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CHAN 3130(3)

Alban BergLulu

PETER MOORES FOUNDATION CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 2

Alban Berg (1885–1935) in three acts

Libretto by , after Erdgeist and Büchse der Pandora by , English version by Richard Stokes Act III realised by Lebrecht Music and Arts Library Photo Music Lebrecht Lulu...... Lisa Saffer Countess Geschwitz ...... Susan Parry mezzo-soprano Dresser/Schoolboy/Waiter ...... Anna Burford mezzo-soprano Professor of Medicine/Theatre Manager/Banker ...... Graeme Danby Painter/Second Client ...... Stuart Kale Dr Schön/ ...... Robert Hayward Alwa, Dr Schön’s son ...... John Graham-Hall tenor Schigolch...... bass Animal Tamer/Acrobat ...... Robert Poulton baritone African Prince/Manservant/Marquis ...... Alan Oke tenor Police Commissioner ...... Roger Begley bass Fifteen-year-old Girl...... Claire Mitcher soprano Servant...... Paul Napier-Burrows bass Mother ...... Jane Powell mezzo-soprano Designer ...... Moira Harris soprano Journalist...... Toby Stafford-Allen baritone Orchestra Alban Berg Anthony Legge assistant conductor

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COMPACT DISC ONE Time Page Time Page Prologue 13 ‘He’s not quite what I imagined him to be’ 4:16 [p. 127] Schigolch, Lulu, Dr Schön 1 ‘Roll up, roll up for the menagerie’ 4:20 [p. 116] 14 ‘If you and I married’ 6:26 [p. 129] Animal tamer Dr Schön, Lulu, Painter 15 ‘So?’ – ‘Your marriage has made you at least a million Act I marks…’ 5:03 [p. 132] Scene One Painter, Dr Schön, Lulu 2 ‘Am I trespassing?’ 2:01 [p.117] 16 ‘Don’t talk so loud’ 3:26 [p. 136] Alwa, Dr Schön, Lulu Dr Schön, Alwa, Lulu 3 ‘Gnädige Frau… Frau Medizinalrat…’ 1:38 [p. 118] 17 Verwandlung [Transformation] 3:27 [p. 139] Painter, Lulu 4 ‘You are far too slow to capture me’ 0:51 [p. 119] Scene Three Lulu, Painter 18 ‘I’ve never in my life known an audience so excited’ 2:16 [p. 139] 5 ‘What’s happening?’ 0:46 [p. 121] Alwa, Lulu Painter, Lulu 19 ‘More for me, please’ 1:31 [p. 140] 6 ‘Open the door!’ 0:56 [p. 122] Lulu, Alwa Professor of Medicine, Lulu, Painter 20 ‘That girl and her lovers’ 1:12 [p. 141] 7 ‘Just wait, he’ll jump right up…’ 1:31 [p. 123] Alwa Lulu 21 ‘I met her first at Dr Schön’s’ 1:33 [p. 141] 8 ‘Can’t you help him recover his senses? 2:12 [p. 123] African Prince, Alwa Painter, Lulu 22 ‘She’s had a sort of fainting fit’ 0:33 [p. 142] 9 ‘You make me jealous, you lucky bastard!’ 1:44 [p. 124] Dresser, Alwa, Theatre Manager, Prince, Lulu Painter 23 ‘What’s wrong with her?’ 1:09 [p. 143] 10 ‘Please help me do this up’ 1:44 [p. 124] Dr Schön, Alwa, Lulu, Dresser, Theatre Manager, Prince Lulu 24 ‘How dare you attempt to ruin my well-laid plans?’ 5:01 [p. 144] Dr Schön, Lulu Scene Two 25 ‘Take this pen and paper’ 2:59 [p. 146] 11 ‘Eva!’ – ‘What is it?’ 1:10 [p. 125] Lulu, Dr Schön 12 ‘Eva!’ – What is it?’ 1:53 [p. 126] TT 60:44 Painter, Lulu 4 5 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 6

COMPACT DISC TWO Time Page Time Page Act II Scene Two Scene One 14 ‘We’re like the players waiting for a bandleader’ 4:30 [p. 164] 1 ‘Delighted that you will be there this evening’ 3:17 [p. 148] Acrobat, Countess Geschwitz, Alwa, Schigolch Countess Geschwitz, Dr Schön, Lulu 15 ‘This way is shorter’ 6:09 [p. 166] 2 ‘Why not stay here?’ 1:58 [p. 149] Alwa, Acrobat, Schoolboy Lulu, Dr Schön 16 ‘Hey, little Lulu, it’s time we scarpered over the border’ 4:14 [p. 169] 3 ‘Thank the Lord, that at last we’re…’ 2:22 [p. 150] Schigolch, Acrobat, Lulu, Alwa Schigolch, Acrobat, Schoolboy, Lulu 17 ‘You’re still as ravishing and youthful as in your portrait’ 3:45 [p. 171] 4 ‘You know it’s she he really wanted to marry’ 0:45 [p. 152] 18 ‘Beneath this dress I feel your form in harmony’ 3:55 [p. 172] Acrobat, Schigolch, Schoolboy, Lulu Alwa, Lulu 5 ‘I hope you locked the windows’ 1:39 [p. 153] TT 51:54 Schigolch, Lulu, Acrobat, Manservant, Schoolboy 6 ‘The matineé will be lit by ultra-violet light’ 3:15 [p. 154] COMPACT DISC THREE Alwa, Lulu, Manservant Act III 7 ‘Is he ill?’ 2:55 [p. 156] Scene One Alwa, Lulu, Manservant, Dr Schön 1 ‘Gentlemen and Ladies!’ 2:42 [p. 173] 8 ‘His father!’ 0:57 [p. 158] Acrobat, Banker, Journalist, Marquis, Alwa, Lulu, Lulu, Dr Schön, Alwa, Acrobat Waiter, Servant, Designer, Mother, Fifteen-year-old Girl, 9 ‘And where did he go?’ 2:55 [p. 158] Countess Geschwitz, Alwa Dr Schön, Lulu, Countess Geschwitz 2 ‘Get to the point and say how much you want from me’ 0:51 [p. 177] 10 ‘Even though men have killed themselves because of who Lulu, Marquis I am’ 2:27 [p. 160] 3 ‘Of the countless nubile, fun-loving lasses’ 2:09 [p. 177] Lulu 4 ‘The magistrate will reward anyone who finds the 11 ‘Kneel down, murderous bitch!’ 2:42 [p. 160] murderess’ 3:06 [p. 178] Dr Schön, Schoolboy, Lulu, Alwa Marquis, Lulu 12 ‘You can’t deliver me up for trial!’ 1:05 [p. 162] 5 ‘It’s good! It’s looking good!’ 1:35 [p. 179] Lulu, Alwa, Countess Geschwitz, Schoolboy Alwa, Journalist, Banker, Designer, Mother, Lulu, 13 Film Music 2:58 [p. 162] Fifteen-year-old Girl, Acrobat, Marquis, Waiter, Servant, Countess Geschwitz

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Time Page We were lucky enough to capture Berg’s 6 ‘May I intrude?’ 2:18 [p. 181] Acrobat, Lulu theatrical masterpiece in Spring 2005, fresh 7 ‘Message for the Bank Director’ 0:59 [p. 183] from its first revival at the Coliseum, Waiter, Banker, Lulu where its premiere by English National Opera 8 ‘I need some money, in ready cash’ 3:28 [p. 183] in 2002 enjoyed immense critical success. As Schigolch, Lulu Lulu, award-winning soprano Lisa Saffer leads 9 ‘You could at least treat me with respect!’ 2:38 [p. 186] a cast of dazzling vocal virtuosity, conducted Acrobat, Marquis, Lulu by Paul Daniel with great verve and 10 ‘Martha!’ 2:21 [p. 187] Lulu, Countess Geschwitz, Acrobat, Waiter clarity, as in the theatre. 11 ‘I have all my money’ 2:09 [p. 189] We are proud to be Journalist, Banker, Mother, Designer, Alwa, adding this powerful Fifteen-year-old Girl, Servant work to our Opera in 12 ‘What the hell is this?’ 3:32 [p. 191] English series. Alwa, Lulu, Waiter, Police Commissioner, Marquis

Scene Two 13 ‘The rain’s beating a tattoo’ 4:34 [p. 192] Schigolch, Alwa, Lulu 14 ‘If this is not the ideal moment’ 5:52 [p. 195] February 2006 Countess Geschwitz, Schigolch, Lulu, Alwa 15 ‘Come along in, my love! Come!’ 3:30 [p. 198] Lulu, Second Client, Schigolch 16 ‘Doctor Alwa’s gone off to sleep’ 2:40 [p. 199] Schigolch, Countess Geschwitz 17 ‘Who is that?’ 4:59 [p. 200] Jack the Ripper, Lulu 18 ‘These are the last few moments’ 3:38 [p. 202] Countess Geschwitz, Lulu, Jack the Ripper TT 53:05 Sir Peter Moores examining an archaic Chinese bronze from the collection at Compton Verney 8 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 10 Clive Barda/ArenaPal Clive Clive Barda/ArenaPal Clive

Susan Parry as Lisa Saffer in the Countess Geschwitz title role of English in English National National Opera’s Opera’s production production of Lulu of Lulu 10 11 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 12

‘chambres separées’ to entertain the many Gretor. He also visited London six years after Berg: Lulu ‘kept women’. It could be described as a Jack the Ripper had become notorious. veritable ‘morality of secrecy’. 1901: Wedekind became a performer in a Alban Berg was brought up in the the unfinished Act III is a story in Thus, to understand Lulu we need to know cabaret group known as ‘die elf Scharfrichter’ extraordinary atmosphere that existed in itself. the other characters and experience their lives. (The eleven executioners). He sang to his own at the turn of the twentieth century. Before we investigate this amazing story, let Through them we can start to comprehend the accompaniment and his performances He created two individual – personal us examine the subject of Lulu. Whereas complexity of Lulu, indicated by the variety of were noted for their long silences and his testimonies to his experiences of Vienna – is concerned with the demi-monde of names by which each character knows her. The staring eyes. One of his songs is used by Berg at Wozzeck and Lulu. Both operas use forward- poor people seen through Wozzeck’s eyes, Lulu individual music for characters is, in its own the beginning of the London Scene in Act III looking texts written by authors who were deals with the world of middle class people, complex way, fully worked out, though Berg and is sung by the Marquis in the first scene. themselves eccentric individuals. Wozzeck, each an archetype, through whose eyes we see did not expect the audience to be aware of this. 1900: Berg lost his father when he was conceived in 1914 and finished in 1921, is Lulu. She is never on stage alone and only in Viennese people at that time concerned fifteen years old, and had suffered from based on Georg Büchner’s unfinished play Act II in the scene with Dr. Schön do we hear themselves with many complex issues, which we asthma attacks thereafter (cf Schigolch’s written in 1836–37 at the very end of the her ‘Credo’, her philosophy of life in her ‘Lied are now aware of through the scientific work of asthma heard in Act I track 13 1:17). Berg author’s life, and portrays the and der Lulu’. There are a few other operas in the Freud and the discovery that human beings are even consulted Freud to get medical help. suicidal elements of life which the Viennese canon which are similar in concept. For amazingly complicated: often the reasons for a 1903: Berg attempted suicide after a love often denied existed. In 1905 Berg saw a instance we experience through person’s actions can be unknown to themselves. affair with an eighteen-year-old peasant girl private performance of Frank Wedekind’s other people’s lives: he is never on stage by The discovery of the ‘Unconscious’ was a who became pregnant. In 1908 his sister, Pandora’s Box in the Trianon theatre in himself, which is a feature of these types of bombshell for society – the Church had been Smaragda, tried to kill herself after the failure Vienna. When this play was published it character. The female examples of this losing its hold over society ever since the of her marriage and the discovery that she had became a subject of the court case in 1904 phenomenon (Carmen, Mélisande, Elena Enlightenment and now chaos threatened. Both lesbian tendencies (cf Countess Geschwitz). A and was banned in . Wedekind had Makropoulos for instance) dispel the Viennese Wedekind and Berg lived through this painter friend of Berg, Richard Gerstl, had an written this play and , which view that women are only sexual beings when challenging period of life, and both of them affair with the wife of Berg’s teacher, contains the preceding part of the story, over they marry – married men can have affairs, introduced their experiences into their art form. Schoenberg, and tried to run away with her. several years between 1892 and 1902, and the but wives not, witness many operetta stories! Reading the Lulu synopsis you will notice She returned to her husband and consequently famous director Max Reinhardt produced Vienna was aptly described by Stefan Zweig as that many of the events of these two artists’ Richard stabbed himself in the throat (cf the Earth Spirit in in 1902. Berg wrote his having a ‘sticky, perfumed, sultry, unhealthy lives are recreated. For instance:– Painter’s suicide). opera just before his death in 1935 and left a atmosphere’. The town was full of prostitutes, 1891–94: Wedekind was secretary to a 1925–1935: Berg had a secret affair with testament of his private life, for the history of with restaurants offering the facility of travelling circus and an art forger named Willy Hanna Fuchs-Robettin, a married woman,

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with whom he often stayed when he went to 1935: he even wrote a twenty-three page letter played together as chords. He also uses white notes on the and the second half . He had been introduced to her by to Hanna explaining the secret programme of rhythmic cells such as the ‘dotted crotchet, black except for G. This A minor sound is Werfel, who was Hanna’s sister- the Concerto. In Act III of Lulu we dotted crotchet, quaver, dotted crotchet’ heard clearly in the voice part in Act II track in law. Alma wrote a biography in 1958 called discover that the final chord has the note H rhythm which occurs at the deaths of the 6 2:50. Alwa’s ‘row’ forms a basis for the next ‘And the bridge is love’ which gossiped about (the German name for B natural) at the top Painter, Dr Schön, Geschwitz and Lulu and is three ‘lovers’. many love affairs but never mentioned this and F at the bottom and the preceding chords first heard in the Prologue – Track 1 0’30’’ in Countess Geschwitz – her ‘row’ is directly one. Alma was part of the Viennese cultural all lead towards this one. This of course stands the bass. But the most important thing is that derived from Alwa’s and is aurally noticeable world, was courted first by Zemlinsky, then for Hanna Fuchs. Berg, in a letter describing the ‘rows’ are connected with Berg’s through its use of open fifths; maybe this is a married to Mahler, later to the architect Walter how he found the character of Geschwitz not interpretation of the characters. suggestion of her lesbian tendencies. You can Gropius and finally to Franz Werfel, who easy to write, states ‘it looks as though I’ve He decided to emphasize the characters’ hear it first in Act II track 1 0:22. often conveyed the correspondence between found the right notes for both her closing complexity by letting them return once or Acrobat – his most characteristic sound Alban and Hanna. Berg’s letters have survived stanzas’. Her final words, which appropriately twice in another guise. This is most obvious in world is created from a cluster of white notes except for the year 1926, but interestingly describe his love for Hanna, are ‘Ich bin dir the London scene when the three clients come and black notes heard in the orchestral piano none of Hanna’s replies have been discovered. nah! Bleibe dir nah, in Ewigkeit’ (I’m by your up to Lulu’s garret. Berg originally wanted part. This illustrates his gymnastic and This fruitful period inspired Berg to write side! Always by your side, for evermore!) Lulu’s husbands to return in reverse order, (he physical abilities. The notes are still derived three works, the (1925–6), Lulu Berg’s individual musical style is derived achieved a complete in the ‘film from Alwa’s ‘row’. This can be heard in the (1929–35) and the (1935) from his teacher’s theory. Schoenberg wanted music’ between scene one and two in Act II), Prologue track 1 0:47. which he broke off working on Lulu to write to replace the established tonal system, based but in the end the first client is Lulu’s first Dr Schön – Alwa’s father; his ‘row’ is only (in the same way as Wagner broke off writing on one tonic note and its relevant scale, which husband, the Professor of Medicine, the related to his son’s ‘row’ when inverted. This Siegfried to compose Tristan and Die contains tensions between the notes of the second is the painter and the third (Jack the can be heard in the Prologue track 1 1:00. Meistersinger). These two instrumental works scale and the tonic and can also modulate to Ripper) is Dr. Schön, Lulu’s third husband. Because of his secure career as a businessman, use secret systems of numbers and letters, other key scales. The new atonal system used Let us take the characters individually:– his music uses classical forms such as sonata or which only Hanna would understand. Berg all the twelve chromatic notes within the Alwa – the ‘’ whom Berg . had been interested in numerology ever since in a certain order, a ‘row’ that can be identified with and who sees Lulu as The other characters derive their ‘rows’ reading the theories of Wilhelm Fliess who inverted and played backwards. These ‘rows’ inspiration for his next piece, but also realises from the Lulu series of notes, which is heard was a biologist and Freud’s mentor. Berg replace the tonic and the scale. Berg went his sexual immaturity when compared to his in the Circus Theme in the Prologue decided his personal number was twenty-three much further – his ‘rows’ can also be father’s successes. His ‘row’ in its first half is track 1 0:30, against the death rhythm. Lulu because his first asthmatic attack happened on transposed and divided into three or four note almost in A minor and thus we can relate to has two other characteristic themes – a 23 July. Strangely he died on 23 December segments, which can be used as motives or the letter A of Alban! The first six notes are all Freedom theme heard again in the Prologue

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track 1 2:14, and a theme associated with her The history of the completion of Act III gives 1938 March 12th: fell to Nazi 1963: The Redlich Biography was ‘dance through life’ in Act I track 2 1:20. The us a taste of the problems Berg left behind power. republished without the comment that Act III only character who does not derive their after his death. The chronology is as follows:– 1949 February 15th and April 29th: concert could be easily completed. Alfred Kalmus gave themes from anyone else’s is the mysterious 1934–1935 February: Berg finished Act III performances of the two-act version took permission to view the Schigolch who knows more about Lulu than in short score and portions were orchestrated, place; a young composer Friedrich Cerha unpublished material in Vienna. Perle anyone else; his ‘row’ climbs up in chromatic which were performed as Five Pieces on attended. In September it was staged at La discovered that it was all complete except for turning figures in four note segments. This can 30 November 1934 by in Berlin Fenice in Venice. twenty bars in scene 2. Three-fifths of both be heard in Act I at the beginning of track 13 . (Symphonische Stücke aus der Oper ‘Lulu’ ). 1953: a production in Essen ended with the scenes were orchestrated. The incomplete end Professor of Medicine/Banker/First Client 1935 December: Berg died. A few weeks Act III text spoken over the Five Symphonic of the vocal quartet could be composed as it – these men, who are successful in their own later Helene, his wife, was told by the Pieces, which contains the music orchestrated repeated the music of the Hymne at the end of right, are represented by rising thirds. These publishers that the score could be completed by Berg. The vocal score of the first two Acts Act II and there were references to where to can be heard in Act I track 6 0:28. without difficulty by one of his pupils. was reprinted omitting the original preface, find the text in the Wedekind. Maybe Berg Painter/Second Client – the ‘row’ is often 1937: prepared a vocal score of which mentioned the future publication of had composed it on a separate page in order to presented as four three-note chords, which Act III for engraving, but this was not taken Act III. lay it out better. derive from notes from both halves of the Lulu up through the increasing difficult political 1957: A book about Berg by Hans Redlich 1969: Helene wrote her will, which was ‘row’. This can be heard in Act I at the situation in Germany at that time: the other appeared and included a sentence about the published in 1976 – ‘no one be allowed to beginning of track 3 . Acts were published with a preface which possibility of completing Act III. examine the manuscript of Act III of Lulu nor Dresser/Schoolboy/Waiter – the music uses noted that the third Act would be published 1959: George Perle began attempting to is anyone to be allowed to study the photocopy four note segments heard in Act II Track 3 soon. Stein approached Schoenberg on examine the unpublished portions of Act III. in the possession of ’. 0:23.The separate characters do not relate Helene’s behalf to ask him to complete it, but 1960: Helene Berg bans the completing of 1974–76: George Perle publishes an article musically in the same way as; Schoenberg objected to what he felt was a Act III and casts doubt over the possibility of revealing the discovery of the coloured African Prince/Manservant/Marquis – caricature of a Jewish Banker. Webern turned ever completing it. annotated score of the Lyric Suite in the which are related musically and is based on down the task as he felt it would affect his June 10th: Friedrich Cerha went to possession of Hanna’s family, revealing all the Lulu’s ‘row’. This is heard when the Prince own style. Helene said that Zemlinsky was Kalmus, the work’s publishers, to examine the coded ideas. first comes on in Act I beginning of track 21 . approached, but this was vehemently denied short score and was encouraged to work 1979 February 24th: The first performance Berg conceived these three characters as by Zemlinsky’s family. secretly at finishing it. He was given the short of Act III, completed by Cerha, took place in examples of different types of slavery – 1937 June 2nd: the premiere of the first score, Berg’s charts of all the ‘rows’, the under the baton of . The marriage, servitude and the brothel. two Acts took place in Zurich. It got bad orchestrated sections, the Stein vocal score and Alban Berg Foundation unsuccessfully started reviews from the Nazi Press. the . a court action to stop it. *** 16 17 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 18

So now we know why Act III took so long watching. His composer son, Alwa, comes in Dr Schön and Lulu quarrel, and are Lulu reappears and goes outside while to be released and as we listen to it, we can and he and Dr Schön leave together. 3 – 5 interrupted by the return of the painter. Lulu Dr Schön telephones the police and explains relish the added depth of this extraordinary Lulu flirts with the painter, who declares tells him that Dr Schön wants nothing the cause of suicide as persecution mania. As music and the mystery surrounding it. his love, 6 and suddenly her husband further to do with her, thus revealing their the police arrive, Lulu wipes the blood from arrives. Furious at finding them together, affair to her husband. She is guided out to the Dr Schön’s hands. She exults that now he will © 2006 Anthony Legge he has a heart attack and dies. 7 – 10 studio by her husband, who then returns. marry her. The painter goes to fetch a doctor and 15 The painter is further shocked to discover Synopsis when he returns, Lulu declares that she that Dr Schön has known Lulu since she was Scene Three is happy that her husband’s money is now twelve, and calls her Mignon. Dr Schön tells A theatre dressing room COMPACT DISC ONE hers. The painter is shocked at her lack of him that the beggar – Schigolch – is her 18 – 20 Alwa drinks champagne with Lulu in morals. father, and the painter realises that Lulu has her dressing room. She says that a prince Prologue told him a pack of lies. He goes into his wants to marry her and take her to exotic 1 An animal tamer addresses the audience. Scene Two dressing room and locks the door. Africa. 21 The prince comes to her dressing He tells them of the animals that they are An elegant salon in the painter’s house Dr Schön realises that Walter has not gone room after she has left to go onstage. 22 Lulu about to meet and asks a stage-hand to fetch 11 – 12 Lulu and Walter, the painter, who into his studio, and when Lulu appears, he is brought back by a dresser and the theatre the ‘human snake’. The stage-hand carries knows her as Eva, have married. His portrait asks her to get an axe to break down the door. manager, having apparently fainted at the sight in Lulu, dressed in a costume. The of Lulu as a dancer has sold for a large sum. 16 – 17 The doorbell interrupts them and of Dr Schön in the audience with his fiancée. animal tamer warns the audience that, A letter announces Dr Schön’s engagement. Dr Schön tiptoes to the door to see if it is 23 Dr Schön arrives and orders Lulu to get though she may look harmless, they will see The doorbell rings and Walter leaves Lulu to the art dealer, while Lulu remains listening back onstage. Alwa orders the theatre director how dangerous a creature she is. He give some money to the beggar who then at the dressing room door. Dr Schön to change the order of the numbers to give disappears. comes in, while he goes off to work in his returns with his excited son Alwa, who Lulu a chance to rest. studio. 13 It becomes clear that Lulu and announces that revolution has out in 24 They all leave her, except Dr Schön, who Act I the beggar, Schigolch, know each other well (is Paris. But Dr Schön is too preoccupied in stays and asks Lulu why the prince had come Scene One he a former lover, or her father, perhaps?) trying to break down the door. Dr Schön to her dressing room. She tells him that the A spacious, but shabby, painter’s studio and he is the only one who addresses her reluctantly goes in first, followed by Lulu. prince plans to take her away to Africa, and 2 Lulu, married to a professor of medicine, by the name Lulu. The bell rings again They discover that the painter has slit his notices his dismay at the news. She tells him Dr Göll, who knows her as Nelly, is posing in and Schigolch leaves as Dr Schön enters. throat. Lulu is horrified and decides to leave, to leave, but he cannot face going. 25 She a Pierrot costume, having her portrait painted. 14 He wants to put an end to his liaison with trying to drag Alwa with her. She goes off to forces him to write to his fiancée, breaking off The press magnate Dr Ludwig Schön is Lulu. change. their engagement.

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COMPACT DISC TWO but Dr Schön appears unnoticed, appalled to the sight of yet another hidden male and Lulu Scene Two see his wife and son together. They are pumps five bullets into Dr Schön. As he lies The living room in Dr Schön’s apartment, now Act II interrupted briefly by the manservant’s dying, he calls out for Alwa. When his son dusty and unused Scene One reappearance. 7 Dr Schön now hears the appears, Dr Schön tells him not to let Lulu 14 – 15 In Dr Schön’s apartment, Alwa and A large living-room in Dr Schön’s house lovers (Alwa using the name Mignon like his escape and warns him that he will be her next the acrobat (who has been employed as 1 Lulu has married Dr Schön. She is visited father) declare their feelings for each other, victim. Alwa asks the Schoolboy’s help in manservant) are waiting with Countess by Countess Geschwitz, her admirer, who and Lulu’s revelation that it was she who carrying the wounded Dr Schön to his Geschwitz for Schigolch to collect her, to admires Lulu’s portrait, then leaves, escorted poisoned Alwa’s mother. bedroom. He finds the door locked, and on effect her swapping places in hospital with by Lulu. Left alone, Dr Schön suspects that 8 Dr Schön hides, then catches sight of the unlocking it, the Countess emerges. 12 Lulu Lulu. The acrobat plans to marry Lulu and Lulu has hidden her lover(s) in the house, and, hidden acrobat, at whom he aims his revolver. pleads with Alwa not to let her be tried and expects Schigolch to be Lulu’s escort on their armed with a gun, he searches the room. The acrobat ducks back into hiding. Lulu hanged for murder, but Alwa is adamant, and escape to Paris. Schigolch comes to take the 2 Lulu returns and she goes with her notices the acrobat, and then sees Dr Schön, calls the police. Countess to the hospital where Lulu is a husband into the bedroom. Countess who comes over to Alwa and Lulu, and patient. The Countess is anxious to leave and Geschwitz returns and hides. manhandles Alwa from the room. As father 13 Film hurries Schigolch out. Alwa and the acrobat 3 Schigolch appears, followed by the and son leave, the acrobat attempts to escape. A silent film shows episodes in Lulu’s life over quarrel over money. acrobat and the schoolboy. Schigolch says that Lulu helps him to avoid running into Dr the following years. It is divided into sections They are interrupted by the unexpected the boy has paid him to be left alone with Schön. 9 – 10 He hides again and when Dr as follows: arrival of the Schoolboy, who has run away Lulu: he is madly in love, and has written her Schön returns looking for him, she tells her Arrest from the detention centre in which he had an ode. 4 Schigolch and the acrobat declare angry husband that the acrobat has escaped by Detention pending trial been incarcerated. He has concocted a scheme that they have been jilted. Lulu reappears, jumping from the window. Dr Schön forces his Trial to rescue Lulu. The acrobat tells him Lulu is elegantly attired, and announces that she is gun into her hand, indicating that she shoot Prison dead, and the Schoolboy leaves in despair. expecting a visitor. 5 She assures Schigolch herself. She fires into the ceiling. At the sound Medical council 16 Schigolch enters with Lulu, who looks that Dr Schön is safely at the stock exchange. of gunshots, the acrobat rushes out, and, Isolation ward tired and ill. The acrobat is furious with her; 6 A manservant announces the arrival of him, Dr Schön searches for more hidden En route to her final liberation: she will be no good as of his acrobatic Dr Schön, and the men hide. It is not men. (Arrested, judged, condemned, imprisoned, show, looking so worn out. He goes off saying Dr Schön himself, but his son Alwa, who He finds Countess Geschwitz and locks her after a year Lulu is hospitalised when it is he will shop her to the police instead and enters. When the latter catches sight of in the next room. 11 As Dr Schön gets thought she has cholera. Thanks to a scheme make some money with an award for her Schigolch, Lulu claims he is an old friend of increasingly angry, the Schoolboy leaves his devised by Countess Geschwitz, Lulu swaps capture. Schigolch leaves, and Lulu and Alwa Alwa’s father’s. Alwa and Lulu proceed to flirt, hiding place in fear. Dr Schön is distracted by places with her and escapes.) are left alone. She looks around for her

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portrait and tells Alwa how Countess and they drink to their good fortune. Countess Scene Two would be better. Schigolch drags Alwa’s body Geschwitz had used a cholera outbreak to Geschwitz, however, chastises Lulu for her London, a windowless garret in the East End away. 16 Countess Geschwitz comes back and arrange her escape. The Countess has swapped coldness after all she had done for her in taking 13 Lulu, Alwa and Schigolch are destitute and he tells her that Alwa is asleep. Schigolch goes places with Lulu, and is now back in the her place in prison to help Lulu’s escape. living in an attic. To earn some money, Lulu is off to the . The Countess considers killing ward pretending to be Lulu, while the latter is 7 The banker now announces that the resorting to . Alwa threatens to kill herself before Lulu returns. free. 17 Lulu begs Alwa to flee abroad with value of Jungfrau shares has collapsed and they any man she brings up to the garret. The men 17 Lulu enters with a new client, Jack the her. 18 He declares his love, and they start to are worthless. 8 – 9 Schigolch presses Lulu hide at the sound of Lulu returning with a Ripper. When Jack sees Countess Geschwitz, make love on the sofa on which Dr Schön had for money, to finance an apartment for his client. She brings in a Professor, who treats her Lulu dismisses her as her mad sister. They died. lover. Lulu arranges to send the acrobat to with respect, but says nothing. The professor haggle over a fee and in the end he pays Schigolch with the Countess, so that Schigolch pays her, then leaves, and Lulu is triumphant nothing. They go into Lulu’s room. 18 COMPACT DISC THREE can kill him. Schigolch agrees. She then at her first success. 14 They hear sounds on Countess Geschwitz hears Lulu’s screams as persuades the acrobat that Countess Geschwitz the stairs and think it might be another client, she is attacked by Jack the Ripper. He rushes Act III is secretly in love with him. If he will spend a but it is Countess Geschwitz. Since the out and stabs the Countess with the blood- Scene One night with the Countess, he will get the 20,000 collapse of the Jungfrau shares, she too is stained knife. Jack goes off, leaving Countess Paris, a spacious salon marks which Lulu will ask Countess Geschwitz broke. She has tried but failed to raise any Geschwitz to crawl towards the body of her 1 Lulu is living in Paris under a false identity. to lend her. 10 Lulu persuades the Countess to funds, but has brought with her the portrait of beloved Lulu and die. It is her birthday, and she is celebrating with a save her by agreeing to go to Schigolch’s place Lulu which she had stolen after Lulu fled party. The guests cluster round a banker, who with the acrobat. Countess Geschwitz and the Paris. Lulu decides to try her luck again on the *** has made a fortune speculating in shares. The acrobat leave. 11 The banker tries to convince streets. Alwa begs her not to go, and Countess Lisa Saffer (Lulu) guests all want the banker to sell them Jungfrau the guests that their shares are now worthless, Geschwitz declares her intention to follow studied at Oberlin shares, the value of which has risen and that they are all now broke. He is Lulu. Lulu leaves, pursued by the Countess. College Conservatory J. Henry Fair spectacularly. 2 – 4 A self-proclaimed philosophical about the collapse of the market, Schigolch is philosophical: they need the and New Marquis, Lulu’s latest conquest, is preparing and will start to rebuild his fortune the money. They hear Lulu returning and Conservatory. She has either to sell her to a bordello in Cairo or to following day. The guests vent their anger upon Schigolch hides, but Alwa simply wraps a received New York shop her to the police. Lulu tries to sweet-talk him. Lulu swaps clothes with the waiter 12 blanket around himself. 15 Lulu argues with City Opera’s Diva him, but he is having none of it: he is in urgent and escapes with Alwa as the Marquis arrives the new client about payment, and Alwa Award, and their need of money, and sees Lulu as the means of with the police to arrest her. To the Marquis’s comes to her defence. The client knocks him Kolozsvar Award in getting it. 5 – 6 Everyone thinks they have chagrin, the Police Commisioner apprehends unconscious, then leaves. Lulu is horrified and recognition of her gambled and won a fortune on Jungfrau shares, the waiter by mistake. rushes out, saying that even life on the street performances of new

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and unusual repertory. Renowned for her Coronation of Poppea and , Poppea In 1996 she made her debut with The were supported by interpretation of twentieth-century repertoire, (Handel’s ), Teofane (), Royal Opera in Verdi’s Alzira and has appeared the Peter Moores she was nominated for an Olivier award for Polissena (), Belinda (Purcell’s Dido with as Thisbe (La Foundation. her portrayal of Lulu with English National and Aeneas), (Handel’s Xerxes), and Cenerentola) and Hansel (Hansel and Gretel). Jarvis Kenneth Operatic Opera, and received the Royal Philharmonic Almirena (). Opera appearances abroad have included engagements include Society Award for best vocal performance. Lisa Saffer’s discography includes the Iphigenie in Japan and Miss Jessel (The Turn of title role in ed Lisa Saffer’s numerous roles in Gramophone Award-winning recording of the Screw), Herodias (Salome) and Judith (Duke with Opera contemporary operas include Marie in Handel’s , as well as Agrippina, Bluebeard’s Castle) for Cincinnati Opera. National du Rhin; Zimmermann’s for New York Ottone, Radimisto, Purcell’s Dido & Aeneas, and Much in demand as a concert artist she has Roswita (Héloise et City Opera, the Opéra national de Paris her solo recording for Cuzzoni. She worked regularly with the BBC Philharmonic Abélard) with Opera Bastille and English National Opera; Klaas de has also recorded Knussen’s Hums and Songs for Orchestra and has also appeared with the BBC National du Rhin in Vries’s A King Riding at the Holland Festival; Winnie-the-Pooh, Higglety Pigglety Pop and Orchestra in performances of Strasbourg, and at the Châtelet in Paris; Hilda Mack in Henze’s Elegy for Young Lovers Where the Wild Things Are, Imbrie’s , Nicholas Maw’s Scenes and Arias, Pierre Ursule (Beatrice and Benedict), Suzuki at Amsterdam’s Concertgebouw and at and Sheng’s Three Chinese Love Songs. Boulez’s Le Visage nuptial conducted by the (), and Maddalena () Tanglewood; Polly/Witch (Birtwistle’s Punch composer at the BBC Proms, and in concert for Welsh National Opera; Amastris (Xerxes), and Judy) and Morton Feldman’s Neither for Susan Parry (Countess performances of Duke Bluebeard’s Castle also Anna (The Trojans at Carthage) and Maddalena the Netherlands Opera. Other roles include Geschwitz) was until conducted by Pierre Boulez. Other for English National Opera; Cesare (Giulio Zerbinetta () for Scottish Adler Sue recently a company appearances at the BBC Proms have included Cesare) for Opera Ireland, and Owl in The Opera; Tytania (A Midsummer Night’s Dream) principal of English Imelda (Oberto). A popular artist in Spain Cricket Recovers at the Almeida and Aldeburgh at the Florentine Opera; Anne Trulove (The National Opera. Her Susan Parry has appeared with the ORTVE Festivals. Rake’s Progress) at the Indianapolis Opera; The roles there have Orchestra in Madrid as well as the orchestras Her extensive concert experience includes Fire and Nightingale (L’Enfant et les sortilèges) included Nicklausse of Barcelona, Bilbao and Galicia. Mahler’s Das klagende Lied, Beethoven’s Ninth and Cunégonde (Candide) for (The Tales of Susan Parry’s recordings include Fyodor Symphony, Serenade to Music, Hecube (Les Opera; and Despina (Così fan tutte) and Hoffmann), Brangäne () as part of Chandos’ Opera in Troyens) at , Britten’s Spring Servilia () at the (Tristan and Isolde), English series. Symphony, Verdi’s Requiem, Handel’s Aci, Connecticut Early Music Festival. She has also Octavian (Der Rosenkavalier), Helene (War Galatea et Polifemo with Paul McCreesh, Les explored the early operatic repertoire with and Peace), Countess Geschwitz (Lulu), Susie Anna Burford (Dresser, Schoolboy, Waiter) Nuits d’ été, and Berio’s Folksongs. Recordings appearances as Minerva (Monteverdi’s The (The Silver Tassie), Fricka in The Ring of the was born in Cornwall and studied at the Royal include Francis Grier’s Sequence for the Return of Ulysses), the title roles in The Nibelungs, and Dido (The Trojans). Northern College of Music where her studies Ascension; The Long and the Short of It for the 24 25 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 26

animation series on Channel 4 TV and and the Garsington Festival; Masetto (Don He began his career at Welsh National ( ), Roderigo (Otello), and Shuisky broadcasts for BBC Radio 3. Giovanni ) for Scottish Opera; Antonio (Le Opera before joining English National Opera, (Boris Godunov highlights). nozze di Figaro) at Glyndebourne; Brag where he remained for eight years, singing Graeme Danby (Purcell’s Fairy Queen) at the Gran Teatro del roles such as Don Ottavio (Don Giovanni), Robert Hayward (Professor of in Barcelona; and Xuthus in Param Vir’s Michael (Martinu˚’s Julietta), Alfred (Die (Dr Schön, Jack the Medicine, Theatre Ion at the Opera National du Rhin Strasbourg. Fledermaus) and Nanki-Poo in Jonathan Ripper) studied at the Manager, Banker) is Graeme Danby appears regularly on the Miller’s production of The Mikado. Guildhall School of widely recognised as concert platform throughout the UK, Roles include Hauptmann (Wozzeck) at the Music and Drama and one of Britain’s finest including: the Royal Albert Hall (Beethoven’s Opera du Rhin in Strasbourg, for the at the National Opera bassi profondi, and Symphony No .9, Verdi’s Requiem), the Royal Canadian Opera Company, and in Nancy, San Studio, and made his performs regularly Festival Hall (Mahler’s Eighth Symphony) and Francisco, Geneva, Zürich, Montpellier, professional opera with the Royal Manchester’s Bridgewater Hall (Iolanthe), and Bordeaux and Bologna; Podesta (La finta debut singing the title Opera, Covent with orchestras including: the London giardiniera) in Drottningholm; Guillot role in Don Giovanni Garden. In Spring Symphony Orchestra, the London (Manon) at Covent Garden; Lucano for Glyndebourne Touring Opera. He has 2005, he sang the major role of Charrington Philharmonic Orchestra, the Royal (L’incoronazione di Poppea) at the Châtelet, performed at House, English in Loren Maazel’s new Covent Garden Philharmonic Orchestra, the Philharmonia, Paris; High Priest (Idomeneo) at Covent National Opera, Welsh National Opera, commission 1984, a part written specially for and the Royal Scottish National Orchestra. Garden, Shuisky (Boris Godunov) in Opera North, Scottish Opera, Glyndebourne him. Strasbourg, Bordeaux and Montpellier; Quint Festival and Touring Operas, Bayerische Roles for English National Opera include Stuart Kale (Painter, (The Turn of the Screw) and Truffaldino (The Staatsoper , Houston Grand Opera, Lorenzo (The Montagues and the Capulets) Second Client) is Love for Three Oranges) for English National New Israeli Opera, and Minnesota Opera in a under Sir Richard Bonynge, Don Basilio internationally Opera; Zinoviev (Lady Macbeth) in Toulouse wide repertoire including Wotan and the (Rossini’s Barber of Seville), Dulcamara (The recognised as one of and Marseille; the three tenor roles in Lulu at Wanderer in the Ring, Amfortas ( ), Elixir of Love), Somnus (), Quince the most outstanding the Châtelet; Bob Boles at the Munich State Jokanaan (Salome), Figaro and Count (Britten’s A Midsummer Night’s Dream), singing actors in the Opera, Covent Garden, and in Genova and Almaviva (Le nozze di Figaro), the title roles in Collatinus (The Rape of Lucretia), Poo-Bah operatic world. A Strasbourg; Captain Vere () in Köln; Eugene Onegin and Don Giovanni, Iago (The Mikado), Sarastro (The Magic ), consummate musician, Alfred, Gregor (The Makropoulos Case) and (Otello), Ford (Falstaff ), Scarpia (), Sacristan (Tosca), Pistol (Falstaff ) and Ribbing his roles cover a huge Herod in Strasbourg. Marcello (La Bohème), Escamillo (Carmen), (A Masked Ball ). Other appearances include range of repertoire from Monteverdi to Recordings for Chandos’ Nick Shadow (The Rake’s Progress) and Golaud Bartolo (Le nozze di Figaro) for Opera North Messiaen. series include Captain (Wozzeck), Dr Caius (Pelléas et Mélisande). 26 27 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 28

