Berg: Lulu [Sung in English]

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All Music Guide - James Leonard
It doesn’t matter if you’ve heard Karl Böhm’s incomplete but compelling recording of Berg’s Lulu or Pierre Boulez’ complete but not quite as compelling Lulu, you’ve got to hear Paul Daniels’ complete and overwhelmingly compelling Lulu. Why? Because not only is it complete – that is, not only does it include the two acts finished and orchestrated by Berg but the third act finished but left unorchestrated by Berg and realized almost fifty years later by Friedrich Cerha – but because this Lulu is sung in Richard Stokes' suave, sophisticated and somewhat decadent English translation. The gain in immediacy is incredible and the gain in intensity is immeasurable. All at once, ...
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Editorial Reviews

All Music Guide - James Leonard
It doesn’t matter if you’ve heard Karl Böhm’s incomplete but compelling recording of Berg’s Lulu or Pierre Boulez’ complete but not quite as compelling Lulu, you’ve got to hear Paul Daniels’ complete and overwhelmingly compelling Lulu. Why? Because not only is it complete – that is, not only does it include the two acts finished and orchestrated by Berg but the third act finished but left unorchestrated by Berg and realized almost fifty years later by Friedrich Cerha – but because this Lulu is sung in Richard Stokes' suave, sophisticated and somewhat decadent English translation. The gain in immediacy is incredible and the gain in intensity is immeasurable. All at once, Berg’s final opera comes alive for English-speaking audiences ohne Deutsche. Paul Daniel’s direction, while not as masterful as Böhm’s or as precise as Boulez’s, is still brilliantly colorful and dramatically driven. He grasps the opera’s human drama and articulates its musical shape as two entwined parts of the total work, thereby making riveting theater out of what can sometimes seem to be Berg’s too overly cerebral inventions. The singers, stars of British opera although not nearly so well-known overseas, turn in fine to superb performances – Lisa Saffer is persuasive if not altogether seductive as Lulu, Susan Parry is convincing if a bit too histrionic as the Countess Geschwitz, Gwynne Howell is commanding if somewhat dilapidated as Schigolch – but the real star of the performance is Stokes’ translation. While of course it will never replace the German text, Stokes’ first-rate work may introduce Lulu to a whole new audience. Chandos’ sound is big, colorful and detailed if a bit too distant.
All Music Guide - James Leonard
It doesn't matter if you've heard Karl Böhm's incomplete but compelling recording of Berg's Lulu or Pierre Boulez' complete but not quite as compelling Lulu, you've got to hear Paul Daniels' complete and overwhelmingly compelling Lulu. Why? Because not only is it complete -- that is, not only does it include the two acts finished and orchestrated by Berg but the third act finished but left unorchestrated by Berg and realized almost fifty years later by Friedrich Cerha -- but because this Lulu is sung in Richard Stokes' suave, sophisticated and somewhat decadent English translation. The gain in immediacy is incredible and the gain in intensity is immeasurable. All at once, Berg's final opera comes alive for English-speaking audiences ohne Deutsche. Paul Daniel's direction, while not as masterful as Böhm's or as precise as Boulez's, is still brilliantly colorful and dramatically driven. He grasps the opera's human drama and articulates its musical shape as two entwined parts of the total work, thereby making riveting theater out of what can sometimes seem to be Berg's too overly cerebral inventions. The singers, stars of British opera although not nearly so well-known overseas, turn in fine to superb performances -- Lisa Saffer is persuasive if not altogether seductive as Lulu, Susan Parry is convincing if a bit too histrionic as the Countess Geschwitz, Gwynne Howell is commanding if somewhat dilapidated as Schigolch -- but the real star of the performance is Stokes' translation. While of course it will never replace the German text, Stokes' first-rate work may introduce Lulu to a whole new audience. Chandos' sound is big, colorful and detailed if a bit too distant.
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Product Details

  • Release Date: 3/21/2006
  • Label: Chandos
  • UPC: 095115313022
  • Catalog Number: 3130
  • Sales rank: 243,899

