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Oper Frankfurt

Direttore d'orchestra

Direttore d'orchestra (+1)

Thomas Guggeis

Regia

Regia (+1)

Nadja Loschky

Scenografia

Scenografia (+1)

Katharina Schlipf

Costumi

Costumi (+1)

Irina Spreckelmeyer

Luci

Luci (+1)

Jan Hartmann

Drammaturgo

Drammaturgo (+1)

Mareike Wink

Baritono (+2)

Simon Neal

Dottor Schön

Jack lo squartatore

Tenore (+1)

AJ Glueckert

Alwa

Mezzosoprano (+3)

Claudia Mahnke

Contessa Geschwitz

Tenore (+2)

Theo Lebow

Il pittore

Basso-baritono (+3)

Kihwan Sim

Un domatore

Rodrigo

Basso (+4)

Alfred Reiter

Schigolch

Mezzosoprano (+2)

Bianca Andrew

Un groom

Una guardarobiera teatrale

Uno studente liceale

Michael Porter

Il principe

Il domestico

Il marchese

Božidar Smiljanić

Il direttore del teatro

Basso-baritono (+7)

Erik Van Heyningen

Il banchiere

Il professore

Soprano (+2)

Anna Nekhames

Una quindicenne

Contralto (+4)

Katharina Magiera

La madre della quindicenne

Cecelia Hall

Un'arredatrice

Il medico primario

Orchestra

Frankfurter Opern- und Museumsorchester

Brenda Rae

Lulu

Direttore Artistico

Drammaturgo (+3)

Yvonne Gebauer

Ein Diener

Baritono (+4)

Leon Tchakachow

Ein Journalist

Ballerino (+4)

Evie Poaros

Tanzerin

Maestro ripassatore

Direttore d'orchestra (+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.

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