Concert engagements have included (A Midsummer Night’s Dream), Sylvester (The the Idiot (Wozzeck), and Basilio (The Marriage Recent engagements include Pelléas, ’s Feast with the Bournemouth Silver Tassie), Goro (Madam Butterfly), Triquet of Figaro). Don Giovanni, Otello, and Figaro at Symphony Orchestra, with the Royal (Eugene Onegin), Monostatos (The Magic Glyndebourne, Lulu and War and Peace for Liverpool Philharmonic, the Northern Flute) and Mime ( ). Other roles The Welsh bass English National Opera, and The Greek , and London Philharmonic in the UK include Albert Herring at the Royal Gwynne Howell Passion and Lady Macbeth of Mtzensk for the Orchestras, Tippett’s The Mask of Time, Opera House, Covent Garden; Albert Herring, (Schigolch) studied at , Covent Garden. Mendelssohn’s Elijah, Beethoven’s Ninth Vanya Kudrjas (Katya Kabanova), Flute (A the Royal Northern His many recordings include Mahler’s Symphony and Haydn’s Creation with the Midsummer Night’s Dream) and Bob Boles College of Music. He Eighth Symphony 8 with Seiji Ozawa, Messiah Halle, Haydn’s Creation in Lisbon and with () for Glyndebourne Festival became a member of with Sie , Tristan with Sir Reginald the Philharmonia, The Dream of Gerontius Opera; Cassio (Otello) for Welsh National the Royal Opera in Goodall, and Beethoven’s Ninth Symphony with the Royal Scottish National Orchestra, Opera); Eisenstein, Schoolmaster (The 1972, and has sung with Kurt Masur. For Chandos he has BBC Philharmonic, and in Copenhagen, Cunning Little Vixen) for Scottish Opera; and most of the major bass recorded Belshazzar’s Feast, The Dream of Mozart’s Requiem with the BBC Philharmonic Aschenbach (Death in Venice), Lysander, and roles with the company,in productions Gerontius and, as part of the Opera in English Orchestra conducted by Sir Georg Solti, and Ferrando (Così fan tutte) for Glyndebourne including Aida, Rigoletto, Otello, La Bohème, series, Badger/Priest (The Cunning Little Das klagende Lied with the Bournemouth Touring Opera. Tosca, Don Giovanni, Eugene Onegin, Parsifal, Vixen). Gwynne Howell was awarded the CBE Symphony. Recordings include The Pilgrim’s Operatic engagements abroad have included The Flying Dutchman and Palestrina. He has in 1998. Progress with Chandos. the title role in Pascal Dusapin’s new opera also enjoyed a long association with English Perela, l’homme de fumée at the Bastille, Paris National Opera, where his many successes Brighton-born Robert John Graham-Hall and in Montpellier; Cassio and Basilio at La have included Hans Sachs, Gurnemanz, King Poulton (Animal tamer, (Alwa) studied at Monnaie in Brussels; Shapkin (From the House Philip, and Bluebeard. His international career Acrobat) studied at the King’s College, of the Dead ) for Nice Opera; Lysander in has included appearances in New York, Guildhall School of Cambridge and the Paris, Lyon, Caen, Montpellier, Rome, and at Chicago, San Francisco, Santa Fe, Paris, Music and Drama and the Royal College of the Ravenna Festival; Lensky (Eugene Onegin) Geneva, Hamburg, Munich, and Cologne, National Opera Studio. Music. He was until in Lyon and Toronto; Ferrando in Vancouver, and in concert he has worked throughout the He made his professional recently a member of and Basilio and Spoletta (Tosca) for world with conductors such as Claudio debut singing the English National Netherlands Opera). Abbado, Carlo Maria Giulini, , Ferryman in Britten’s Opera where roles For Chandos’ Opera in English series John , Pierre Boulez, Daniel Curlew River for BBC television. have included Herod Graham-Hall has recorded Monostatos (The Barenboim, Bernard Haitink, , Among his many roles are Count (Salome), Lysander Magic Flute), Isacco (The Thieving Magpie), Sir Colin Davis, and Seiji Ozawa. Almaviva (Figaro’s Wedding), Ned Keene (Peter

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Grimes), and Leander (The Love for Three British opera companies including The Royal Claire Mitcher (Fifteen-year-old Girl) read Quixote) and Dancairo (Carmen). He has also Oranges) for English National Opera; Figaro Opera, Opera North, Glyndebourne Opera, English at Cambridge where she was also a appeared with the D’Oyly Carte, Welsh (Le nozze di Figaro), Prus (The Makropulos Scottish Opera, D’Oyly Carte, English choral scholar and now studies with Marion Naitonal Opera, Chelsea Opera, Garsington, Case), Golaud (Pelléas et Mélisande), Marcello National Opera, and Kent Opera, both as Studholme. As well as singing in the English and Scottish Opera (Swallow in Peter Grimes). (La Bohéme) and Germont (La traviata) for a baritone and since 1992 as a tenor. Roles Naitonal Opera Chorus she has sung or He rejoined ENO in 1997. Glyndebourne Touring Opera; Ned Keene and include Belcore (L’elisir d’amore), Count covered several roles at ENO, including Starek (Jenuºfa) for Glyndebourne Festival (), Macheath Bridesmaid (Der Freischütz), Dunyasha (The Jane Powell (Mother) studied at the Royal Opera; and Father (Hansel and Gretel) for (Threepenny Opera), Guglielmo (Così fan Tsar’s Bride), Crobyle (Thaïs), Servilia (La Academy of Music. Her operatic roles include Welsh National Opera and Opera Northern tutte), Rodolfo (La Bohème), Pinkerton clemenza di Tito), and Angel (). She Cherubino, Idamante (Idomeneo), Flora (La Ireland. He has also sung Figaro for Scottish (Madam Butterfly), Alfredo (La traviata), Boris has undertaken educational projects in traviata) and Princess Linette in the BBC Opera, Leander for Opera North, Falstaff for (Katya Kabanova), Stevaˇ (Jenuºfa), Aschenbach London primary and secondary schools for Television production of The Love for Three Garsington and Bartolo (Il barbiere di Siviglia) (Death in Venice), Florestan (Fidelio), and ENO Baylis, and last year performed the Oranges. At the Royal Opera House she has for Grange Park, and made his Royal Opera Rodolfo (). soprano role in For the Public Good to performed roles in Salome, Der Freischütz, debut as Douphol (La traviata). He has celebrate the centenary of the London Werther and . Since joining performed in Amsterdam, Nantes, Bremen, Roger Begley (Police Commissioner) studied Coliseum. She has also sung Musetta, Oscar, the English National Opera Chorus, she has Copenhagen and Cologne and for Netherlands at the Royal College of Music. He joined Ilia, Poppea, Belinda, Norina and Adele. performed Mayor’s wife (Jenuºfa), Squire Opera, Opera Zuid, and Vlaamse Opera. the English National Opera Chorus in 1970 Concert repertoire includes Bach’s Jauchzet (Lohengrin), and Hen (The Cunning Little and has performed many roles including Gott, Weichet nur and St John Passion, Mozart’s Vixen). She studies singing with Lyn Cook. Alan Oke (African Dog (The Cunning Little Vixen), Varsonofiev Exsultate Jubilate and Requiem, and Messiah. Prince, Manservant, (), Captain Petrovich Moira Harris (Designer) studied at London

Fiona Oke Fiona Marquis) studied at (Eugene Onegin), Benoit (La bohème), Paul Napier-Burrows bass (Servant) studied at University and the Guildhall School of Music the Royal Scottish and Cappadocian (Salome). He also sings the Royal College of Music and the Guildhall and Drama. She has worked with Lyons Academy of Music & regularly with Opera Brava, including the title School of Music and Drama. A member of Opera, Palace Opera, Garden Opera, Opera Drama. He began his role in Don Pasquale, Benoit/Alcindoro (La English National Opera from 1981 to 1990, Italiana, Cambridge University Opera, Jigsaw career as a principal Bohème) and Dr Bartolo (The Barber of he left to pursue a freelance career, returning Music Theatre and Pavilion Opera, with roles baritone with Seville). He has sung bass in much of the to sing Mr Flint (Billy Budd ), Dr Falke (Die including Belinda, Ilia (Idomeneo), Sandrina Scottish Opera. repertoire, most recently Mozart’s Fledermaus), Fiorello (), (La finta giardiniera), Mozart’s Countess, Subsequently he sang Requiem, Haydn’s Creation and Bach’s B Harlequin (Ariadne on Naxos), Junius (The Adina, Norina, Miss Wordsworth (Albert with the major minor . Rape of Lucretia), Elviro (Xerxes), Juan (Don Herring), Fiordiligi, Lucia, Musetta and the

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heroines in Les Contes d’Hoffmann. In addition heart of English National Opera’s artistic life, He was Music Director of Opera Factory Zürich, the Gothenburg Symphony to regular oratorio engagements, she is a and as well as opera performances at the from 1987–1990, and of Opera North from Orchestra, the Orchestre de la Suisse member of The Artsong Collective, it has also been seen on the 1990–1997, where he attracted critical Romande, the Deutsche specializing in twentieth-century works. She is concert platform, at the Aldeburgh Festival acclaim for a diverse and challenging Kammerphilharmonie, the Los Angeles a member of the Chorus of English National (Peter Grimes and The Rape of Lucretia), and at repertoire including several world premieres, as Philharmonic, the Cleveland Orchestra, and Opera. Glastonbury in 2004 (Act III of Wagner’s well as celebrated productions of Pelléas et the . In 2005 he The Valkyrie). Many of the players participate Mélisande, and Boris Godunov. conducted the internationally televised Last Toby Stafford-Allen (Journalist) trained at the in the work of ENO Baylis, the company’s Other operatic engagements have included Night of the Proms in London with the Royal Northern College Music, where he was education and outreach department. The the Royal Opera House Covent Garden, La BBC Symphony Orchestra. a Peter Moores Scholar, and whilst there he ENO Orchestra appears in many recordings Monnaie in Brussels, the Recordings include the Elgar/Payne made his international debut singing as part of Chandos’ Opera in English series: in Munich, the Teatro Real Madrid, and the Symphony No. 3 with the Bournemouth Guglielmo (Cosi fan tutte) at the Aix-en- Falstaff, Otello, Ernani, Mary Stuart, Julius Geneva Opera. Symphony Orchestra, a series of English music Provence Festival. On leaving the RNCM, Caesar, The Barber of Seville, Rigoletto, Symphonic engagements have included CDs with the Orchestra of Opera North, and Toby Stafford-Allen joined the English La traviata, Werther, and a recording of the the Philharmonia, Orchestra of the Age of Elijah with the Orchestra of the Age of National Opera Jerwood Young Singers complete Ring Cycle conducted by Enlightenment, London Philharmonic Enlightenment. For Chandos he has recorded Programme, and has since become a company Sir . Orchestra, Royal Philharmonic Orchestra, Michael Berkeley’s Baa Baa Black Sheep and, as principal. Major roles performed with English Bournemouth Symphony Orchestra, Royal part of Chandos’ Opera in English series, National Opera include Gugliemo (Cosi fan Paul Daniel was Scottish National Orchestra, Netherlands Falstaff, Wozzeck, and highlights from Boris tutte), Papageno (), and Music Director of Radio Philharmonic, Orchestre de Paris, Godunov. Schaunard (La Bohème). His concert repertoire English National Orchestre National de France, the Orchestre Paul Daniel was awarded the CBE includes the Mozart and Fauré Requiems, Opera from 1997 National de Lyon, Tonhalle-Orchester in 2000. Haydn’s Creation, and Bach’s B minor Mass. until 2005, and he conducted a wide Critically and publicly acclaimed, the English range of repertoire National Opera Orchestra has in recent years including notable received several prestigious awards, including productions of the the Royal Philharmonic Society Music Award Ring, Lulu, The and an Olivier Award for Outstanding Trojans, War and Peace, and the world Achievement in Opera. The Orchestra is at the premiere of Turnage’s The Silver Tassie.

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of a Faculty Directorship and Chair of Management Studies at Oxford University (providing British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 the lead donation which paved the way for the development of the Said Business School). to realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust in 1993 to create a new art gallery in the country. Through his charities he has disbursed In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in more than £104 million to a wide variety of arts, environmental and social causes ‘to get Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton things done and open doors for people’. Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world-class art gallery that would provide an especially welcoming environment for the Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a ‘first-time’ gallery visitor. The gallery, which houses six permanent collections, a Learning number of young artists in the crucial, early stages of their careers, several of whom – Centre for all ages, and facilities for major visiting exhibitions, was opened in March 2004 Dame Joan Sutherland, Sir Colin Davis and the late Sir amongst them – by HRH the Prince of Wales. The Compton Verney website can be found at: became world-famous. www.comptonverney.org.uk

Today, the Peter Moores Foundation supports talented young singers with annual Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, scholarships awarded through the Royal Northern College of Music, has made it possible Oxford. He was a student at the Vienna Academy of Music, where he produced the for Chandos Records to issue the world’s largest catalogue of operas recorded in English Austrian premiere of ’s The Rape of Lucretia, and at the same time was an translation, and enabled Opera Rara to record rare bel canto repertoire which would assistant producer with the , working with Viennese artists in Naples, otherwise remain inaccessible to the general public. Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 In live performance, the Foundation has encouraged the creation of new work and and remained a director until 1993. schemes to attract new audiences, financed the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ companies and festivals. Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by Projects supported by the Foundation to help the young have ranged from a scheme to HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment his charitable services to the arts.

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© Tristram Kenton/Lebrecht Music and Arts Picture Library © Tristram Kenton/Lebrecht Music and Arts Picture Library

Robert Poulton as the Animal Tamer and Lisa Saffer in the title role of Lisa Saffer in the title role ofEnglish National Opera’s production of Lulu English National Opera’s production of Lulu

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befindet sich nie allein auf der Bühne, und das erwartete, daß die Zuhörer dies bemerkten. Berg: Lulu ist ein typischer Aspekt dieser Art von Die Wiener waren zu dieser Zeit mit einer Charakterisierung. Die weiblichen Vertreter ganzen Reihe von komplexen Sachverhalten Alban Berg wuchs inmitten der zwischen 1892 und 1902 über mehrere Jahre dieses Phänomens (zum Beispiel Carmen, beschäftigt – wie wir heute Dank der außergewöhnlichen Atmosphäre auf, die zu hinweg geschrieben, und der berühmte Mélisande, Elena Makropoulos) widersprechen wissenschaftlichen Arbeiten Freuds und der Beginn des 20. Jahrhunderts in Wien Regisseur Max Reinhardt hatte Erdgeist 1902 der typischen Wiener Auffassung, daß Frauen aus diesen resultierenden Erkenntnis wissen, herrschte. Mit Wozzeck und Lulu schuf er zwei in Berlin inszeniert. Berg schrieb seine Oper nur durch ihre Heirat zu sexuellen Wesen daß menschliche Wesen erstaunlich einzigartige Opern, die als persönliche kurz vor seinem Tod im Jahr 1935 und werden – verheiratete Männer können Affären kompliziert sind; häufig sind die Handlungen Zeugnisse seiner Wiener Erfahrungen gelten hinterließ damit ein Zeugnis seines haben, Ehefrauen jedoch nicht, wie es in einer Person dieser selbst nicht einmal bewußt. können. Beide Werke verwenden persönlichen Lebens, denn die Geschichte des zahlreichen Operettenlibretti belegt ist! Stefan Die Entdeckung des “Unterbewußten” schlug zukunftsweisende Texte von Autoren, bei unvollendeten dritten Aktes ist selbst bereits Zweig schrieb sehr passend, Wien habe eine wie eine Bombe ein – die Kirche hatte schon denen es sich ebenfalls um ausgesprochen ein Detektivroman. “klebrige, parfümierte, schwüle, ungesunde mit der Aufklärung ihren gesellschaftlichen exzentrische Persönlichkeiten handelte. Die Bevor wir uns dieser erstaunlichen Atmosphäre”. Die Stadt war voller Einfluß zu verlieren begonnen, und nun Arbeiten an Wozzeck begannen 1914 und Geschichte zuwenden, wollen wir einen Blick Prostituierter, und die Restaurants boten drohte das Chaos. Sowohl Wedekind als auch wurden 1921 abgeschlossen; das Werk basiert auf das Thema von Lulu werfen. Während gewöhnlich “chambres separées” an, in denen Berg lebten in dieser bewegten Zeit, und beide auf dem unvollendeten Drama von Georg Wozzeck von der mit den Augen des man mit den zahlreichen “ausgehaltenen verarbeiteten ihre Erfahrungen in ihrer Büchner, das dieser 1836–1837 kurz vor gleichnamigen Protagonisten betrachteten Frauen” verkehren konnte. Man könnte von Kunstform. seinem Tod schrieb und das von der Armut Halbwelt armer Leute handelt, beschäftigt einer veritablen “Moralität der Wenn man die Synopse der Lulu liest, so und den selbstzerstörerischen Tendenzen des Lulu sich mit dem Milieu der Mittelklasse, die Geheimniskrämerei” sprechen. fällt auf, daß hier zahlreiche Ereignisse aus Lebens handelt, deren Vorhandensein die mit ausgesprochen typisierten Charakteren Um Lulu zu verstehen, müssen wir daher dem Leben der beiden Künstler wieder Wiener so häufig negierten. 1905 sah Berg im bevölkert ist, durch deren Augen wir Lulu auch die übrigen Charaktere und ihr Leben auftauchen. Die folgenden Beispiele mögen Wiener Trianon-Theater eine private betrachten. Sie ist nie allein auf der Bühne, kennenlernen. Durch sie können wir dies erläutern: Aufführung von Frank Wedekinds Büchse der und erst im zweiten Akt, in der Szene mit beginnen, die Vielschichtigkeit der Lulu zu 1891–1894: Wedekind arbeitete als Sekretär Pandora. Nach der Veröffentlichung dieses Dr. Schön, hören wir mit ihrem “Lied der begreifen, die sich auch in der Vielzahl der für einen Wanderzirkus und einen Schauspiels kam es 1904 zu einer gerichtlichen Lulu” ihr “Credo”, ihre Lebensphilosophie. Es Namen ausdrückt, unter denen sie den Kunstfälscher namens Willy Gretor. Außerdem Verhandlung, in deren Folge das Werk in gibt noch einige weitere Opern im Standard- einzelnen Figuren bekannt ist. Die auf diese besuchte er London sechs Jahre, nachdem Jack Deutschland verboten wurde. Wedekind hatte repertoire, die auf einem ähnlichen Konzept Figuren jeweils spezifisch zugeschnittene the Ripper notorischen Ruhm erlangt hatte. dieses Schauspiel sowie das Stück Erdgeist, das basieren. So erleben wir Don Giovanni durch Musik ist auf ihre eigene komplexe Weise voll 1901: Wedekind trat in der Kabarettgruppe den ersten Teil der Geschichte schildert, die Erfahrungen anderer Menschen – er ausgearbeitet, wobei Berg jedoch nicht “Die elf Scharfrichter” als Darsteller auf. Er

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sang zu seiner eigenen Gitarrenbegleitung, verheirateten Frau, bei der er oft wohnte, Zahlensymbolik, seit er die Theorien des Tonarten modulieren kann. Das neue atonale wobei seine Darbietungen sich durch sein wenn er sich in Prag aufhielt. Er war ihr von Biologen und Mentors von Freud Wilhelm System verwendete alle zwölf chromatischen langes Schweigen und seinen starren Blick ihrer Schwägerin Alma Mahler Werfel Fließ gelesen hatte. Berg beschloß, daß seine Töne einer Oktave in einer bestimmten auszeichneten. Eines seiner Lieder wird von vorgestellt worden. 1958 schrieb Alma eine persönliche Zahl die 23 sei, da sein erster Ordnung, einer “Reihe”, die umgekehrt und Berg zu Beginn der Londoner Szene im dritten Biographie mit dem Titel “And the Bridge is Asthmaanfall sich an einem 23. Juli ereignet auch rückwärts gespielt werden konnte. Diese Akt verwendet – der Marquis singt es in der Love” (“Mein Leben”), in der sie sich über hatte. Seltsamerweise starb er am 23. “Reihen” ersetzen Tonika und Tonleiter. Berg ersten Szene. zahlreiche Affären ausließ, diese Beziehung Dezember 1935; und er schrieb Hanna einen ging jedoch noch viel weiter – seine “Reihen” 1900: Berg verlor seinen Vater, als er jedoch nicht erwähnte. Alma war Teil des 23 Seiten langen Brief, in dem er das geheime können auch transponiert und in Gruppen fünfzehn Jahre alt war, und litt seit dieser Zeit Wiener Kulturlebens; Zemlinsky machte ihr Programm des Violinkonzerts erläuterte. Im von drei oder vier Tönen unterteilt werden, unter Asthmaanfällen (vgl. Schigolchs Asthma, den Hof, dann heiratete sie Gustav Mahler, dritten Akt von Lulu enthält der Schlußakkord die als Motive eingesetzt oder zusammen als das man im ersten Akt auf Band 13 1:17, später den Architekten Walter Gropius und als höchsten Ton die Note H und als tiefsten Akkorde gespielt werden können. Ferner hört). Berg wandte sich sogar an Freud um schließlich Franz Werfel, der häufig die ein F, wobei alle vorangehenden Noten auf verwendet er rhythmische Zellen, wie etwa ärztliche Hilfe. Korrespondenz zwischen Berg und Hanna diesen Akkord hinführen. Dies ist natürlich den Rhythmus “punktierte Viertelnote – 1903: Nach einer Affäre mit einem beförderte. Bergs Briefe sind – mit Ausnahme ein Symbol für Hanna Fuchs. In einem Brief, punktierte Viertelnote – Achtelnote – achtzehnjährigen Bauernmädchen, das der Korrespondenz des Jahres 1926 – erhalten in dem er erläutert, daß er die Figur der punktierte Vietelnote”, der beim Tod des schwanger wurde, unternahm Berg einen geblieben, Hannas Antworten konnten Gräfin Geschwitz nicht leicht zu realisieren Malers, Dr. Schöns sowie auch dem von Selbstmordversuch. 1908 versuchte seine interessanterweise jedoch nie aufgefunden findet, schreibt Berg, “für ihre beiden Geschwitz und Lulu erklingt und zuerst im Schwester Smaragda sich umzubringen, werden. Schlußstrophen scheine ich die richtigen Prolog im Baß zu hören ist (Band 1). Am nachdem ihre Ehe gescheitert war und sie ihre Diese fruchtbare Schaffensphase regte Berg Noten gefunden zu haben”. Ihre letzten wichtigsten ist jedoch, daß diese “Reihen” mit lesbischen Neigungen entdeckt hatte (vgl. zur Komposition von drei Werken an, die Worte, die passenderweise seine Liebe zu Bergs Interpretation seiner Figuren verbunden Gräfin Geschwitz). Ein mit Berg befreundeter Lyrische Suite (1925–1926), Lulu (1929– Hanna ausdrücken, sind: “Ich bin dir nah! sind. Maler, Richard Gerstl, hatte eine Affäre mit 1935) und das Violinkonzert (1935), für das Bleibe dir nah, in Ewigkeit!” Berg beschloß, die Komplexität der der Frau von Bergs Lehrer Schönberg und er die Arbeit an Lulu unterbrach (ähnlich wie Bergs einzigartiger musikalischer Stil rührt Charaktere zu betonen, indem er sie ein- oder versuchte, mit ihr durchzubrennen. Als sie zu Wagner die Arbeit an Siegfried unterbrach, um von der Theorie seines Lehrers her. Schönberg zweimal in veränderter Gestalt wiederkehren ihrem Mann zurückkehrte, schnitt Gerstl sich Tristan und die Meistersinger zu schreiben). wollte das etablierte tonale System ersetzen, ließ. Am offensichtlichsten geschieht dies in die Kehle durch (vgl. den Selbstmord des Die beiden genannten Instrumentalwerke das auf einem Grundton und der zugehörigen der Londoner Szene, wo die drei Kunden in Malers). verwenden geheime Zahlen- und Tonleiter beruht und Spannungen zwischen Lulus Dachstube hinaufsteigen. Ursprünglich 1925–1935: Berg hatte ein heimliches Buchstabensysteme, die nur Hanna verstehen den Noten dieser Skala und der Tonika enthält hatte Berg vor, Lulus Ehemänner in Verhältnis mit Hanna Fuchs-Robettin, einer konnte. Berg interessierte sich für und zudem auch zu Skalen in anderen umgekehrter Reihenfolge erscheinen zu lassen

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(er erzielte ein perfektes Palindrom in der Neigungen. Die Reihe erklingt zum ersten Mal mehr über Lulu weiß als jeder andere; seine Arten der Sklaverei – Ehe, Knechtschaft und “Filmmusik” zwischen der ersten und zweiten im zweiten Akt (Band 1 0:22). “Reihe” steigt in chromatischen das Bordell. Szene des zweiten Aktes), schließlich aber ist Der Athlet – die für diese Figur Doppelschlagfiguren in Gruppen von jeweils * * * der erste Kunde Lulus erster Ehemann, der charakteristischste Klangwelt beruht auf einem vier Noten nach oben. Zu hören ist dies im Die Geschichte der Vollendung des dritten Medizinalrat, der zweite ist der Maler und der Cluster aus weißen und schwarzen Noten, die ersten Akt (Beginn von Band 13 ). Aktes vermittelt einen Eindruck von den dritte (Jack the Ripper) ist Dr. Schön, ihr in dem orchestralen Klavierpart zu hören sind. Medizinalrat/Bankier/Erster Kunde – Problemen, die Berg mit seinem Tod dritter Ehemann. Wenden wir uns den Auf diese Weise werden seine gymnastischen diese Männer, von denen ein jeder es aus zurückließ. Die Chronologie der Ereignisse ist Figuren im einzelnen zu: und körperlichen Fähigkeiten illustriert. Auch eigenen Kräften zum Erfolg gebracht hat, sind wie folgt: Alwa – der “Komponist”, mit dem Berg diese Noten sind von Alwas “Reihe” abgeleitet. durch aufsteigende Terzen repräsentiert. Zu 1934–1935: Berg vollendet den dritten Akt sich identifizierte und der sich von Lulu zu Zu hören sind sie im Prolog (Band 1 0:47). hören sind diese im ersten Akt (Band 6 0:28). als Particell und orchestriert einzelne Teile; seinem nächsten Werk inspirieren läßt, Dr. Schön – Alwas Vater; seine “Reihe” ist Maler/Zweiter Kunde – die “Reihe” diese werden am 30. November 1934 von zugleich aber auch im Vergleich mit den mit der seines Sohnes nur verwandt, wenn erklingt häufig in der Form von vier aus Erich Kleiber in Berlin als fünf Einzelwerke Erfolgen seines Vaters seine sexuelle Unreife man sie umkehrt. Zu hören ist dies im Prolog jeweils drei Tönen bestehenden Akkorden, die (Symphonische Stücke aus der Oper “Lulu”) erkennt. Die ihm zugeordnete “Reihe” steht in (Band 1 1:00). Wegen seiner gesicherten von Tönen aus beiden Hälften der Lulu- aufgeführt. ihrer ersten Hälfte fast in a-Moll, daher Existenz als Geschäftsmann verwendet seine “Reihe” abgeleitet sind. Zu hören ist dies im 1935 (Dezember): Berg stirbt. Wenige können wir sie dem Buchstaben A von Alban Musik klassische Formen wie die Sonate oder ersten Akt (Beginn von Band 3 ). Wochen später teilt der Verlag seiner Frau zuordnen! Die ersten sechs Noten sind das Rondo. Garderobiere/Gymnasiast/Groom – hier Helene mit, daß die Partitur von einem seiner ausschließlich weiße Noten auf dem Klavier Die übrigen Figuren leiten ihre “Reihen” verwendet die Musik vier Tongruppen, die im Schüler problemlos vollendet werden könne. und die zweite Hälfte ist schwarz – mit von der Lulu zugeordneten Notenreihe ab, die zweiten Akt (Band 3 0:23) zu hören sind. 1937: Erwin Stein bereitet einen Ausnahme des G. Dieser a-Moll- ist im Zirkusthema im Prolog (Band 1 0:30) Die einzelnen Figuren sind nicht in der Klavierauszug des Akts für den Stich vor, die in der Gesangsstimme des zweiten Aktes über dem Todesrhythmus zu hören ist. Lulu gleichen Weise musikalisch aufeinander Sache wird aufgrund der zunehmend (Band 6 2:50) deutlich zu hören. Alwas hat noch zwei weitere charakteristische bezogen wie die folgenden. schwierigen politischen Lage in Deutschland “Reihe” bildet eine Grundlage für die Themen – ein Freiheitsthema, das ebenfalls im Afrikanischer Prinz/Diener/Marquis – jedoch nicht weiter vorangetrieben; die folgenden drei “Liebhaber”. Prolog erklingt (Band 1 2:14), sowie ein diese Figuren sind musikalisch miteinander übrigen Akte werden mit einem Vorwort Gräfin Geschwitz – ihre “Reihe” ist Thema, das mit ihrem “Tanz durchs Leben” verbunden; das entsprechende Tonmaterial veröffentlicht, das das baldige Erscheinen des unmittelbar von der Alwas abgeleitet und im ersten Akt in Verbindung gebracht wird basiert auf Lulus “Reihe”. Zu hören ist dies dritten Aktes ankündigt. Stein wendet sich auf durch ihre Verwendung leerer Quinten (Band 2 1:20). Die einzige Figur, die ihr beim ersten Erscheinen des Prinzen im ersten Helene Bergs Anregung an Schönberg und besonders deutlich wahrnehmbar; vielleicht ist Thema nicht von dem einer anderen Figur Akt (Beginn von Band 21 ). Berg schuf diese bittet ihn, das Werk zu vollenden, doch dies eine Andeutung ihrer lesbischen ableitet, ist die des mysteriösen Schigolch, der drei Figuren als Prototypen verschiedener Schönberg hat Vorbehalte bezüglich der

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Darstellung einer von ihm als solche über die Möglichkeit, den dritten Akt noch zu zudem Hinweise gibt, wo die entsprechenden Synopse empfundenen Karikatur eines jüdischen vollenden. Textpassagen bei Wedekind zu finden sind. Bankiers. Auch Webern lehnt diese Aufgabe 1959: George Perle unternimmt den Vielleicht hatte Berg diese Passage auf einem COMPACT DISC ONE ab, da er befürchtet, die Arbeit könne seinen Versuch, die unveröffentlichten Teile des separaten Blatt komponiert, um sie besser eigenen Kompositionsstil beeinflussen. Helene dritten Aktes zu untersuchen. strukturieren zu können. Prolog Berg behauptet, man habe sich auch an 1960: Helene Berg untersagt die 1969: Helene verfaßt ihr Testament, das 1 Ein Tierbändiger betritt die Bühne und Zemlinsky gewandt, dies wird von Zemlinskys Fertigstellung des dritten Aktes und wirft 1976 veröffentlicht wird – “niemandem dürfe wendet sich an das Publikum. Er erzählt von Familie jedoch vehement bestritten. Zweifel auf, ob er jemals vollendet werden gestattet werden, das Manuskript des dritten den Tieren, die gleich vorgestellt werden 1937 (2. Juni): In Zürich findet die könne. Aktes von Lulu zu untersuchen, noch sei es sollen, und bittet einen Bühnenarbeiter, die Erstaufführung der ersten beiden Akte von 1962 (10. Juni): Friedrich Cerha wendet irgend jemandem zu erlauben, die Fotokopie “menschliche Schlange” zu holen. Der Arbeiter Lulu statt. Das Stück erhält von der Nazi- sich an Kalmus, den Herausgeber des Werks, im Besitz der Universal-Edition zu studieren.” trägt Lulu herein, die in ein Pierrot-Kostüm Presse schlechte Kritiken. um das Particell zu untersuchen; man ermutigt 1974–1976: George Perle veröffentlicht gekleidet ist. Der Tierbändiger warnt das 1938 (12. März): Österreich fällt an das ihn, sich heimlich an die Vollendung zu einen Artikel über die Entdeckung der Publikum, daß sie zwar harmlos aussehe, man Naziregime. machen. Der Verlag händigt ihm das Particell, annotierten farbigen Partitur der Lyrischen Suite aber gleich erkennen werde, was für eine 1949 (15. Februar und 29. April): Bergs Liste sämtlicher “Reihen”, die im Besitz von Hannas Familie, der sämtliche gefährliche Kreatur sie tatsächlich ist. Er Konzertaufführungen der zweiaktigen Fassung; orchestrierten Teile, den Klavierauszug von verschlüsselten Ideen zu entnehmen sind. entfernt sich. anwesend ist der junge Komponist Friedrich Stein sowie das Libretto aus. 1979 (24. Februar): Die Erstaufführung des Cerha. Im September wird das Werk an La 1963: Die Biographie von Redlich wird neu von Cerha vollendeten dritten Aktes findet Erster Akt Fenice in Venedig aufgeführt. aufgelegt, allerdings ohne den Kommentar, unter der Leitung von Pierre Boulez in Paris Szene 1 1953: Eine Inszenierung in Essen endet mit daß der dritte Akt leicht zu ergänzen sei. statt. Die Alban-Berg-Stiftung versucht Das geräumige, aber heruntergekommmene dem gesprochenen Text des dritten Aktes vor Alfred Kalmus erteilt George Perle die erfolglos, die Aufführung gerichtlich Atelier eines Malers dem Hintergrund der Symphonische Stücke, die Genehmigung, das unveröffentlichte Material unterbinden zu lassen. 2 Lulu, die mit dem Medizinalrat Dr. Göll die von Berg orchestrierte Musik enthält. Der in Wien zu sichten. Perle entdeckt, daß alles So wissen wir nun, warum es so lange verheiratet ist, der sie unter dem Namen Nelly Klavierauszug der ersten beiden Akte wird vollständig ist, mit Ausnahme von zwanzig dauerte, bis der dritte Akt veröffentlicht kennt, steht in einem Pierrot-Kostüm Modell, erneut veröffentlicht, allerdings ohne das Takten in der zweiten Szene. Drei Fünftel der wurde, und beim Zuhören können wir die um ihr Porträt malen zu lassen. Der ursprüngliche Vorwort, das das bevorstehende beiden Szenen sind bereits orchestriert. Der zusätzliche Tiefe dieser außergewöhnlichen Chefredakteur Dr. Ludwig Schön schaut dabei Erscheinen des dritten Aktes ankündigt. unvollständige Schluß des Vokalquartetts läßt Musik genießen. zu. Sein Sohn, der Komponist Alwa, kommt 1957: Ein Buch von Hans Redlich über sich ergänzen, da er die Musik der Hymne am herein und sie verlassen gemeinsam den Berg erscheint im Druck; es enthält einen Satz Ende des zweiten Akts wiederholt und es © 2006 Anthony Legge Raum. 3 – 5 Lulu flirtet mit dem Maler,

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der ihr seine Liebe gesteht, 6 als plötzlich ihr Dr. Schön und Lulu haben eine von Lulu. Sie entdecken, daß der Maler sich die 24 Alle gehen hinaus, nur Dr. Schön bleibt Ehemann auftaucht. Wutentbrannt darüber, Auseinandersetzung und werden von dem Kehle durchgeschnitten hat. Lulu ist entsetzt zurück und fragt Lulu, warum der Prinz in die beiden zusammen zu ertappen, hat er zurückkehrenden Maler unterbrochen. Lulu und beschließt wegzugehen; sie versucht, Alwa ihre Garderobe gekommen ist. Sie teilt ihm einen Herzinfarkt und stirbt. 7 – 10 Der erzählt ihm, daß Dr. Schön nichts mehr von mit sich zu zerren. Sie geht ab, um sich mit, der Prinz plane, sie nach Afrika Maler geht einen Arzt holen, und als er ihr wissen wolle, und deckt so ihrem Mann umzukleiden. mitzunehmen, und bemerkt seine betrübte zurückkehrt, erklärt Lulu, sie sei glücklich, daß gegenüber ihre Affäre auf. Dieser führt sie in Lulu kehrt zurück und geht hinaus, Reaktion auf diese Nachricht. Sie schickt ihn das Vermögen ihres Mannes nun ihr gehöre. sein Atelier hinaus und kehrt dann zurück. 15 während Dr. Schön die Polizei anruft und den hinaus, aber er kann sich nicht überwinden zu Der Maler ist über ihre mangelnde Moral Der Maler erlebt einen weiteren Schock, als er Selbstmord mit Verfolgungswahn begründet. gehen. 25 Sie zwingt ihn, an seine Verlobte zu schockiert. erfährt, daß Dr. Schön Lulu bereits seit ihrem Als die Polizei eintrifft, wischt Lulu das Blut schreiben und ihr Verlöbnis aufzulösen. zwölften Lebensjahr kennt und sie Mignon von Dr. Schöns Händen. Sie verkündet Szene 2 nennt. Dr. Schön teilt ihm mit, daß der triumphierend, daß er sie nun heiraten werde. COMPACT DISC TWO Ein eleganter Salon im Haus des Malers Bettler – Schigolch – ihr Vater sei, und der 11 – 12 Lulu und Walther, der Maler, der sie Maler begreift, daß Lulu ihm lauter Szene 3 Zweiter Akt unter dem Namen Eva kennt, haben Lügengeschichten aufgetischt hat. Er geht in Eine Theatergarderobe Szene 1 geheiratet. Sein Porträt von Lulu als Tänzerin sein Ankleidezimmer und verschließt die Tür. 18 – 20 Alwa und Lulu trinken in ihrer Ein großer Wohnraum in Dr. Schöns Haus ist für einen hohen Preis verkauft worden. Ein Dr. Schön begreift, daß Walther nicht in sein Garderobe Champagner. Sie erzählt ihm, ein 1 Lulu hat Dr. Schön geheiratet. Sie erhält Brief verkündet Dr. Schöns Verlobung. Es Atelier zurückgekehrt ist, und als Lulu Prinz wolle sie heiraten und ins exotische Besuch von ihrer Verehrerin Gräfin Geschwitz, klingelt und Walther verläßt Lulu, um einem erscheint, schickt er sie eine Axt holen, um die Afrika mitnehmen. 21 Der Prinz betritt ihre die Lulus Porträt bewundert und dann von Bettler etwas Geld zu geben; dieser kommt Tür aufzubrechen. 16 – 17 Sie werden durch Garderobe, nachdem sie diese verlassen hat, Lulu hinausbegleitet wird. Allein sodann herein, während Walther sich entfernt, erneutes Klingeln unterbrochen, und Dr. Schön um auf die Bühne zu gehen. 22 Lulu wird von zurückgelassen hegt Dr. Schön den Verdacht, um in seinem Atelier zu arbeiten. 13 Es stellt geht auf Zehenspitzen zur Tür, um zu sehen, ob einer Garderobiere und dem Theaterdirektor daß Lulu einen oder mehrere Liebhaber im sich heraus, daß Lulu und der Bettler, es der Kunsthändler ist, während Lulu hereingebracht, nachdem sie anscheinend Haus versteckt hat; mit einem Revolver Schigolch, einander gut kennen (ist er ein weiterhin an der Tür zum Ankleidezimmer beim Anblick von Dr. Schön und dessen bewaffnet durchsucht er den Raum. 2 Lulu früherer Liebhaber oder vielleicht ihr Vater?) lauscht. Dr. Schön kehrt mit seinem Verlobten im Publikum in Ohnmacht gefallen kommt zurück und geht mit ihrem Gatten ins und daß Schigolch der einzige Mensch ist, der aufgeregten Sohn Alwa zurück, der verkündet, ist. 23 Dr. Schön erscheint und befiehlt Lulu, Schlafzimmer. Gräfin Geschwitz kehrt zurück sie mit dem Namen Lulu anspricht. Es klingelt in Paris sei die Revolution ausgebrochen. Dr. auf die Bühne zurüchzukehren. Alwa bittet und versteckt sich. ein weiteres Mal und Schigolch geht ab, Schön ist jedoch zu sehr damit beschäftigt, die den Theaterdirektor, die Reihenfolge der 3 Schigolch taucht auf, gefolgt von dem während Dr. Schön hereinkommt. 14 Er Tür aufzubrechen. Als ihm dies gelungen ist, Nummern umzustellen, um Lulu Gelegenheit Athleten und dem Gymnasiasten. Schigolch möchte seine Beziehung zu Lulu beenden. betritt er als erster zögernd den Raum, gefolgt zu geben, sich zu erholen. sagt, der Junge habe ihn bezahlt, um mit Lulu