Tracks

Disc 1
  1. 1–61 Lulu, opera - Alban Berg & Alban Berg (165:12)
    Composed byAlban Berg
    Conducted byPaul Daniel
    Performed byGraeme Danby, Paul Daniel, Robert Hayward, Gwynne Howell, Stuart Kale, Alan Oke, English National Opera Orchestra, Robert Poulton, John Graham-Hill, Lisa Saffer, Toby Stafford-Allen, Roger Begley, Anna Burford, Moira Harris, Claire Mitcher, Paul Napier-Burrows, Susan Parry, Jane Powell
    1. 1Prologue. Roll up, roll up for the menagerie
    2. 2Act 1. Scene 1. Am I trespassing?
    3. 3Act 1. Scene 1. Gnädige Frau... Frau Medizinalrat...
    4. 4Act 1. Scene 1. You are far too slow to capture me
    5. 5Act 1. Scene 1. What's happening?
    6. 6Act 1. Scene 1. Open the door!
    7. 7Act 1. Scene 1. Just wait, he'll jump right up...
    8. 8Act 1. Scene 1. Can't you help him recover his senses?
    9. 9Act 1. Scene 1. You make me jealous, you lucky bastard!
    10. 10Act 1. Scene 1. Please help me do this up
    11. 11Act 1. Scene 2. Eva! - What is it?
    12. 12Act 1. Scene 2. Eva! - What is it?
    13. 13Act 1. Scene 2. He's not quite what I imagined him to be
    14. 14Act 1. Scene 2. If you and I married
    15. 15Act 1. Scene 2. So? - Your marriage has made you at least a million marks...
    16. 16Act 1. Scene 2. Don't talk so loud
    17. 17Act 1. Scene 2. Verwandlung
    18. 18Act 1. Scene 3. I've never in my life known an audience so excited
    19. 19Act 1. Scene 3. More for me, please
    20. 20Act 1. Scene 3. That girl and her lovers
    21. 21Act 1. Scene 3. I met her first at Dr Schön's
    22. 22Act 1. Scene 3. She's had a sort of fainting fit
    23. 23Act 1. Scene 3. What's wrong with her?
    24. 24Act 1. Scene 3. How dare you attempt to ruin my well-laid plans?
    25. 25Act 1. Scene 3. Take this pen and paper
    26. 26Act 2. Scene 1. Delighted that you will be there this evening
    27. 27Act 2. Scene 1. Why not stay here?
    28. 28Act 2. Scene 1. Thank the Lord, that at last we're...
    29. 29Act 2. Scene 1. You know it's she he really wanted to marry
    30. 30Act 2. Scene 1. I hope you locked the windows
    31. 31Act 2. Scene 1. The matinée will be lit by ultra-violet light
    32. 32Act 2. Scene 1. Is he ill?
    33. 33Act 2. Scene 1. His father!
    34. 34Act 2. Scene 1. And where did he go?
    35. 35Act 2. Scene 1. Even though men have killed themselves because of who I am
    36. 36Act 2. Scene 1. Kneel down, murderous bitch!
    37. 37Act 2. Scene 1. You can't deliver me up for trial!
    38. 38Act 2. Scene 1. Film Music
    39. 39Act 2. Scene 2. We're like the players waiting for a bandleader
    40. 40Act 2. Scene 2. This way is shorter
    41. 41Act 2. Scene 2. Hey, little Lulu, it's time we scarpered over the border
    42. 42Act 2. Scene 2. You're still as ravishing and youthful as in your portrait
    43. 43Act 2. Scene 2. Beneath this dress I feel your form in harmony
    44. 44Act 3. Scene 1. Gentlemen and Ladies!
    45. 45Act 3. Scene 1. Get to the point and say how much you want from me
    46. 46Act 3. Scene 1. Of the countless nubile, fun-loving lasses
    47. 47Act 3. Scene 1. The magistrate will reward anyone who finds the murderers
    48. 48Act 3. Scene 1. It's good! It's looking good!
    49. 49Act 3. Scene 1. May I intrude?
    50. 50Act 3. Scene 1. Message for the Bank Director
    51. 51Act 3. Scene 1. I need some money, in ready cash
    52. 52Act 3. Scene 1. You could at least treat me with respect!
    53. 53Act 3. Scene 1. Martha!
    54. 54Act 3. Scene 1. I have lost all my money
    55. 55Act 3. Scene 1. What the hell is this?
    56. 56Act 3. Scene 2. The rain's beating a tattoo
    57. 57Act 3. Scene 2. If this is not the ideal moment
    58. 58Act 3. Scene 2. Come along in, my love! Come!
    59. 59Act 3. Scene 2. Doctor Alwa's gone off to sleep
    60. 60Act 3. Scene 2. Who is that?
    61. 61Act 3. Scene 2. These are the last few moments
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Album Credits

Performance Credits
Lisa Saffer Primary Artist
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Sort by: Showing 1 Customer Review

  • Anonymous

    Posted October 1, 2010

    A reviewer

    Berg's Lulu has always been one of my favourite 20th century operas. Act three was completed years after Berg's death, had it's premier in Paris in 1979, with Boulez conducting and Teresa Stratas as Lulu. After years of listening to the two act version with it's act three filler (a musical Venus without arms) this was a revelation. I was thrilled. This version, done in English is a real page turner... the music, it's just wonderful... Have our ears adjusted at last to 12 tone music? Who knew Berg's music would sound so beautiful, so accessible when mated with the english language... this text really communicates. It's so multi-layered. This version sits well along side Boulez's DGG recording of Lulu with Teresa Stratas. In my dreams, Berg's Lulu has always been on my "opera in English" wish list. My hats off to Chandos for bringing it forward, to the English National Opera Orchestra, to the singer's for their tight knit ensemble work and to Lisa Saffer as Lulu.

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Sort by: Showing 1 Customer Review