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Alban Berg

Alban Berg Composer

Lulu (opera)   

Performances: 10
Tracks: 267
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Musicology:
  • Lulu (opera)
    Year: 1929-35
    Genre: Opera
    Pr. Instruments: Voice & Orchestra
    • Prologue: Hereinspaziert in die Menagerie
    • Act 1
      • Scene 1a.Darf ich eintreten?; Mein sohn!
      • Scene 1b.Introduction, with Canon: Gnädige Frau... Frau Medizinalrat. Canon: Sie bekommen mich noch
      • Scene 1c.Melodrama: Machen Sie auf!; Canzonetta: Auf einmal springt er auf; Recitative: Noch nicht wieder zur Besinnung gekomm
      • Scene 1d.Arioso: Ich möchte tauschen mit dir, du Toter!; Interlude and Trio: Canon: Wollen sie mir zuhaken?
      • Scene 1e.Interlude 1
      • Scene 2a.Eva?; Befehlen?; Duettino: Ich finde, du siehst heute reizend aus
      • Scene 2b.Chamber Music 1: Den hab' ich mir auch ganz anders vorgestellt
      • Scene 2c.Chamber Music 2: Was tut denn Ihr Vater da?; Sonata: Wenn ich Ihr Mann wäre
      • Scene 2d.Monoritmica 1: Nun?; Du hast eine halbe Million geheiratet
      • Scene 2e.Monoritmica 2: Ich darf mich jetzt hier nicht sehen lassen
      • Scene 2f. Interlude 2
      • Scene 3a.Ragtime. Seit ich für die Bühne arbeite; English Waltz: Noch etwas, bitte
      • Scene 3b.Über die ließe sich freilich eine interessante Oper schreiben; Chorale: Ich hatte b
      • Scene 3c.Sonata Development: Wie kannst du die Szene gegen mich ausspielen?; Final Sonata Recapitulation
    • Act 2
      • Scene 1a.Sie glauben nicht, wie ich mich darauf freue; Cavatina: Könntest du dich für heute
      • Scene 1b.Gott sie Dank, daß wir endlich zuhause sind; Canon: Er hat sie nämlich
      • Scene 1c.Die Matinée wird, wie ich mir denke, bei elektrischem Licht stattfinden
      • Scene 1d.Sein Vater!; In Paris ist Revolution ausgebrochen; Introduction: Wo ist denn der hin?; 5-Strophe Aria: Du Kreatur, die mich dur
      • Scene 1e.Lulu's Song: Wenn sich die Menschen um meinetwillen umgebracht haben
      • Scene 1f.Dr. Schön's Aria: Nieder, Mörderin! In die Knie!
      • Scene 1g.Arietta: Du kannst mich nicht dem Gericht ausliefern!
      • Scene 1h.Ostinato. Interlude (Film music)
      • Scene 2a.Er läßt auf sich warten wie ein Kapellmeister
      • Scene 2b.Largo: Sie wollten der verrückten Rakete noch Geld geben!?; Chamber Music 3: Mit wem
      • Scene 2c.Melodrama: Hü, kleine Lulu; O Freiheit! Herr Gott im Himmel!
      • Scene 2d.O Freiheit! Herrgott im Himmel!; Hymne: Durch dieses Kleid empfinde ich deinen
      • Scene 2e.Wenn deine beiden großen Kinderaugen nicht wären
      • Scene 2f.Variations. Adagio
    • Act 3
      • Scene 1a.Meine Herrn und Damen! Gestatten Sie, daß ich trinke
      • Scene 1b.Brillant! Es geht brillant
      • Scene 1c.Einen Moment! Hast du meinen brief gelesen?
      • Scene 1d.Ich brauche nämlich notwendig Geld
      • Scene 1e. Cadenza: Behandeln Sie mich doch we
      • Scene 1f.Martha! Mein liebes Herz, du kannst mich heute vor dem Tode retten
      • Scene 1g.Wollen Sie wohl diese Aktie akzepti
      • Scene 1h.Variations 1-4; Interlude
      • Scene 2a.Der Regen trommelt zur Parade
      • Scene 2b.Wenn ich dir ungelegen komme; Quartet: Ihr Körper
      • Scene 2c.Komm nur herein, mein Schatz!
      • Scene 2d.Der Herr Doktor habe
      • Scene 2e.Wer ist das?
      • Scene 2f.Nocturne: Das ist der letzte Abend; Lulu! Mein Engel!
Prologue

An Animal Tamer comes on-stage and recites an introduction to the opera, couching the action in terms of animal characteristics. Lulu, in a pantomime costume, is carried out by a stage hand at the tamer's call: "Go and fetch our serpent out!"