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allein gelassen zu werden; er habe sich Schön, der zu Alwa und Lulu herüberkommt zu tragen. Doch die Tür ist versperrt und als als Diener eingestellt worden ist) warten in unsterblich verliebt und ihr eine Ode und Alwa gewaltsam aus dem Zimmer er sie aufschließt, kommt die Gräfin hervor. Dr. Schöns Wohnung zusammen mit Gräfin geschrieben. 4 Schigolch und der Athlet befördert. Während Vater und Sohn sich 12 Lulu fleht Alwa an, sie nicht wegen Mordes Geschwitz auf Schigolch, der sie abholen soll, erklären, sie seien versetzt worden. Lulu kehrt entfernen, versucht der Athlet zu fliehen. Lulu anklagen und hängen zu lassen, doch der ist um im Krankenhaus ihren Rollentausch mit elegant gekleidet zurück und verkündet, sie verhindert, daß er Dr. Schön begegnet. 9 – unerbittlich und ruft die Polizei. Lulu durchzuführen. Der Athlet plant, Lulu zu erwarte einen Besucher. 5 Sie erwähnt 10 Er versteckt sich wieder, und als Dr. Schön heiraten und erwartet, daß Schigolch sie auf Schigolch gegenüber, Dr. Schön sei sicher an auf der Suche nach ihm zurückkehrt, teilt 13 Film ihrer Flucht nach Paris begleite. Schigolch der Börse beschäftigt. Lulu ihrem wütenden Gatten mit, daß der Ein Stummfilm zeigt Episoden aus Lulus erscheint, um die Gräfin ins Krankenhaus zu 6 Ein Diener kündet die Rückkehr von Athlet, der auch ein Akrobat sei, aus dem Leben der folgenden Jahre. Er ist in folgende bringen, wo Lulu als Patientin liegt. Die Dr. Schön an und die Männer verstecken sich. Fenster gesprungen und geflohen sei. Dr. Abschnitte aufgeteilt: Gräfin ist schon ungeduldig und drängt Allerdings kommt nicht Dr. Schön selbst Schön zwingt sie, den Revolver in die Hand zu Verhaftung Schigolch hinaus. Alwa und der Athlet streiten herein, sondern sein Sohn Alwa. Als er nehmen; er will, daß sie sich erschießt. Sie Untersuchungshaft sich um Geld. Schigolchs gewahr wird, behauptet Lulu, schießt in die Zimmerdecke. Als er den Schuß Prozeß Sie werden von dem unerwarteten dieser sei ein alter Freund von Alwas Vater. hört, prescht der Athlet aus seinem Versteck Kerker Auftauchen des Gymnasiasten unterbrochen, Alwa und Lulu beginnen, miteinander zu hervor; Dr. Schön erblickt ihn und beginnt, Konsilium der aus der Verwahranstalt geflohen ist, wo flirten, doch nun taucht unbemerkt Dr. Schön nach weiteren versteckten Männern zu suchen. In der Isolierbaracke man ihn inhaftiert hatte. Auch er hat einen auf und ist entsetzt, seine Frau und seinen Er findet die Gräfin Geschwitz und sperrt An Weg zur endgültigen: Plan ausgeheckt, um Lulu zu retten. Der Sohn beieinander zu sehen. Sie werden kurz sie ins Nebenzimmer. 11 Als Dr. Schön immer (Lulu wird verhaftet, ihr wird der Prozeß Athlet teilt ihm mit, Lulu sei tot, und der unterbrochen, als der Diener erneut auftaucht. wütender wird, verläßt der verängstigte gemacht, sie wird verurteilt und inhaftiert; Gymnasiast geht voller Verzweiflung ab. 7 Dr. Schön muß nun mit anhören, wie die Gymnasiast sein Versteck. Dr. Schön wird nach einem Jahr wird sie wegen Verdachts auf 16 Schigolch erscheint mit Lulu, die müde Liebenden (wie sein Vater nennt Alwa Lulu durch den Anblick einer weiteren versteckten Cholera in ein Krankenhaus verlegt. Dank und krank aussieht. Der Athlet ist wütend – so Mignon) einander ihre Gefühle gestehen und männlichen Person abgelenkt und Lulu eines von der Gräfin ausgeheckten Plans erschöpft, wie sie aussieht, wäre sie als Star Lulu enthüllt, daß sie es war, die Alwas Mutter erschießt ihn mit fünf Schüssen. Als er im nimmt Lulu ihren Platz ein und kann seiner Akrobatikshow wertlos. Er geht ab mit vergiftet hat. Sterben liegt, ruft er nach Alwa. Dieser entfliehen.) den Worten, er werde sie lieber an die Polizei 8 Dr. Schön versteckt sich, erblickt dann erscheint und Dr. Schön trägt ihm auf, Lulu verraten und so mit der Belohnung für ihre aber den sich ebenfalls versteckenden Athleten nicht entkommen zu lassen; außerdem warnt Szene 2 Festnahme etwas Geld verdienen. Schigolch und zielt mit dem Revolver auf ihn. Der er ihn, er sei das nächste Opfer. Alwa bittet Das Wohnzimmer in Dr. Schöns Wohnung, geht ab und Lulu bleibt mit Alwa allein Athlet duckt sich in sein Versteck zurück. Lulu den Gymnasiasten, ihm zu helfen, den inzwischen unbenutzt und verstaubt zurück. Sie blickt sich nach ihrem Porträt um bemerkt den Athleten und sieht dann Dr. verwundeten Dr. Schön in sein Schlafzimmer 14 – 15 Alwa und der Athlet (der inzwischen und erzählt Alwa, wie die Gräfin Geschwitz

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einen Choleraausbruch genutzt hat, um ihre es zu bekommen. 5 – 6 Alle glauben, sie Tag beginnen, sich ein neues Vermögen Lulu mitgebracht, das sie gestohlen hatte, Flucht zu arrangieren. Die Gräfin habe mit ihr hätten erfolgreich spekuliert und seien mit aufzubauen. Die Gäste lassen ihren Ärger an nachdem Lulu aus Paris geflohen war. Lulu die Plätze getauscht und sei nun im Jungfrau-Aktien reich geworden; nun trinken ihm aus. Lulu tauscht mit einem Stallburschen beschließt, ein weiteres Mal ihr Glück auf der Krankensaal und gebe vor, Lulu zu sein, sie auf ihr Glück. Nur Gräfin Geschwitz rügt die Kleider 12 und kann mit Alwa flüchten, Straße zu versuchen. Alwa fleht sie an, nicht während sie selbst frei ist. 17 Lulu fleht Alwa Lulu für ihre Kälte nach all dem, was sie für als der Marquis mit der Polizei auftaucht, um zu gehen, und Gräfin Geschwitz erklärt ihre an, mit ihr ins Ausland zu fliehen. 18 Er sie getan hat; schließlich hat sie Lulus Platz sie zu verhaften. Zum Kummer des Marquis Absicht, Lulu nachzugehen. Lulu geht ab, erklärt ihr seine Liebe und sie beginnen, sich eingenommen und so ihre Flucht ermöglicht. verhaftet der Kommissar stattdessen den gefolgt von der Gräfin. auf dem Sofa zu lieben, auf dem Dr. Schön 7 Der Bankier verkündet nun, daß der Stallburschen. Schigolch findet sich mit der Situation ab – gestorben ist. Kurs der Jungfrau-Aktien eingebrochen sein schließlich brauchen sie das Geld. Sie hören, und sie nun wertlos sind. 8 – 9 Schigolch Szene 2 wie Lulu zurückkehrt, und Schigolch versteckt COMPACT DISC THREE bedrängt Lulu, ihm Geld zu geben, mit dem London, eine fensterlose Dachkammer im East sich, während Alwa sich lediglich in eine er seiner Geliebten ein Appartement End Decke hüllt. 15 Lulu streitet sich mit dem Dritter Akt finanzieren will. Lulu arrangiert, daß der 13 Lulu, Alwa und Schigolch sind mittellos neuen Kunden um ihre Bezahlung und Alwa Szene 1 Athlet zusammen mit der Gräfin zu Schigolch und leben in einer Dachkammer. Um ein eilt zu ihrer Verteidigung. Der Kunde schlägt Paris, ein geräumiger Salon geht, so daß dieser ihn umbringen kann. wenig Geld zu verdienen, verdingt Lulu sich ihn bewußtlos und geht. Lulu ist entsetzt und 1 Lulu lebt mit falscher Identität in Paris. Dieser stimmt dem Plan zu. Sodann überzeugt als Prostituierte. Alwa droht, jeden Mann läuft hinaus; sie ruft, selbst ein Leben auf der Es ist ihr Geburtstag, den sie mit einer Party sie den Athleten davon, daß die Gräfin umzubringen, den sie in die Dachkammer Straße sei da vorzuziehen. Schigolch zerrt feiert. Die Gäste scharen sich um einen heimlich in ihn verliebt sei. Wenn er mit der mitbringt. Die beiden Männer verstecken sich, Alwas leblosen Körper weg. 16 Gräfin Bankier, der mit Aktienspekulationen ein Gräfin eine gemeinsame Nacht verbringt, als sie hören, daß Lulu mit einem Kunden Geschwitz kehrt zurück, und er erzählt ihr, Vermögen gemacht hat. Die Gäste möchten bekommt er die 20.000 Mark, die Lulu sich zurückkommt. Sie bringt einen Professor Alwa schlafe. Schigolch verschwindet in alle, daß der Bankier ihnen Jungfrau-Aktien von dieser leihen wird. 10 Lulu überredet die herein, der sie mir Respekt behandelt, aber Richtung Kneipe. Die Gräfin erwägt, sich verkaufe, deren Wert spektakulär gestiegen ist. Gräfin, sie zu retten, indem sie zustimmt, mit kein Wort sagt. Der Professor bezahlt sie und umzubringen, bevor Lulu zurückkehrt. 2 – 4 Ein selbsternannter Marquis, Lulus dem Athleten Schigolchs Wohnung geht, und Lulu triumphiert über ihren ersten 17 Lulu kommt mit einem neuen Kunden jüngste Eroberung, ist bereit, sie entweder an aufzusuchen. Gräfin Geschwitz und der Athlet Erfolg. 14 Sie hören Geräusche auf der Treppe herein – Jack the Ripper. Als Jack Gräfin ein Bordell in Kairo zu verkaufen oder sie gehen gemeinsam ab. 11 Der Bankier versucht und glauben, es nähere sich ein weiterer Geschwitz erblickt, tut Lulu sie als ihre gegen eine Belohnung an die Polizei zu die Gäste zu überzeugen, daß ihre Aktien jetzt Kunde, aber es ist Gräfin Geschwitz. Seit dem verrückte Schwester ab. Sie verhandeln um verraten. Lulu versucht, ihn zu becircen, aber wertlos und sie nun alle pleite sind. Er nimmt Zusammenbruch der Jungfrau-Aktien ist auch den Preis, doch schließlich zahlt er gar nichts. er läßt sich nicht umstimmen – er braucht den Zusammenbruch des Aktienmarktes mit sie pleite. Sie hat vergeblich versucht, an etwas Sie gehen in Lulus Zimmer. 18 Gräfin dringend Geld und sieht Lulu als das Mittel, Gleichmut auf und will schon am nächsten Geld zu kommen, aber sie hat das Porträt von Geschwitz hört Lulus Schreie, als Jack the

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Ripper sie attackiert. Er eilt heraus und Festival; Hilda Mack in Henzes Elegy for Young Soloarien unter dem Titel Arias for Cuzzoni. Maws Scenes and Arias aufgetreten sowie auf ersticht die Gräfin mit dem blutbefleckten Lovers im Amsterdamer Concertgebouw und in Außerdem hat sie Knussens Hums and Songs den BBC Proms in Pierre Boulez’ Le Visage Messer. Jack geht ab, während die Gräfin sich Tanglewood; und schließlich Polly/Hexe in for Winnie-the-Pooh, Higglety Pigglety Pop und nuptial, das dieser auch selbst dirigierte, und zum Leichnam ihrer geliebten Lulu schleppt Birtwistles sowie Morton Where the Wild Things Are, Imbries Requiem schließlich hat sie bei – ebenfalls von Pierre und stirbt. Feldmans Neither an der Niederländischen und Shengs Three Chinese Love Songs Boulez geleiteten – konzertanten Oper. Zu ihren weiteren Rollen zählen eingespielt. Aufführungen von Herzog Blaubarts Burg Übersetzung: Stephanie Wollny Zerbinetta (Ariadne auf Naxos) an der Scottish mitgewirkt. Weitere Auftritte auf den BBC Opera; Tytania (A Midsummer Night’s Dream) Susan Parry (Gräfin Geschwitz) war bis vor Proms hatte sie unter anderem in der Rolle der Lisa Saffer (Lulu) studierte am Oberlin an der Oper von Florenz; Anne Trulove (The kurzem Prinzipalin der English National Imelda in Oberto. Auch in Spanien ist die College Conservatory und am New England Rake’s Progress) an der Oper von Indianapolis; Opera. Ihre Rollen dort umfaßten Nicklausse Künstlerin sehr beliebt – in Madrid ist sie mit Conservatory. In Anerkennung ihrer das Feuer und die Nachtigall (L’Enfant et les (Hoffmanns Erzählungen), Brangäne (Tristan dem ORTVE-Orchester aufgetreten, Darbietungen eines neuen und sortilèges) sowie Cunégonde (Candide) an der und Isolde), Oktavian (Der Rosenkavalier), außerdem mit den Orchestern von Barcelona, ungewöhnlichen Repertoires wurde sie mit ; und schließlich Despina Helene (Krieg und Frieden), Gräfin Geschwitz Bilbao und Galizien. dem Diva Award der New York City Opera (Così fan tutte) und Servilia (La clemenza di (Lulu), Susie (The Silver Tassie), Fricka im Zu Susan Parrys CD-Einspielungen gehört sowie auch mit deren Kolozsvar Award Tito) auf dem Connecticut Early Music Ring der Nibelungen und Dido (). die Rolle des Fyodor in der Oper Boris ausgezeichnet. Sie hat sich mit ihren Festival. Darüber hinaus hat sie auch das frühe 1996 feierte sie ihr Debüt an der Royal Godunov im Rahmen der Chandos-Reihe Interpretationen von Repertoirewerken des Opernrepertoire erkundet; hieraus ergaben sich Opera mit Verdis Alzira; an der Welsh “Opera in English”. zwanzigsten Jahrhunderts einen Namen Auftritte als Minerva (Monteverdis Il ritorno National Opera ist sie als Thisbe (La gemacht und wurde für ihre Darstellung der d’Ulisse in patria), die Titelrollen in Cenerentola) und als Hänsel (Hänsel und Anna Burford (Theatergarderobiere, Lulu an der English National Opera für einen L’Incoronazione di Poppea und Partenope, Gretel ) aufgetreten. Ihre Opernengagements Gymnasiast, Groom) wurde in Cornwall Olivier Award nominiert; außerdem erhielt sie Poppea (Händels Agrippina), Teofane (Ottone), im Ausland umfassen die Rolle der Iphigenie geboren und studierte am Royal Northern den Royal Philharmonic Society Award für die Polissena (Radamisto), Belinda (Purcells Dido in Japan sowie Miss Jessel (The Turn of the College of Music, wo ihre Ausbildung von der beste Gesangsdarbietung. & Aeneas), Atalanta (Händels Xerxes) und Screw), Herodias (Salome) und Judith (Herzog Peter Moores Foundation unterstützt wurde. Lisa Saffers zahlreiche Rollen im Almirena (Rinaldo). Blaubarts Burg) an der Cincinnati Opera. Ihre Opernengagements umfassen die zeitgenössischen Opernrepertoire umfassen die Lisa Saffers Diskographie umfaßt die mit Auch als Konzertsängerin ist Susan Parry Titelrolle in an der Opéra Marie in Zimmermanns Die Soldaten an der dem Gramophone Award ausgezeichnete sehr gefragt; sie arbeitet regelmäßig mit dem national du Rhin in Straßburg; Roswita New York City Opera, der Opéra national de Einspielung von Händels Ariodante sowie BBC Philharmonic Orchestra zusammen und (Héloise et Abélard) ebenfalls an der Opéra Paris Bastille und der English National Opera; dessen Agrippina, Ottone und Radamisto, ist außerdem mit dem BBC Symphony national du Rhin sowie am Châtelet in Paris; Klaas de Vries’ A King Riding auf dem Holland Purcells Dido & Aeneas sowie eine CD mit Orchestra in Aufführungen von Nicholas Ursule (Béatrice et Bénédict), Suzuki (Madama

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Butterfly) und Maddalena (Rigoletto) an der Seine Rollen an der English National und dem Royal Scottish National Orchestra den drei Orangen) an der English National Welsh National Opera; Amastris (Xerxes), Opera umfassen Lorenzo (I Capuletti ed i zusammengearbeitet. Opera; Zinoviev (Lady Macbeth) in Toulouse Anna (Les Troyens à Carthage) und Maddalena Montecchi) unter Sir Richard Bonynge, Don und Marseille; die drei Tenorrollen in Lulu am an der English National Opera; Cesare (Giulio Basilio (Rossinis Il barbiere di Siviglia), Stuart Kale (Maler, Zweiter Kunde) hat als Châtelet; Bob Boles an der Münchner Cesare) an der Opera Ireland und Owl in The Dulcamara (L’elisir d’amore), Somnus einer der herausragendsten Gesangsinterpreten Staatsoper, in Covent Garden sowie in Genua Cricket Recovers auf dem Almeida und dem (Semele), Quince (Brittens A Midsummer in der Opernwelt internationale Anerkennung und Straßburg; Captain Vere (Billy Budd) in Aldeburgh Festivals. Night’s Dream), Collatinus (The Rape of gefunden. Die Rollen dieses vollendeten Köln; Alfred und Gregor (The Makropoulos Ihre ausgedehnte Konzerterfahrung umfaßt Lucretia), Poo-Bah (The Mikado), Sarastro Musikers umfassen ein enormes Repertoire, das Case) sowie Herodes in Straßburg. Mahlers Das klagende Lied, Beethovens Neunte (Die Zauberflöte), Sacristan (Tosca), Pistol sich von Monteverdi bis Messiaen erstreckt. Zu seinen Einspielungen für die Chandos- Sinfonie, Vaughan Williams’ Serenade to Music, (Falstaff ) und Ribbing (Un ballo in Kale begann seine Laufbahn an der Welsh Reihe “Opera in English” zählen der Hecube (Les Troyens) auf den Londoner Proms, maschera). Zu seinen weiteren Auftritten National Opera, bevor er an die English Hauptmann (Wozzeck), Dr. Caius (Falstaff ), Brittens Spring Symphony, Verdis Requiem, zählen Bartolo (Le nozze di Figaro) für Opera National Opera wechselte, wo er acht Jahre Roderigo (Otello) und Shuisky (Highlights aus Händels Aci, Galatea et Polifemo mit Paul Mc North und das Garsington Festival, Masetto lang wirkte und Rollen wie die des Don Boris Godunov). Creesh, Les Nuits d’été sowie Berios Canzoni (Don Giovanni) an der Scottish Opera, Ottavio (Don Giovanni), Michael (Martinu˚’s populari. Zu ihren Einspielungen zählen Antonio (Le nozze di Figaro) in Julietta), Alfred (Die Fledermaus) und Nanki- Robert Hayward (Dr. Schön, Jack the Ripper) Francis Grier’s Sequence for the Ascension; The Glyndebourne, Brag (Purcells Fairy Queen) Poo in Jonathan Millers Inszenierung des studierte an der Guildhall School of Music Long and the Short of It für die gleichnamige am Gran Teatro del Liceu in Barcelona sowie Mikado sang. and Drama sowie am National Opera Studio Trickfilmreihe auf Channnel 4 TV sowie Xuthus in Param Virs Ion an der Opera Seine Rollen umfassen den Hauptmann und feierte sein professionelles Operndebüt verschiedene Sendungen für BBC Radio 3. national du Rhin in Straßburg. (Wozzeck) an der Opera national du Rhin in mit der Titelrolle in Don Giovanni in einer Graeme Danby hat zudem landesweit Straßburg, für die Canadian Opera Company Produktion der Glyndebourne Touring Opera. Graeme Danby (Medizinalrat, regelmäßige Auftritte auf dem sowie in Nancy, San Francisco, Genf, Zürich, Auftritte haben ihn mit dem Royal Opera Theaterdirektor, Bankier) ist weithin Konzertpodium, darunter an der Royal Albert Montpellier, Bordeaux und Bologna; Podesta House, der English National Opera, der Welsh anerkannt als einer der führenden britischen Hall (Beethovens Neunte Sinfonie, Verdis (La finta giardiniera) in Drottningholm; National Opera, der Opera North, der bassi profondi und tritt regelmäßig an der Requiem), der Royal Festival Hall (Mahlers Guillot (Manon) in Covent Garden; Lucano Scottish Opera, der Glyndebourne Festival Royal Opera Covent Garden auf. Im Frühjahr Achte Sinfonie) und der Bridgewater Hall in (L’incoronazione di Poppea) am Châtelet in und Touring Opera, der Bayerischen 2005 sang er die eigens für ihn geschriebene Manchester (Iolanthe); außerdem hat er mit Paris; den Hohepriester (Idomeneo) in Covent Staatsoper in München, der Houston Grand große Rolle des Charrington in Loren Maazels dem London Symphony Orchestra, dem Garden; Shuisky (Boris Godunov) in Straßburg, Opera, der Neuen Israelischen Oper und der neuem Auftragswerk für Covent Garden, London Philharmonic Orchestra, dem Royal Bordeaux und Montpellier; Quint (The Turn Minnesota Opera verbunden, wobei sein 1984. Philharmonic Orchestra, der Philharmonia of the Screw) und Truffaldino (Die Liebe zu ausgedehntes Repertoire Wotan und den

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Wanderer im Ring, Amfortas (Parsifal ), College of Music. Bis vor kurzem gehörte er Toronto; Ferrando in Vancouver sowie Basilio Barenboim, Bernard Haitink, Zubin Mehta, Jokanaan (Salome), Figaro und Graf Almaviva zum festen Ensemble der English National und Spoletta (Tosca) an der Niederländischen Sir Colin Davis und Seiji Ozawa (Le nozze di Figaro), die Titelrollen in Eugen Opera, wo Herodes (Salome), Lysander Oper. zusammengearbeitet. Onegin und Don Giovanni, Iago (Otello), Ford (A Midsummer Night’s Dream), Sylvester Für die Chandos-Reihe “Opera in English” Engagements in jüngerer Zeit umfassen (Falstaff ), Scarpia (Tosca), Marcello (La (The Silver Tassie), Goro (Madame Butterfly), hat John Graham-Hall den Monostatos (Die Pelléas, Don Giovanni, Otello und Figaro in Bohème), Escamillo (Carmen); Nick Shadow Triquet (Eugen Onegin), Monostatos Zauberflöte), Isacco (The Thieving Magpie), Glyndebourne, Lulu sowie Krieg und Frieden (The Rake’s Progress) und Golaud (Pelléas et (Die Zauberflöte) und Mime (Das Rheingold ) den Idioten (Wozzeck) und Basilio (Die an der English National Opera und The Greek Mélisande) umfaßt. zu seinen Rollen zählten. Weitere Rollen in Hochzeit des Figaro) aufgenommen. Passion sowie Lady Macbeth von Mtzensk am Zu seinen Konzertengagements zählen Großbritannien umfassen Albert Herring am Royal Opera House in Covent Garden. Belshazzar’s Feast mit dem Bournemouth Royal Opera House, Covent Garden; Albert Der walisische Bassist Gwynne Howell Zu Gwynne Howells zahlreichen Symphony Orchestra, Händels Messias mit Herring, Vanya Kudrjas (Katya Kabanova), (Schigolch) studierte am Royal Northern Einspielungen zählen Mahlers Achte Sinfonie dem Royal Liverpool Philharmonic Orchestra, Flute (A Midsummer Night’s Dream) und Bob College of Music. Er wurde 1972 Mitglied des mit Seiji Ozawa, der Messias mit Sir Georg der Northern Sinfonia, dem Halle und dem Boles (Peter Grimes) an der Glyndebourne Ensembles der Royal Opera und hat dort Solti, Tristan mit Sir Reginald Goodall und London Philharmonic Orchestra, Tippetts The Festival Opera; Cassio (Otello) an der Welsh seither in Inszenierungen unter anderem von Beethovens Neunte Sinfonie mit Kurt Masur. Mask of Time, Mendelssohns Elias, Beethovens National Opera; Eisenstein und Schoolmaster Aida, Rigoletto, Otello, La Bohème, Tosca, Don Für Chandos hat er Belshazzar’s Feast, The Neunte Sinfonie und Haydns Schöpfung mit (The Cunning Little Vixen) an der Scottish Giovanni, Eugen Onegin, Parsifal, Der fliegende Dream of Gerontius sowie im Rahmen der dem Halle Orchestra, Haydns Schöpfung in Opera sowie Aschenbach (Death in Venice), Holländer und Palestrina die meisten großen Chandos-Reihe “Opera in English” Lissabon und mit der Philharmonia, The Lysander und Ferrando (Così fan tutte) für die Baßrollen gesungen; auch mit der English Badger/Priest (The Cunning Little Vixen) Dream of Gerontius mit dem Royal Scottish Glyndebourne Touring Opera. National Opera ist er seit langem beruflich eingespielt. Gwynne Howell wurde 1998 mit National Orchestra sowie mit dem BBC Zu seinen Opernverpflichtungen im verbunden, wo die Rollen des Hans Sachs, dem Titel eines CBE (Companion of the Philharmonic Orchestra und in Kopenhagen, Ausland zählten bisher die Titelrolle in Gurnemanz, König Philip und Blaubart zu British Empire) ausgezeichnet. Mozarts Requiem mit dem BBC Philharmonic Pascal Dusapins neuer Oper Perela, l’homme seinen zahlreichen Erfolgen zählten. Seine Orchestra unter Sir Georg Solti sowie Mahlers de fumée an der Pariser Bastille sowie in internationale Laufbahn hat ihn nach New Robert Poulton (Tierbändiger, Athlet) wurde Das klagende Lied mit der Bournemouth Montpellier; Cassio und Basilio an La York, Chicago, San Francisco, Santa Fe, Paris, in Brighton geboren und studierte an der Symphony. Für Chandos hat er The Pilgrim’s Monnaie in Brüssel; Shapkin (From the Genf, Hamburg, München und Köln geführt, Guildhall School of Music and Drama sowie Progress eingespielt. House of the Dead) an der Oper von Nizza; außerdem hat er weltweit auf dem am National Opera Studio. Sein Lysander in Paris, Lyon, Caen, Montpellier, Konzertpodium mit Dirigenten wie Claudio professionelles Debüt feierte er in der Rolle John Graham-Hall (Alwa) studierte am Rom und auf dem Festival von Ravenna; Abbado, Carlo Maria Giulini, Riccardo Muti, des Fährmanns in einer BBC- King’s College, Cambridge, und am Royal Lensky (Eugen Onegin) in Lyon und Leonard Bernstein, Pierre Boulez, Daniel Fernsehproduktion von Brittens Curlew River.

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Zu seinen zahlreichen Rollen gehören die Engagements – zunächst als Bariton und seit Zeit Mozarts Requiem, Haydns Schöpfung und School of Music and Drama studiert. Von des Grafen Almaviva (Die Hochzeit des Figaro), 1992 als Tenor – an den größeren britischen Bachs H-Moll-Messe. 1981 bis 1990 war er Ensemblemitglied der Ned Keene (Peter Grimes) und Leander (Die Opernhäusern, darunter die Royal Opera, English National Opera; seither widmet er sich Liebe zu den drei Orangen) an der English Opera North, Glyndebourne Opera, Scottish Claire Mitcher (Fünfzehnjährige) studierte in einer freiberuflichen Laufbahn, übernahm an National Opera; Figaro (Die Hochzeit des Opera, D’Oyly Carte, English National Opera Cambridge englische Literatur und war der ENO aber die Rollen des Mr. Flint (Billy Figaro), Prus (The Makropoulos Case), Golaud und Kent Opera. Seine Rollen umfassen den gleichzeitig Chorstipendiatin; gegenwärtig Budd ), Doktor Falke (Die Fledermaus), (Pelléas et Mélisande), Marcello (La Bohème) Belcore (L’elisir d’amore), Graf Almaviva (Die nimmt sie Unterricht bei Marion Studholme. Fiorello (Der Barbier von Sevilla), Harlequin und Germont (La traviata) für die Hochzeit des Figaro), Macheath Sie singt im Chor der English National (Ariadne auf Naxos), Junius (The Rape of Glyndebourne Touring Opera; Ned Keene (Dreigroschenoper), Guglielmo (Così fan tutte), Opera und hat zudem bei der ENO mehrere Lucretia), Elviro (Xerxes) Juan (Don Quixote) und Starek (Jenuºfa) an der Glyndebourne Rodolfo (La Bohème), Pinkerton (Madama Solorollen gesungen oder einstudiert, und Dancairo (Carmen). Weitere Engagements Festival Opera sowie die Rolle des Vaters Butterfly), Alfredo (La traviata), Boris (Katya darunter die Brautjungfer (Der Freischütz), haben ihn auch mit D’Oyly Carte, der Welsh (Hänsel und Gretel) an der Welsh National Kabanova), Stevaˇ (Jenuºfa), Aschenbach (Death Dunyasha (The Tsar’s Bride), Crobyle (Thaïs), National Opera, der Chelsae Opera, Opera und der Opera Northern Ireland. Er in Venice), Florestan (Fidelio) und Rodolfo Servilia (La clemenza di Tito) und den Engel Garsington und der Scottish Opera (Swallow hat zudem den Figaro an der Scottish Opera, (Luisa Miller). (Jephtha). Für ENO Baylis hat sie in in Peter Grimes) verbunden. 1997 kehrte er an Leander an der Opera North, Falstaff in Londoner Schulen verschiedene pädagogische die English National Opera zurück. Garsington sowie den Doktor Bartolo (Il Der Bassist Roger Begley (Polizeikommissär) Projekte durchgeführt, und im vergangenen barbiere di Siviglia) für Grange Park gesungen. studierte am Royal College of Music. Er Jahr übernahm sie die Sopranrolle in For the Jane Powell (Mutter) studierte an der Royal Sein Debüt an der Royal Opera feierte er in wurde 1970 in den English National Opera Public Good anläßlich der Hundertjahrfeier Academy of Music. Ihre Opernrollen umfassen der Rolle des Douphol (La traviata). Im Chorus aufgenommen und hat zahlreiche des Londoner Coliseums. Außerdem hat sie Cherubino, Idamante (Idomeneo), Flora (La Ausland hatte er Engagements in Amsterdam, Rollen gesungen, darunter Dog (The Cunning die Musetta, Oscar, Ilia, Poppea, Belinda, traviata) und Prinzessin Linette in der BBC- Nantes, Bremen, Kopenhagen und Köln sowie Little Vixen), Varsonofiev (Khovanshchina), Norina und Adele gesungen. Ihr Fernsehinszenierung von Die Liebe zu den drei an der Niederländischen Oper, der Opera Hauptmann Petrovich (Eugen Onegin), Benoit Konzertrepertoire umfaßt Bachs Kantaten Orangen. Am Royal Opera House hat sie Zuid und der Vlaamse Opera. (La Bohème) und Cappadocian (Salome). Er Jauchzet Gott in allen Landen und Weichet Rollen in Salome, Der Freischütz, Werther und hat zudem regelmäßige Engagements an der nur, betrübte Schatten sowie die Johannes- Simon Boccanegra übernommen. Seit sie Alan Oke (Afrikanischer Prinz, Opera Brava, darunter die Titelrolle in Don Passion, Mozarts Exsultate, Jubilate und Mitglied des English National Opera Chorus Kammerdiener, Marquis) hat an der Royal Pasquale, Benoit /Alcindoro (La Bohème) und Requiem sowie Händels Messias. ist, hat sie die Frau des Bürgermeisters Scottish Academy of Music & Drama studiert. Doktor Bartolo (Der Barbier von Sevilla). Im (Jenuºfa), den Knappen (Lohengrin) und Hen Er begann seine Laufbahn als erster Bariton an gängigen Oratorienrepertoire hat er zahlreiche Der Bassist Paul Napier-Burrows (Diener) hat (The Cunning Little Vixen) gespielt. Sie der Scottish Opera. Später hatte er Baßpartien gesungen, darunter in jüngerer am Royal College of Music und der Guildhall studiert Gesang bei Lynn Cook.

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Moira Harris (Kunstgewerblerin) hat an der aufgestiegen. Seine größeren Rollen an der Ernani, Mary Stuart, Julius Cesar, Der Barbier Royal Philharmonic Orchestra, dem London University und der Guildhall School of English National Opera umfassen Guglielmo von Sevilla, Rigoletto, La traviata, Werther sowie Bournemouth Symphony Orchestra, dem Royal Music and Drama studiert. Sie hat mit der (Così fan tutte), Papageno (Die Zauberflöte) eine Einspielung des vollständigen Ring-Zyklus Scottish National Orchestra, der Nieder- Lyons Opera, Palace Opera, Garden Opera, und Schaunard (La Bohème). Zu seinem unter der Leitung von Sir Reginald Goodall. ländischen Radio-Philharmonie, dem Orchestre Opera Italiana, Cambridge University Opera, Konzertrepertoire zählen die Requiem- de Paris, dem Orchestre National de France, dem Jigsaw Music Theatre und der Pavilion Vertonungen von Mozart und Fauré, Haydns Paul Daniel wirkte von 1997 bis 2005 als dem Orchestre National de Lyon, dem Opera zusammengearbeitet, wobei ihre Rollen Schöpfung und Bachs H-Moll-Messe. Musikdirektor der English National Opera und Tonhallen-Orchester Zürich, dem Göteborger die Belinda, Ilia (Idomeneo), Sandrina (La finta hat in dieser Zeit ein breites Repertoire Sinfonieorchester, dem Orchestre de la Suisse giardiniera), Mozarts Gräfin, Adina, Norina, Das von Kritikern und Zuhörern gleichermaßen dirigiert, darunter vielbeachtete Inszenierungen Romande, der Deutschen Kammer- Miss Wordsworth (Albert Herring), Fiordiligi, gefeierte English National Opera Orchestra hat von Wagners Ring, Lulu, Les Troyens, Krieg und philharmonie, der Los Angeles Philharmonic, Lucia, Musetta und die Heldinnen in in den vergangenen Jahren mehrere begehrte Frieden sowie die Welturaufführung von dem Cleveland Orchestra und der New York Hoffmanns Erzählungen umfassen. Neben Auszeichnungen erhalten, darunter den Royal Turnages The Silver Tassie. Philharmonic geführt. 2005 dirigierte er die regelmäßigen Verpflichtungen als Philharmonic Society Music Award und den Paul Daniel war von 1987 bis 1990 international im Fernsehen ausgestrahlte Last Oratoriensängerin ist sie Mitglied von The Olivier Award für herausragende Leistungen auf Musikdirektor der Opera Factory und hatte von Night of the Proms in London mit dem BBC Artsong Collective, wo sie sich auf Werke des dem Gebiet der Oper. Das Orchester ist das 1990 bis 1997 die gleiche Position an der Opera Symphony Orchestra. 20. Jahrhunderts spezialisiert hat. Sie ist künstlerische Herzstück der English National North inne, wo sein vielseitiges und Zu seinen Einspielungen zählen die Mitglied des Chors der English National Opera. Opera und ist neben den regelmäßigen anspruchsvolles Repertoire – darunter mehrere Sinfonie Nr. 3 von Elgar/Payne mit dem Opernaufführungen im Londoner Coliseum Welturaufführungen sowie gefeierte Inszenier- Bournemouth Symphony Orchestra, eine der Toby Stafford-Allen (Journalist) wurde am auch auf dem Konzertpodium aktiv; Auftritte in ungen von Pelléas et Mélisande, Don Carlos und Musik englischer Komponisten gewidmete Royal Northern College of Music ausgebildet, jüngerer Zeit führten das Orchester unter Boris Godunov – den Beifall der Kritiker erregte. CD-Reihe mit dem Orchester der Opera wo er Stipendiat der Peter Moores Foundation anderem zum Aldeburgh-Festival (Peter Grimes Weitere Opernengagements führten ihn an North und Mendelssohns Elias mit dem war, und feierte noch während seiner und The Rape of Lucretia) sowie 2004 nach das Royal Opera House in Covent Garden, La Orchestra of the Age of the Enlightenment. Studienzeit auf dem Aix-en-Provence-Festival Glastonbury (Dritter Akt von Wagners Monnaie in Brüssel, die Bayerische Staatsoper Für Chandos hat er Michael Berkeleys Baa sein Debüt in der Rolle des Guglielmo (Così Walküre). Viele Musiker des Orchesters in München, das Teatro Real in Madrid und Baa Black Sheep sowie in der Chandos-Reihe fan tutte). Nach seinem Studienabschluß engagieren sich für die Arbeit von ENO Baylis, die Genfer Oper. “Opera in English” Falstaff, Wozzeck, und wurde Toby Stafford-Allen in das Jerwood der Abteilung für Bildung und Kommunikation. Sinfonische Konzertverpflichtungen haben Highlights aus Boris Godunov. Young Singers Programme der English Das ENO Orchestra hat an zahlreichen zur Zusammenarbeit mit der Philharmonia, Paul Daniel wurde im Jahr 2000 mit dem National Opera aufgenommen und ist Aufnahmen im Rahmen der Chandos-Reihe dem Orchestra of the Age of Enlightenment, Titel eines CBE (Companion of the British inzwischen zum Prinzipal des Ensembles “Opera in English” mitgewirkt – Falstaff, Otello, dem London Philharmonic Orchestra, dem Empire) ausgezeichnet.

