), Claire Mitcher (soprano)
English National Opera Chorus, English National Opera
Paul Daniel

Prologue: Roll up, roll up for the menagerie (Animal tamer)

Track length4:20

$1.05

$1.30

Act I Scene 1: Am I trespassing? (Alwa, Dr. Schon, Lulu)

Track length2:01

$1.05

$1.30

Act I Scene 1: Gnadige Frau … Frau Medizinalrat … (Painter, Lulu)

Track length1:38

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Act I Scene 1: You are far too slow to capture me (Lulu, Painter)

Track length0:51

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$1.30

Act I Scene 1: What's happening? (Painter, Lulu)

Track length0:46

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Act I Scene 1: Open the door! (Professor of Medicine, Lulu, Painter)

Track length0:56

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Act I Scene 1: Just wait, he'll jump right up … (Lulu)

Track length1:31

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Act I Scene 1: Can't you help him recover his senses? (Painter, Lulu)

Track length2:12

$1.05

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Act I Scene 1: You make me jealous, you lucky bastard! (Lulu)

Track length1:43

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Act I Scene 1: Please help me do this up (Lulu)

Track length2:43

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Act I Scene 2: Eva! - What is it? (Painter, Lulu)

Track length1:09

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Act I Scene 2: Eva! - What is it? (Painter, Lulu)

Track length1:53

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Act I Scene 2: He's not quite what I imagined him to be (Schigolch, Lulu, Dr. Schon)

Track length4:16

$1.05

$1.30

Act I Scene 2: If you and I married (Dr. Schon, Lulu, Painter)

Track length6:26

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Act I Scene 2: So? - Your marriage has made you at least a million marks … (Painter, Dr. Schon, Lulu)

Track length5:03

$1.05

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Act I Scene 2: Don't talk so loud (Dr. Schon, Alwa, Lulu)

Track length3:26

$1.05

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Act I Scene 2: Verwandlung (Transformation)

Track length3:26

$1.05

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Act I Scene 3: I've never in my life known an audience so excited (Alwa, Lulu)

Track length2:15

$1.05

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Act I Scene 3: More for me, please (Lulu, Alwa)

Track length1:31

$1.05

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Act I Scene 3: That girl and her lovers (Alwa)

Track length1:11

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Act I Scene 3: I met her first at Dr. Schon's (African Prince, Alwa)

Track length1:32

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Act I Scene 3: She's had a sort of fainting fit (Dresser, Alwa, Theatre Manager, Prince, Lulu)

Track length0:33

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Act I Scene 3: What's wrong with her? (Dr. Schon, Alwa, Lulu, Dresser, Theatre Manager, Prince)

Track length1:09

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Act I Scene 3: How dare you attempt to ruin my well-laid plans? (Dr. Schon, Lulu)

Track length5:01

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Act I Scene 3: Take this pen and paper (Lulu, Dr. Schon)

Track length3:01

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Act II Scene 1: Delighted that you will be there this evening (Countess Geschwitz, Dr. Schon, Lulu)

Track length3:18

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Act II Scene 1: Why not stay here? (Lulu, Dr. Schon)

Track length1:58

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Act II Scene 1: Thank the Lord, that at last we're … (Schigolch, Acrobat, Schoolboy, Lulu)

Track length2:22

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Act II Scene 1: You know it's she he really wanted to marry (Acrobat, Schigolch, Schoolboy, Lulu)

Track length0:44

$1.05

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Act II Scene 1: I hope you locked the windows (Schigolch, Lulu, Acrobat, Manservant, Schoolboy)

Track length1:38

$1.05

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Act II Scene 1: The matinee will be lit by ultra-violet light (Alwa, Lulu, Manservant)

Track length3:15

$1.05

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Act II Scene 1: Is he ill? (Alwa, Lulu, Manservant, Dr. Schon)

Track length2:54

$1.05

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Act II Scene 1: His father! (Lulu, Dr. Schon, Alwa, Acrobat)

Track length0:56

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Act II Scene 1: And where did he go? (Dr. Schon, Lulu, Countess Geschwitz)

Track length2:54

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Act II Scene 1: Even though men have killed themselves because of who I am (Lulu)

Track length2:27

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Act II Scene 1: Kneel down, murderous bitch! (Dr. Schon, Schoolboy, Lulu, Alwa)

Track length2:41

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Act II Scene 1: You can't deliver me up for trial! (Lulu, Alwa, Countess Geschwitz, Schoolboy)

Track length1:05

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Act II Scene 1: Film Music

Track length2:57

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Act II Scene 2: We're like the players waiting for a bandleader (Acrobat, Countess Geschwitz, Alwa, Schigolch)

Track length4:30

$1.05

$1.30

Act II Scene 2: This way is shorter (Alwa, Acrobat, Schoolboy)

Track length6:09

$1.05

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Act II Scene 2: Hey, little Lulu, it's time we scarpered over the border (Schigolch, Acrobat, Lulu, Alwa)

Track length4:14

$1.05

$1.30

Act II Scene 2: You're still as ravishing and youthful as in your portrait (Alwa, Lulu)

Track length3:45

$1.05

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Act II Scene 2: Beneath this dress I feel your form in harmony (Alwa, Lulu)

Track length3:57

$1.05

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Act III Scene 1: Gentleman and Ladies! (Acrobat, Banker, Journalist, Marquis, Alwa, Lulu, Waiter, Servant, Designer, Mother, 15-year-old Girl, Countess Geschwitz, Alwa)

Track length2:43

$1.05

$1.30

Act III Scene 1: Get to the point and say how much you want from me (Lulu, Marquis)

