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Berg's opera charts the rise and fall of a serial seductress, from life as a society hostess to prostitution and eventual death at the hands of Jack the Ripper.
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Alban Berg's second and last opera Lulu is one of the monuments of modernism, constructed around serial technique and containing scenes conceived of as Sonata-form, Suite, and so on. The bliss of Andrew Davis's conducting in this classic Glyndebourne production is that we forget all of this--Davis doesn't gloss over the music's intellectual content, but that's not what we think about as we watch and listen. Part of the production's strength is the prodigious performance by Christine Schafer as Lulu--for once we believe in the character's sexual energy and power; and Schafer makes her real enough as a person that we largely forget the work's intrinsic misogyny. The rest of the cast is admirable too: Norman Bailey brings something perversely sweet to the disreputable painter Schigolch; Kathryn Harries makes the dying words of Lulu's lesbian lover Geschwitz one of the work's lyric high points; David Kuebler is equally powerful as Alwa. The final duet between Lulu and her destroyer Jack the Ripper is one of Wolfgang Schone's great moments, but he is equally good as Dr Schon, the man Lulu marries and kills. This is a performance of energy and beauty, matched by a simple but effective production. --Roz Kaveney
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