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Berg: Lulu

Alban Berg grandit dans l’atmosphère de l’Acte III, inachevé, est en soi un récit extraordinaire qui régnait à Vienne au plein de suspense. Clive Barda/ArenaPal Clive tournant du vingtième siècle. Il créa deux Avant de nous pencher sur cette étonnante opéras qui sont des témoignages de ce qu’il y histoire, voyons quel est le sujet de Lulu. vécut: Wozzeck et Lulu. Les deux œuvres Tandis que Wozzeck traite du “demi-monde” furent composées au départ de textes d’avant- des pauvres vu au travers du regard de garde écrits par des auteurs excentriques. Wozzeck, Lulu met en scène un univers Wozzeck, conçu en 1914 et terminé en 1921, d’individus issus de la classe moyenne de la est basé sur la pièce que Georg Büchner société, chacun étant un archétype, et c’est au commença en 1836–37 peu avant son décès travers de leur regard que nous découvrons et laissa inachevée; l’opéra illustre la pauvreté Lulu. Elle n’est jamais seule sur scène et ce et les épisodes de la vie qui incitent au suicide n’est que dans l’Acte II, dans la scène avec le que déniaient souvent les Viennois. En 1905 Docteur Schön que nous entendons son Berg assista à une représentation privée de La “Credo”, sa philosophie de vie, dans le “Lied Boîte de Pandore de Franz Wedekind au der Lulu”. Il y a dans le genre quelques opéras théâtre du Trianon à Vienne. Lors de sa de conception similaire. Don Giovanni, par publication, La Boîte de Pandore fit l’objet exemple, se révèle au travers de la vie d’autres d’un procès (1904) et fut interdite en individus: il n’est jamais seul sur scène, et ceci Allemagne. Wedekind avait écrit la pièce et est propre aux caractères de ce type. Les L’Esprit de la terre qui relate la première partie exemples féminins de ce phénomène (tels de l’histoire en plusieurs années, entre 1892 et Carmen, Mélisande, Elena Makropoulos) 1902, et c’est en 1902 que le célèbre metteur dissipent la conception viennoise selon laquelle en scène Max Reinhardt monta L’Esprit de la les femmes n’acquièrent le privilège d’une vie Lisa Saffer in the title role terre à Berlin. Berg écrivit son opéra juste sexuelle que par le mariage – les hommes of English National Opera’s avant son décès en 1935 et laissa de sa vie mariés peuvent avoir des aventures, mais leurs production of Lulu privée comme un testament, car l’historique épouses n’y ont pas droit, et de nombreuses 63 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 64

opérettes en témoignent! C’est avec pertinence défis, et tous deux pénétrèrent leur art de leurs une tentative de suicide après l’échec de son que Berg écrivit après avoir interrompu la que Stefan Zweig décrit “l’atmosphère expériences. mariage et la découverte de ses penchants composition de Lulu (tout comme Wagner poisseuse, parfumée, étouffante, malsaine” de La lecture de l’argument de Lulu révèle que homosexuels (cf la Comtesse Geschwitz). Un interrompit la composition de Siegfried pour Vienne. La ville était remplie de prostituées et nombreux événements de la vie de ces deux ami peintre de Berg, Richard Gerstl, a une composer Tristan et Die Meistersinger). Les de restaurants offrant des “chambres séparées”, artistes sont rappelés et illustrés: liaison amoureuse avec l’épouse du professeur deux œuvres instrumentales citées ont recours lieux de rencontre avec les nombreuses 1891–4: Wedekind est secrétaire d’un de Berg, Schoenberg, et tente de fuir avec elle. à des systèmes secrets de nombres et de lettres “femmes entretenues”. Il s’agissait d’une cirque ambulant et d’un faussaire de l’art du Elle revient chez son époux et Richard que seule Hanna pouvait comprendre. Berg véritable “morale du secret”. nom de Willy Gretor. De plus il visite Londres s’enfonce un poignard dans la gorge (cf le s’intéressait à la numérologie depuis la lecture Pour comprendre Lulu, il nous faut donc six ans après que Jack Ripper y soit devenu suicide du Peintre). des théories de Wilhelm Fliess, un biologiste connaître les autres protagonistes et leur vie. célèbre. 1925–1935: Berg a une liaison avec Hanna qui était aussi le mentor de Freud. Le C’est à travers eux que l’on découvre peu à peu 1901: Wedekind fait partie d’un groupe de Fuchs-Robettin, une femme mariée, chez compositeur décida que son nombre personnel la complexité de Lulu, soulignée par la cabaret connu sous le nom de “die elf laquelle il loge souvent quand il va à Prague. Il était vingt-trois parce que sa première crise diversité de noms sous lesquels ces autres Scharfrichter” (Les onze bourreaux). Il chantait lui fut présenté par Alma Mahler Werfel qui d’asthme avait eu lieu un 23 juillet. protagonistes la connaissent. La musique écrite en s’accompagnant lui-même à la guitare; ses est la belle-sœur d’Hanna. En 1958, Alma Curieusement, il décéda le 23 décembre 1935. pour chacun d’entre eux est, à sa manière, très longs silences et son regard fixe lors de ses écrivit une biographie intitulée “And the Il écrivit même une lettre de vingt-trois pages complexe, très élaborée, bien que Berg ne productions étaient réputés. L’une de ses bridge is love” qui se faisait l’écho de à Hanna expliquant le programme secret du s’attendît pas à ce que le public en soit mélodies apparaît au début de la scène nombreuses liaisons amoureuses, mais qui ne Concerto pour violon. Dans l’Acte III de Lulu, conscient. Les Viennois se préoccupaient à londonienne de l’Acte III de Lulu, dans la mentionna jamais celle-ci. Alma faisait partie nous découvrons que l’accord final a pour note l’époque de problèmes nombreux et ardus que première scène, où elle est chantée par le de l’univers culturel viennois. Elle fut courtisée supérieure la note H (le nom allemand du si nous pénétrons maintenant grâce au travail Marquis. par Zemlinsky avant d’épouser Mahler, puis naturel) et pour note inférieure la note F et les scientifique de Freud et à la découverte de 1900: Berg perd son père à l’âge de l’architecte Walter Gropius et enfin Franz accords qui précèdent mènent tous à celui-ci. l’étonnante complexité de la nature humaine: quinze ans et souffre ensuite de crises d’asthme Werfel qui se chargeait souvent de transmettre Ce sont bien sûr les initiales de Hanna Fuchs. souvent les raisons justifiant les actes d’un (cf. l’asthme de Schigolch à l’Acte I, plage 13 à Alban et Hanna les lettres qu’ils s’écrivaient. Berg, dans une lettre décrivant la difficulté individu lui sont inconnues. La découverte de 1:17). Berg va même consulter Freud pour se Les lettres de Berg ont survécu à l’exception de qu’il eut à écrire la partie chantée par la l’“Inconscient” fit l’effet d’une bombe sur la faire aider médicalement. celles de l’année 1926, mais étrangement, il ne Comtesse Geschwitz, dit ceci: “il semble que société – depuis le Siècle des Lumières, l’Église 1903: Berg fait une tentative de suicide subsiste aucune trace des réponses de Hanna. j’ai trouvé les notes justes pour les deux avait perdu sur elle son emprise, et après une liaison amoureuse avec une jeune Cette fructueuse période inspira trois strophes finales”. Ses derniers mots, révélateurs maintenant, le chaos menaçait. Tant Wedekind paysanne de dix-huit ans qui est enceinte de œuvres à Berg: la Suite lyrique (1925–6), Lulu de son amour pour Hanna, sont “Ich bin dir que Berg vécurent cette période pleine de lui. En 1908, sa sœur Smaragda fait elle aussi (1929–35) et le Concerto pour violon (1935) nah! Bleibe dir nah, in Ewigkeit” (Je suis 65 64 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 66

auprès de toi! Auprès de toi toujours, pour sur un mode différent. Ceci est reconnaissable par le recours aux quintes en relation avec aucun autre est celui de l’éternité!) particulièrement manifeste dans la scène augmentées qui évoquent peut-être ses Schigolch qui sait plus de Lulu que n’importe Le style musical très personnel de Berg londonienne lorsque les trois clients montent tendances lesbiennes. C’est dans l’Acte II, qui d’autre; sa “série” se déploie en un s’inspire de la théorie de son maître. dans la mansarde de Lulu. Berg voulait à plage 1 0:22 qu’on l’entend pour la première tourbillon ascendant de figures chromatiques Schoenberg voulait remplacer le système tonal l’origine que les maris de Lulu réapparaissent fois. comportant des segments de quatre notes. Cet établi fondé sur une note tonique et la gamme en ordre inverse (il réalisa un palindrome Acrobate – l’univers sonore le plus épisode apparaît dans l’Acte I au début de la correspondante qui comporte des tensions parfait dans la “musique de film” entre les caractéristique du personnage est créé par un plage 13 . entre les notes de celle-ci et la tonique et peut scènes un et deux de l’Acte II), mais finalement “cluster” de touches blanches et noires dans la Professeur de médecine/Banquier/Premier moduler vers d’autres tonalités. Le nouveau le premier client est le premier mari de Lulu, le partie de piano orchestrale. Ceci illustre ses client – ces hommes, qui ont réussi dans la système atonal utilise les douze notes Professeur de médecine, le second est le Peintre prouesses physiques. Les notes sont issues aussi vie, sont illustrés par des tierces ascendantes. chromatiques de l’octave dans un certain ordre: et le troisième (Jack the Ripper) est le Docteur de la “série” d’Alwa. Cet épisode musical On les entend dans l’Acte I, plage 6 0:28. une “série”; celle-ci peut être inversée et jouée à Schön, son troisième mari. Examinons les apparaît dans le Prologue, plage 1 0:47. Peintre/Second client – la “série” est souvent l’envers. Ces “séries” remplacent la tonique et la caractères individuellement: Docteur Schön – il est le père d’Alwa. Sa présentée sous forme de quatre accords de trois gamme. Berg va beaucoup plus loin – ses Alwa – le “compositeur” auquel Berg “série” n’est en relation avec la “série” de son fils notes prolongeant des notes de chacune des “séries” peuvent aussi être transposées et s’identifie et qui voit en Lulu une source que lorsqu’elle est inversée. On l’entend dans le deux moitiés de la “série” Lulu. Elle apparaît divisées en segments de trois ou quatre notes d’inspiration pour sa prochaine œuvre, tout en Prologue, plage 1 1:00. En raison de la sécurité dans l’Acte I au début de la plage 3 . qui peuvent servir de motifs ou être joués étant conscient, au vu des succès de son père, que lui offre sa carrière d’homme d’affaires, la Habilleuse/Lycéen/Groom – la musique a simultanément comme des accords. Il a recours de son immaturité sexuelle. Sa “série” dans sa musique de ce caractère a recours à des formes recours à des segments de quatre notes perçus également à des cellules rythmiques comme la première partie est pratiquement en la mineur classiques comme la sonate ou le rondo. dans l’Acte II, plage 3 0:23. La relation cellule “noire pointée, noire pointée, croche, (A minor) et se réfère donc à la lettre A de Les autres protagonistes ont des “séries” musicale entre les différents caractères n’est pas noire pointée” qui apparaît au moment de la Alban! Les six premières notes se jouent toutes issues de la série de Lulu que l’on perçoit dans la même. mort du Peintre, du Docteur Schön, de sur les touches blanches du piano et les six le thème du Cirque dans le Prologue, plage 1 Prince africain/Valet de chambre/Marquis Geschwitz et de Lulu. C’est dans le Prologue, dernières sur les touches noires, à l’exception 0:30, avec en toile de fond le rythme de la – la relation musicale entre eux est basée sur la plage 1 qu’on l’entend pour la première fois du sol (G). Ce la mineur est nettement mort. Le compositeur écrit pour Lulu deux “série” de Lulu. Cet épisode accompagne dans les graves. Mais l’aspect le plus important perceptible dans la partie vocale de l’Acte II, autres thèmes caractéristiques – le thème de la l’entrée en scène du Prince à l’Acte I au début est la relation qui existe entre les “séries” et plage 6 2:50’. La “série” d’Alwa sert d’assise Liberté que l’on entend une fois encore dans le de la plage 21 . Berg conçoit ces trois caractères l’interprétation par Berg des caractères. pour les trois “amants” suivants. Prologue, plage 1 2:14 et un thème associé à comme des exemples de différents types Berg décida de souligner la complexité des Comtesse Geschwitz – sa “série” est sa “danse à travers la vie” dans l’Acte I, plage 2 d’asservissement – mariage, domesticité, caractères en les présentant une ou deux fois directement issue de celle d’Alwa et est 1:20. Le seul caractère dont les thèmes ne sont prostitution.

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L’histoire de l’achèvement de l’Acte III nous 1937–2 juin: la création des deux premiers remet la particelle, le tableau fait par Berg de 1979–24 février: la création de l’Acte III donne un aperçu des problèmes que Berg actes a lieu à Zurich. Les critiques de la presse toutes les “séries”, les sections orchestrées, la parachevé par Cerha a lieu à Paris sous la laissa à son décès. La chronologie est la nazi sont sévères. partition chorale de Stein et le livret. direction de Pierre Boulez. La Fondation suivante: 1938–12 mars: l’Autriche tombe sous le 1963 – la biographie de Redlich est rééditée Alban Berg intente sans succès une action en 1934–35: Berg termine l’Acte III sous forme régime nazi. et il n’est plus fait mention du fait que l’Acte justice afin de l’empêcher. de particelle et certaines sections sont 1949–15 février et 29 avril: exécution en III peut être terminé sans difficulté. Alfred Et l’on sait maintenant pourquoi l’Acte III orchestrées; celles-ci sont exécutées par Erich concert de la version en deux actes. Un jeune Kalmus autorise George Perle à examiner les mit si longtemps à voir le jour et l’auditeur est Kleiber le 30 novembre 1934 à Berlin en tant compositeur, Friedrich Cerha, y assiste. En sections non éditées à Vienne. Perle découvre émerveillé de la profondeur dont a été que cinq pièces (Symphonische Stücke aus der septembre a lieu une mise en scène à la Fenice que tout est pour ainsi dire complet, il ne agrémentée cette musique extraordinaire. Oper “Lulu”). à Venise. manque que vingt mesures dans la scène 2. Les 1935 – décembre: Berg meurt. Quelques 1953 – une production à Essen se termine trois cinquièmes de chacune des scènes sont © 2006 Anthony Legge semaines plus tard, les éditeurs disent à par une lecture de l’Acte III sur la musique de orchestrées. La fin, incomplète, du quatuor Hélène, son épouse, qu’un des élèves de Berg la Lulu-Sinfonie (ou Lulu-suite) orchestrée par vocal peut être composée car elle répète la Synopsis peut sans difficulté achever la partition. Berg. La partition chorale des deux premiers musique de l’Hymne de la fin de l’Acte II et 1937: Erwin Stein prépare, pour la gravure, actes est réimprimée sans la préface originale dans Wedekind, il y a des indications sur COMPACT DISC ONE une partition chorale de l’Acte III, mais le qui faisait mention de la future édition de l’endroit où il faut trouver le texte. Il est travail n’est pas entamé en raison de la l’Acte III. possible que Berg ait composé le passage en Prologue situation politique en Allemagne de plus en 1957 – parution d’un livre de Hans Redlich question sur une feuille séparée afin d’en 1 Un dompteur présente au public les plus précaire à cette époque. Les autres actes sur Berg qui mentionne la possibilité que soit améliorer la mise en page. animaux qui vont entrer en scène et demande sont édités assortis d’une préface précisant que parachevé l’Acte III. 1969 – Hélène rédige son testament qui est à un machiniste d’aller chercher le “serpent le troisième acte sera sans doute édité sous 1959 – George Perle tente un essai publié en 1976 – “nul ne sera autorisé à humain”. Le machiniste introduit Lulu peu. Stein approche Schoenberg à la demande d’examen des parties non éditées de l’Acte III. examiner le manuscrit de l’Acte III de Lulu ni habillée en Pierrot. Le dompteur prévient le d’Hélène pour l’inviter à le terminer, mais 1960 – Hélène Berg interdit le à étudier la photocopie en possession de public qu’il s’apercevra combien Lulu est Schoenberg n’est pas en accord avec ce qu’il parachèvement de l’Acte III et émet des doutes Universal Edition”. malfaisante en dépit de son apparente perçoit comme une caricature du banquier quant à la possibilité de le faire. 1974–1976 – George Perle publie un article innocence. Le dompteur disparaît. juif. Webern refuse le travail redoutant qu’il ait 1962–10 juin: Friedrich Cerha se rend chez révélant la découverte de la partition annotée une incidence sur son propre style. Hélène dit Kalmus, éditeurs de l’œuvre, pour examiner la et en couleur de la Lyric Suite en possession de Premier Acte que Zemlinsky fut approché, mais ceci fut nié particelle; il y est encouragé à travailler la famille d’Hanna qui met en lumière Scène 1 avec véhémence par sa famille. secrètement à son parachèvement. On lui l’ensemble des idées codées. Un atelier d’artiste spacieux, mais minable

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2 Lulu est mariée à un professeur de ancien amant, son père?) et c’est le seul qui Schön reste indifférent, trop occupé à essayer 24 Tous quittent Lulu, à l’exception du médecine, le Docteur Göll, qui la connaît sous s’adresse à elle en l’appelant Lulu. La sonnette de démolir la porte du dressing où il pénètre le Docteur Schön qui lui demande pourquoi le le nom de Nelly. Elle pose en costume de retentit à nouveau et Schigolch s’en va tandis premier, quelque peu réticent, suivi de Lulu. prince est venu dans sa loge. Elle lui dit que le Pierrot pour son portrait. Le Docteur Ludwig qu’entre le Docteur Schön. 14 Il veut mettre Ils découvrent le peintre, la gorge tranchée. prince a l’intention de l’emmener en Afrique; Schön, un magnat de la presse, observe la fin à sa liaison avec Lulu. Lulu est horrifiée et décide de s’en aller, en elle remarque son désarroi à l’annonce de cette scène. Son fils Alwa, qui est compositeur, Une dispute s’élève entre le Docteur Schön essayant d’entraîner Alwa. Elle part se changer. nouvelle. Lulu dit au Docteur Schön de partir, entre, puis quitte la pièce avec son père. et Lulu que vient interrompre le retour du Lulu réapparaît et sort tandis que le mais il ne peut s’y résoudre. 25 Elle le force à 3 – 5 Lulu flirte avec le peintre qui lui peintre. Lulu lui dit que le Docteur Schön ne Docteur Schön téléphone à la police et écrire une lettre de rupture à sa fiancée. déclare son amour 6 lorsque soudain son veut plus rien avoir à faire avec elle et révèle explique le suicide par la manie de la époux apparaît. Furieux de les trouver ainsi leur liaison à son époux. Celui-ci la persécution dont souffrait le peintre. Quand la COMPACT DISC TWO ensemble, il est terrassé par une crise cardiaque conduit à l’atelier, puis revient. 15 Le peintre police arrive, Lulu essuie le sang qui recouvre et meurt. 7 – 10 Le peintre va chercher un est choqué aussi d’apprendre que le Docteur les mains du Docteur Schön. Elle exulte de Acte Deux médecin et quand il revient, Lulu déclare Schön connaît Lulu depuis qu’elle a douze ans joie à l’idée qu’il va maintenant l’épouser. Scène 1 qu’elle est heureuse que la fortune de son mari et l’appelle Mignon. Le Docteur Schön lui dit Un grand salon dans la maison du Docteur soit à elle à présent. Le peintre est choqué par que le mendiant – Schigolch – est le père de Scène 3 Schön son absence de sens moral. Lulu, et le peintre réalise que ce que lui a Une loge au théâtre 1 Lulu a épousé le Docteur Schön. Elle reçoit raconté Lulu n’est qu’un tissu de mensonges. Il 18 – 20 Alwa est dans la loge de Lulu et boit la visite de la Comtesse Geschwitz, son Scène 2 va dans son dressing et ferme la porte à clé. le champagne avec elle. Elle dit qu’un prince admiratrice, qui s’extasie devant le portrait de Un élégant salon dans la maison du peintre Le Docteur Schön réalise que Walter n’est veut l’épouser et l’emmener en Afrique, en Lulu, puis quitte, escortée par Lulu. Resté seul, 11 – 12 Lulu et Walter, le peintre, qui la pas allé dans son atelier et lorsque Lulu plein exotisme. 21 Le prince arrive dans la le Docteur Schön soupçonne Lulu d’avoir connaît sous le nom d’Eva, se sont mariés. Le apparaît, il lui demande d’aller chercher une loge de Lulu qui vient d’entrer en scène. 22 dissimulé son ou ses amant(s) dans la maison portrait qu’il a fait de Lulu en danseuse a été hache pour défoncer la porte. 16 – 17 Un Lulu y est reconduite par une habilleuse et le et, armé d’un fusil, il inspecte les moindres vendu pour une somme élevée. Une lettre coup de sonnette vient perturber leur plan et directeur du théâtre: elle s’est apparemment recoins de la pièce. 2 Lulu réapparaît et se annonce les fiançailles du Docteur Schön. La le Docteur Schön va voir sur la pointe des évanouie en voyant le Docteur Schön avec sa rend avec son époux dans la chambre à sonnette retentit et Walter laisse Lulu donner pieds si c’est le marchand de tableaux tandis fiancée parmi le public. 23 Le Docteur Schön coucher. La Comtesse Geschwitz revient aussi un peu de monnaie au mendiant qui entre que Lulu reste à écouter à la porte du dressing. arrive et enjoint Lulu de retourner en scène. et se cache. tandis qu’il s’en va travailler dans son atelier. Le Docteur Schön revient avec son fils Alwa. Alwa demande au directeur du théâtre de 3 Schigolch apparaît, suivi de l’acrobate et 13 Il est manifeste que Lulu et le mendiant, Ce dernier est très excité et annonce que la changer l’ordre des numéros pour permettre à du lycéen. Schigolch dit que le lycéen l’a payé Schigolch, se connaissent très bien (est-il un révolution a éclaté dans Paris. Mais le Docteur Lulu de se reposer. pour qu’on le laisse seul avec Lulu: il en est

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follement amoureux et a écrit une ode à Lulu. vont, l’acrobate essaye de s’enfuir. Lulu l’aide pendue pour meurtre, mais Alwa est inflexible place de Lulu. L’acrobate a l’intention 4 Schigolch et le lycéen déclarent qu’ils ont pour éviter qu’il tombe sur le Docteur Schön. et appelle la police. d’épouser Lulu et il espère que Schigolch été plaqués. Lulu réapparaît, élégamment 9 – 10 L’acrobate retourne se cacher et quand escortera Lulu lors de leur fuite à Paris. vêtue, et annonce qu’elle attend un visiteur. le Docteur Schön revient et le cherche, elle dit à 13 Film Schigolch arrive pour emmener la Comtesse à 5 Elle affirme à Schigolch que le Docteur son époux, furieux, qu’il s’est échappé en Un film muet représente certains épisodes de l’hôpital où Lulu est alitée. La Comtesse est Schön est à la Bourse et qu’il n’y a pas de quoi sautant par la fenêtre, puisqu’il est acrobate! Le la vie de Lulu au cours des années qui suivent. anxieuse à l’idée de partir et presse Schigolch s’inquiéter. Docteur Schön met l’arme de force dans la Il est divisés en sections suivant le schéma de quitter. Alwa et l’acrobate se disputent à 6 Un valet de chambre annonce l’arrivée main de Lulu pour lui faire comprendre qu’elle suivant: propos d’argent. du Docteur Schön et les hommes se cachent. doit tirer. Elle tire une balle au plafond. En Arrestation Ils sont interrompus par l’arrivée inattendue Ce n’est pas le Docteur Schön qui entre, mais entendant les coups de revolver, l’acrobate se Détention préventive du lycéen qui s’est enfui du centre de détention son fils Alwa. Lorsque ce dernier aperçoit précipite hors de sa cachette et, le voyant, le Jugement dans lequel il était incarcéré. Il a imaginé un Schigolch, Lulu prétend qu’il est un ancien Docteur Schön se met à fouiller la pièce pour Prison plan pour sauver Lulu. L’acrobate lui dit que ami du père d’Alwa. Alwa et Lulu se mettent à voir si d’autres hommes y sont dissimulés. Conseil médical Lulu est morte et le lycéen quitte désespéré. flirter, mais le Docteur Schön revient à leur Le Docteur Schön trouve la Comtesse Cellule d’isolement 16 Schigolch entre avec Lulu qui a l’air insu et est consterné de découvrir son épouse Geschwitz et l’enferme dans la chambre Parcours vers la libération finale: fatiguée et malade. L’acrobate est furieux et son fils ensemble. Les amants sont voisine. 11 Voyant la colère gagner le Docteur (Arrêtée, jugée, condamnée, emprisonnée, contre elle car elle ne fera pas l’affaire, avec interrompus brièvement par la réapparition du Schön, le lycéen quitte sa cachette, pris de Lulu est hospitalisée après un an, victime, cette mine de déterrée, comme star du show valet de chambre. 7 Le Docteur Schön les peur. L’attention du Docteur Schön est pense-t-on du choléra. Grâce à un stratagème acrobatique. Il s’en va en disant qu’il va plutôt entend maintenant (Alwa appelle Lulu distraite par la vue d’un autre homme imaginé par la Comtesse Geschwitz, Lulu et la dénoncer à la police et se faire de l’argent en Mignon comme son père) se déclarer leurs dissimulé; c’est à ce moment que Lulu abat le elle échangent leurs places et Lulu s’enfuit.) recevant une récompense pour son arrestation. sentiments, et Lulu révéler que c’est elle qui a Docteur Schön de cinq coups de revolver. Schigolch quitte, et Lulu et Alwa restent seuls. empoisonné la mère d’Alwa. Tandis qu’il se meurt, il appelle Alwa. Lorsque Scène 2 Lulu cherche son portrait et raconte à Alwa 8 Le Docteur Schön se cache. Il aperçoit celui-ci apparaît, le Docteur Schön lui dit de Le salon de l’appartement du Docteur Schön, comment la Comtesse Geschwitz a usé du l’acrobate, dissimulé lui aussi, et brandit vers lui ne pas laisser Lulu s’échapper et le prévient poussiéreux et à l’abandon prétexte d’une épidémie de choléra pour son revolver. L’acrobate regagne précipitamment qu’il sera sa prochaine victime. Alwa demande 14 – 15 Dans l’appartement du Docteur organiser son évasion. La Comtesse a pris la sa cachette. Lulu voit l’acrobate, puis elle l’aide du lycéen pour porter le Docteur Schön Schön, Alwa et l’acrobate (qui a été embauché place de Lulu et est maintenant en prison aperçoit le Docteur Schön qui se dirige vers elle dans sa chambre. Il trouve la porte fermée, et comme valet) attendent avec la Comtesse tandis que Lulu est libre. 17 Lulu supplie et vers Alwa et maltraite Alwa pour le faire lorsqu’elle s’ouvre, la Comtesse surgit. 12 Lulu Geschwitz que Schigolch vienne la chercher Alwa de fuir à l’étranger avec elle. 18 Alwa lui sortir de la chambre. Tandis que père et fils s’en plaide auprès d’Alwa pour ne pas être jugée et pour la conduire à l’hôpital où elle prendra la déclare ses sentiments et ils font l’amour sur le

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divan sur lequel le Docteur Schön a rendu son donner de l’argent pour acheter un 13 Lulu, Alwa et Schigolch vivent sous les prendre sa défense. Le client l’assomme et s’en dernier soupir. appartement pour son amant. Lulu s’arrange à toits dans un dénuement total. Pour se faire va. Lulu est épouvantée et se précipite dehors envoyer l’acrobate chez Schigolch avec la un peu d’argent, Lulu se livre à la prostitution. en disant qu’être sans abri est mieux encore. COMPACT DISC THREE Comtesse pour que Schigolch puisse le tuer. Alwa menace de tuer tout homme qu’elle Schigolch traîne le corps d’Alwa un peu plus Schigolch y consent. Elle persuade alors amènera dans la mansarde. Schigolch et Alwa loin, 16 et quand la Comtesse Geschwitz Acte Trois l’acrobate que la Comtesse Geschwitz est se cachent en entendant Lulu arriver avec un revient, il lui dit qu’Alwa dort. Schigolch part Scène 1 secrètement amoureuse de lui. S’il consent à client. Elle fait entrer un Professeur qui la au pub. La Comtesse pense à se suicider avant Paris, un salon spacieux passer une nuit avec la Comtesse, il aura les traite avec respect, mais ne dit rien. Le le retour de Lulu. 1 Lulu vit à Paris sous une fausse identité. 20.000 marks que Lulu demandera à la professeur la paie avant de quitter, et Lulu est 17 Lulu entre avec un nouveau client, Jack C’est son anniversaire, et à cette occasion a Comtesse Geschwitz de lui prêter. 10 Lulu triomphante après ce premier succès. 14 Les the Ripper. Au moment où Jack aperçoit la lieu une fête. Les hôtes sont tous agglutinés persuade la Comtesse de la sauver en acceptant hommes entendent du bruit dans l’escalier et Comtesse Geschwitz, Lulu la congédie en la autour d’un banquier qui a fait fortune en d’aller chez Schigolch avec l’acrobate. La pensent qu’il s’agit d’un autre client de Lulu, faisant passer pour sa sœur démente. Ils spéculant en Bourse. Ils veulent que le Comtesse Geschwitz et l’acrobate s’en vont. mais c’est la Comtesse Geschwitz. Depuis chicanent sur un prix et Jack finit par ne rien banquier leur vende des actions Jungfrau qui 11 Le banquier tente de convaincre les hôtes l’effondrement des actions Jungfrau, elle est payer. Ils vont dans la chambre de Lulu. 18 La ont augmenté de manière spectaculaire. que leurs actions sont à présent sans valeur et fauchée aussi. Elle a essayé de rassembler un Comtesse Geschwitz entend les cris de Lulu au 2 – 4 La dernière conquête de Lulu, qui se qu’ils sont tous fauchés. Il est philosophe peu d’argent, mais elle n’y a pas réussi ; elle a moment où elle se fait attaquer par Jack the dit Marquis, se prépare soit à la vendre à un quant à l’effondrement du marché et compte avec elle le portrait de Lulu qu’elle avait volé Ripper. Il se précipite hors de la chambre et bordel au Caire soit à la dénoncer à la police. entreprendre de se reconstituer une fortune après la fuite de Lulu hors de Paris. Lulu poignarde la Comtesse avec le couteau couvert Lulu tente de le flagorner, mais il ne veut rien dès le lendemain. Les hôtes se déchargent sur décide de tenter à nouveau sa chance dans la de sang. Jack s’en va laissant la Comtesse se entendre: il a un urgent besoin d’argent et voit lui de leur colère. Lulu échange ses vêtements rue. Alwa la supplie de ne pas le faire et la traîner vers le corps de sa chère Lulu, avant de en Lulu un moyen de s’en faire. 5 – 6 Les avec le groom 12 et s’enfuit avec Alwa tandis Comtesse Geschwitz fait part de son intention rendre son dernier soupir. hôtes pensent tous qu’ils ont gagné des que le Marquis arrive avec la police pour de la suivre. Lulu s’en va, suivie par la fortunes en jouant en Bourse. La Comtesse l’arrêter. Une méprise de la police conduit à Comtesse. Traduction: Marie-Françoise de Meeûs Geschwitz reproche à Lulu sa froideur après ce l’arrestation du groom et le Marquis en est très Schigolch raisonne en philosophe: ils ont qu’elle a fait pour elle en prenant sa place en contrarié. besoin de cet argent. Alwa et lui entendent Lisa Saffer (Lulu) a fait ses études au prison pour faciliter son évasion. Lulu revenir; Schigolch se cache, mais Alwa Conservatoire supérieur d’Oberlin et au New 7 Le banquier annonce que les actions Scène 2 s’enroule tout simplement dans une England Conservatory. Elle a reçu le Diva Jungfrau ont fortement baissé et ne valent plus Londres, une mansarde sans fenêtre dans le East couverture. 15 Lulu discute avec son nouveau Award du New York City Opera et sa rien. 8 – 9 Schigolch presse Lulu de lui End client au sujet de la somme due et Alwa vient Kolozsvar Award en reconnaissance de ses

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exécutions dans le domaine du répertoire le répertoire lyrique ancien en chantant les En 1996, elle a fait ses début au Royal études au Royal Northern College of Music nouveau et peu joué. Célèbre pour ses rôles de Minerva (Le Retour d’Ulysse dans sa Opera dans Alzira de Verdi et s’est produite au grâce au soutien de la Peter Moores interprétations du répertoire du XXe siècle, patrie de Monteverdi), les rôles titres du Welsh National Opera dans les rôles de Thisbe Foundation. elle a été sélectionnée pour un Olivier Award Couronnement de Poppée et de Partenope, (La Cenerentola) et Hänsel (Hänsel und Elle s’est produite dans le rôle titre d’Orphée pour son interprétation de Lulu avec l’English Poppée (Agrippina de Haendel), Teofane Gretel ). Parmi ses prestations lyriques à et à l’Opéra national du Rhin; National Opera et a reçu le Royal (Ottone), Polissena (Radamisto), Belinda l’étranger, on peut citer Iphigénie au Japon et Roswita (Héloise et Abélard) à l’Opéra national Philharmonic Society Award pour la meilleure (Didon et Énée de Purcell), Atalanta (Xerxès Miss Jessel (Le Tour d’écrou), Herodias du Rhin à Strasbourg et au Châtelet à Paris; exécution vocale. de Haendel) et Almirena (Rinaldo). (Salomé) et Judith (Le Château de Barbe-Bleue) Ursule (Béatrice et Bénédict), Suzuki (Madama Parmi les nombreux rôles de Lisa Saffer La discographie de Lisa Saffer comprend à l’Opéra de Cincinnati. Butterfly) et Maddalena (Rigoletto) au Welsh dans des opéras contemporains figurent ceux l’enregistrement d’Ariodante de Haendel, qui a Très demandée en concert, elle travaille National Opera; Amastris (Xerxes), Anna (Les de Marie dans Die Soldaten de Zimmermann remporté un Gramophone Award, ainsi régulièrement avec l’Orchestre philharmonique Troyens à Carthage) et Maddalena à l’English au New York City Opera, à l’Opéra national qu’Agrippina, Ottone, Radimisto, Didon et Énée de la BBC et s’est également produite avec National Opera; Cesare (Jules César) à l’Opera de Paris Bastille et à l’English National de Purcell et un récital d’airs en soliste Arias l’Orchestre symphonique de la BBC dans Scenes Ireland et Owl dans The Cricket Recovers aux Opera; A King Riding de Klaas de Vries au for Cuzzoni. Elle a également enregistré Hums and Arias de Nicholas Maw, Le Visage nuptial festivals d’Almeida et d’Aldeburgh. Festival de Hollande; Hilda Mack dans Élégie and Songs for Winnie-the-Pooh, Higglety de Pierre Boulez sous la direction du Au concert, elle a chanté Das klagende Lied pour de jeunes amants de Henze au Pigglety Pop et Where the Wild Things Are de compositeur aux Proms de la BBC et Le de Mahler, la Neuvième Symphonie de Concertgebouw d’Amsterdam et à Knussen, le Requiem d’Imbrie et Three Chinese Château de Barbe-Bleue (exécutions de concert) Beethoven, Serenade to Music, Hécube (Les Tanglewood; Polly/Witch (Punch and Judy de Love Songs de Sheng. également dirigé par Pierre Boulez. Entre autres Troyens) aux Proms, Spring Symphony de Birtwistle) et Neither de Morton Feldman à apparitions aux Proms de la BBC on peut Britten, le Requiem de Verdi, Aci, Galatea et l’Opéra néerlandais. Elle a également chanté Susan Parry (la Comtesse Geschwitz) a été relever Imelda (Oberto). Artiste populaire en Polifemo de Haendel avec Paul McCreesh, Les Zerbinetta (Ariane à Naxos) au Scottish jusqu’à une date récente l’une des premières Espagne, Susan Parry a chanté avec l’Orchestre Nuits d’été, et les Folksongs de Berio. Parmi ses Opera; Tytania (Le Songe d’une nuit d’été) à chanteuses de la troupe de l’English National symphonique de la RTVE à Madrid et avec les enregistrements figurent Sequence for the l’Opéra florentin; Anne Trulove (The Rake’s Opera. Parmi les rôles qu’elle y a tenus orchestres de Barcelone, de Bilbao et de Galice. Ascension de Francis Grier; The Long and the Progress) à l’Opéra d’Indianapolis; le Feu et le figurent Nicklausse (Les Contes d’Hoffmann), Susan Parry a enregistré notamment le rôle Short of It pour la série d’animation sur Rossignol (L’Enfant et les sortilèges) et Brangäne (Tristan et Isolde), Octavian (Le de Féodor (Boris Godounov) dans le cadre de la Channel 4 TV et des émissions sur Cunégonde (Candide) au New York City Chevalier à la rose), Hélène (Guerre et paix), la série “Opera in English” de Chandos. BBC Radio 3. Opera; Despina (Così fan tutte) et Servilia Comtesse Geschwitz (Lulu), Susie (The Silver (La Clémence de Titus) au Festival de musique Tassie), Fricka (La Tétralogie) et Didon (Les Anna Burford (une costumière, un lycéen, un Graeme Danby (le Médecin, le Directeur de ancienne du Connecticut. Elle a aussi exploré Troyens). serveur) est née en Cornouailles et a fait ses théâtre, le Banquier) est généralement reconnu

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comme l’une des meilleures basses profondes Royal Festival Hall (Huitième Symphonie de Le Grand Prêtre (Idoménée) à Covent Garden; du Minnesota dans un large répertoire de Grande-Bretagne ; il chante régulièrement à Mahler) et au Bridgewater Hall de Manchester Chouiski (Boris Godounov) à Strasbourg, comprenant Wotan et le Voyageur dans la l’Opéra royal de Covent Garden. Au (Iolanthe); il chante notamment avec Bordeaux et Montpellier; Quint (Le Tour Tétralogie, Amfortas (Parsifal ), Jokanaan printemps 2005, il a interprété le rôle majeur l’Orchestre symphonique de Londres, d’écrou) et Truffaldino (L’Amour des trois (Salomé), Figaro et le Comte Almaviva de Charrington dans la nouvelle œuvre de l’Orchestre philharmonique de Londres, le oranges) à l’English National Opera; Zinoviev (Les Noces de Figaro), les rôles titres d’Eugène commandée par le Covent Royal Philharmonic Orchestra, le (Lady Macbeth) à Toulouse et Marseille; les Onéguine et de Don Giovanni, Iago (Otello), Garden, 1984, rôle écrit à son intention. Philharmonia, et le Royal Scottish National trois rôles de ténor dans Lulu au Châtelet; Bob Ford (Falstaff ), Scarpia (Tosca), Marcello Parmi les rôles qu’il a interprétés à l’English Orchestra. Boles à l’Opéra d’État de Munich, à Covent (La Bohème), Escamillo (Carmen), Nick National Opera figurent Lorenzo (I Capuletti Garden, à Gênes et à Strasbourg; Captain Vere Shadow (The Rake’s Progress) et Golaud ed I Montecchi ) sous la direction de Sir Stuart Kale (Peintre, Second Client) est (Billy Budd ) à Cologne; Alfred, Gregor (Pelléas et Mélisande). Richard Bonynge, Don Basilio (Le Barbier de reconnu sur le plan international comme l’un (L’Affaire Makropoulos) et Hérode à Strasbourg. En concert, il a chanté Le Festin de Séville de Rossini), Dulcamara (L’Élixir des plus grands acteurs chanteurs du monde Dans la série “Opera in English” de Balthazar avec l’Orchestre symphonique de d’amour), Somnus (Semele), Quince (Le Songe lyrique. Musicien parfait, ses rôles couvrent un Chandos il a enregistré le Capitaine (Wozzeck), Bournemouth, Le Messie avec le Royal d’une nuit d’été de Britten), Collatin (Le Viol énorme répertoire de Monteverdi à Messiaen. le Docteur Caius (Falstaff ), Roderigo (Otello) Liverpool Philharmonic, le Northern Sinfonia, de Lucrèce), Poo-Bah (Le Mikado), Sarastro (La Il a commencé sa carrière au Welsh et Chouiski (extraits de Boris Godounov). le Hallé Orchestra et l’Orchestre Flûte enchantée), Sacristain (Tosca), Pistol National Opera avant d’entrer à l’English philharmonique de Londres, The Mask of (Falstaff ) et Ribbing (Un bal masqué). Il a National Opera, où il est resté pendant huit Robert Hayward (Dr Schön, Jack l’Éventreur) Time de Tippett, Elias de Mendelssohn, la également chanté Bartolo (Les Noces de Figaro) ans et a tenu des rôles comme Don Ottavio a étudié à la Guildhall School of Music and Neuvième Symphonie de Beethoven et à l’Opera North et au Festival de Garsington; (Don Giovanni), Michael (Julietta de Martinu˚), Drama et au National Opera Studio. Il a fait La Création de Haydn avec le Hallé Orchestra, Masetto (Don Giovanni ) au Scottish Opera; Alfred (La Chauve-Souris) et Nanki-Poo dans ses débuts professionnels à l’opéra en La Création de Haydn à Lisbonne et avec le Antonio (Les Noces de Figaro) à Glyndebourne; la production de Jonathan Miller du Mikado. interprétant le rôle titre de Don Giovanni dans Philharmonia, Le Rêve de Gerontius avec le Brag (Fairy Queen de Purcell) au Gran Teatro Il a également incarné Hauptmann le cadre de la tournée du Festival de Royal Scottish National Orchestra, l’Orchestre del Liceu à Barcelona; et Xuthus dans Ion de (Wozzeck) à l’Opéra du Rhin à Strasbourg, Glyndebourne. Il a chanté au Royal Opera philharmonique de la BBC et, à Copenhague, Param Vir à l’Opéra national du Rhin à avec la Canadian Opera Company et à Nancy, House, à l’English National Opera, au Welsh le Requiem de Mozart avec l’Orchestre Strasbourg. San Francisco, Genève, Zürich, Montpellier, National Opera, à l’Opera North, au Scottish philharmonique de la BBC sous la direction Graeme Danby se produit régulièrement en Bordeaux et Bologne; Podesta (La finta Opera, au Festival de Glyndebourne et au de Sir Georg Solti, ainsi que Das klagende concert dans tout le Royaume-Uni, giardiniera) à Drottningholm; Guillot cours des tournées de ce festival, à l’Opéra Lied avec l’Orchestre symphonique de notamment au Royal Albert Hall (Symphonie (Manon) à Covent Garden; Lucano (Le d’État de Munich, au Grand Opera de Bournemouth. Il a enregistré notamment no 9 de Beethoven, Requiem de Verdi), au Couronnement de Poppée) au Châtelet à Paris; Houston, au New Israeli Opera et à l’Opéra The Pilgrim’s Progress chez Chandos.