Track length0:51

$1.05

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Act III Scene 1: Of the countless nubile, fun-loving lasses (Lulu)

Track length2:08

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Act III Scene 1: The magistrate will reward anyone who finds the murderess (Marquis, Lulu)

Track length3:06

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Act III Scene 1: It's good! It's looking good! (Alwa, Journalist, Banker, Designer, Mother, Lulu, 15-year-old Girl, Acrobat, Marquis, Waiter, Servant, Countess Geschwitz)

Track length1:34

$1.05

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Act III Scene 1: May I intrude? (Acrobat, Lulu)

Track length2:18

$1.05

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Act III Scene 1: Message for the Bank Director (Waiter, Banker, Lulu)

Track length0:58

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Act III Scene 1: I need some money, in ready cash (Schigolch, Lulu)

Track length3:27

$1.05

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Act III Scene 1: You could at least treat me with respect! (Acrobat, Marquis, Lulu)

Track length2:38

$1.05

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Act III Scene 1: Martha! (Lulu, Countess Geschwitz, Acrobat, Waiter)

Track length2:20

$1.05

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Act III Scene 1: I have lost all my money (Journalist, Banker, Mother, Designer, Alwa, 15-year-old Girl)

Track length2:08

$1.05

$1.30

Act III Scene 1: What the hell is this? (Alwa, Lulu, Waiter, Police Commissioner, Marquis)

Track length3:32

$1.05

$1.30

Act III Scene 2: The rain's beating a tattoo (Schigolch, Alwa, Lulu)

Track length4:33

$1.05

$1.30

Act III Scene 2: If this is not the ideal moment (Countess Geschwitz, Schigolch, Lulu, Alwa)

Track length5:52

$1.05

$1.30

Act III Scene 2: Come along in, my love! Come! (Lulu, Second Client, Schigolch)

Track length3:30

$1.05

$1.30

Act III Scene 2: Doctor Alwa's gone off to sleep (Schigolch, Countess Geschwitz)

Track length2:40

$1.05

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Act III Scene 2: Who is that? (Jack the Ripper, Lulu)

Track length4:58

$1.05

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Act III Scene 2: These are the last few moments (Countess Geschwitz, Lulu, Jack the Ripper)

Track length3:39

$1.05

$1.30

Reviews
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Reviews

2010

The 2002 production of Berg's Lulu by Richard Jones is generally agreed to be one of the best things to come from troubled English National Opera in recent years. Chandos has done everyone a favour by transferring its 2005 revival lock, stock and smoking revolver from the opera house to the studio.
This is important for several reasons. Lulu can seem forbidding to the uninitiated. Its amoral characters, its sordid plot, its enigmatic antiheroine, its complex (and masterful) formal design: all these aspects repel some as much as they attract others. Yet cabaret burlesque is as integral to the opera's make-up as high operatic tragedy. Paul Daniel and the Chandos engineers don't let us forget it. Piano, saxophone and vibraphone get the prominence they deserve.
The farcical comings and goings in Parisian salon and London garret alike spring to life without the inevitable noises-off and dropouts of an in-house recording.
Richard Stokes has rendered Wedekind's demotic text aptly and brilliantly enough for anyone who will not wrinkle their noses at (say) the Acrobat's refrain of 'Bugger, bugger, bugger it!' And the ENO orchestra swing where the Paris Opéra for Boulez are stiff. It should come as no surprise that Böhm and the Viennese know their way around a quickstep and a tango; likewise Daniel and his players really get under the skin of Berg's 'English Waltz' in Act 3.
So consistent an overall vision is perhaps bound to reduce the starring role of Lulu herself.
In Jones's production, Lisa Saffer projected her onstage as a fantasy-u-like for her many admirers. Without the sublime confidence of an Anja Silja, the vulnerability of a Constance Haumann or the hauteur of a Teresa Stratas, she brings unruffled poise and a shapely, silken tone that would not be out of place in Wolf. Nor is it here; as Dr Schön observes, after Lulu has shot him and poured herself a glass of champagne, 'You never change'. Robert Hayward's Schön is gruff, like his Wotan: a bully reduced to bluster. It is Countess Geschwitz who must convey whatever redemptive transformation Berg (not Wedekind) has to offer, and Susan Parry is equal to the task, moving from mannish suavity to an intensely moving Liebestod. John Graham- Hall is no more of a cipher than most Alwas – a Wunderlich or a Bostridge may be too much to hope for.
The many smaller parts are well taken and distinctly enunciated but the most definitive portrayal here is Gwynne Howell's Schigolch, weary and pervy and always with the emphasis on the gesang, not the sprech.
Original-language recordings will hardly go out of fashion, nor ones with more Mahlerian breadth and depth of feeling; for both, Christine Schäfer needs to be seen in Graham Vick's production on DVD (see below). But for Lulu in the raw, a Rosenkavalier with no underwear, this is one to go for.

March 2006

The 2002 production of Berg's Lulu by Richard Jones is generally agreed to be one of the best things to come from troubled English National Opera in recent years. Chandos has done everyone a favour by transferring its 2005 revival lock, stock and smoking revolver from the opera house to the studio... Lisa Saffer... brings unruffled poise and a shapely, silken tone that would not be out of place in Wolf. Robert Hayward's Schön is gruff, like his Wotan: a bully reduced to bluster. It is Countess Geschwitz who must convey whatever redemptive transformation Berg... has to offer, and Susan Parry is equal to the task, moving from mannish suavity to an intensely moving Liebestod.

Offer,Berg: Lulu

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