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Oper Frankfurt

Conductor

Conductor (+1)

Thomas Guggeis

Stage director

Stage director (+1)

Nadja Loschky

Set designer

Set designer (+1)

Katharina Schlipf

Costume designer

Costume designer (+1)

Irina Spreckelmeyer

Lighting designer

Lighting designer (+1)

Jan Hartmann

Dramaturge

Dramaturge (+1)

Mareike Wink

Baritone (+2)

Simon Neal

Dr Schon

Jack the Ripper

Tenor (+1)

AJ Glueckert

Alwa

Mezzo-soprano (+3)

Claudia Mahnke

Countess Geschwitz

Tenor (+2)

Theo Lebow

The painter

Bass-baritone (+3)

Kihwan Sim

The animal tamer

Rodrigo

Bass (+4)

Alfred Reiter

Schigolch

Mezzo-soprano (+2)

Bianca Andrew

A groom

A theatrical dresser

A high school student

Michael Porter

The prince

The valet

The marquis

Božidar Smiljanić

The theatre manager

Bass-baritone (+7)

Erik Van Heyningen

The banker

The professor

Soprano (+2)

Anna Nekhames

A fifteen-year-old girl

Contralto (+4)

Katharina Magiera

Her mother

Cecelia Hall

The woman artist

Professor of Medicine

Orchestra

Frankfurter Opern- und Museumsorchester

Brenda Rae

Lulu

Artistic Director

Dramaturge (+3)

Yvonne Gebauer

A Servant

Baritone (+4)

Leon Tchakachow

Ein Journalist

Dancer (+4)

Evie Poaros

Tanzerin

Répétiteur

Conductor (+4)

Takeshi Moriuchi

Opernhaus

Ein Clown

Based on Frank Wedekind's tragedies Earth Spirit and Pandora's Box, Alban Berg began work on his Lulu in 1928, but he was no longer able to complete it himself. When the composer died in 1935, the first and second acts were available in full orchestral scores; from the third act the piano partella with instrumentation details and around a third in Berg's instrumentation. The work premiered as Torso in Zurich in 1937, and the version, completed by Friedrich Cerha, was premiered around forty years later at the Paris Opera.

Berg developed the score of his Lulu consistently symmetrically and in twelve-tone technique following the example of his teacher Arnold Schönberg, to whom he dedicated the opera. While the main characters are characterized like leitmotifs, Berg plays virtuosically with a variety of timbres and with a wide variety of musical forms, which he combines into a larger whole through interludes, melodramatic and recitative passages. His music develops an expressivity that allows us to look deeply into the psyche of the characters. An opera that was supposed to revolutionize musical theater.

Kuvia