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John Graham-Hall (Alwa) a fait ses études au Lenski (Eugène Onéguine) à Lyon et Toronto; Barenboïm, Bernard Haitink, Zubin Mehta, (Peter Grimes) et Leandro (L’Amour des trois King’s College de Cambridge et au Royal Ferrando à Vancouver, Basilio et Spoletta Sir Colin Davis et Seiji Ozawa. oranges) à l’English National Opera; Figaro College of Music. Jusqu’à une date récente, il (Tosca) à l’Opéra néerlandais. Parmi ses engagements récents on peut citer (Les Noces de Figaro), Prus (L’Affaire a fait partie de l’English National Opera où Dans la série “Opera in English” de Pelléas, Don Giovanni, Otello, et Figaro à Makropoulos), Golaud (Pelléas et Mélisande), il a chanté notamment Hérode (Salomé), Chandos, John Graham-Hall a enregistré Glyndebourne, Lulu et Guerre et Paix à Marcello (La Bohème) et Germont (La traviata) Lysander (Le Songe d’une nuit d’été), Sylvester Monostatos (La Flûte enchantée), Isacco l’English National Opera, La Passion grecque et lors de la tournée du Festival de Glyndebourne (The Silver Tassie), Goro (Madama Butterfly), (The Thieving Magpie), l’Idiot (Wozzeck) et Lady Macbeth de Mzensk au Royal Opera ; Ned Keene et Starek (Jenuºfa) lors de la Triquet (Eugène Onéguine), Monostatos Basilio (Les Noces de Figaro). House de Covent Garden. tournée du Festival de Glyndebourne; ainsi que (La Flûte enchantée) et Mime (L’Or du Rhin). Parmi ses nombreux enregistrements le Père (Hänsel und Gretel ) au Welsh National Parmi les autres rôles qu’il a tenu au Royaume- La basse galloise Gwynne Howell (Schigolch) figurent la Huitième Symphonie de Mahler Opera et à l’Opera Northern Ireland. Il a Uni figurent Albert Herring au Royal Opera a fait ses études au Royal Northern College of avec Seiji Ozawa, Le Messie avec Sir Georg également chanté Figaro au Scottish Opera, House de Covent Garden; Albert Herring, Music. Il est entré dans la troupe du Royal Solti, Tristan avec Sir Reginald Goodall, et la Leandro à l’Opera North, Falstaff à Garsington Vanya Kudrjas (Katya Kabanova), Flute Opera en 1972 et y a interprété la plupart des Neuvième Symphonie de Beethoven avec Kurt et Bartolo (Le Barbier de Séville) à Grange Park, (Le Songe d’une nuit d’été) et Bob Boles grands rôles de basse, notamment dans des Masur. Pour Chandos, il a enregistré le Festin et a fait ses débuts au Royal Opera dans le rôle (Peter Grimes) au Festival de Glyndebourne; productions d’Aida, Rigoletto, Otello, La de Balthazar, Le Rêve de Gerontius et, dans le de Douphol (La traviata). Il s’est produit à Cassio (Otello) au Welsh National Opera; Bohème, Tosca, Don Giovanni, Eugène cadre de la série “Opera in English”, Le Amsterdam, Nantes, Brême, Copenhague et Eisenstein, L’Instituteur (La Petite Renarde Onéguine, Parsifal, Le Vaisseau fantôme et Blaireau/Le Prêtre (La Petite Renarde rusée). Cologne ainsi qu’à l’Opéra néerlandais, à rusée) au Scottish Opera; et Aschenbach Palestrina. Pendant longtemps, il a été aussi Gwynne Howell a été fait Commandeur de l’Opera Zuid et à l’Opéra des Flandres. (Mort à Venise), Lysander et Ferrando (Così fan associé aux activités de l’English National l’Ordre de l’Empire britannique en 1998. tutte) au cours de la tournée du Festival de Opera, où il a remporté de nombreux succès Alan Oke (le Prince africain, le Majordome, le Glyndebourne. dans Hans Sachs, Gurnemanz, le Roi Philippe Né à Brighton, Robert Poulton (le Dompteur Marquis) a fait ses études à la Royal Scottish Au nombre de ses engagements lyriques à et Barbe-Bleue notamment. Sur le plan d’animaux, l’Acrobate) a étudié à la Guildhall Academy of Music and Drama. Il a commencé l’étranger, on peut citer le rôle titre du nouvel international, il s’est produit à New York, School of Music and Drama et au National sa carrière comme premier baryton au Scottish opéra de Pascal Dusapin Perela, l’homme de Chicago, San Francisco, Santa Fe, Paris, Opera Studio. Il a fait ses débuts Opera. Il a ensuite chanté dans les plus fumée à la Bastille à Paris et à Montpellier; Genève, Hambourg, Munich et Cologne; en professionnels en interprétant le rôle du importantes troupes lyriques britanniques Cassio et Basilio à de Bruxelles; concert, il a chanté dans le monde entier sous Passeur dans Curlew River de Britten pour la notamment le Royal Opera, Opera North, le Chapkine (De la Maison des morts) à l’Opéra la direction de chefs d’orchestre tels Claudio télévision BBC. Festival de Glyndebourne, le Scottish Opera, de Nice; Lysander à Paris, Lyon, Caen, Abbado, Carlo Maria Giulini, Riccardo Muti, Parmi ses nombreux rôles figurent le comte D’Oyly Carte, l’English National Opera et Montpellier, Rome et au Festival de Ravenne; Leonard Bernstein, Pierre Boulez, Daniel Almaviva (Les Noces de Figaro), Ned Keene l’Opéra du Kent, à la fois comme baryton et

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depuis 1992 comme ténor. Ses rôles également travaillé le chant choral; elle fait Harlequin (Ariane à Naxos), Junius (Le Viol de Theatre et au Pavilion Opera, interprétant comprennent Belcore (L’Élixir d’amour), le maintenant ses études avec Marion Lucrèce), Elviro (Xerxès), Juan (Don Quichotte) notamment les rôles de Belinda, Ilia Comte (Les Noces de Figaro), Macheath Studholme. Tout en chantant dans le chœur et le Dancaïre (Carmen). Il s’est également (Idoménée), Sandrina (La finta giardiniera), la (L’Opéra de quat’ sous), Guglielmo (Così fan de l’English National Opera, elle a tenu produit avec D’Oyly Carte, le Welsh National Comtesse de Mozart, Adina, Norina, Miss tutte), Rodolfo (La Bohème), Pinkerton plusieurs rôles à l’ENO, notamment la Opera, l’Opéra de Chelsea, à Garsington, et Wordsworth (Albert Herring), Fiordiligi, Lucia, (Madama Butterfly), Alfredo (La traviata), Demoiselle d’honneur (Le Freischütz), au Scottish Opera (Swallow dans Peter Musette et les héroïnes dans Les Contes Boris (Katya Kabanova), Stevaˇ (Jenuºfa), Douniacha (La Fiancée du Tsar), Crobyle Grimes). Il est revenu dans la troupe de d’Hoffmann. Outre des engagements réguliers Aschenbach (Mort à Venise), Florestan (Fidelio) (Thaïs), Servilia (La Clémence de Titus) et l’ENO en 1997. en oratorio, elle est membre de l’Artsong et Rodolfo (Luisa Miller). l’Ange (Jephthé). Elle a entrepris des projets Collective, spécialisé dans les œuvres du pédagogiques dans des écoles primaires et Jane Powell (La Mère) a fait ses études à XXe siècle. Elle fait partie du chœur de Roger Begley, (le Préfet de police) a fait ses secondaires londoniennes pour l’ENO Baylis, la . Parmi ses l’English National Opera. études au Royal College of Music. Il entre et l’année dernière elle a interprété le rôle de rôles lyriques, on peut citer Chérubin, dans le chœur de l’English National Opera en la soprano dans For the Public Good pour Idamante (Idoménée), Flora (La traviata)et Toby Stafford-Allen (le Journaliste) a reçu sa 1970 et chante de nombreux rôles, célébrer le centenaire du Coliseum de la Princesse Linette dans la production de la formation au Royal Northern College of notamment le Chien (La Petite Renarde rusée), Londres. Elle a aussi chanté les rôles de Télévision BBC de L’Amour des trois oranges. Music, où il a bénéficié d’une bourse Peter Varsonofiev (Khovanchtchina), le Capitaine Musette, Oscar, Ilia, Poppée, Belinda, Norina Au Royal Opera House, elle a interprété des Moores; à cette époque, il a fait ses débuts Petrovitch (Eugène Onéguine), Benoit (La et Adele. Son répertoire de concert comprend rôles dans Salomé, Le Freischütz, Werther et internationaux en chantant Guglielmo (Così Bohème) et un Cappadocien (Salomé). En Jauchzet Gott, Weichet nur et la Passion selon Simon Boccanegra. Depuis qu’elle est entrée fan tutte) au Festival d’Aix-en-Provence. En outre, il se produit régulièrement à l’Opera saint Jean de Bach, Exsultate Jubilate et le dans le chœur de l’English National Opera, elle quittant le RNCM, Toby Stafford-Allen a Brava, notamment dans le rôle titre de Don Requiem de Mozart, ainsi que Le Messie. a chanté la femme du maire (Jenuºfa), un écuyer bénéficié du Jerwood Young Singers Pasquale, Benoit/Alcindoro (La Bohème) et le (Lohengrin) et la Poule (La Petite Renarde Programme à l’English National Opera; depuis Dr Bartolo (Le Barbier de Séville). Il tient la La basse Paul Napier-Burrows (un serviteur) a rusée). Elle étudie le chant avec Lyn Cook. lors, il est devenu l’un des premiers chanteurs partie de basse dans une grande partie du fait ses études au Royal College of Music et à de la troupe. Parmi les rôles importants qu’il a répertoire de l’oratorio, très récemment dans le la Guildhall School of Music and Drama. Moira Harris (la Costumière) a fait ses études interprétés à l’English National Opera figurent Requiem de Mozart, La Création de Haydn et Membre de l’English National Opera entre à l’Université de Londres et à la Guildhall Gugliemo (Così fan tutte), Papageno (La Flûte la Messe en si mineur de Bach. 1981 et 1990, il en est parti pour mener une School of Music and Drama. Elle s’est enchantée) et Schaunard (La Bohème). Son carrière indépendante avant d’y revenir pour produite à l’Opéra de Lyon, au Palace Opera, répertoire de concert comprend les requiems Claire Mitcher (une jeune fille de quinze ans) chanter Mr Flint (Billy Budd ), Dr Falke (La au Garden Opera, à l’Opera Italiana, à l’Opéra de Mozart et de Fauré, La Création de Haydn a étudié l’anglais à Cambridge, où elle a Chauve-Souris), Fiorello (Le Barbier de Séville), de l’Université de Cambridge, au Jigsaw Music et la Messe en si mineur de Bach.

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Acclamé par la critique comme par le public, notamment des productions remarquables de Kammerphilharmonie, l’Orchestre une série de CD de musique anglaise avec l’Orchestre de l’English National Opera a la Tétralogie, Lulu, Les Troyens, Guerre et Paix philharmonique de Los Angeles, l’Orchestre de l’Orchestre d’Opera North et Elias avec reçu plusieurs prix prestigieux au cours de ces et la création mondiale de The Silver Tassie de Cleveland et l’Orchestre philharmonique de l’Orchestra of the Age of Enlightenment. dernières années, notamment le Royal Turnage. New York. En 2005, il a dirigé le BBC Pour Chandos, il a enregistré Baa Baa Black Philharmonic Society Music Award et un Il a été directeur musical d’Opera Factory Symphony Orchestra lors de la Dernière Sheep de Michael Berkeley et, dans le cadre de Olivier Award pour sa contribution entre 1987 et 1990 et d’Opera North entre Soirée des Proms à Londres, concert télévisé la série de Chandos “Opera in English”, remarquable dans le domaine de l’opéra. Cet 1990 et 1997, où il a été salué par la critique dans le monde entier. Falstaff, Wozzeck, et des extraits de Boris orchestre est au cœur de la vie artistique de pour son répertoire diversifié et d’un abord Parmi ses enregistrements figurent la Godounov. l’English National Opera et, outre des difficile comprenant plusieurs créations Symphonie no 3 d’Elgar/Payne avec Paul Daniel a été fait Commandeur de représentations lyriques au Coliseum de mondiales, ainsi que des productions fameuses l’Orchestre symphonique de Bournemouth, l’Ordre de l’Empire britannique en l’an 2000. Londres, il s’est produit en concert, au de Pelléas et Mélisande, Don Carlos et Boris Festival d’Aldeburgh (Peter Grimes et Le Viol Godounov. de Lucrèce) et à Glastonbury en 2004 (Acte Parmi ses autres engagements lyriques, on III de La Walkyrie de Wagner). Un grand peut citer le Royal Opera House de Covent nombre d’instrumentistes participent au Garden, la Monnaie de Bruxelles, l’Opéra travail de l’ENO Baylis, département de d’État bavarois de Munich, le Teatro Real de pédagogie et d’assistance de la troupe. Madrid et le Grand Théâtre de Genève. L’Orchestre de l’ENO apparaît dans Dans le domaine symphonique, il a dirigé le beaucoup d’enregistrements réalisés dans le Philharmonia, l’Orchestra of the Age of cadre de la série de Chandos “Opera in Enlightenment, l’Orchestre philharmonique English”: Falstaff, Otello, Ernani, Mary Stuart, de Londres, le Royal Philharmonic Orchestra, Jules César, Le Barbier de Séville, Rigoletto, La l’Orchestre symphonique de Bournemouth, le traviata, Werther et un cycle complet de la Royal Scottish National Orchestra, l’Orchestre Tétralogie sous la direction de Sir Reginald philharmonique de la Radio néerlandaise, Goodall. l’Orchestre de Paris, l’Orchestre National de France, l’Orchestre National de Lyon, Paul Daniel a été directeur musical de l’Orchestre de la Tonhalle de Zürich, l’English National Opera entre 1997 et 2005 ; l’Orchestre symphonique de Göteborg, il y a dirigé un large répertoire comprenant l’Orchestre de la Suisse romande, la Deutsche

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prostitute e i ristoranti offrivano un servizio di 1891–4: Wedekind fu segretario di un circo Berg: Lulu camere separate per intrattenere le numerose itinerante e di un falsario d’arte di nome Willy mantenute. Si potrebbe descrivere come una Gretor. Inoltre andò a Londra sei anni dopo la Alban Berg visse nella straordinaria atmosfera vicende legate all’Atto III incompiuto sono vera e propria “moralità della segretezza”. diffusione della fama di Jack lo squartatore. di Vienna all’inizio del Ventesimo secolo. un giallo. Così, per comprendere Lulu dobbiamo 1901: Wedekind divenne attore in un Dalle sue testimonianze delle proprie Prima di approfondire questa storia conoscere gli altri personaggi e la loro vita. gruppo di cabaret dal nome “Die elf esperienze viennesi nacquero due opere: straordinaria, esaminiamo il tema di Lulu. Attraverso di essi possiamo iniziare a Scharfrichter” (Gli undici boia). Cantava Wozzeck e Lulu. Entrambe si ispirano a testi Mentre Wozzeck tratta del demi-monde dei comprendere la complessità di Lulu, indicata accompagnandosi alla chitarra e le sue d’avanguardia di autori originali ed poveri visti attraverso gli occhi di Wozzeck, dalla varietà di nomi sotto cui ciascun interpretazioni erano contrassegnate da lunghi eccentrici. Wozzeck, concepita nel 1914 e Lulu è ambientato nel mondo della classe personaggio la conosce. La musica originale silenzi e dalla fissità dello sguardo. Una delle completata nel 1921, è ispirata a un dramma media. Ogni personaggio è un archetipo e noi dei personaggi è, nella sua complessità, sue canzoni fu utilizzata da Berg all’inizio della incompiuto di Georg Büchner, creato nel vediamo Lulu attraverso i suoi occhi. La completamente studiata, sebbene Berg non scena di Londra nell’Atto III ed eseguita dal 1836–37 alla fine della vita dell’autore, e protagonista non compare mai da sola e prevedesse che il pubblico ne fosse Marchese nella prima scena. ritrae la povertà e le tensioni suicide di una illustra la sua filosofia sulla vita, il suo credo, consapevole. I viennesi dell’epoca erano a 1900: Berg rimase orfano di padre a realtà di cui spesso i viennesi negavano solo nell’Atto II, nella scena con il Dr. Schön, conoscenza di molte teorie complesse, oggi a quindici anni e da allora soffrì di attacchi di l’esistenza. Nel 1905 Berg fu presente a una nel “Lied der Lulu”. Esistono altre opere del noi note attraverso le opere scientifiche di asma (cfr. l’asma di Schigolch nell’Atto I rappresentazione privata de Il vaso di Pandora repertorio che seguono lo stesso concetto. Per Freud, tra cui la scoperta che gli esseri umani traccia 13 1:17). Berg si rivolse addirittura a di Frank Wedekind al teatro Trianon di esempio, anche Don Giovanni viene visto sono straordinariamente complicati: spesso le Freud per curarsi. Vienna. Alla sua pubblicazione, il dramma fu attraverso le vite di altri, ma non è mai in motivazioni delle azioni di un individuo 1903: Berg tentò il suicidio dopo una oggetto di un caso in tribunale nel 1904 e fu scena da solo. Gli altri equivalenti operistici possono rimanere sconosciute al soggetto relazione con una contadina diciottenne che vietato in Germania. Oltre a quest’opera, femminili (Carmen, Mélisande, Elena stesso. La scoperta dell’inconscio fu esplosiva era rimasta incinta. Nel 1908 sua sorella Wedekind aveva scritto anche Lo spirito della Makropoulos per esempio) sfatano l’opinione per la società: la Chiesa aveva perso la propria Smaragda tentò di uccidersi dopo il fallimento terra, che contiene la parte precedente della viennese che le donne siano solo esseri sessuali influenza sulla società fin dall’illuminismo e del suo matrimonio e la scoperta delle proprie storia, nell’arco di diversi anni tra il 1892 e il quando si sposano – gli uomini sposati adesso incombeva il caos. Wedekind e Berg tendenze lesbiche (cfr. la contessa Geschwitz). 1902, che era andato in scena a Berlino nel possono avere relazioni, ma non le loro mogli, vissero in questo periodo difficile ed entrambi Un pittore amico di Berg, Richard Gerstl, ebbe 1902 per la regia del famoso Max Reinhardt. come testimoniano le storie di molte operette. inclusero le loro esperienze nella loro arte. una relazione con la moglie del maestro di Berg compose la sua opera poco prima di Stefan Zweig descrisse bene Vienna parlando Leggendo la trama di Lulu vengono alla Berg, Schönberg, e tentò di fuggire con lei. La morire, nel 1935. La si può considerare un della sua “atmosfera pesante, profumata, mente numerosi episodi della vita di questi donna ritornò dal marito e per questo Richard testamento della sua vita privata, perché le soffocante, malsana”. La città era piena di due artisti. Per esempio:– si tagliò la gola (cfr. il suicidio del pittore).

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1925–1935: Berg ebbe una relazione segreta ventitré, perché il suo primo attacco d’asma si la scala. Berg si spinse molto oltre – le sue rispetto al padre. La sua “serie” iniziale è quasi con una donna sposata, Hanna Fuchs- era verificato il 23 giuglio, e il compositore e “serie” possono essere anche trasposte e divise in la minore, e quindi collegabile alla “A” di Robettin, da cui si fermò spesso quando morte il 23 dicembre 1935: scrisse persino una in tre o quattro segmenti, utilizzabili anche Alban! Le prime sei note sono tasti bianchi del andava a Praga. Li aveva fatti conoscere Alma lettera di ventitré pagine a Hanna spiegando il come motivi o riuniti insieme in accordi. pianoforte e le altre sono tasti neri per metà, Mahler Werfel, cognata di Hanna. Nel 1958 programma segreto del Concerto per violino. Inoltre utilizzò cellule ritmiche come , tranne per il sol. Il motivo in la minore Alma scrisse la propria autobiografia in cui Nell’Atto III di Lulu scopriamo che la nota più che ricorre alla morte del Pittore, del Dr. emerge chiaramente nella parte vocale incluse pettegolezzi su numerose relazioni alta dell’ultimo accordo è H (il si naturale in Schön, della Geschwitz e di Lulu e compare dell’Atto II traccia 6 2:50. La “serie” di Alwa amorose ma non citò mai questa. Alma faceva tedesco) in e la F è quella grave e gli per la prima volta nel Prologo – traccia 1 nel forma la base per gli altri tre “amanti”. parte del mondo culturale viennese, fu accordi precedenti portano tutti a questo. basso. Ma la cosa più importante è che le Contessa Geschwitz – la sua “serie” corteggiata inizialmente da Zemlinsky, poi Naturalmente l’allusione è ad Hanna Fuchs. In “serie” sono collegate con l’interpretazione dei scaturisce direttamente da quella di Alwa e si sposò Mahler, in seguito l’architetto Walter una lettera che parla delle difficoltà nel creare il personaggi da parte dell’autore. distingue per l’utilizzo delle quinte aperte, Gropius e infine Franz Werfel, che spesso si personaggio della Geschwitz, Berg afferma “mi Il compositore decise di sottolineare la forse un’allusione alle sue tendenze lesbiche. occupò di consegnare la corrispondenza tra sembra di aver trovato le note giuste per le sue complessità dei personaggi facendoli ritornare Compare per la prima volta nell’Atto II Alban e Hanna. Le lettere di Berg sono due stanze di conclusione”. Le sue ultime una o due volte in maniera diversa. L’esempio traccia 1 0:22 . rimaste, tranne quelle del 1926 ma, cosa parole, che descrivono adeguatamente l’amore più ovvio si nota nella scena di Londra in cui i Atleta – il suo suono più caratteristico è interessante, non è stata scoperta nessuna delle del compositore per Hanna, sono “Ich bin dir tre clienti si recano nella soffitta di Lulu. creato da un grappolo di note sui tasti bianchi risposte di Hanna. nah! Bleibe dir nah, in Ewigkeit” (Ti sono Inizialmente Berg pensava di far rientrare i e sui tasti neri che compaiono nella parte Durante questo periodo fruttuoso Berg creò accanto! Sempre accanto a te, per l’eternità!) mariti di Lulu in ordine inverso (ottenendo un orchestrale del pianoforte, a illustrare le sue tre opere: la Lyrische Suite (1925–6), Lulu L’originale stile musicale di Berg deriva dalla palindromo completo nella “musica da film” abilità fisiche di ginnasta. Le note derivano (1929–35) e il Concerto per violino (1935). teoria del suo maestro. Schönberg desiderava tra le scene una e due dell’Atto II), ma alla sempre dalla “serie” di Alwa e compaiono nel Per comporre quest’ultima opera sospese il sostituire il sistema tradizionale, basato sulla fine il primo cliente è il primo marito di Lulu, Prologo, traccia 1 0:47. lavoro di Lulu (come Wagner interruppe la tonica e la relativa scala che contiene tensioni il professore di Medicina, il secondo è il Dr Schön – padre di Alwa. La sua “serie” è composizione del Siegfried per creare Tristan e tra le note della scala e la tonica e può anche pittore e il terzo (Jack lo Squartatore) è il collegata a quella del figlio solo se invertita. Die Meistersinger). Queste due opere utilizzano passare attraverso la modulazione ad altre Dr. Schön, terzo marito di Lulu. Vediamo i Compare nel Prologo, traccia 1 1:00. sistemi segreti di numeri e lettere che solo scale. Il nuovo sistema atonale utilizzava tutte personaggi uno per uno: Ispirandosi alla solidità della sua carriera, la Hanna avrebbe compreso. Berg si interessava di le dodici note cromatiche all’interno Alwa – il “compositore” con cui si identifica sua musica utilizza le forme classiche della numerologia da quando aveva letto le teorie di dell’ottava in un determinato ordine, una Berg e che vede Lulu come ispirazione per la sonata o del rondò. Wilhelm Fliess, biologo e mentore di Freud e “serie” che si poteva invertire e suonare a sua prossima opera, ma si rende conto di Le “serie” degli altri personaggi derivano da decise che il suo numero personale era il ritroso. Queste “serie” sostituiscono la tonica e essere immaturo dal punto di vista sessuale quella di Lulu, che emerge nel Tema del Circo

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del Prologo, traccia 1 0:30, contro il ritmo Principe nell’Atto I, all’inizio della traccia 21 . la caricature di un banchiere ebreo. Webern dell’Atto III e mette in dubbio la possibilità di della morte. Lulu ha altri due temi Berg concepì questi personaggi come esempi rifiuta il compito perché teme che possa completarlo. caratteristici: quello della Libertà che ricorre di diversi tipi di schiavitù: matrimonio, servitù influenzare il suo stile personale. Secondo 10 giugno 1962: Friedrich Cerha si reca da nel Prologo, traccia 1 2:14, e quello associato e bordello. Helene sarebbe stato contattato Zemlinsky, ma Kalmus, editore dell’opera, per esaminare la con la sua “danza attraverso la vita” nell’Atto I, la cosa fu recisamente negata dalla famiglia del partitura breve e viene incoraggiato a lavorare traccia 2 1:20. L’unico personaggio il cui *** compositore. in segreto per completarla. Gli vengono tema non ha collegamenti con quelli degli altri La storia del completamento dell’Atto III ci 2 giugno 1937: si svolge la prima dei primi consegnati la partitura breve, le tabelle di Berg è il misterioso Schigolch che conosce Lulu dà un’idea dei problemi rimasti dopo la morte due Atti a Zurigo, con recensioni negative di tutte le “serie”, le sezioni orchestrate, la meglio di tutti gli altri; la sua “serie” sale in di Alban Berg. Ecco la cronologia: della stampa nazista. partitura vocale di Stein e il libretto. figure cromatiche, trasformandosi in segmenti 1934–1935: Berg completa l’Atto III in 12 marzo 1938: L’Austria cade in mano ai 1963: Viene ristampata la Biografia di di quattro note. Compare nell’Atto I all’inizio partitura abbreviata e alcune parti vengono nazisti. Redlich senza il commento sulla possibilità che della traccia 13 . orchestrate ed eseguite in cinque brani il 15 febbraio e 29 aprile 1949: si svolgono l’Atto III potesse essere completato facilmente. Professore di Medicina/Banchiere/ 30 novembre 1934 da Erich Kleiber a Berlino rappresentazioni in concerto della versione in Alfred Kalmus concede a George Perle il 1o cliente – questi uomini di successo sono (Symphonische Stücke aus der Oper “Lulu”). due atti, alla presenza del giovane compositore permesso di visionare il materiale non rappresentati da terze crescenti e si possono Dicembre 1935: morte di Berg. Qualche Friedrich Cerha. L’opera viene allestita a pubblicato a Vienna. Perle scopre che è sentire nell’Atto I, traccia 6 0:28. settimana dopo l’editore comunica a Helene, settembre alla Fenice di Venezia. completo, fatta eccezione per venti battute Pittore/2o cliente — la “serie” spesso è sua moglie, che la partitura poteva essere 1953: un allestimento a Essen si conclude nella scena 2. È presente l’orchestrazione di tre presentata con quattro accordi di tre note, che completata senza difficoltà da uno dei suoi con il testo dell’Atto III recitato sulla Sinfonia quinti di entrambe le scene. È possibile derivano dalle note delle due metà del “tema” allievi. della Lulu, che contiene la musica completare la conclusione del quartetto vocale di Lulu. Compaiono nell’Atto I all’inizio della 1937: Erwin Stein prepara una partitura nell’orchestrazione di Berg. Viene ristampata la in quanto ripete la musica dell’Inno alla fine traccia 3 . vocale dell’Atto III per l’incisione, che viene partitura vocale dei due Atti, omettendo la dell’Atto II ed esistono riferimenti per reperire Costumista/Scolaro/Cameriere – la musica però respinta a causa della crescente difficoltà prefazione originale che citava la prossima il testo di Wedekind. Forse Berg l’aveva utilizza segmenti di quattro note che si della situazione politica in Germania all’epoca: pubblicazione dell’Atto III. composta su una pagina a parte per ordinarla compaiono nell’Atto II, traccia 3 0:23. I gli altri Atti vengono pubblicati con una 1957: Pubblicazione di un libro di Hans meglio. diversi personaggi non sono collegati prefazione in cui si annuncia la prossima Redlich su Berg, che include una frase sulla 1969: Helene scrive il proprio testamento, musicalmente allo stesso modo dei seguenti; pubblicazione del il terzo Atto. Stein si rivolge possibilità di completare l’Atto III. pubblicato nel 1976 – “è vietato a chiunque Principe africano /Servo/Marchese – sono a Schönberg a nome di Helene per chiedergli 1959: George Perle inizia a tentare di esaminare il manoscritto dell’Atto III di Lulu e musicalmente collegati e basati sul “tema” di di completarlo, ma Schönberg esaminare le parti non pubblicate dell’Atto III. di studiare la fotocopia in possesso della Lulu. La serie compare al primo ingresso del contrarietà a proposito di quella che considera 1960: Helene Berg vieta il completamento Universal Edition”.

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1974–76: George Perle pubblica un articolo quanto sia pericolosa questa creatura. Poi campanello ed entra un mendicante; Walter ascoltare alla porta della camera. Rientra il Dr in cui rivela la scoperta della partitura colorata scompare. chiede a Lulu di dargli del denaro, mentre lui Schön con suo figlio Alwa il quale annuncia, annotata della Lyrische Suite in possesso della va a lavorare nel proprio atélier. 13 È chiaro eccitato, che è scoppiata la rivoluzione a Parigi. famiglia di Hanna, rivelando tutte le idee in Atto Primo che Lulu e il mendicante, Schigolch, si Ma il Dr Schön è troppo occupato a tentare di codice. Scena Prima conoscono bene (un ex amante o forse suo buttar giù la porta. Entra per primo, 24 febbraio 1979: Si svolge la prima Lo studio di un pittore, grande ma poveramente padre?) e lui è l’unico a chiamarla Lulu. Suona riluttante, seguito da Lulu e scoprono che il rappresentazione dell’Atto III, completato da arredato nuovamente il campanello e Schigolch esce pittore si è tagliato la gola. Lulu, inorridita, Cerha, a Parigi per la direzione di Pierre 2 Lulu, sposata con il Dr Göll, professore di mentre entra il Dr Schön, 14 che vuole porre decide di andarsene e cerca di trascinare con sé Boulez. La fondazione Alban Berg inizia un medicina, che la conosce con il nome di Nelly, fine alla propria relazione con Lulu. Alwa. Esce per andare a cambiarsi. procedimento legale per fermarla, ma senza posa in costume da Pierrot per un ritratto, alla Il Dr Schön e Lulu litigano e vengono Rientra Lulu ed esce mentre il Dr Schön successo. presenza del Dr Ludwig Schön, un magnate interrotti dal ritorno del pittore. Lulu gli dice telefona alla polizia e spiega la causa del Adesso sappiamo perché ci sia voluto tanto della stampa. Viene a prendere quest’ultimo che il Dr Schön non vuole avere più nulla a suicidio come mania di persecuzione. Mentre per la pubblicazione dell’Atto III e, suo figlio Alwa, compositore, e i due escono che fare con lei, rivelando in tal modo la arriva la polizia, Lulu asciuga il sangue dalle ascoltandolo, possiamo apprezzare la maggiore insieme. 3 – 5 Lulu flirta con il pittore, che relazione al marito. Il marito l’accompagna mani del Dr Schön. È felice perché adesso lui profondità di questa musica straordinaria. le dichiara il proprio amore. 6 All’improvviso all’atélier, poi ritorna 15 e rimane ancora più la sposerà. arriva il marito della donna che, fuori di sé nel sconvolto quando scopre che il Dr Schön © 2006 Anthony Legge trovarli insieme, viene colto da infarto e muore. conosce Lulu da quando aveva dodici anni e la Scena Terza 7 – 10 Il pittore va a chiamare un medico e al chiama Mignon. Il Dr Schön rivela che il Il camerino di un teatro Sinossi suo ritorno Lulu dichiara di essere felice perché mendicante Schigolch è il padre della donna e 18 – 20 Alwa beve champagne con Lulu nel ora il denaro di suo marito le appartiene. Il il pittore capisce che Lulu gli ha raccontato un suo camerino. La donna gli dice che un COMPACT DISC ONE pittore è sconvolto dalla sua immoralità. cumulo di menzogne. Va nella sua stanza e principe vuole sposarla e portarla nell’esotica chiude la porta a chiave. Africa. 21 Il principe entra nel suo camerino Prologo Scena Seconda Il Dr Schön capisce che Walter non è dopo che lei è uscita per andare in scena. 22 1 Un domatore si rivolge al pubblico, parla Un elegante salotto nella casa del pittore andato nell’atélier e quando compare Lulu le Lulu viene riportata da una guardarobiera e degli animali che sta per presentare e chiede a 11 – 12 Lulu ha sposato Walter, il pittore, che chiede di cercare un’ascia per abbattere la dal direttore del teatro: è apparentemente un inserviente di portare il “serpente”. la conosce con il nome di Eva. Il ritratto di porta. 16 – 17 Vengono interrotti dal svenuta alla vista del Dr Schön tra il pubblico L’inserviente conduce Lulu, in costume da Lulu vestita da ballerina è stato venduto a un campanello e il Dr Schön va fino alla porta in con la sua fidanzata. 23 Arriva il Dr Schön e Pierrot. Il domatore avverte il pubblico: per prezzo elevato. Una lettera annuncia il punta di piedi per vedere se si tratta del ordina a Lulu di ritornare in scena. Alwa quanto possa sembrare innocua, si vedrà fidanzamento del Dr Schön. Suona il mercante d’arte, mentre Lulu rimane ad ordina al direttore del teatro di cambiare

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l’ordine dei numeri per dare a Lulu la una poesia per lei. 4 Schigolch e l’atleta il Dr Schön ritorna per cercarlo, lei dice al Arresto possibilità di riposarsi. dichiarano di essere stati lasciati. Ricompare marito furibondo che l’atleta è un acrobata ed Carcere preventivo 24 Escono tutti tranne il Dr Schön, che Lulu, in abbigliamento elegante, e annuncia è fuggito saltando fuori dalla finestra. Il Processo rimane e chiede a Lulu come mai il principe che attende una visita. 5 Assicura Schigolch Dr Schön le mette in mano la pistola, e le Carcere fosse entrato nel suo camerino. La donna che il Dr Schön è andato alla Borsa. ingiunge di uccidersi. Lei spara verso il Consulto medico risponde che il principe desidera portarla via 6 Un servitore annuncia l’arrivo del Dr soffitto. Al suono del colpo, l’atleta si precipita Padiglione d’isolamento in Africa e si rende conto del suo turbamento Schön, e gli uomini si nascondono. A entrare fuori e, vedendolo, il Dr Schön va in cerca di Sulla via della liberazione: alla notizia. Gli dice di andarsene, ma lui non però non è il Dr Schön, ma suo figlio Alwa. altri uomini nascosti. (Arrestata, giudicata, condannata, ci riesce. 25 Lei lo obbliga a scrivere alla Quando quest’ultimo scorge Schigolch, Lulu Trova la contessa Geschwitz e la chiude a imprigionata, dopo un anno Lulu viene fidanzata per rompere il fidanzamento gli racconta che si tratta di un vecchio amico di chiave nella stanza accanto. 11 Mentre il Dr ricoverata in ospedale in quanto si sospetta che suo padre. Alwa e Lulu cominciano a flirtare, Schön si incollerisce sempre di più, lo scolaro sia ammalata di colera. Grazie a un espediente COMPACT DISC TWO ma compare il Dr Schön senza essere visto, esce spaventato dal suo nascondiglio. Il Dr della contessa Geschwitz che prende il suo sconvolto nel vedere insieme la moglie e suo Schön è distratto alla vista di un altro uomo posto, Lulu fugge.) Atto Secondo figlio. Vengono interrotti brevemente dalla nascosto e Lulu gli spara cinque colpi. Mentre Scena Prima nuova apparizione del servitore. 7 Adesso giace, morente, l’uomo chiama Alwa. Quando Scena Seconda Una grande sala nella casa del Dr Schön il Dr Schön ascolta gli amanti dichiararsi i il figlio entra, il Dr Schön gli chiede di non far Il soggiorno nell’appartamento del Dr Schön 1 Lulu ha sposato il Dr Schön. Viene a farle propri sentimenti reciproci (Alwa utilizza il fuggire Lulu e lo ammonisce che sarà lui la ormai polveroso e inutilizzato visita la contessa Geschwitz, sua ammiratrice, nome di Mignon come suo padre) e Lulu rivela prossima vittima. Alwa chiede l’aiuto dello 14 – 15 Nell’appartamento del Dr Schön, che elogia il ritratto di Lulu e poi esce, di essere stata lei ad avvelenare la madre di studente per trasportare il Dr Schön ferito Alwa e l’atleta (che è stato assunto come accompagnata da Lulu. Rimasto solo il Dr Alwa. nella sua camera da letto. Trova la porta chiusa cameriere) con la contessa Geschwitz sono in Schön sospetta che Lulu abbia nascosto un 8 Il Dr Schön si nasconde, poi si accorge a chiave e quando la apre esce la contessa. 12 attesa che Schigolch venga a prendere amante (o più amanti) in casa e, armato di della presenza dell’atleta e gli punta contro il Lulu supplica Alwa di non permettere che qeust’ultima perché possa prendere il posto di pistola, cerca nella stanza. 2 Ritorna Lulu e revolver. L’atleta torna a nascondersi. Lulu si venga processata e impiccata per omicidio, ma Lulu in ospedale. L’atleta progetta di sposare va con il marito in camera da letto. Rientra la accorge dell’atleta e poi, vedendo che il Alwa è irremovibile e chiama la polizia. Lulu e prevede che Schigolch sarà la scorta di contessa Geschwitz che si nasconde. Dr Schön si avvicina al figlio, spedisce Lulu nella loro fuga a Parigi. Arriva Schigolch 3 Entra Schigolch, seguito dall’atleta e quest’ultimo fuori dalla stanza. Padre e figlio 13 Film per portare la contessa all’ospedale dove è dallo studente. Schigolch dice che il ragazzo escono, mentre l’atleta tenta di fuggire. Lulu lo Un film muto mostra episodi nella vita di ricoverata Lulu. La contessa è ansiosa di partire l’ha pagato per rimanere solo con Lulu: è aiuta a evitare di incontrarsi con il Dr Schön. Lulu negli anni seguienti. È diviso nelle e fa fretta a Schigolch. Alwa e l’atleta litigano follemente innamorato di lei e ha composto 9 – 10 L’uomo si nasconde ancora e quando seguenti sezioni: per i soldi.

