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Oper Frankfurt

Maestro

Maestro (+1)

Thomas Guggeis

Diretor de Palco

Diretor de Palco (+1)

Nadja Loschky

Cenógrafo

Cenógrafo (+1)

Katharina Schlipf

Estilista

Estilista (+1)

Irina Spreckelmeyer

Designer de Iluminação

Designer de Iluminação (+1)

Jan Hartmann

Dramaturgo

Dramaturgo (+1)

Mareike Wink

Barítono (+2)

Simon Neal

Dr Schön

Jack the Ripper

Tenor (+1)

AJ Glueckert

Alwa

Mezzo-soprano (+3)

Claudia Mahnke

Gräfin Geschwitz

Tenor (+2)

Theo Lebow

Der Maler

Baixo-barítono (+3)

Kihwan Sim

Der Tierbändiger

Rodrigo (Ein Athlet)

Baixo (+4)

Alfred Reiter

Schigolch

Mezzo-soprano (+2)

Bianca Andrew

Ein Groom

Ein Theatergardrobiere

Ein Gymnasiast

Michael Porter

Der Prinz

Der Kammerdiener

Der Marquis

Božidar Smiljanić

Der Theaterdirektor

Baixo-barítono (+7)

Erik Van Heyningen

Der Bankier

Der Professor

Soprano (+2)

Anna Nekhames

Eine Fünfzehnjährige

Contralto (+4)

Katharina Magiera

Ihre Mutter

Cecelia Hall

Die Kunstgewerblerin

Der Medizinalrat

Orchestra

Frankfurter Opern- und Museumsorchester

Brenda Rae

Lulu

Diretor Artístico

Dramaturgo (+3)

Yvonne Gebauer

Ein Diener

Barítono (+4)

Leon Tchakachow

Ein Journalist

Dançarino (+4)

Evie Poaros

Tanzerin

Repetidor

Maestro (+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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