Act One, Scene One

Lulu, in the same costume as before, but now in an artist's studio, is having her portrait painted. She is the wife of Dr. Goll and mistress of Dr. Schön, who is present with his son Alwa. When the pair leave, the Painter makes amorous advances on Lulu, who playfully makes him chase her. She is kneeling on the floor, clasping the painter's legs, when Dr. Goll arrives. He is so shocked by what he sees that he dies.



Scene Two

Time has elapsed; Lulu is married to the painter, who remains powerfully infatuated with her. The decrepit old Schigolch pays her a visit; it's clear that he knows her character and her past, but their relationship is never spelled out. Dr. Schön also comes. Although his is betrothed to another, he can't break the hold Lulu has on his passions. He reveals that Lulu lived under his "protection," as well as many more ambiguous details about her past. The young painter is so disturbed that he locks himself in the bathroom and commits suicide. It's all the same to Lulu.



Scene Three

Again, time has elapsed. Lulu is working as a theatrical dancer; she is in her dressing room with Alwa when the call comes to take to the stage. When she sees that Dr. Schön is in the audience with his fiancée, she faints on-stage, then refuses to perform. Dr. Schön bursts into the dressing room. She forces him to write a letter renouncing his future wife, then gets ready for her performance.



Act Two, Scene One

Lulu and Dr. Schön are married, but he is tormented by jealousy toward her many admirers—even toward the Countess Geschwitz, who has a homosexual crush on Lulu. Dr. Schön goes out to the stock exchange for awhile, returning to find his wife surrounded by drooling male admirers, including Schigolch and, to his horror, his own son Alwa. He pulls a revolver on the party, then hands the gun to Lulu, urging her to commit suicide. She shoots him, then pleads with Alwa for protection. But he can do nothing and the police carry her away.



Interlude—Film

A silent film is shown, depicting Lulu's life throughout the next year, from arrest, to trial, imprisonment, medical council, the isolation ward, and the route toward her liberation.



Act Two, Scene Two

The setting is the same as that of Scene One, but now Lulu's worshippers are planning her escape. The Countess goes off to infiltrate the prison and take Lulu's place. Rodrigo, one of the admirers of Scene One, intends to take her on tour as a circus performer, but when she arrives he finds that she has grown so weak and useless that he threatens to turn her in. Lulu and Alwa, made rich by his inheritance, make plans to run away together. "Isn't this the couch your father bled to death on?" she whispers as they embrace.



Act Three, Scene One

There is a dinner party going on at the sumptuous Parisian home of Lulu and Alwa. The guests include Schigolch, Rodrigo, a Marquis, a Banker, the Painter, and the Countess. They're boasting of their wealth, which is tied up in Jungfrau railway shares. Rodrigo and the Marquis turn on Lulu, using the fact that she remains wanted in Germany to blackmail her; the Marquis wants to sell her to a brothel in Cairo for 1200 marks. Then they learn that Jungfrau shares have crashed, and the party turns into a nest of hostilities. Lulu swaps clothes with a young man and rushes out with Alwa, narrowly escaping capture by the police.



Scene Two

Lulu now lives in a dismal London apartment with Alwa and Schigolch, so poor that she has been driven into prostitution. Tonight is her "debut." Lulu brings home her first client, a tight-lipped professor. Soon after he leaves, the Countess arrives unexpectedly, bearing a surprise. It's the portrait of the young Lulu from the first scene, which the men hang, making happy, nostalgic statements, marveling at her past beauty. An angry black client of Lulu's gets into a scuffle with her, and Alwa winds up getting killed. Later, Lulu disappears into the bedroom with her next client, Jack the Ripper, as the Countess makes resolutions to start a new life. Lulu's scream of death pierces the air. As the killer leaves the apartment, he stabs the Countess, who dies even as she proclaims her devotion to Lulu.

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