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Li interrompe l’arrivo imprevisto dello 1 Lulu vive a Parigi sotto falso nome. È il suo 20.000 marchi che 10 Lulu chiederà in prestito delle azioni Jungfrau. Ha provato, senza studente, fuggito dal riformatorio dove è stato compleanno e lo festeggia con un ricevimento. alla contessa. Lulu convince la contessa a riuscirci, di trovare dei fondi, ma ha portato rinchiuso. Ha un piano per salvare Lulu. Gli ospiti si radunano intorno a un banchiere salvarla accettando di andare a casa di Schigolch con sé il ritratto di Lulu che aveva rubato L’atleta gli dice che la donna è morta e il che ha fatto fortuna con speculazioni in Borsa. con l’atleta. La contessa esce con l’atleta. 11 Il dopo la fuga di Lulu da Parigi. Lulu decide di ragazzo si allontana disperato. Gli ospiti vogliono comprare da lui azioni banchiere cerca di convincere gli ospiti che le ritentare la fortuna sulle strade. Alwa la 16 Entrano Schigolch e Lulu, che ha Jungfrau, perché il loro valore ha subito un loro azioni adesso non hanno valore e che sono supplica di non andare e la contessa Geschwitz l’aspetto stanco e ammalato. L’atleta è aumento spettacolare. 2 – 4 L’ultima tutti rovinati. È filosofico sul crollo del mercato dichiara di volerla seguire. Lulu esce, inseguita furibondo con lei: non potrà essere la star del conquista di Lulu, un sedicante marchese si e intende cominciare a ricostruire la propria dalla contessa. suo spettacolo di acrobazie, con il suo aspetto prepara a venderla a una casa di piacere del fortuna il giorno successivo. Gli ospiti sfogano Schigolch è rassegnato: hanno bisogno di emaciato. Esce dicendo che la denuncerà alla Cairo o a denunciarla alla polizia. Lulu cerca la loro ira su di lui. Lulu si cambia i vestiti con denaro. Sentono Lulu che rientra e Schigolch polizia invece e farà qualche soldo con una di convincerlo con le lusinghe, ma l’uomo è il cameriere 12 e fugge con Alwa mentre arriva si nasconde, ma Alwa si limita ad avvolgersi ricompensa per la sua cattura. Esce Schigolch, irremovibile: ha bisogno urgente di denaro e il Marchese con la polizia per arrestarla. Con una coperta. 15 Lulu litiga con il nuovo lasciando soli Lulu e Alwa. La donna si guarda vuole ottenerlo a spese di Lulu. 5 – 6 Tutti disperazione del marchese, il poliziotto arresta cliente per il pagamento e Alwa va a intorno cercando il suo ritratto e racconta ad sono convinti che l’acquisto delle azioni per errore il cameriere. difenderla. Il cliente lo colpisce e gli fa perdere Alwa che la contessa Geschwitz ha approfittato Jungfrau li arricchirà e brindano alla propria i sensi, poi si allontana. Lulu inorridita si di un’epidemia di colera per organizzare la sua fortuna. La contessa Geschwitz, invece, Scena Seconda precipita fuori: è meglio la vita per le strade. fuga. La contessa ha preso il posto di Lulu e rimprovera Lulu per la sua freddezza dopo Londra, una soffitta senza finestre nell’East End Schigolch trascina via il corpo di Alwa. 16 adesso è nel reparto ospedaliero e finge di essere tutto quello che ha fatto per lei prendendo il 13 Lulu, Alwa e Schigolch sono poverissimi e Ritorna la contessa Geschwitz e lui le dice che Lulu, che quindi le deve la propria libertà. 17 suo posto in prigione per aiutarla a fuggire. vivono in una soffitta. Per guadagnarsi del Alwa dorme. Schigolch esce per andare al pub. Lulu supplica Alwa di fuggire all’estero con lei. 7 Il banchiere annuncia che le azioni denaro, Lulu è costretta a prostituirsi. Alwa La contessa medita di uccidersi prima che 18 L’uomo le dichiara il proprio amore e i due Jungfrau sono crollate e non valgono più minaccia di uccidere gli altri uomini di Lulu. ritorni Lulu. si abbandonano a effusioni sul divano su cui era nulla. 8 – 9 Schigolch insiste per avere Gli uomini si nascondono quando sentono che 17 Entra Lulu con un nuovo cliente: Jack lo morto il Dr Schön. denaro da Lulu e finanziare un appartamento la donna ritorna con un cliente: si tratta di un squartatore. Quando Jack vede la contessa per la sua amante. Lulu organizza di inviare Professore che la tratta con rispetto, ma non Geschwitz, Lulu dice che è sua sorella e che è COMPACT DISC THREE l’atleta da Schigolch con la contessa per farlo dice nulla. Il professore paga, poi esce, e Lulu pazza. Litigano sul compenso e alla fine uccidere da Schigolch e l’uomo accetta. La è trionfante dopo il suo primo successo. 14 Si l’uomo non paga. Vanno nella camera di Lulu. Atto Terzo donna poi convince l’atleta che la contessa sentono dei rumori sulle scale, ma non si tratta 18 La contessa Geschwitz sente le urla di Lulu Scena Prima Geschwitz è segretamente innamorata di lui. di un altro cliente, bensì della contessa mentre viene aggredita da Jack lo Squartatore, Parigi, un grande salone Se trascorrerà una notte con lei riceverà i Geschwitz. Anche lei è rovinata, dopo il crollo che poi corre fuori e pugnala la contessa con il

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coltello macchiato di sangue. Jack esce, Opera; Tytania (A Midsummer Night’s Dream) Opera, per cui ha interpretato, tra l’altro, La discografia di Susan Parry comprende lasciando la contessa Geschwitz a trascinarsi per Florentine Opera; Anne Trulove (The Nicklausse (The Tales of Hoffmann), Brangäne Fyodor (Boris Godunov) per la serie Opera in verso il corpo dell’amata Lulu per morire. Rake’s Progress) per Indianapolis Opera; il (Tristan and Isolde), Ottavio (Der English di Chandos. Fuoco e l’Usignolo (L’Enfant et les sortilèges) e Rosenkavalier), Helene (War and Peace), la Traduzione: Emanuela Guastella Cunégonde (Candide) per la New York City contessa Geschwitz (Lulu), Susie (The Silver Anna Burford (Costumista, scolaro, cameriere) Opera; Despina (Così fan tutte) e Servilia Tassie), Fricka in The Ring of the Nibelungs) e è nata in Cornovaglia e ha studiato presso il Lisa Saffer (Lulu) ha studiato prezzo l’Oberlin (La clemenza di Tito) al Connecticut Early Didone (The Trojans). Royal Northern College of Music grazie a un College Conservatory e il New England Music Festival. Ha inoltre esplorato il Nel 1996 ha esordito con la Royal Opera finanziamento della Peter Moores Foundation. Conservatory. La New York City Opera le ha repertorio di musica antica con apparizioni nell’Alzira di Verdi ed è apparsa con la Welsh I suoi impegni teatrali comprendono il consegnato il Diva Award e il Kolozsvar Award nelle vesti di Minerva (Il ritorno di Ulisse di National Opera nelle vesti di Tisbe (La ruolo di protagonista in Orfeo ed Euridice con per il suo repertorio nuovo e inconsueto. Nota Monteverdi), i ruoli di protagonista ne Cenerentola) e Hansel (Hansel und Gretel ). L’Opéra National du Rhin; Roswita (Héloise et interprete di musica del Ventesimo secolo, è L’incoronazione di Poppea e Partenope, Poppea All’estero ha cantato, tra l’altro, Ifigenia in Abélard) con l’Opéra National du Rhin a stata candidata a un premio Olivier per la sua (Agrippina di Handel), Teofane (Ottone), Giappone e Miss Jessel (The Turn of the Screw), Strasburgo e al teatro Châtelet di Parigi; interpretazione di Lulu con English National Polissena (Radamisto), Belinda (Dido and Herodias (Salome) e Giuditta (Il castello del Ursule (Beatrice and Benedict), Suzuki Opera e ha ricevuto il premio della Royal Aeneas di Purcell), Atalanta (Xerxes di principe Barbablù) per l’Opera di Cincinnati. (Madama Butterfly) e Maddalena (Rigoletto) Philharmonic Society per la migliore Handel), e Almirena (Rinaldo). Molto richiesta nei concerti, ha lavorato per la Welsh National Opera; Amastris interpretazione vocale. La discografia di Lisa Saffer comprende una regolarmente con la BBC Philharmonic (Xerxes), Anna (The Trojans at Carthage) e I numerosi ruoli di Lisa Saffer nelle opere registrazione dell’Ariodante di Handel, che ha Orchestra ed è comparsa anche con la Maddalena per la English National Opera; contemporanee comprendono Marie in Die vinto un premio Gramophone, oltre ad BBC Symphony Orchestra in esecuzioni di Cesare () per Opera Ireland, e Soldaten di Zimmermann per la New York Agrippina, Ottone, Radamisto, Dido & Aeneas Scenes and Arias di Nicholas Maw, Le Visage Owl in The Cricket Recovers ai festival di City Opera, l’Opéra National de Paris Bastille di Purcell, e una registrazione di brani solistici, nuptial di Pierre Boulez diretto dal Almeida e Aldeburgh. e la English National Opera; A King Riding di Arias for Cuzzoni. Ha anche registrato Hums compositore ai Prom della BBC e in La sua ampia esperienza concertistica Klaas de Vries per Holland Festival; Hilda and Songs for Winnie-the-Pooh, Higglety esecuzioni in concerto del Castello del principe include Das klagende Lied di Mahler, la Nona Mack in Elegia per giovani amanti di Henze al Pigglety Pop e Where the Wild Things Are di Barbablù, sempre dirette da Pierre Boulez. Sinfonia di Beethoven, Serenade to Music, Concertgebouw di Amsterdam e a Knussen, il Requiem di Imbrie e Three Chinese Altre apparizioni ai Prom hanno compreso il Hecube (Les Troyens) ai Prom, Spring Tanglewood; Polly/Witch (Punch and Judy di Love Songs di Sheng. ruolo di Imelda (Oberto). Molto apprezzata in Symphony di Britten, la Messa da Requiem di Birtwistle) e Neither di Morton Feldman per la Spagna, Susan Parry è comparsa con Verdi, Aci, Galatea e Polifemo di Handel con Netherlands Opera. Altri ruoli comprendono Susan Parry (contessa Geschwitz) è stata fino a l’orchestra ORTVE a Madrid e con le Paul McCreesh, Les Nuits d’été, e i Folksongs di Zerbinetta (Ariadne auf Naxos) per la Scottish poco tempo fa solista della English National orchestre di Barcellona, Bilbao e della Galizia. Berio. La discografia comprende Sequence for

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the Ascension; The Long and the Short of It di di Barcellona; Xuthus in Ion di Param Vir la Canadian Opera Company, e a Nancy, San Opera. Ha collaborato con la Royal Opera Francis Grier, la serie di brevi animazioni all’Opéra National du Rhin di Strasburgo. Francisco, Ginevra, Zurigo, Montpellier, House, English National Opera, Welsh televisive per Channel 4 e alcune trasmissioni Graeme Danby compare regolarmente nelle Bordeaux e Bologna; il Podestà (La finta National Opera, Opera North, Scottish per il terzo canale radiofonico BBC. sale da concerto di tutto il Regno Unito, tra giardiniera) a Drottningholm; Guillot (Manon) Opera, Glyndebourne Festival e Touring cui: la Royal Albert Hall (Nona Sinfonia di al Covent Garden; Lucano (L’incoronazione di Opera, Bayerische Staatsoper di Monaco, Graeme Danby (Professore di medicina, Beethoven, Messa da Requiem di Verdi), la Poppea) allo Châtelet di Parigi; Gran Sacerdote Houston Grand Opera, New Israeli Opera e Direttore teatrale, Banchiere) è considerato da Royal Festival Hall (Ottava Sinfonia di (Idomeneo) al Covent Garden, Shuiski (Boris Minnesota Opera in un vasto repertorio che molti uno dei migliori bassi profondi della Mahler) e la Bridgewater Hall di Manchester Godunov) a Strasburgo, Bordeaux e comprende Wotan e il Viandante nel Ring, Gran Bretagna e si esibisce regolarmente alla (Iolanthe), e collabora con numerose orchestre, Montpellier; Quint (The Turn of the Screw) e Amfortas (Parsifal ), Jokanaan (Salome), Figaro Royal Opera, Covent Garden. Nella primavera tra cui la London Symphony Orchestra, la Truffaldino (The Love of Three Oranges) per e il Conte Almaviva (Le nozze di Figaro), il del 2005 ha interpretato l’importante ruolo di London Philharmonic Orchestra, la Royal English National Opera; Zinoviev (Lady ruolo di protagonista in Eugenio Onieghin e Charrington in 1984, una nuova commissione Philharmonic Orchestra, la Philharmonia e la Macbeth) a Toulouse e Marsiglia; i tre ruoli per Don Giovanni, Iago (Otello), Ford (Falstaff ), di Lorin Maazel al Covent Garden – la parte è Royal Scottish National Orchestra. tenore nella Lulu allo Châtelet; Bob Boles Scarpia (Tosca), Marcello (La Bohème), stata composta appositamente per lui. all’Opera di Monaco, al Covent Garden, a Escamillo (Carmen), Nick Shadow (The Rake’s I ruoli per la English National Opera Stuart Kale (Pittore, Secondo cliente) è Genova e Strasburgo; Captain Vere (Billy Progress) e Golaud (Pelléas et Mélisande). comprendono Lorenzo (I Capuleti e i considerato uno dei principali attori-cantanti Budd ) a Colonia; Alfred, Gregor (Il caso I suoi impegni concertistici lo hanno visto Montecchi) diretti da sir Richard Bonynge, Don del mondo operistico. Musicista perfetto, Makropoulos) e Herod a Strasburgo. impegnato in Belshazzar’s Feast con la Basilio (Il barbiere di Siviglia di Rossini), vanta un repertorio smisurato che va da Le registrazioni per la serie Opera in English Bournemouth Symphony Orchestra, Messiah Dulcamara (L’elisir d’amore), Somnus (Semele), Monteverdi a Messiaen. di Chandos comprendono il Capitano con la Royal Liverpool Philharmonic, la Quince (A Midsummer Night’s Dream di La sua carriera è iniziata alla Welsh National (Wozzeck), Dr Caius (Falstaff ), Roderigo Northern Sinfonia, la Halle Orchestra e la Britten), Collatinus (The Rape of Lucretia), Poo- Opera ed è proseguita alla English National (Otello) e Shuiski (Boris Godunov, momenti London Philharmonic Orchestra, The Mask of Bah (The Mikado), Sarastro (Il flauto magico), il Opera, dove il cantante è rimasto per otto salienti). Time di Tippett, Elijah di Mendelssohn, la Sagrestano (Tosca), Pistola (Falstaff ) e Ribbing anni, interpretando ruoli quali Don Ottavio nona Sinfonia di Beethoven e la Creazione di (). Altre apparizioni (Don Giovanni), Michael (Julietta di Martinu˚), Robert Hayward (Dr Schön, Jack lo Haydn con la Halle, a Lisbona e con la comprendono Bartolo (Le nozze di Figaro) per Alfred (Die Fledermaus) e Nanki-Poo squartatore) ha studiato presso la Guildhall Philharmonia, The Dream of Gerontius con la Opera North e Garsington Festival; Masetto nell’allestimento di The Mikado per la regia di School of Music and Drama e presso il Royal Scottish National Orchestra, la BBC (Don Giovanni) per Scottish Opera; Antonio Jonathan Miller. National Opera Studio, e ha esordito come Philharmonic, e a Copenaghen, il Requiem di (Le nozze di Figaro) a Glyndebourne; Brag (The I suoi ruoli comprendono Hauptmann professionista nel ruolo di protagonista del Mozart con la BBC Philharmonic Orchestra Fairy Queen di Purcell) al Gran Teatro del Liceu (Wozzeck) per l’Opéra du Rhin di Strasburgo, Don Giovanni per la Glyndebourne Touring diretta da sir Georg Solti, e Das klagende Lied

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con la Bournemouth Symphony. Le Montpellier; Cassio e Basilio alla Monnaie di Abbado, Carlo Maria Giulini, Riccardo Muti, Grimes), e Leander (The Love for Three registrazioni comprendono The Pilgrim’s Bruxelles; Shapkin (Da una casa di morti) per Leonard Bernstein, Pierre Boulez, Daniel Oranges) per la English National Opera; Figaro Progress per Chandos. l’Opera di Nizza; Lysander a Parigi, Lione, Barenboim, Bernard Haitink, Zubin Mehta, (Le nozze di Figaro), Prus (Il caso Makropulos), Caen, Montpellier, Roma e al festival di sir Colin Davis e Seiji Ozawa. Golaud (Pelléas et Mélisande), Marcello (La John Graham-Hall (Alwa) ha studiato al Ravenna; Lenski (Eugenio Onieghin) a Lione e I suoi impegni recenti comprendono Pelléas, Bohème) e Germont (La traviata) per la King’s College di Cambridge e presso il Royal Toronto; Ferrando a Vancouver, Basilio e Don Giovanni, Otello e Figaro a Glyndebourne Touring Opera; Ned Keene e College of Music. È stato membro della Spoletta (Tosca) per la Netherlands Opera). Glyndebourne, Lulu e War and Peace per la Starek (Jenuºfa) per la Glyndebourne Festival English National Opera per cui ha Per la serie Opera in English di Chandos, English National Opera, The Greek Passion e Opera; e il Padre (Hansel and Gretel) per la interpretato, tra l’altro, i ruoli di Herod John Graham-Hall ha registrato Monostatos Lady Macbeth del distretto di Mtzensk per la Welsh National Opera e Opera Northern (Salome), Lysander (A Midsummer Night’s (The Magic Flute), Isacco (The Thieving Royal Opera House, Covent Garden. Ireland. Ha inoltre cantato Figaro per la Dream), Sylvester (The Silver Tassie), Goro Magpie), l’Idiota (Wozzeck) e Basilio (The La sua ricca discografia comprende l’ottava Scottish Opera, Leander per Opera North, (Madam Butterfly), Triquet (Eugenio Marriage of Figaro). Sinfonia di Mahler con Seiji Ozawa, il Messiah Falstaff per Garsington e Bartolo (Il barbiere Onieghin), Monostatos (The Magic Flute) e con sir Georg Solti, Tristan con sir Reginald di Siviglia) per Grange Park, e ha esordito alla Mime (Das Rheingold ). Altri ruoli nel Regno Il basso gallese Gwynne Howell (Schigolch) Goodall e la nona Sinfonia di Beethoven con Royal Opera nelle vesti di Douphol (La Unito comprendono Albert Herring alla ha studiato al Royal Northern College of Kurt Masur. Per Chandos ha registrato traviata). Si è esibito ad Amsterdam, Nantes, Royal Opera House, Covent Garden; Albert Music. È entrato alla Royal Opera nel 1972 e Belshazzar’s Feast, The Dream of Gerontius e, Brema, Copenaghen e Colonia e alla Herring, Vanya Kudrjas (Katá Kabanova), ha interpretato molti dei principali ruoli per per la serie Opera in English, Badger/Priest Netherlands Opera, Opera Zuid, e Vlaamse Flute (A Midsummer Night’s Dream)e Bob basso in allestimenti tra cui Aida, Rigoletto, (The Cunning Little Vixen). Gwynne Howell è Opera. Boles (Peter Grimes) per la Glyndebourne Otello, La bohème, Tosca, Don Giovanni, stato insignito dell’onorificenza di Cavaliere Festival Opera; Cassio (Otello) per la Welsh Eugenio Onieghin, Parsifal, L’Olandese volante e dell’Impero Britannico nel 1998. Alan Oke (Principe africano, Servo, Marchese) National Opera; Eisenstein, Schoolmaster Palestrina. Ha inoltre al suo attivo una lunga ha studiato presso la Royal Scottish Academy (The Cunning Little Vixen) per la Scottish collaborazione con la English National Opera, Robert Poulton (Domatore, Atleta) è nato a of Music and Drama. Ha iniziato la propria Opera; Aschenbach (Death in Venice), dove i suoi numerosi successi hanno compreso Brighton e ha studiato presso la Guildhall carriera come baritono solista con la Scottish Lysander e Ferrando (Così fan tutte) per la Hans Sachs, Gurnemanz, Re Philip e School of Music and Drama e il National Opera. In seguito ha cantato con le principali Glyndebourne Touring Opera. Barbablù. La sua carriera internazionale lo ha Opera Studio. Per il suo esordio professionale compagnie teatrali britanniche tra cui The Gli impegni teatrali all’estero hanno incluso portato a New York, Chicago, San Francisco, ha interpretato il ruolo televisivo di Ferryman Royal Opera, Opera North, Glyndebourne il ruolo di protagonista nella nuova opera di Santa Fe, Parigi, Ginevra, Amburgo, Monaco e in Curlew River di Britten per la BBC. Opera, Scottish Opera, D’Oyly Carte, English Pascal Dusapin dal titolo Perela, l’homme de Colonia e ha lavorato in concerto in tutto il I suoi numerosi ruoli comprendono il conte National Opera e Kent Opera, come baritono fumée al teatro Bastille di Parigi e a mondo con direttori del calibro di Claudio Almaviva (Figaro’s Wedding), Ned Keene (Peter e dal 1992 come tenore. I suoi ruoli includono

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Belcore (L’elisir d’amore), il Conte (The della English National Opera, ha interpretato Opera, la Chelsea Opera, Garsington e eroine di Les contes d’Hoffmann. Oltre a Marriage of Figaro), Macheath (Threepenny diversi ruoli alla ENO anche come sostituta, Scottish Opera (Swallow nel Peter Grimes). È regolari impegni nell’oratorio, fa parte Opera), Guglielmo (Così fan tutte), Rodolfo tra cui Bridesmaid (Der Freischütz), Dunyasha ritornato alla ENO nel 1997. dell’Artsong Collective, specializzato in opere (La Bohème), Pinkerton (Madam Butterfly), (The Tsar’s Bride), Crobyle (Thaïs), Servilia del Ventesimo secolo. Fa parte del Coro della Alfredo (La traviata), Boris (Katya Kabanova), (La clemenza di Tito), e Angel (Jephtha). È Jane Powell (Madre) ha studiato presso la English National Opera. Stevaˇ (Jenuºfa), Aschenbach (Death in Venice), stata impegnata in progetti di istruzione nelle Royal Academy of Music. I suoi ruoli teatrali Florestan (Fidelio), e Rodolfo (Luisa Miller). scuole elementari e secondarie di Londra per comprendono Cherubino, Idamante Toby Stafford-Allen (Giornalista) ha studiato ENO Baylis, e l’anno scorso ha interpretato il (Idomeneo), Flora (La traviata) e la principessa presso il Royal Northern College Music, con Roger Begley (Commissario di polizia) ha ruolo per soprano in For the Public Good in Linette nell’allestimento televisivo della BBC una borsa di studio Peter Moores e in quel studiato presso il Royal College of Music. È occasione delle celebrazioni per il centenario di The Love for Three Oranges. Alla Royal periodo ha esordito a livello internazionale nel entrato nel Coro della English National Opera del London Coliseum. Ha inoltre cantato Opera House ha interpretato diversi ruoli in ruolo di Guglielmo (Così fan tutte) al festival nel 1970 e si è esibito in numerosi ruoli, tra Musetta, Oscar, Ilia, Poppea, Belinda, Norina Salome, Der Freischütz, Werther e Simon di Aix-en-Provence. Alla fine degli studi ha cui Dog (The Cunning Little Vixen), e Adele. Il repertorio concertistico comprende Boccanegra. Da quando è entrata a far parte del partecipato al programma Jerwood per giovani Varsonofiev (Khovanshchina), Captain Jauchzet Gott, Weichet nur e la Passione secondo coro della English National Opera ha cantanti della English National Opera, e da Petrovich (Eugene Onegin), Benoit (La san Giovanni di Bach, Exsultate Jubilate e il indossato i panni della moglie del Sindaco allora è diventato solista della compagnia. I Bohème), e Cappadocian (Salome). Canta Requiem di Mozart e il Messiah di Handel. (Jenuºfa), Squire (Lohengrin), e la Gallina suoi ruoli principali con la English National regolarmente con Opera Brava, per cui ha (The Cunning Little Vixen). Studia canto con Opera comprendono Gugliemo (Così fan interpretato il ruolo di protagonista nel Don Paul Napier-Burrows basso (Servo) ha Lyn Cook. tutte), Papageno (Il flauto magico) e Schaunard Pasquale, Benoit/Alcindoro (La Bohème)e studiato presso il Royal College of Music e la (La bohème). Il repertorio concertistico Dr Bartolo (The Barber of Seville). Ha Guildhall School of Music and Drama. Moira Harris (Designer) ha studiato presso la comprende le Messe da Requiem di Mozart e interpretato le parti di basso numerosi oratori Entrato alla English National Opera dal 1981 London University e la Guildhall School of Fauré, la Creazione di Haydn e la Messa in si e, ultimamente, nel Requiem di Mozart, la al 1990, ha lasciato la compagnia per una Music and Drama. Ha collaborato con l’Opera minore di Bach. Creazione di Haydn e la Messa in si minore di carriera di freelance, ma è ritornato per cantare di Lione, la Palace Opera, Garden Opera, Bach. Mr Flint (Billy Budd ), Dr Falke (Die Opera Italiana, Cambridge University Opera, Apprezzata dalla critica e dal pubblico, Fledermaus), Fiorello (Il barbiere di Siviglia), Jigsaw Music Theatre e Pavilion Opera; I suoi l’Orchestra della English National Opera ha Claire Mitcher (Quindicenne) ha studiato Harlequin (Ariadne auf Naxos), Junius (The ruoli hanno compreso Belinda, Ilia (Idomeneo), ricevuto numerosi riconoscimenti prestigiosi, inglese a Cambridge, dove ha ottenuto una Rape of Lucretia), Elviro (Xerxes), Juan (Don Sandrina (La finta giardiniera), la contessa di tra cui il Music Award della Royal borsa di studio corale, e oggi studia con Quixote) e Dancairo (Carmen). È comparso Mozart, Adina, Norina, Miss Wordsworth Philharmonic Society e un premio Olivier per Marion Studholme. Oltre a cantare nel Coro inoltre con la D’Oyly Carte, la Welsh Naitonal (Albert Herring), Fiordiligi, Lucia, Musetta e le il suo contributo all’opera. L’Orchestra è il

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fulcro della vita artistica della English National comprendente alcune prime mondiali e North, Elijah con la Orchestra of the Age of momenti salienti del Boris Godunov. Opera e, oltre al lavoro in teatro presso il apprezzate produzioni di Pelléas et Mélisande, Enlightenment. Per Chandos ha registrato Baa Paul Daniel è stato insignito del titolo di London Coliseum, si esibisce anche in Don Carlos e Boris Godunov. Baa Black Sheep di Michael Berkeley e, per la Commander of the Order of the British concerto; è stata presente al festival di Altre collaborazioni teatrali lo hanno visto serie Opera in English, Falstaff, Wozzeck, e Empire nel 2000. Aldeburgh (Peter Grimes e The Rape of impegnato con la Royal Opera House Covent Lucretia) e a Glastonbury nel 2004 (Atto III Garden, La Monnaie di Bruxelles, l’Opera della Valchiria di Wagner). Molti dei suoi nazionale della Baviera di Monaco, il Teatro componenti collaborano con il dipartimento Real di Madrid e l’Opera di Ginevra. di istruzione esterno della compagnia, ENO Gli impegni sinfonici hanno compreso la Baylis. L’Orchestra della ENO compare in Philharmonia, l’Orchestra of the Age of numerose registrazioni per la serie Opera in Enlightenment, la London Philharmonic English di Chandos: Falstaff, Otello, Ernani, Orchestra, la Royal Philharmonic Orchestra, la Mary Stuart, Julius Caesar, The Barber of Bournemouth Symphony Orchestra, la Royal Seville, Rigoletto, La traviata, Werther, e nella Scottish National Orchestra, la Netherlands registrazione completa del Ring Cycle diretta da Radio Philharmonic, l’Orchestre de Paris, sir Reginald Goodall. l’Orchestre National de France, l’Orchestre National de Lyon, la Tonhalle-Orchester di Paul Daniel è stato Direttore musicale della Zurigo, l’Orchestra Sinfonica di Göteborg, English National Opera dal 1997 al 2005, e l’Orchestre de la Suisse Romande, la Deutsche ha al suo attivo un vasto repertorio Kammerphilharmonie, la Los Angeles comprendente importanti allestimenti del Philharmonic, l’Orchestra di Cleveland e la Ring, oltre a Lulu, The Trojans, War and Peace, New York Philharmonic. Nel 2005 ha diretto e alla prima mondiale dell’opera di Mark l’ultima serata dei Prom a Londra con la Anthony Turnage The Silver Tassie. BBC Symphony Orchestra, teletrasmessa a È stato Direttore musicale di Opera livello internazionale. Factory nel periodo 1987–1990, e di Opera La discografia comprende la Sinfonia N. 3 North nel 1990–1997; quest’ultima di Elgar/Payne con la Bournemouth Lisa Saffer as Lulu and Robert collaborazione ha riscosso i consensi della Symphony Orchestra, una serie di CD di Hayward as Dr Schön in English critica per il repertorio diverso e interessante musica inglese con l’Orchestra di Opera National Opera’s production of Lulu 106 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 108

On session: Susan Parry

On session: Lisa Saffer

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On session: Anna Burford and Toby Stafford-Allen On session: Graeme Danby, Robert Poulton and John Graham-Hall

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On session: Alan Oke and Jane Powell

On session: Claire Mitcher and Jane Powell

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On session: Moira Harris On session: Paul Daniel

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COMPACT DISC ONE Although he’s skilled, he lacks all gravitas – And shall I tell you what this beast is called? Dr Schön That’s why he always loves to show his arse. Roll up, roll up, roll up Come and make yourself at home! Prologue And then I’ll show you this to make you laugh – (The clown exits left in front of the curtain into the Alwa (Coming forward, he briefly greets his father In front of the curtain, a clown enters from the left The hump-backed camel on its comic path! first wing. The animal-tamer seizes the curtain and the painter; stands next to them.) front wing and remains standing there. Hanging A reptile you’ll behold, an alligator, and slightly lifts it, with a gesture of invitation.) Can it be? Frau Medizinalrat! on his chest is a showman’s big drum with A cobra, lizard and a rare salamander. – and be appalled! (He bows, comparing Lulu and the picture. Very attached. He strikes it at intervals. From behind You’ll see a crocodile to make you quake. (He bows and retires behind the curtain. The freely and warmly) the curtain, which looks like the entrance to a tent, curtain rises.) Gnädige Frau, you would be wonderful as my enters an animal-tamer – in a vermillion frock- (He suddenly lifts the curtain and calls within:) leading lady! coat, white breeches, and top boots, with a trainer’s Hey, you there, go and fetch our human snake! Act I whip in his hand. (A big-bellied stage-hand carries the performer who Lulu is to play Lulu in front of the curtain and puts her Scene 1 Except that for your play, you need more of a Animal Tamer down in front of the animal-tamer. She wears the A spacious but shabbily equipped studio. At the dancer… 1 Roll up, roll up for the menagerie, Pierrot costume of the next scene.) back an entrance door. In the middle, a podium; Dr Schön (to Alwa, with the obvious intention of Gentlemen and ladies. God created her for evil and for havoc, between it and the door, a folding screen. Front breaking into the conversation) Fire your desire and chill your spines To snare us and seduce us, to infect us stage, on one side an easel on which is a portrait of What brings you here, my son? At the sight of animal savagery, And to destroy us, never leaving finger prints. Lulu, not quite finished; on the other side an Tamed by human sympathy. (tickling Lulu under the chin) ottoman (divan) with a tiger-skin on it. In the Alwa My sweetest beast, pray do not be so prim! What can you see in plays – or music dramas?! background, a step-ladder and a sculpture. The I simply wondered if you’d like some dress You have no right, with your seductive fragrance, Tame creatures, that are so well-bred and moral, painter, in front of the easel, is painting. rehearsal tickets. To falsify a woman’s real essence. Their milky diet kills all savage quarrel. A painter’s studio. (to the audience) (Dr Schön rises.) They revel in their bourgeois tête-à-tête, Though now she seems as tame as tame can be, Just like the audience in the stalls, I bet! Lulu (to Alwa) Just wait and see her bestiality. The real beast, the sleek and savage beast, Alwa (behind the screen) Please reserve us a box in the circle for Friday, (to the stage-hand) Ladies I’ll show you, come and join the feast! 2 Am I trespassing? Herr Alwa! Hey, you there! Move! Place her upon her throne. You’ll see the tiger, who delights in eating (The stage-hand takes up Lulu across his arms. The Dr Schön (sitting on the end of the ottoman, Alwa Any old beast that strays into its path, animal-tamer strokes her hips.) hat in hand, overcoat on) Delighted, gnädige Frau, to oblige you. But The who just stuffs its greedy belly, Oh, sweetest creature, my heart’s delight! My son! where is your charming husband? I’ve never ever seen you all by yourself. And then collapses through its gluttony! (The stage-hand takes Lulu towards the stage. Exit.) Lulu (in Pierrot costume, standing on the podium And now at last, my pièce de résistance: You’ll see the nimble and the cheeky monkey and holding in her hand a tall shepherd’s crook) Dr Schön I place my between this creature’s jaws. Who languidly displays his artful talent; That sounds like Herr Alwa! He never lets you be alone.

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Lulu Lulu (amazed ) Lulu (lightly stamping her feet) Painter He should have arrived by now… Who’d have imagined it! Back to your work. You’re far too tense… Dr Schön Painter (takes a deep breath) (He tries to seize her hand.) Then send him my warmest wishes. Do you think that I’m ludicrous? Painter (leaving the easel ) Lulu Lulu (very sarcastic) Lulu Don’t do that, I beg you! Please keep your hands to yourself! And I… send my own… though I’ve never met My husband will catch us. Lulu (She throws the shepherd’s crook at his face and with… your fiancée, doctor! Painter Oh, what a naughty boy! hurries towards the entrance door.) Dr Schön (to the Painter, obviously not taking up So – all I can do is paint. Painter (looking at the door) Canon Lulu’s remark) Lulu (listening) What can be keeping him! This passage here requires a little more lightness. Lulu I think… he’s coming! The hair’s not good. You must be more focused Lulu 4 You are far too slow to capture me. while you paint her… Painter (listening too) Yes, I’d also feel safer if he were here with us. Painter (hurrying after her) What… Alwa (to Lulu) Painter (On the point of picking up his painting But I only meant it as a joke. Duty drags me away, gnädige Frau. Lulu things again, he suddenly turns to Lulu, absolutely Lulu (to Dr Schön) Can’t you hear? in her power, and goes up to her.) I can see right through you. Ready! Would you mind just lifting your little tutu… Painter (excited) Painter Dr Schön There’s someone coming! Lulu Please just stay where you are. (trying to hold her) I came in my own carriage, let’s go at once. Here? Lulu Lulu (Dr Schön leaves with Alwa.) I thought as much! Painter (next to her) Kindly let me go! Permit me to… Introduktion (zum canon) Painter (calm again) (She escapes behind the ottoman.) It’s just the janitor. He’s in the hallway. Lulu Painter (timidly) (Left alone with Lulu, the Behave yourself! Painter painter has stopped painting, and suddenly gets Lulu Gnädige Frau… up and goes behind the podium, his brush and Thank the Lord. Painter palette in hand.) Allow me gently… Lulu Painter (going back to his easel. He stands in 3 Gnädige Frau… (more pressinngly) Frau Using force won’t get you anywhere with me. front of the picture, intending to go on painting, Lulu Medizinalrat… but suddenly he throws palette and brush aside.) No thank you! Painter Forget it. I should also rather not use any force.

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Lulu (behind the ottoman) Painter (grasping one of her legs) Lulu Lulu (as though awakening) Go and get on with your painting. I reach as far as Venus, and open the glistening I feel dizzy… My name is not Nelly. My name is Lulu. gates! Painter (at the other side of the ottoman) Painter (On seeing Lulu collapse, he hurries to the Painter But first I need to spank you! Lulu door and bolts it.) I’d sooner just call you Eva. Kiss me on the lips, May God save Poland! Now I’ve nothing… Eva! Lulu But for that you first will need to catch me. (She causes the ladder to fall.) Lulu Lulu O God, O God, Your fingers reek of tobacco. Painter Painter (She manages to get up over the side of the ottoman But you surely don’t think you can dodge me. And there let me perish! Painter and sinks down onto it as though broken in spirit.) Can’t you speak with more warmth? Lulu Lulu (The falling ladder causes a sculpture to O God! Get away! break, the pieces falling to the ground.) Lulu Painter (comes forward) I’m too quick to be caught. I wouldn’t ever dare to. Painter (He throws himself across the ottoman.) No compassion, no compassion! Now you’re mine! Painter (becoming aware of the damage, shouting) Painter (Sits down by Lulu and covers her her hand with Most merciful God! You’re pretending. Lulu (throwing the tiger-skin over his head) kisses.) Good night… Lulu (springs onto the podium) Lulu Coda Keep right away from me! I’m not pretending. I’ve never ever had to. Painter Painter Little minx… (again hurrying after her) Painter Painter 5 What’s happening? This is the end of me! I just don’t understand. Lulu ( jumping over the podium and scrambling Lulu (with closed eyes) up the step-ladder; ecstatically) Lulu (tries to get to the ottoman in one bound ) Lulu My husband will be coming… I’m gazing over all the cities of all the world! Be careful, careful you don’t trip up… Please don’t give me such grief. Painter Painter (shaking the ladder, looking up at her; Painter (again chasing her) Painter I love you so! ecstatically) I feel no sense of compassion now… You’ve never been in love. I gaze at more than all the charms of the universe. Lulu (similarly) Lulu ( falls to the ground in front of the ottoman; ‘I used to love a handsome student Lulu Lulu groaning) With more than a hundred and seventy scars…’ You’ve never been in love. I reach up to the heavens and put all the stars in Will you please leave me alone… my hair! Painter (calling her) (The latch of the door moves.) Painter (stumbles, then regains his balance) Nelly! Now I’ve nothing more to lose… Melodrama I love you, Nelly!

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Professor of Medicine (from outside) (He gasps, struggles for breath, and dies of a stroke. Canzonetta Painter 6 Open the door! Lulu jumps up, rushes to the door, bends slightly Try to act more properly! Lulu (left alone. Still near the door) forward and stares at the dead man.) Lulu ( jumping up) 7 Just wait, he’ll jump right up… Lulu Hide me from him! O God, hide me from Painter (going up to the dead man) (calling him) And now I’m rich… him! Herr Me…, Herr Medizi… nalrat. Pussy! He’s only pretending. Painter (She comes hesitatingly forward.) Professor of Medicine (banging at the door) Lulu (standing upright, but staying at the door) That’s immoral behaviour. He’s following my movements and Open the door! First of all you’d better try to get the studio (aside to himself ) observing every single step that I take. He knows tidy! But is it her fault? (Painter starts to go to the door.) exactly what I’m doing. Painter (leaning down to the dead man) (She moves him a little with the point of her foot.) Lulu Lulu (holding him back) Herr Medizinalrat. Pussy! What shall I do? He’ll murder me… (He gently shakes him; to Lulu) (drawing back) He’s had it this time. The game is up. Painter (to himself ) Professor of Medicine (He bangs again on the Give me a hand, and help me lift him. (almost toneless, like a deep sigh) Depraved and perverted! door.) Lulu (drawing timidly back with a shiver) I’m all alone now. What shall I do? (He goes up to Lulu and seizes her hand.) Open the door! No, no… Look in my eyes! Recitative Lulu Painter (He tries to turn him over.) Lulu (nervously) He’ll murder me! (on the ground before the Herr Medizinalrat. Painter (coming in quickly) What’s happening? painter, clasping his knees) 8 Can’t you help him recover his senses? (He bangs again on the door.) Painter (He leads her to the ottoman and compels Painter Lulu Lulu her to sit down beside him.) Get to your feet… What shall I do? It’s hopeless. Just one question: Painter Lulu Duet Painter (to Lulu) The doctor will come in a moment… He’ll murder me… Help me move him! Painter (The door falls with a crash into the studio.) Lulu Lulu No doctor can help. Can you tell lies from truth? Professor of Medicine (with upraised walking He’s far too heavy. Painter (bending over the dead man) Lulu stick, he dashes towards Lulu and the painter, quite Painter (straightening himself ) Herr Medizinalrat… I do not know. breathless, and with bloodshot eyes) He needs a doctor. You bastards! (Lulu hides behind the painter.) Lulu Painter Bast…. (He makes one hesitating movement, then exits.) I really think he’s gone for good. Do you believe in God?

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Lulu Lulu The painter hooks up her dress as the curtain slowly Painter (sorting the letters and handing her one) I do not know. What do you want then? What is it that you falls. For you. want to know? Painter Change of Scene Lulu (putting the letter to her nose) What would you swear an oath on? Painter From Countess Corticelli. Go, put your clothes on! Scene Two (She hides the letter in her bosom.) Lulu Curtain rises quickly. A very elegant drawing-room. (She goes, rather bewildered, into the adjoining I do not know. At the back, the entrance door; downstage left and Painter (skimming through a letter) room. Left alone, he turns – after looking in Lulu’s right, portières (curtains covering doorways); steps My picture of you as ‘The Dancer’ has been sold Painter direction – to the front, towards the corpse of the lead up to the portière on the left, beyond which is for 50,000 marks! Then tell me what you believe? Professor of Medicine.) the studio. On one wall over the fireside, the Lulu Lulu Arioso picture of Lulu as Pierrot hangs in a splendid Who’s the letter from? I do not know. brocade frame. Left, downstage, a chaise longue. Painter Leave me alone! Are you insane! Right, a writing-table. Centre, a few armchairs Painter 9 You make me jealous, you lucky bastard! I give round a small table. Lulu, in a morning gown, sits The Paris dealer. That’s the third picture sold Painter her back to you. And with her I give you all of on the chaise longue, looking in a hand-mirror. She since our marriage. I can’t believe my luck. But you don’t have a soul. my youth. I cannot cope with good fortune. I frowns, passes her hand over her brow, feels her Lulu (indicating the other letters) always fear that nothing will go my way. Wake cheeks, and – with a discontented, half-angry Lulu And here come more! up! I never even held her hand. Wake up! Wake expression – puts the mirror down. I do not know. up! Painter (opening an announcement of engagement) (He kneels down and closes the dead man’s eyelids.) Dialogue Painter This is for you! Lord, grant me, I beseech Thee, the courage And were you ever in love? Painter (entering from the right holding palette, and the strength I need, and the freedom of (He gives it to Lulu.) paintbrush, and a few letters) Lulu spirit to have a little pleasure with her. For her 11 Eva! Lulu (reading) I do not know. sake only, purely for her sake only. ‘Count Heinrich von Zarnikow is honoured to Lulu (smiling) Interlude announce the engagement of his daughter, Painter What is it? She does not know. Charlotte Marie Adelaide, to – Dr Ludwig Lulu (Enters from the adjoining room completely Painter Schön’! dressed, her hat on, her right hand under her left Lulu The post has arrived. I do not know. shoulder; holding up her left arm, she says to the Painter (while opening other letters) painter:) Lulu (serious again as though brought down to At last! It’s taken him so long to make his Painter (with a glance at the dead man) 10 Please help me do this up. I’m trembling too reality) engagement public. He’s so important. What He does though… much… Really?! could be delaying his marriage?

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(On Lulu’s remaining silent, he folds the letter.) Lulu (Exit.) (She goes to the writing-table and rummages in the Anyway, we must send our congratulations. You are dreadful! drawers.) Lulu (alone, in a mood of rapturous dreaming; Lulu Painter visionary) Schigolch We did that long ago. You’re to blame. You… You… Two hundred, if that’s not too much to ask. Or let’s make it, say, three hundred. Painter Lulu (She closes her eyes – as though coming to herself, For the sake of his fiancée, I mean. How you’re spoiling me! visibly relaxed.) Lulu (to herself ) God, I’m shattered… Lulu Painter Painter (returning) Well, you write to him again, then. But you are mine, all else is worthless now I have A beggar. I didn’t have any change. Schigolch (looking round him) you. You have completely bewitched me, my Painter (Lulu slowly stands up.) For such a long time I’ve been wanting to come darling. (bends deeper over Lulu) And back to work! Anyway, it’s time I got back to work. here and see you, and to see for myself just how you’re coping. (He takes up the paintbrush and palette which he Lulu (Exit into the studio, left.) had laid aside, kisses Lulu, goes to the steps leading Don’t be so passionate! to the studio, but turns round at the portière.) Lulu (again alone, Lulu attends to her appearance, Lulu (giving him two banknotes) (The electric bell sounds at the entrance door.) 12 Eva! smoothes her hair back and goes to the door.) Your verdict? Painter Lulu (smiling) Schigolch (glancing around self-importantly) Curse it! The doorbell. 1 What is it? Just what I had in mind for you! It overwhelms Lulu (getting up, with a weak attempt to restrain Schigolch (brought in by Lulu, an infirm, me! Just like mine, when I was younger, but Duettino: Strophe 1 him) asthmatic old man) more modern. Painter (coming back) Leave it! We’re not at home. We simply won’t 13 He’s not quite what I imagined him to be: more (Lulu goes to the cupboard and takes out a liqueur Delightful, my darling, delectable. Your hair answer! swanky! bottle and two glasses.) glints and gleams as fresh as morning. You’ve come a long, long way! The carpets here… Painter Lulu Lulu What if it’s the art dealer? Why did you come here, you scrounger? Lulu (coming forward with the liqueur and taking I’ve come straight from the bath. very deliberate steps) Strophe 2 (She pulls up an armchair for him.) I love to walk around bare-foot… Painter Lulu Schigolch Every morning, I seem to see you fresher than Schigolch (catching sight of Lulu’s portrait) Or even the Emperor of Timbuctoo! To touch him, touch him for his money. before. Oh! That’s my girl, (gesture of assent from Lulu) (He drops to his knees in front of the chaise longue, Painter Lulu yes, that’s you! and caresses her hand.) I’ll be back! Do you need much? (breathing heavily in time to the music)

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Lulu ( filling two glasses and sitting down opposite interest?… I’d rather struggle on until the Day of Dr Schön Dr Schön Schigolch. He drinks.) Judgement and renounce all prospect of reaching And why was your father here? I really must ask you to finish our association. How are things? Tell me! the gates of heaven, than leave my Lulu on earth Lulu Lulu (becoming more certain) so disadvantaged and so abject. What’s wrong with you?! I see! Schigolch (stroking her knee) The streets are getting so much longer – and my Sweetest, dearest Lulu. Sonata (exposition: principal theme) Dr Schön legs are getting shorter. If Walter weren’t so absurdly naive and innocent, Dr Schön (coming to the front) Lulu he’d soon have rumbled all your devious, Lulu 14 If you and I married, never would I allow him You call me Lulu still? treacherous escapades. And your harmonica? over my threshold. Schigolch Lulu Schigolch Lulu Lulu, yes! Didn’t I always call you that? He’s not a child any more! Is short of wind, like me with my damned There’s no need to be so formal; he isn’t here. asthma. Lulu (Bridge) (He empties his glass.) It’s ages since anyone’s thought of me as Lulu. Dr Schön Now I want your news! Ages since we met. How It’s been such a long time since I danced. Now I’d rather keep it formal. He’s blind; blind to me and himself too. He’s blind, blind, blind… are you then? Are you keeping up your French I’m nothing more than … Lulu still? Schigolch I don’t get it. Dr Schön When once his eyes are opened! Lulu (heavily) What are you? Dr Schön I’m sleeping all day long… Lulu (with a gesture of shuddering) That’s obvious! Lulu Schigolch A beast… (motioning her to an armchair) He does not know me. What can he know? He How distinguished! What else though? And that’s why you and I need to talk with each calls me ‘honey’, his little budgerigar. To him I’m (The bell rings. Lulu rises quickly.) other frankly. just a wife, a wife. Lulu (with a gesture of desire) Schigolch (He understands that he must go and I stretch my limbs, till they crack. Lulu (sitting down, rather uncertain) Dr Schön gets up with an effort). Then why didn’t you speak to me about this Now’s the time to end it! Schigolch (taking up her tone) I’ll find my own way out. before? And when they’ve finished cracking? Lulu (Lulu wishes to see him out; both go to the back. Dr Schön I am at your service! Lulu Bell rings again. Schigolch goes hurriedly but Kindly don’t talk such nonsense; it’s more than Dr Schön (beginning calmly) And why is that of interest? ceremoniously out – exit. Lulu accompanies two years since I first mentioned my request. Schigolch out – exit. Lulu and Dr Schön come in.) Through me you made a fine marriage. And Schigolch Lulu (nervous) now another, a fine marriage. You live in And why is that of interest? And why is that of Recitative I see! splendour. And your husband, thanks to me, has

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acquired a reputation. And if there’s more you Lulu respecting girls would gladly wish to flaunt, you Dr Schön want, behind his back: I won’t argue! But you We can meet when it’s convenient – all you have would at last be fulfilled and happy. What ‘little child’? That child is only just a year must leave me out of your game. to do is say the word. younger than you. Lulu Lulu Dr Schön I see! Coda of the sonata: melodrama He’s blind. Blind to me and himself too. He is There’s simply no chance of that… (aside to herself ) blind, blind, blind… He does not know me. Yes, yes, yes… Painter (coming from the portière left, holding a Lulu What can he know? He calls me ‘honey’, his paintbrush) You don’t believe a single word of what you’re little budgerigar. To him I’m just a wife, just a Dr Schön What’s the matter? saying. wife. I must finally settle down. My worldwide Lulu (to Dr Schön) Dr Schön business assignments compel me to. I will be Dr Schön Go on, tell him then. Excepting in the presence of your husband. married. Through me she made a fine marriage. And then Painter another, a fine marriage. She lives in splendour. Lento: coda of the sonata Lulu And her husband, thanks to me, has acquired a Whatever could I have against your marriage? What’s going on? reputation. And if there’s more she wants behind Lulu ‘Of my husband’… If I belong to one man in Quasi tempo di Gavotta Lulu (to the painter) his back: I won’t argue! But kindly leave me out Nothing to concern you… of your game. this world, I belong to you – without you I’d be Dr Schön God knows where. You rescued me and you took (Secondary theme) – Gavotte Then why not let me be! Dr Schön (quick, to Lulu) my hand, you gave me my food, you gave me Quiet! Lulu clothing, on that day when I stole your watch. Lulu But why are you so frightened, when you have Do you think I’ve forgotten? Who except you in But you deceive yourself in presuming, because Lulu reached your heart’s desire? all the whole wide world has ever felt I was of your wretched engagement, He’s had enough of me. worthy of love? (à la musette) Dr Schön you now have a reason to despise me and (The painter takes Lulu to the entrance of the Have reached my heart’s desire! Reprise of the sonata disparage me. studio, left. Lulu leaves quickly. He comes forward (à la musette) again.) I’ve just become engaged. At last! My bride must Dr Schön (pursuing the matter in hand) Dr Schön not know of any damaging scandal. Leave me out of this! If you feel obliged to me, Despise you? What could be more despicable Dr Schön (turning the pages of one of the books then don’t throw yourself for the third time at Lulu than all your conniving and intrigues? lying on the table; aside) my feet! Why ever did I marry you off, if you’re He has to be told. She’s blossomed into such a radiant woman. seen at every hour of the day entering my house Lulu Dr Schön when you want. I ventured to hope that having a Do you think I’m jealous of that little child? Painter She no longer appears so earnest and reserved. husband young and kind, such as all self That child means nothing. Ah! (laughs) Is this some kind of joke?

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Dr Schön (indicating the armchair) Dr Schön Painter Painter Please, sit down. No! With whom?… With whom?… But she never once said a word. Painter Painter Dr Schön Dr Schön What is it? Why on earth not? Well?! Why don’t you tell me! If we must fight a duel… Of course, that was quite correct.

Dr Schön Dr Schön Painter (at last understanding) Painter Sit down! Never leave her long unattended. O God! O God! She told me she used to have an aunt who brought her up. Monoritmica Painter Dr Schön I – her? Don’t blame God – for what’s done is done! And Dr Schön Painter (sitting down) I have no desire to create a scandal, but rather, She was the guardian that I chose for her; she 15 So? Dr Schön I’ve come to save you from this scandal. We’re no longer children. We’re grown ups now. really learned so much from her. Dr Schön (sitting down) Painter With urges… Painter Your marriage has made you at least a million But you don’t understand her… But how come that Dr Goll knew her? marks… Painter Dr Schön (evading the point) Has she slept around? Dr Schön (calmly telling the story) Painter Maybe. Only I cannot permit you any more to Through me. Just after the death of my wife, And is that a crime? Why should that be Dr Schön ( forcefully) live in such delusion. The girl has a right to be when I first made the acquaintance of the shameful? Your marriage has made you at least a million treated with due deference. Her nature, since I marks. have known her, has made a change for the better. charming woman I shall shortly marry. She Dr Schön forced herself between us. She’d got it inside that And now you’ve made a name for yourself, you Painter (rising; no longer self-controlled ) Painter head of hers to become my lady wife. are free to do your painting, you never need to She… she… you mean she’s?… Since… Since you… Since when is that? Have Painter be without money… you known her for long? Dr Schön (taking him by the shoulders and And when her husband died? Painter compelling him to sit down) Dr Schön Dr Schön What is it both of you want of me? For once consider all that you owe to her… Since she was twelve years old. Your marriage has made you at least a million Dr Schön Painter Painter marks. You have a young wife, who needs a husband You mean she’s – Christ!… But she never once said a word. Painter ( from this point nearer and nearer whom she can venerate. Dr Schön Dr Schön breakdown) Painter And then,… and then consider that it’s you She was selling flowers at the Alhambra Café, I recall how she said, when I first knew her, she’d Doesn’t she do that now? who’s to blame and no one else. every evening after closing time. never known love before.

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Dr Schön Painter Painter Dr Schön Given the background that your Mignon has, He passed away in some asylum. She swore it to me, on the grave of her own You are sure to lose her, if you delay a single you can’t hope that she will conform to the mother… second. Dr Schön bourgeois standards of good society. But he was here just now. Dr Schön Painter (rising, apparently calm) Painter But she never saw her mother’s face; much less You are right… quite right. Painter Who’s Mignon? her mother’s grave… Who was here? Dr Schön Dr Schön Painter Where are you going? (likewise standing up) Dr Schön She is your wife! O God! O God! O God! Her father. Painter Painter Dr Schön To confront her. Painter My Eva? What is it? What! In here? Dr Schön (gripping his hand ) Dr Schön Painter Good lad. Dr Schön To me she was Mignon. Such an overpowering pain… (Dr Schön accompanies him to the door, right.) He sloped off as I entered. The proof is there – (Painter exits.) Painter here’s his wine glass… Dr Schön (returning alone) I thought that her name was Nelly… Guard her well, you’re her husband. Painter (with an outburst) Thank God that’s all over. Dr Schön Lies, all lies! Painter ( pointing to his breast) (After a pause he looks to the left.) But only to Dr Goll. Here, here. But he went to the wrong room. Dr Schön (encouragingly) (a terrible groan from off-stage right) Painter Let her know who’s the real master. She deserves Dr Schön Hey, what’s up? To me she’s Eva. no less than to be made to show the strictest Your marriage has made you… obedience. Lulu (coming out of the portière on the left) Dr Schön Painter What is it… What she’s actually called I don’t know. Painter (shaking his head ) Such humiliation! She says he passed away in some asylum… She Dr Schön (Dr Schön hurries to the door, right, Painter Dr Schön told me she’d never known love before… and finds it closed.) She will perhaps… You must not waste a moment… Open up! Dr Schön Dr Schön Painter Start by controlling your passion. Try to be Lulu (coming down the steps) Given the father that your Mignon has, she is It makes you want to weep! stronger. Horrible! nothing short of wondrous! Dr Schön Get me the axe!

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Lulu Alwa (to Lulu) Alwa (to Lulu) Alwa He’ll open the door in a minute… You look deathly pale… Give it to me! Where to? Dr Schön Dr Schön (rattling at the door) Dr Schön (to Alwa) (He accompanies her to the door, left; from there, I don’t want to break it down. Walter, Walter! You need to grip even tighter. he looks in her direction and then comes forward again.) Lulu Lulu Alwa …when he’s finished crying. God protect you… I’ll smash it. (The door springs back from the lock. Lulu Alwa lets the hatchet fall and staggers back.) Don’t leave me alone here… Dr Schön (speaking towards the door) Dr Schön (to Lulu) (drags him, with an almost tender urgency, to the Open up! Where is the axe? Lulu ( pointing towards the door; to Dr Schön) door) (to Lulu) Go on, then. Lulu Where is the axe? Dr Schön (coming from the room on the right, I’ll try to find one… (Dr Schön at first draws back; wipes the sweat (A bell rings in the corridor – they exchange fixed looking round the stage) from his forehead and goes in.) glances. Dr Schön moves stealthily to the back, then (She goes upstage right – exit.) Has she gone? remains standing in the doorway.) Alwa Alwa (His hand shows blood.) I mustn’t be seen here. Gruesome… What can he be up to? Alwa Lulu (Alwa sinks onto the chaise longue.) She’s gone upstairs to change her clothes. Perhaps it’s the art dealer… Dr Schön Revolution broke out in Paris this morning?? Lulu (Involuntarily his look dwells on Lulu’s picture.) (bell rings again) What is it? Alwa (Approaches the door. Lulu, holding onto the door- Dr Schön (pointing to the room on the right) Dr Schön (Lulu moves slowly towards the door; Dr In the papers they don’t know how to react to post, suddenly screams.) My own wedding in tatters! Schön stops her.) it! Ugh! Ugh! Ugh! Suppose we don’t answer… One can’t be always Alwa Dr Schön (speaking through the door) (runs to Alwa) available. (He goes out on tiptoe.) That’s what you get for your schemes. I cannot bear to stay. (Left alone, Lulu goes to the closed door, right, and Walter! Dr Schön listens. Dr Schön re-enters, bringing Alwa in.) Alwa Alwa Shout it from the rooftops! 16 Don’t talk so loud. Shall I just break it down? Horrible! Alwa Alwa (excited) Dr Schön (knocking at the door) Lulu (taking Alwa by the hand) Could you not, after my mother died, treat the Revolution broke out in Paris this morning. Leave it to me… Come with me! young girl with decency and decorum! Dr Schön (Lulu comes back quickly with a kitchen Be quiet! hatchet.)

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Dr Schön Lulu Dr Schön Lulu My own wedding bleeding to death, to death. He always had such morbid thoughts of dying. …Extra issue… You will marry me after all! (suddenly regaining his self-command ) (turning to the entrance door) (Lulu comes down the steps in a travelling-coat.) Dr Schön (on the telephone) Revolution broke out in Paris this morning?! Just you wait, children! Suicide. Alwa Alwa (Dr Schön goes quickly to the back. The curtain Where are you going now? Alwa All of our reporters were simply flabbergasted. falls quickly.) In life he had all a man could ever ask for. Lulu No one knows… 17 Verwandlung [Transformation] Outside! I’m not staying one minute more. Dr Schön Dr Schön Cut his throat. Dr Schön That could be convenient. Where on earth have Scene Three And when the police arrive, what then? Lulu the police got to! A dressing-room in a theatre. Backstage left, the He paid a terrible price. door; backstage right, a folding screen. In the (Bell rings.) Lulu middle, end-ways-on to the audience, a long table Nothing! That’s your concern. Dr Schön Alwa with dance costumes on it. Armchairs at right and With his own razor. Dr Schön (in a tone of furious indignation) They’re here now. left of the table. Downstage left, a little table with The fool! The bloody fool! Alwa chairs. Downstage right, a tall mirror, next to Lulu He had all the luck we’re lacking. which is a tall and very wide old-fashioned (He goes to the telephone at the back and telephones.) Yes, that must be them. armchair. In front of the mirror a pouffe, make-up Dr Schön (holding Dr Schön back) Alwa (furiously) boxes, etc. On the back wall a large poster which is Persecution mania. Look at you! A drop of blood. Look at you, I’ll recognisable – despite the lettering, etc. – as a copy Moderate your language. wipe it away. Lulu of Lulu’s portrait from the previous scenes. Dance Lulu And there he stood just minutes ago. (She sprinkles perfume on her handkerchief and music offstage. There’s no one here but us. wipes away the blood from his hand.) Dr Schön Ragtime Alwa Yes, persecution mania. Dr Schön I know! [Dialogue] (He hangs up the telephone and comes forward My God, that’s your husband’s blood. quickly.) Alwa (downstage left, he fills two glasses with (He leads her to the chaise longue. Telephone signal.) Lulu My reputation is devastated. champagne) As clean as a whistle. Lulu (sitting down) 18 I’ve never in my life known an audience so Lulu (to Dr Schön) He realised at last how we’d tricked him. Dr Schön excited. Write an article at once! Get them to produce an Monstrous woman! Alwa extra issue! Lulu (invisible behind the folding screen) He always wanted to go and meet his maker. Not too much for me. Is he coming?

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Alwa Alwa Lulu 20 That girl and her lovers, they would make a My father? To Africa… Your father must be taught to believe in my most daring theme for my next show. success! He only put me on the stage so that Lulu (Lulu comes out, in a ballet dress, from behind the (standing in front of the poster) someone rich enough might be found to marry Yes. screen. Painfully affected, almost blinded at the Opening tableau: Professor of Medicine… not me. sight of her, Alwa presses his hand to his heart. The good! Alwa offstage music stops.) Alwa (looking up) (Sustained but strongly muffled applause and shouts I don’t know whether he’s here. God forbid that anyone should snatch you from of ‘Bravo!’ are heard from the outside.) Recitative Lulu us. God, it’s like feeding time at the zoo. Second Doesn’t he want to see me? Lulu Lulu tableau: The Painter… no, that’s even worse! Do you recall when you caught sight of me for The music you wrote for the show is so Then the third scene: surely it cannot go on like Alwa the first time? becoming. And some of the audience out there this? He has so little time. are starting to be affected. I know they are, even Alwa Choral Lulu though I can’t see them. You had on a dark blue velvet dress. I saw in His fiancée claims all his attention! African Prince (The prince comes in, acts as if he you, in your lovely eyes, something so awe- Alwa were quite at home, and makes a slight bow.) Alwa inspiring, and I, I cherished a more passionate But how can you get this feeling? 21 I met her first at Dr Schön’s, and was lucky to esteem for you than for my own dying mother. Was the Prince here? Lulu (coming forward ) get to know such a splendid artist. (indicating And then when she died, I ventured to tell my It slices through me like an icy shiver running up her portrait) Lulu father, without delay, that he would have to Not yet. my spine, and running down again… marry you, or else we’d have to fight a duel. Alwa (making a slight bow) Alwa Alwa My father published some flattering articles Lulu You’re astonishing… And will he come? Yes, yes, yes, that’s just what he told me himself. about her dancing, (indicating her portrait) (An electric bell sounds from over the door.) thus bringing her instant fame. Lulu (holding her glass up towards him. Offstage dance Lulu Of course; he’ll be here shortly. He wants to music begins again.) Prince (sits) marry me. My cape! Ludicrous, really quite preposterous, but at first I English Waltz Alwa Alwa ( fetching a wide shawl and placing it round took her for a young disciple of some Does he? Lulu her shoulders) sophisticated bookish clique! What I find 19 More for me, please. Allow me. alluring is not her dance, but rather her physical Lulu (Exit Lulu. Alone in the doorway, he follows her and her spiritual gravitas. I’ve studied her for ten He’s taking me to Africa! Alwa ( pouring out for her) with his look until the offstage music is no longer performances, and through her dancing I have You’re drinking too much. heard. He shuts the door, then comes forward.) discerned her soul, so that now I utterly and

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wholly understand: she embodies all earthly joy. Theatre Manager (likewise bursting in) Alwa just rest a moment, then she will once more go In marriage (again indicating the portrait) Yes, she fainted! With his be… and dance for your future wife. For your future she will make some man indescribably proud wife she will dance, won’t you, gnädige Frau? Prince (engrossed by the sight of Lulu, as though Dr Schön (entering hastily, then remaining and happy. (aside) When we are married… (to Lulu) looking at a picture) motionless and taking in the situation) Rest a moment and then you will dance for his (The electric bell above the door rings, not stopping.) You say she fainted? You say she fainted… 23 What’s wrong with her? future wife. (to Lulu) Alwa (jumping up) Alwa (with great anxiety, to Lulu) How dare you spoil my plans? Theatre Manager (to Dr Schön) For heaven’s sake, what’s going on? That’s impossible! Why not indeed for your betrothed. Sextet Prince (also getting up) Theatre Manager (to Lulu) Why such a ? In front of her public… Alwa (to Dr Schön. The following speeches – until Kindly get right back on stage, gnädige Frau. the exits of all characters except Dr Schön and Lulu Alwa Dresser Prince (somewhat to himself, having slowly come – are part of a simultaneous ensemble.) What’s happening there? She was dancing, suddenly fell… to realize the connection) You really should not have done such a thing! For his betrothed? So that’s why she fainted Prince (She turns with loving care anxiously towards Lulu Dr Schön while performing! What makes you so terribly frightened? and takes pains to attend to her.) Back on stage now! Dresser (attending to Lulu as before; to Dr Schön) Alwa (hurrying to the door) Lulu (to Alwa) Lulu Leave her, let her find rest a moment, then she Out there all hell has broken loose… Shut the door. Please hurry and shut the door! No…, no…, no…, no…, no… will once more go and dance for your future (Alwa hurries to the door and shuts it. The offstage (Opens the door. Listens. Dance music is heard, wife. But silence! She needs rest now! dance music stops suddenly.) (getting up furiously; Dresser and also an uproar behind the scene. The prince (to Lulu) to Alwa) Leave her. Let her just rest for a moment. also listens at the door. Lulu bursts in, the shawl Don’t you, gnädige Frau? Rest a moment and Didn’t you see him out there? round her; she pushes Alwa and the prince aside Lulu then you will dance for his future wife, his future and throws herself into the large armchair.) Alwa No, I cannot…, I shall not dance for his fiancée. wife. See? See whom? Lulu (to Dr Schön) Ragtime (trio) Dr Schön (to Lulu) Lulu I’m so tired, so tired! Go away! Go away! Dresser (appearing at the door – to Alwa and the Dance for my betrothed! For my betrothed. I Your father! prince) command you! Dance for my betrothed! I Dr Schön 22 She’s had a sort of fainting fit. (rushes in after Prince command you, for my future wife you will Back on stage now! You’re not employed to sleep. Lulu) Dr Schön? dance! Back on stage with you now! I’ll hear no more of your tiredness! Alwa Lulu Alwa Lulu She fainted? With his betrothed! She cannot dance for your future wife! Let her Go now!

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Dresser (laying a pillow under Lulu’s head ) Lulu Lulu (childishly imploring) Lulu So! Now then, already you’re feeling better. I think you’re right to make me suffer such Just give me a moment, I beg you. I can hardly So at least you’ve fathomed something! humiliation, by forcing me to dance before your seem to keep my balance! They’re sure to call (with a quick look at Lulu – exit) Dr Schön fiancée. me… Shut your mouth, you brazen little slut! Alwa (to Dr Schön) Dr Schön Dr Schön Let her just rest a moment. She’ll dance before Lulu For one of your kind, it’s quite a privilege to And what did the Prince want? your future wife! You’re free to leave me. dance for decent people in this theatre. Lulu Dr Schön (to Alwa) Dr Schön Lulu He’s taking me to Africa. But then… I’ll go when they call you on. Oh, I’m well aware just what would have Dr Schön Lulu happened to me if you had not decided to Lulu To Africa? Yes… then… protect me. You’ll go if your strength of mind will allow you. Lulu But where is your strength of mind? It’s three Alwa (to the Theatre Manager) Dr Schön You made me so famous as a dancer, yourself, in years since you were engaged: why haven’t you Put on the next number. Nobody will mind if she And don’t you think your circumstances have hopes that someone would take me away. married her yet? dances now or in five minutes. altered? (Dr Schön makes a gesture which causes all the Dr Schön Dr Schön (raging) Lulu others to leave him alone with Lulu. A knock is But not to Africa! Do you imagine that you can upset my plans?! Thankfully, no! heard.) Lulu Lulu I’m coming. Dr Schön Then why didn’t you simply let me lie there Go then! Seek out that innocent creature, go and Typical! (Exit.) when I fainted? leave me alone! Linger a moment more, and Lulu you’ll lose the strength! Theatre Manager (to Lulu) Dr Schön And I’m truly happy just as I am! We will call you. (Exit) I regret I never thought that your collapse on Dr Schön Dr Schön (with a disdainful gesture) stage could be genuine. Bitch! By next Sunday I shall be married! Don’t (The prince is the last to leave – exit.) Will you please dance now? you dare get in my way. Lulu Development of the sonata Lulu You couldn’t stand to see me faint… Lulu Dr Schön (drawing himself up and going up to Before whoever you like. I’ll shut all my doors and bolt them. You really Dr Schön Lulu) must start living chastely: or else you might Dr Schön I know too well when you choose to faint on 24 How dare you attempt to ruin my well-laid contaminate that little darling’s innocence. Right then, back on that stage now! stage. plans?

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Dr Schön Dr Schön Lulu (dictating) three years I have struggled to be free to love Devil, do you want me to slap your face! My future! All my hopes! ‘Most respected Fräulein…’ you, but I do not have the strength of will. The child, my innocent child! I write this letter, dictated by the one whom Lulu Dr Schön (mechanically repeating) I obey. Marry the creature: then she’ll dance in all her ‘Most respected Fräu…’. I call her my Brigitte. Lulu (Dr Schön puts the pen down. Lulu makes a infantile pity for me, not I for her. He’s crying. See the tyrant crying! It’s time you Lulu (with emphasis) commanding gesture.) made your way to, (ironically) to her… Dr Schön (raising his fist) ‘Most respected Fräulein…’ Forget me forever! O Jesus Christ! Dr Schön (Another gesture. Dr Schön picks the pen up.) Dr Schön (He writes as dictated.) I cannot… Dr Ludwig Schön.’ Lulu My life is finished! Hit me! I cannot go to her. (with a gesture of helplessness) Dr Schön (groaning aloud) Lulu (going on dictating) Lulu O God! Dr Schön (shouting) ‘Kindly take your promise back!’ Clear off and leave me! Send in the Prince to see Enough! (Dr Schön goes on writing as dictated.) Lulu me. (He rushes to the door, then reconsiders, and turns ‘I cannot live with my conscience…’ Cut out: O God! (with emphasis) around.) Dr Schön (heavily) (Dr Schön stops writing. Lulu makes a gesture as ‘Dr Ludwig Schön.’ Wherever to? To my betrothed?! Back home?! If For God’s sake, please have pity: what can I do? Dr Schön puts down his pen and throws a look of only I could leave this world! entreaty at her.) (Dr Schön writes.) Lulu (She rises, her shawl remaining on the chair; A postscript. Lulu Write it down: she pushes aside the costumes lying on the centre You know very well that… (Dr Schön writes again.) Dr Schön (aside, to himself ) table.) ‘My conscience won’t allow me to share with you A postscript? Dr Schön (interrupting Lulu) 25 Take this pen and paper. such an awful life of torment.’ Bitch! (standing behind Dr Schön, leaning on the back of Lulu Lulu his chair) Dr Schön ‘Please do not think that you can save me!’ Yes, you are right! You are so right! …you’ve not the strength, ever to finish our Dr Schön Dr Schön (after writing the final words, with an affair… I cannot do this… Lulu outburst) Behold the hangman’s noose! Dr Schön (Utterly exhausted, he has collapsed into Lulu ‘I hereby give you my word that I do not merit…’ the chair on the left of the centre table.) I’ll dictate it then! (Breaks down.) Oh, oh! What happens now? (Dr Schön looks up at Lulu.) Dr Schön Write it down: ‘merit your great love. (Bell rings gently. Lulu stands up and gets ready for Lulu I cannot… This short letter will furnish you with proof: for her dance number. The curtain falls.) Somehow, in this very moment, I’ve never felt so good! Letter duet

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COMPACT DISC TWO etc; a veil over her face, her hands tightly clasped Countess Geschwitz You never know where someone is lurking. inside a muff; to Lulu) And does the artist live nearby? (With the cocked revolver in his right hand, he Act II 1 Delighted that you will be there this evening, at speaks through the closed curtains of the balcony Lulu our Lady Artists’ ball, my love. window.) Scene One I really don’t think you’ve heard of him. This is my family! The bastard’s got a nerve! A magnificent room in German Renaissance style Dr Schön (standing downstage left) Countess Geschwitz (astonished ) (He seizes the curtain and tears it aside. When he with a heavy carved oak ceiling. Wooden carvings Might there be a chance of smuggling me in as You mean he’s dead? finds no one there, he comes forward again. With stretch half-way up the walls; above them, on left well, my dear? I’d be so grateful. an outburst) and right walls, faded tapestries. Right across the Dr Schön (heavily) This madness has already unnerved and room at the back runs a gallery which is hung with Countess Geschwitz (gesture) He’d had quite enough. unhinged me. The filth, the filth… curtains, but at the beginning of the scene these are It would be criminal for any of us to encourage such intrigue and such treachery. only half drawn. A monumental staircase, left, Lulu Cavatina You’re out of sorts. descends from this gallery to a point half-way Dr Schön (He goes behind the ottoman to the Lulu (enters, still thinking of Countess Geschwitz, downstage. Under the gallery, centre, is the entrance table in the middle of the room.) Countess Geschwitz (noticing the uncomfortable and comes rather slowly forward, turning towards door with twisted columns and a pediment. On the How beautiful that fragrance! atmosphere, she looks again at Lulu’s portrait, and Dr Schön as though struck with another idea) right-hand wall is a high, spacious fireplace; gets up; to Lulu) Lulu (in the armchair) 2 Why not stay here? Can’t you decide to take the further downstage, a balcony window with heavy I must go, Frau Doktor. A gift from dear Fräulein von Geschwitz afternoon off? closed curtains. Left, below the foot of the stairs, a (Dr Schön restrains himself. Lulu gets up.) (indicating her) to me. portière of Genoese velvet. A Chinese folding screen I still have all the preparations here to see to, Dr Schön stands as a shield in front of the fireplace. In front Countess Geschwitz (to Dr Schön) (addressing Dr Schön from a distance) Herr What did she want, this Countess What’s-her of the lowest column of the outer banister of the A pleasure. Doktor. name? staircase is a decorative easel on which stands Lulu’s (He bows. A pause of embarrassment. To Lulu.) (Escorted by Lulu, she goes out, centre. Dr Schön Lulu (too hastily) portrait as Pierrot in a reproduction-antique golden I hope that you will want to come dressed up in returns the Countess’s salutation.) I’m not sure… frame. Left downstage a deep ottoman; in front of men’s clothing. (again controlling herself ) it, to the right, an armchair. In the middle of the Lento room a square table with a heavy cloth on it; Lulu She wants to paint me. I’d love it if we could just round it three upholstered high-backed chairs. On Do you think that will suit my figure? Dr Schön (alone, looking around ) go out together. My retirement’s ruined. The plague has struck. the table a bouquet of white flowers. Lulu, in a Countess Geschwitz (indicating Lulu’s portrait; Dr Schön Thirty years of struggle, and this is my family, morning gown, sits in the armchair. with restraint, but warmly) You know I’m expected at the Stock Exchange. my family circle. How perfectly he’s caught you. Recitative (He makes a sudden movement, and looks round.) Lulu Countess Geschwitz (on the ottoman, in a Lulu (indicating Dr Schön) God knows who might be listening in there! Such a dreadful mood! curiously mannish costume – high stand-up collar, My husband can’t abide it. (He draws a revolver.) ( putting her arms round his neck)

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For weeks now, for months on end, I have not Schigolch (still asthmatic and short of breath) (Schigolch takes two liqueur bottles from a small Schoolboy seen much of you. 3 Thank the Lord, that at last we’re… at last we’re cupboard and places them with glasses on the table, How many in this house? home. on which he supports himself.) Dr Schön (stroking her hair) Schigolch (He almost slips down.) I wanted you to fill my twilight days with . Schoolboy No one but us! These polished floors! Pitfalls, mantraps, they’re If I could only show what I feel for her! Lulu lethal! (standing still and drawing breath) Acrobat The truth is that you did not marry me. Acrobat Big day at the Stock Exchange! Acrobat (coming noisily down the stairs, carrying There’s no need to worry in the slightest. Dr Schön the Schoolboy in his arms) Schoolboy Then tell me who it was I married. He’s still far too small for the big bad world and Schigolch (with a smoker’s gesture) Perhaps I should read it out aloud to her? Cigars for you? Lulu must be helped along life’s journey. Schigolch (to Acrobat) I, it was I who married you! (Schigolch continues down the stairs.) Schoolboy (opening his cigar-case) What’s he say? These are Havanas! Dr Schön Acrobat Schoolboy (struggling to free himself from the Does that make a difference? Acrobat It’s his ode; the scoundrel intends to arouse her Acrobat’s arms) A small gift from the boys in blue! passion. Lulu If it were just a matter of life and death, you’d I fear it might do: but one thing cannot change! really see what I am made of. Schigolch (sitting down with an effort) Schigolch (staring at the Schoolboy) There’s every comfort on tap here, please don’t He’s manic! He’s manic! Dr Schön Acrobat (rocking the Schoolboy in his arms) be bashful. Acrobat What might that be? The mummikins weighs with all his mighty passion no more than forty kilos. Schoolboy (sentimentally) He’s manic, yes! For one whole week she’s been Lulu (still with her arms round his neck) I have just written an ode to her… head over heels in love with him. Your great love for me. Schoolboy (kicking his legs about) Acrobat and Schigolch Schigolch (to Acrobat) I will be chucked out of school! (Dr Schön makes a convulsive movement and What has he done to her? We’ve both been jilted! gently urges Lulu towards the left. Followed by Dr Acrobat ( putting the Schoolboy down at the Schoolboy Acrobat Schön, she goes into the bedroom. Empty stage. bottom of the stairs) Lover’s ode. Irrevocably jilted. Countess Geschwitz cautiously opens the centre door You need to experience what I call real education. Schoolboy – ventures forward into the room and listens – Acrobat How come you’re jilted?… makes a sudden movement – listens again and Schigolch (comes down the final steps, always Lover’s ode?! finally hides behind the fire-screen. Schigolch comes heavily drawing breath) Schigolch (to the Acrobat) (Enter Lulu from left, in an elegant ball-dress, very through the open curtains on the balcony and down Many junior scholars have learned to fondle in He says he’ll give me lots of money, just to leave décolleté, with flowers at her breast. Taking no the stairs, holding on to the banister.) here! So come, no one’s shy in here! them both together – to their own devices! notice of Lulu and clinking glasses with Schigolch.)

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Lulu (coming in) Schoolboy (turning round ) Schigolch Acrobat (starting up from his chair a little) But children, we’re expecting a guest! What sort of Prince? She has never had a father! Isn’t he safe at his office? Acrobat Canon Schoolboy Lulu (she has sat down again on the arm of the Your health, you sad old git! She has never… Schoolboy’s chair) Acrobat Of course, but he’s consumed with chronic Schigolch (also taking no notice of Lulu) 4 You know it’s she he really wanted to marry. Lulu (Lulu, coming back, closes the curtains and jealousy. Your health, you tosser! hurries down the stairs again. As she comes within Schigolch hearing-range again, she may still be heard Acrobat Lulu (to the Schoolboy, seating herself on the arm And she was the one that I also wanted to marry. humming away to herself.) I’ll sort him out and he’ll soon cry for help – of his chair. Schigolch and Acrobat now turn at Acrobat What haven’t I ever had? when he’s on the ceiling upside down! last towards Lulu.) Was she the one that you wanted to marry? I like the sort of company you have been keeping. Schoolboy, Schigolch and Acrobat (The Schoolboy makes a gesture.) Schigolch Why, a father. (humming) Schigolch Lulu Is she not the one you also wanted to marry? What wonderful flowers! Lulu (passing by her portrait) One gesture from him and you’ll make off down a mouse-hole! Lulu Acrobat Yes, that’s true, I had a virgin birth. (then coming Of course she’s also the one that I wanted to They are orchids. forward) Acrobat marry. (inclining her breast towards the Schoolboy) Recitative Who’ll make off? (exposing his upper arm)Who’ll Smell the scent! Schigolch (more and more astonished; to both) make off? Wait till you look at these biceps here! She’s the one woman everyone wanted to marry! Schigolch (to Lulu) Schigolch and Acrobat Lulu 5 I hope you locked the windows. Are you waiting for his Highness? Schoolboy Show me them! What! She was the one that you wanted to marry?! Lulu (She shows Schigolch the key.) Lulu (to both of them) (She goes up to him and inspects his and her own Here is the key. God protect me! (Gets up.) Acrobat (to Schigolch) arm in turn.) Then she cannot be your child. Schoolboy Schigolch Acrobat (striking himself on the arm) For his Highness? Schigolch You should have left it (as always, heavily Like rock! Hard as iron! Prodigious! Out of the question! breathing between phrases) in the key-hole. Schigolch and Acrobat Lulu Or another admirer? Schoolboy Lulu If your ears were not so long, just like a Lulu (hurrying up the stairs) What does he mean: ‘your child’? You her father? Why should I? donkey’s…. The Prince is abroad. Acrobat Schigolch Schigolch (She hums to herself.) Then who is her father? So no one can enter and open the door. Hee-haw!

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Recitative under the table-cloth. Lulu, at the table, sits Alwa (turning round to her) Lulu (to Alwa) composedly waiting to receive her visitor but takes a Wouldn’t it be better if I didn’t say? Don’t! Manservant (entering centre, announcing) look at Schigolch. The Schoolboy is under the table, Herr Doktor Schön. Lulu Manservant (with an outburst, but quickly invisible. The Countess is behind the fire-screen, I only meant my dress. controlling himself ) (He stands motionless in the middle of the room.) invisible. The Manservant admits Alwa, then exit. I can’t stand any more! The Acrobat is behind the curtain, invisible.) Alwa Acrobat (jumping up) Your dressmaker is clearly better acquainted with (He again attends to the table, but again with a The little shit. Alwa you than I can allow myself to be. disturbed look at Lulu and her portrait. Lulu and 6 The matinée will be lit by ultra-violet light. (He rushes through the room and hides behind the Alwa sit down to table and the Manservant slowly (Schigolch remains unmoving, then drags himself a Lulu curtains, down-stage right, so that he is no longer in makes his exit.) couple of steps further and again stands still; then Seeing myself in the mirror, I wished I were a view.) another couple of steps, standing still again.) man…a man married to me! (with a glance at Lulu Schigolch (to Lulu) I myself have come up with… (noticing her portrait) I have always admired one thing about you: your Give me the key at once! Schigolch) Who’s that? character shows such honesty. You are always so Alwa (contemplating her with pleasure, but shyly) utterly fearless. Despite the monumental risk you Lulu You seem to envy your husband the happiness (Schoolboy slides from his seat down under the took by standing firmly against your father, you An old friend of your father’s. you give him. table, and pulls the cloth down. Lulu, without always pleaded for me like a brother, like an losing her composure, gives Schigolch the key. Alwa Subito recitative older brother. Schigolch slowly starts moving – but again with Never seen him before. pauses. The Acrobat peeps out for a quick look from (Manservant comes through the centre door with a Alwa behind the curtains.) Lulu tray and lays two places on the table – a bottle of It’s always been my luck that my most frivolous They fought together in the war. He’s in a bad champagne and hors d’œuvres.) intentions always turn out to be the most Lulu (to the Manservant) way. rewarding. Please let him enter. Alwa (to the Manservant) What’s wrong with him? Lulu (Dropping the rôle of servant, he makes a gesture of Alwa Is my father here, then? I’ve never known any man in all my life who displeasure.) Lulu (to Alwa) would protect me, without causing me Don’t! Schoolboy (looking out from under the table) Lulu humiliation! They had a drink together. He had to go to the If only he’d go, then we’d be alone… Manservant Alwa Stock Exchange. Herr Doktor…? (Lulu stirs the Schoolboy with the tip of her shoes. (Alwa follows Schigolch with his eyes.) Quite a difficult task…! Schigolch, with a glance at Lulu, reaches the How do I look? Alwa stairway, which, with an effort, making another I hate such ludicrous snivelling. pause, he begins to climb. The Schoolboy disappears (Schigolch reaches the top of the staircase and exits.)

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Dr Schön (appears in the gallery, cautiously Alwa Lulu Lulu (completely without understanding) parting the curtains; he speaks over and away from He’s shaking like a leaf. Here’s my hand on it! Whatever do you mean… the stage) (Gives him her hand across the table. Alwa seizes (Dr Schön appears again from behind the curtain.) Alwa (passionately) My own flesh and blood! (He conceals himself.) her hand, squeezes it in his own, and presses it long Mignon! Manservant (He gradually loses control and finally and intensely to his lips.) Alwa (as Lulu says nothing) bursts out.) What is it… Lulu (suddenly understanding, withdrawing her With all your heavenly beauty, everyone who Gnädige Frau… Herr Doktor… hand and throwing herself back on her chair) comes near you is corrupted, simply by being so (The Acrobat sticks his head out from the curtain – Don’t stare at me so. O God in heaven! near you. Dr Schön (watching the business with the and draws it back. Lulu throws a furious look, over (aside to himself ) Manservant, and again speaking over and away Alwa’s bent figure, at the Acrobat. Alwa is Alwa (kneeling before her) I am only flesh and blood. And if we from the stage) motionless, bent over Lulu’s hand.) Tear my soul to pieces! Make a martyr of me… hadn’t grown up as brother and sister, side by He’s smitten too! Dr Schön (leaning down from the gallery, Lulu side together,… (He disappears, then again becomes visible, but noticing all that happens, and speaking over and Are you in love? Lulu more discreetly, then slightly draws back. The away from the stage) Alwa That is why it’s only you I can confide in so Manservant again controls himself by degrees and, There’s another one! Are you too, Mignon? completely; for with you I’m afraid of nothing. with a look at Lulu’s portrait, goes out, carrying his (Withdraws again. Lulu is now once again wholly tray.) Lulu Alwa occupied with Alwa.) I do not know. But I have to confess, there are certain moments, Lulu Alwa (sitting upright but retaining her hand ) certain instances, when my whole being seems to What was it you meant then, with your ‘certain Alwa Like an angel, rubbing the sleep from his eyes as founder before you. Better, better not speak of moments, certain instances, when your whole Mignon, I worship you… (burying his head in he wakes in heaven. (intensely) I love this hand… that… being seems to founder before you’? her lap) Lulu (innocently) (Manservant enters again, centre, clears the plates Alwa (with an outburst) Lulu (with both her hands in his hair) Whatever do you mean… and puts down new ones, etc.) Don’t make me talk about it. I poisoned your mother. Alwa (excited) Subito recitative Lulu (soothing) Tumultuoso And this arm… I must have hurt you so. I won’t speak of it any (Lulu remains in position. Alwa remains motionless Alwa (to the Manservant) more. Lulu (innocently) on his knees. Acrobat sticks his head through the 7 Is he ill? Whatever do you mean… curtain, sees Dr Schön and by a sign makes him Alwa Lulu (to Alwa) aware of Lulu and Alwa. Dr Schön points his You give me your solemn promise? Alwa (more excited) Let him be! revolver at the Acrobat. The Acrobat signs to Dr And this body… Schön to point his revolver at Alwa. Dr Schön cocks

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the revolver and aims it at the Acrobat. The Lulu Strophe 2 Dr Schön (snatching the revolver from Lulu) Acrobat goes behind the curtain.) He’s coming! How many more have you hiding here? Dr Schön (vehemently) (looking furiously all round the room) Lulu (Lulu sees the Acrobat withdraw, and detects Acrobat Get away, or by tomorrow I’ll be insane, and I’ll I dare say there might be more hiding here? Dr Schön.) Bugger, bugger, bugger it! murder my son in cold blood! (violently opens the curtains of the window; laughs 8 His father! (with sudden resolution, pressing her to take the (He seizes Alwa energetically and leads him slowly, wildly; overturns the fire-screen. Countess revolver) Dr Schön (lowers the revolver, comes down the through centre-stage, to the left; exeunt both. The Geschwitz is discovered – speechless moment. Take this revolver. You understand? It’s up to you stairs and, with a newspaper in his hand, Acrobat bursts out of the curtains, right, and makes Dr Schön seizes the Countess by the collar and to take your own life! approaches Alwa. Alwa is still motionless on his for the stairs.) drags her forward.) knees) (Lulu has sunk down on the ottoman as her Did you really come down through the chimney? Air in five strophes Revolution broke out in Paris this morning. strength seems about to fail her. She turns the Countess Geschwitz (in mortal terror, to Lulu) Introduction revolver this way and that.) Alwa (getting up as though from a drunken sleep) Get him away from me! I must leave. Let me go to Paris… Lulu Dr Schön Dr Schön (shaking her) 9 And where did he go? I can’t get it to work. Dr Schön (unfolding a page of the newspaper) Are you also an acrobat? There is nobody who knows how it should be Dr Schön Lulu Countess Geschwitz (whimpering) reported. Shall I guide your hand for you? He jumped. You’re hurting me… (He seizes Alwa energetically and leads him slowly, Lulu ( pointing the revolver at him, as if jokingly) Dr Schön Dr Schön (dragging her to the adjoining room left) through centre-stage, to the left; exeunt both. The Is it really loaded? Jumped to safety through the window? But now you must stay for our cosy dinner. Acrobat bursts out of the curtains, right, and makes Dr Schön for the stairs.) Lulu (He locks the door behind her, then sits down by They are not blanks! He’s an acrobat. Lulu and thrusts the revolver on her.) Lulu (bars the Acrobat’s way) (Lulu raises the revolver and fires a shot at the You can’t go that way! Strophe 1 ceiling. The Acrobat springs out from behind the Strophe 4 portière, mounts the steps and crosses the gallery; Acrobat Dr Schön (turning furiously to Lulu) There’s more than enough for your death: pull exit.) Out of my way! You creature, you, it’s your fate to drag me the trigger! (gesture) It would be a shame if I had Who was that…? through the gutter to the grave. You death’s to live my life as a cuckold. (again pressing the Lulu angel. You unavoidable tormentor! You liven up Lulu (harmlessly) revolver on her) Pull the trigger! You’ll run straight into him. my dotage! You hangman’s noose! Where? It’s nothing but your paranoia. Lulu (taking the revolver) Acrobat Lulu Strophe 3 You can divorce me. He’ll blow my brains out. Do you like me in this pretty dress?

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Dr Schön You betrayed all your closest friends with me, Dr Schön Dr Schön (to Alwa) The final insult! So tomorrow another might betrayed them: And…there’s…another…one! Alwa! It all went wrong! arrive when he is ready, while I am haunted, am you scarcely could use me now for your own Lulu (rushing up to Dr Schön) Alwa (tries to lift him) haunted by visions of suicide and visions of you betrayal. God in heaven above! Get him to bed. with them. If you have sacrificed your last years just for me, (becoming somewhat calmer) at least you had my finest years as a fair Dr Schön (shouting to Lulu) Dr Schön How can I divorce you! How can we exchange. Do not come near me! Alwa! Get away from me!… I can’t swallow… part when our very souls and bodies have grown I have not once in my life ever tried (catching sight of the champagne goblet) Schoolboy together. It’s like losing half one’s being. to be something other than what I have been You never change. O God in heaven! (becoming furious again) taken for; (He drinks, with one last look at Lulu and her Here is your bed and the victim lying there. nor have I once in my life ever been taken for Lulu (on her knees) portrait. With a last spurt of energy he turns to (reaching for the revolver) something other than what I am. The only man I ever loved. Alwa.) Come here! Don’t let her escape: you’ll be the next one… Strophe 5 (from the air in five strophes) Dr Schön Lulu (trying to withdraw from him) Alwa (to the Schoolboy) Dr Schön (rising up and breaking in on Lulu) Murderous bitch! Alwa! Have mercy… (Alwa crosses the gallery and rushes down the stairs.) Take his elbows, lift him up together. 11 Kneel down, murderous bitch! On your knees! (pointing to the left) Dr Schön (forces Lulu to a position in front of the staircase. Alwa! Water! He’s so heavy. I’ll show you how easy it can be. Lulu sinks to her knees. Dr Schön raises his hand.) Lulu On your knees. Don’t ever try to rise again! (Both lift Dr Schön up and lead him to the door (He tries to snatch the revolver from her.) Water, fetch him water… (Turns and goes to the ( pointing the barrel of the revolver, still in Lulu’s table and fills a glass with champagne.) on the left. Glass in hand, Lulu slowly straightens Lulu’s Song hand, at Lulu herself ) Pray to your God herself and at last has entirely found her (threatening) that He give you courage! Alwa (with Dr Schön) composure.) Lulu (tearing herself away from Dr Schön and My father! My father! keeping the revolver down; in a decisive, self Tumultuoso Dr Schön (groaning) confident tone) Lulu (brings the glass to Dr Schön, putting it to his No! No! No! No! O God, O God, O God, O Schoolboy (noisily springing up from under the lips) 10 Even though men have killed themselves because God! table, shoving the chair aside) of who I am, I shot him as he stood there… I shot him as he (Alwa finds the door closed, turns the key and opens Help! that does not diminish my worth. stood there. it. Countess enters from the door that has been (Dr Schön quickly turns to face the Schoolboy, thus You know as well as I the reason you had to wed opened.) presenting his back to Lulu; Lulu fires five shots at Schoolboy me, (At the sight of the Countess, draws himself up Dr Schön and does not stop pulling the trigger; She is innocent… She is innocent… She is as I knew how much I desired you to be my rigidly.) stumbling forward, Dr Schön is caught by the innocent… husband. The devil… Schoolboy, who eases him into a chair.)

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(He collapses and dies. Alwa and the Schoolboy let Alwa accordance with the symmetrical course of the Lulu’s portrait – as a Lulu’s portrait – as a Dr Schön sink down on the carpet.) I have to. music – should also be quasi-symmetrical (i.e., it shadow on the prison wall reflection in a should run forwards and then backwards). To shovel Schoolboy Lulu this end the events that correspond, together One year’s imprisonment The devil! Please don’t do this to me. I am still young! I with their accompanying phenomena, should be vow to love you for evermore. I promise I’ll Lulu (bending down to Dr Schön and stroking his fitted together as closely as possible*. This yields *In addition to the congruent elements of the main belong to you only. Look at me, Alwa! Please brow) the following series of scenes (following the events listed here opposite one another, such as: look at me! Look at my face! His suffering is over. direction of the arrows): trial, medical council, arrest liberation, smaller (The electric bell rings in the corridor.) congruences of detail should also be shown, such as: (She stands up – looks again at Dr Schön – and Arrest En route to her final liberation revolvers, stethoscope, bullets, phials, Law, goes hurriedly as far as the stairs.) Alwa The three people The three people con- Medicine, paragraph sign, cholera bacilli, chains, That’s the police outside! Alwa (barring Lulu’s way) concerned in the cerned in the liberation bandages, prison clothes hospital smock, prison Stop! Stay where you are! Lulu (throwing herself at Alwa’s feet and clasping arrest Lulu at liberty (disguised corridors, hospital corridors, etc. his knees) Lulu in chains as the Countess Geschwitz) Also personal correspondences, such as: judge and Schoolboy Alwa! jury, doctor and students, police, nurses, etc. She is innocent… Detention pending trial Isolation ward Countess Geschwitz Countess Geschwitz (to Lulu) Nervous expectancy Nervous expectancy Scene Two It’s the police… I thought that you had been shot… Her hopes disappearing Growing hopes Curtain rises slowly. The same room as in the Schoolboy previous scene. The gallery is entirely shut off by Alwa I’ll be chucked out of school. Trial Medical council curtains, and so is the balcony window, right, with Stay where you are! Her guilt The illness heavy curtains; the portière, left, is likewise closed. (Alwa tears himself away from her. Noise at the Arietta Judge and jury Doctor and students The easel is empty; the portrait of Lulu is leaning door. Alwa goes to the door and opens it. Police The three witnesses The three helpers in the against the fireside, face inward. The only light is Lulu enter. Quick curtain.) The judgement liberation from a heavily veiled standing lamp on the table, 12 You can’t deliver me up for trial! Ostinato Her transfer in the Her transfer in the in the middle. Moreover, in contrast with the Alwa police van to the… ambulance from the previous scene, the room gives the impression of 13 Film Music (Who says so?!) prison being uncared-for, dusty and unlived-in. Daylight Orchestral Interlude has been carefully shut out. On the serving-table is Lulu (pressingly) Prison Prison a coffee machine, coffee cups, and some liqueur. Alwa, demand what you will! But don’t deliver Composer’s Note: During the transitional music The prison door shuts The prison door opens Countess Geschwitz lies in a deeply-cushioned me up and force me to climb the scaffold! a silent film is to indicate the course of Lulu’s Initial resignation Awakening will to live reclining-chair. She wears a black, close-fitting fortunes in the next year. The film sequence – in

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dress. A plaid rug covers her knees. The Acrobat is Countess Geschwitz undertaking must have severely depleted your Countess Geschwitz (She tries to stand up; then dressed as a footman. He sprawls languidly on the You really want your bride to travel on her own resources. May I offer you a loan of 20,000 to Schigolch) Ottoman. without you? marks, which I can easily raise in ready cash? Give me a hand! Recitative Acrobat (Schigolch’s loud footsteps are heard.) Acrobat (still lolling lazily) Firstly, Schigolch will go with her, and he will I know of an excellent guest house for you in Acrobat (making a sluggish gesture) Countess Geschwitz (listening to the steps) function as her chaperone; and second, I can’t Paris; the owners are Berliners… 14 We’re like the players waiting for a bandleader. At last he’s coming! think of leaving here, till my costumier turns up. Countess Geschwitz (She again tries to stand up Countess Geschwitz (with a slight convulsive (with exaggerated sweetness of expression) (The curtain parts at the top of the stairs and he is – in vain; to Schigolch) movement) He’s making me a pair of glittering stockings seen in a long black frock-coat, a grey umbrella in Please help me to get up! I beseech you, don’t say a word. (intermittently that I ordered. If they don’t make those foreign his hand. Throughout this scene his utterance is drinking black coffee) girls wet with lust, then I am a stinking old interrupted by frequent yawning. He comes through (Schigolch helps the Countess to rise.) . The flattering effect is unfortunately the curtain, and, with an effort, drags himself, Acrobat damaged by this gut I’ve grown, the result of my frequently pausing and yawning, down the final Acrobat To me it’s simply unbelievable that she, after all taking a leading rôle (gradually getting angrier) steps.) …and you will be safer there. You will be quite that’s happened, should seem more lovely than in this great conspiracy we’ve been part of. To be safe from the police. she has ever been. forced to languish, though fit as a fiddle, for Schigolch It’s black as bloody pitch in here! (yawning) Countess Geschwitz (to Schigolch) Countess Geschwitz (with a glance at the empty months in a clinic, why that would make even a He really wants you this evening to go with her easel) clapped-out old tramp look like a bloated Countess Geschwitz (extricating herself, with unescorted. She is far more beautiful than I have ever, ever porker. painful effort, from the rug) known her. Countess Geschwitz (turning to Alwa, with I won’t be long! Schigolch (to Acrobat) You’re frightened that she’ll give you cholera? Acrobat (gesture) suppressed displeasure) Acrobat (lazily and rudely stretching his limbs on If having cholera does for her complexion what And now he insists: he’d rather not go! the ottoman) Acrobat (taking up Schigolch’s tone) it’s done to your face… Alwa My gracious lady has not been outside for more A change of air can only help her, then I shall than three whole days. turn up for the honeymoon and feel her fresh Countess Geschwitz This plan of yours to free her from body. What sends most of us to our graves has revived imprisonment seems to me just a little rash. But Schigolch (always short of breath and struggling all of her strength and beauty. I, I simply cannot tell you how I admire you, with fits of yawning) Recitative knowing of your self-sacrifice, your courage, Since break of day, I’ve been collecting passports, Acrobat Alwa (takes out a wallet and holds it out to your super-human resilience in the face of death. collecting cases and things. I’m delighted she’s so well, but I will not be able I have no idea, Countess von Geschwitz, how Countess Geschwitz) to be with her this evening. rich you are, but the expenses incurred in this This small wallet contains ten thousand marks.

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Countess Geschwitz (at the table in the middle, I’ve had to spend three whole months in the Recitative Alwa leaning on the back of a chair) hospital to spy out the land, having first gone to And what is it you want? (a knocking at the door) That’s kind, but no. the trouble of acquiring the necessary symptoms Schoolboy for such a long stay. Alwa Alwa Listen, listen to me: I’ve got a secret plan to get (second finger) Who is that? It’s yours to take, don’t refuse it. her out of jail. Secondly, I’m having to act as your butler, dear Acrobat Countess Geschwitz (to Schigolch) Doctor, so you don’t have to engage strangers as Alwa That is my betrothed. It’s more than one whole Kindly get a move on! servants in your home. Have you gone raving mad? What kind of plan year since last I set my eyes on her. (third finger) is that? And just how can I help? Schigolch And finally, I’ve got to train her to be ‘the Alwa No rush, dear lady! (breath) The hospital’s not Schoolboy sauciest female acrobat of this century’. Believe How can they have got back already? She surely cannot be so unimportant to you that far away… (breath) I’ll be back… before you me! To which end I shall gladly risk my life. I need to spell it out. The statement she made in know it… back with her right here. When has a groom ever done more for his bride?! Acrobat For Christ’s sake, just go and let them in! open court, before the judge, has assisted her Countess Geschwitz Alwa much more than the defence our barrister offered. Let’s get a move on! Fräulein von Geschwitz has reimbursed you Alwa Get out of her sight! Alwa Acrobat (aside to himself ) every penny you have spent. As far as I know she You were the best witness on that occasion. ‘With her’. also pays you a monthly salary of 500 marks. At Chamber music II times I find it somewhat difficult to believe in Schoolboy Alwa (indicating the centre door) your love for that wretched murderess. On the Acrobat (Understands at last what the situation is No one allowed me to speak. I was too young to 15 This way is shorter. other hand, I am firmly convinced, if it were not and with one bound is behind the portière, left. testify. Alwa opens the door. The High-school Boy enters in (Countess, leaning on Schigolch, exits slowly. Alwa for the Countess and her heroic undertaking, a hurry, hat in hand.) Acrobat (comes out from the portière, with follows them and locks the door behind them.) you’d be lying drunk and penniless in some purposely bad ‘performance’ as a servant) gutter. Alwa Acrobat (brusquely, sitting upright) May I enquire, Milord, shall I serve the And who might I have… (recognizing the You really meant to give that mad cow money! Acrobat refreshments here or upon the veranda, Milord? And what would have become of you, if you Schoolboy) you?! What do you want? Where have Alwa hadn’t made two million marks by selling that you come from? Schoolboy What’s that to you? rag your father edited? What work did you How did he get in? Through the self-same door! Schoolboy (still breathless) He came through the self-same door as me! Acrobat actually do? You’ve written some ghastly From the detention centre. I ran away at dawn… My finances have also been severely depleted. In melodrama in which my bride’s legs play the but I need your help. Alwa the first place, principal rôle and which no theatre will put on. He works here as my senior butler; he is very (counting on his fingers; first finger) You pathetic git! honest.

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Schoolboy Schoolboy (tearing the sheet from the Acrobat’s (… and throws him outside through the centre Acrobat (more and more furious) How slow I’ve been! hand ) door; then coming forward and speaking in a How dare you turn up like this. Your face is like It doesn’t say that she died of it. droning voice) a skull, you’re gasping like a haddock. Acrobat (to the Schoolboy) I’m astonished you didn’t offer that fool your That’s quite enough of you. If I ever see you Acrobat Schigolch wallet as well as a token of charity. hanging round here again, I’ll pick up a mallet What else could she do? For more than three Keep your mouth shut! and pulp all your brains for porridge. weeks now she’s been buried there (gesture)at Alwa Acrobat peace in the graveyard, next to the compost I won’t stand for such filthy insinuations. That Alwa I’m going straight to the police. I’ll shop the lot heap! boy has far more courage in his little finger than Will you please be quiet. of you! They will laugh her off the stage, sure as you! Schoolboy (to Alwa) dammit! Schoolboy Is it true that she’s died? (with a look at the empty (Dragging footsteps are heard on the gallery and How slow I’ve been! Alwa easel ) outside steps.) You’ll take that back, and treat her like a lady. Acrobat (to the Schoolboy) Alwa Acrobat Didn’t they tell you that she perished last month Acrobat God be praised, yes! She’s coming, my bride, who’s soon to be called in prison? A lady! Don’t make me laugh! It’s thanks to her, ‘the sauciest female acrobat of this century’. Schoolboy thanks to this bag of bones that I have got such a Schoolboy My future is so utterly bleak, I’d have willingly (The curtain of the gallery opens. Lulu, dressed in belly. How can I earn a living? You wait and see That can’t be true! died several times for her sake. So what: she’s the black dress previously worn by the Countess, just how I’ll manage to get my own back, I’ll Acrobat done for! Whatever happens, I’m bound to go and supported by Schigolch, drags herself slowly easily get enough to live on, by giving your evil I know it is true! straight to hell! down the stairs.) scheme some publicity! (already on his way out) (He takes a sheet from a newspaper out of his I’m going straight to the police! Missing you Acrobat (gesture) Melodrama pocket and points to the place.) already! (Exit.) And now, get out! Read this article! There, there… Schigolch (dragging) Schigolch (He reads out.) Alwa 16 Hey, little Lulu, (breath) it’s time we scarpered Go! Go! ‘The murderess of Dr Schön has cholera’. Could you kindly just leave us? (trying to escort (breath) over the border. him to the door) Lulu Schoolboy (looking and reading from the sheet of Acrobat (gaping stupidly at Lulu) He wouldn’t dare to! newspaper) Schoolboy Bugger, bugger, bugger it! ‘The murderess of Dr Schön has cholera… in How slow I’ve been! Schigolch Lulu (standing – though in a state ready to fall – prison’. No more of him! Acrobat (He takes hold of the Schoolboy…) in front of the Acrobat and Schigolch) Acrobat Get out! Slowly! I can’t go so fast. Alwa ‘has cholera’! Thank the Lord!

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Schigolch (still breathing heavily) (She drinks and looks around the room.) back here to visit me in my prison cell. As soon Lulu And now I’ll get the tickets at the station for the My portrait has gone! as the warden was outside, we quickly swapped I had to be that way so the Athlete might go, my sleeper. (to Lulu) I’ll come back here for you in underwear. love. (leaning towards him) Now give me a kiss! Alwa (pours out a glass for himself, pointing to the half an hour. fire-place) Alwa Alwa Lulu No. While you weren’t here I placed it leaning So that was why you both contracted cholera on Your lovely eyes are shimmering like a pool of All right… face against the chimney piece. the same day! water, glistening in a fountain into which someone’s thrown a heavy stone. Schigolch (to Alwa) Lulu Lulu Guten Morgen, Doktor! And didn’t you look at it, while I was absent? That’s right. Geschwitz was taken to the Lulu isolation wing of the hospital; and that was Come! (She draws him to her side on the ottoman.) Alwa Alwa where they took me too. From the very first day Guten Abend! The Countess wanted to give it pride of place in Alwa (He kisses her with great intensity, and then Geschwitz used all her artistry to make our faces her flat, but she feared the police might gently releases her.) Schigolch as alike as possible. She was discharged, but search the house. Your lips have lost almost all of their fleshy flavour. Pleasant dreams and slumbers! Auf Wiedersehn! today, she slipped back pretending she had left May you prosper. Lulu (cheerful ) her watch. I put on her clothes, she put on Lulu And now the poor creature’s taken my place in mine, and out I walked. Do I frighten you? (She draws near to him Lulu (raising herself with difficulty, and, from this prison. passionately and kisses him fervently.) point, in the most cheerful tone, without any Melodrama pretence) Alwa Alwa (amused) O freedom! Free at last! I still don’t understand how that all worked. Oh… Oh… I’ll have to write an epic poem Now she’s lying there as the murderess of about you, praising all your beauty. Alwa Dialogue Dr Schön. What can I get you? Lulu (as if nothing had happened ) Lulu Alwa ( putting the picture on the easel ) I simply can’t abide wearing these terrible slippers. Lulu Oh, Geschwitz arranged things wonderfully. I’m 17 You’re still as ravishing and youthful as in your For two years I haven’t set eyes on a room: with amazed at her resourcefulness. There was a Alwa (with a look at her shoes) portrait. curtains… and sofas… and pictures… dreadful outbreak of cholera in Hamburg this They don’t damage your loveliness at all. Come, summer, and that provided her with an escape Lulu sweetest love!… Come! Alwa (handing her a glass) plan. She took a nursing course and when But my face is thin, it’s not the same as the A little brandy. Lulu she had the necessary qualifications, she travelled portrait. Careful: you know that I murdered your father. Lulu to Hamburg to nurse cholera victims. At the first Alwa That reminds me of the times that we used to opportunity she put on the underwear of a Alwa You looked pale and underfed when first I saw have. patient who had just died. And then she came That’s not a reason why I should love you less. you enter.

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Come! One more kiss! One more kiss! One more Alwa COMPACT DISC THREE always with a masculine emphasis). The Waiter kiss!! 18 Beneath this dress I feel your form in harmony (female rôle) is in short jacket and tight trousers, like a hymn. These two ankles: a grazioso; and Act III etc.; the Servant in a waiter’s tail-coat. Lulu (He does so. She kisses him with deliberation.) these charming thighs are like a cantabile; these Throw your head right back. Scene One Acrobat (a full glass in his hand ) two cheeks: a misterioso; and then the powerful A spacious drawing-room in white gesso. On the 1 Gentlemen and Ladies! Alwa andante of rapture. How calm they seem, these back wall, a wide double door which leads to a (He belches.) If it were not for those two child-like, limpid slim and gossamer rivals; I feel their nestling, gaming-room where a baccarat table is visible. On Forgive me for being eyes of yours, I should regard you as one of the confidently knowing that neither can vie with the left wall is the entrance door and, at the very legless as we celebrate the birthday of our cleverest prostitutes who ever enticed a young the other’s beauty, till the moody capricious front, a small concealed door. On the right wall is beloved hostess the Countess Adelaide of… man to his doom. mistress awakes and the two competing suitors a door leading to the dining-room. On the right, in (He conceals the French name, unfamiliar to him, spring apart like two opposing magnets. I’ll the corner is a rococo (small sideboard) with a noise.) for being legless and et cetera, Lulu (merrily) worship your great beauty, until you groan with with a white marble top; over it, in a narrow gold meine Damen… How I wish I were! delight… (She buries her hands in his hair.) frame set into the wall, hangs the portrait of Lulu (He drinks.) Come with me, sweetest, over the border! Lulu as seen in the previous act. On the left in the corner Banker (to the Journalist, in the Acrobat’s (caressingly) You’ll come, come to fetch me when it’s dark?! is a tall mirror. In the middle of the drawing-room intonation) Then we can see each other when we want to. Will you come?! are a sofa and arm chairs in the Louis XV style. At ‘Meine Damen, meine Damen…’ front right, a small table. The centre door is open. Alwa Alwa Alwa, the Acrobat, Marquis, Banker, Journalist, Ensemble (parlando) You temptress, you have ensnared my heart. …each other when we want to! (with a glance at Lulu, the Fifteen-year-old Girl and her Mother, the her portrait) Journalist (He buries his head in her lap.) Designer and Countess Geschwitz move about the ‘Meine Damen, meine Damen…’ Lulu ( follows his look) drawing-room in lively conversation. A Waiter Lulu …whenever we want to… stands in the entrance door. A Servant dispenses Marquis (clinking glasses with Lulu) Isn’t this the sofa on which your father bled to Sekt (German champagne). Prosit! Alwa death?… The gentlemen are in evening dress (Alwa, the …whenever we want to? Alwa (squeezes the Acrobat’s hand ) Alwa Banker, and the Marquis in tails, the Acrobat in Congratulations, son. Lulu Stop! Stop! dinner jacket with a white cravat, the Journalist …whenever we… also in a dinner jacket), the ladies in full evening Lulu (clinking glasses with the Marquis) (Curtain.) dress (Lulu in Directoire gown, the Designer in a Prosit! Hymn very fashionable dress, the Fifteen-year-old Girl in a little ‘Princess’ dress, the Mother in an over-done Acrobat (to Alwa and those standing round) style and very décolleté, Countess Geschwitz as I’m sweating like a bleeding porker.

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Servant (pouring out Sekt) Designer Mother Alwa There you go! There you go! My taste is actually more for tight-rope walkers. Really, gentlemen, she’s nothing but a child, an In a moment, Countess. (leaves him standing) utter child! Banker (clinking glasses with Lulu) Designer (to Countess Geschwitz) Prosit! Marquis (turning towards the Mother and her Journalist, Marquis and Banker I hope it won’t be very long. Fifteen-year-old daughter, with a tired, bored tone) That won’t worry us! Journalist (clinking glasses with Lulu) Waiter (coming forward a little) Why haven’t we seen your charming, beautiful, Your health, ma’am! Designer (moving towards the group, where she So! Ladies and gentlemen, pray take your places little Princess before tonight’s celebrations? catches the Mother’s reply; to herself ) at table. Lulu (clinking glasses with the Banker and the Mother (holding her daughter by the arm) A child? Journalist) Designer (wishing to take Countess Geschwitz She’s still at the convent. Prosit! (During the following the Fifteen-year-old, Mother, with her into the gaming-room) Fifteen-year-old Girl (to her Mother) Marquis, Journalist, and Banker form a group The gentlemen will follow us. Waiter (humming to himself ) What was that, Mummikins? which stands to one side and engages in a noiseless Countess Geschwitz Alwa (to Lulu) conversation.) Mother Please go ahead and I’ll join you immediately. I must just see if in the gambling room Only that you’re still at school. Acrobat (noticing the Countess, who has followed There’s something of importance I must share everything’s prepared. Lulu’s exit with her glance, and coming nearer to with my companion. Fifteen-year-old Girl Lulu her, unashamedly) But why mention that, Mummikins? Marquis (having meanwhile moved over to the I’ll go along with you. (Exit with Alwa into the Excuse me, Lady… other group – Designer, Countess Geschwitz, gaming-room.) Journalist (to the Mother) (when the Countess turns away from him) and Alwa – and speaking as before) What a charming girl your daughter is. Am I really so dangerous, hmm?! Might I be so bold to ask you whether you’ll Waiter (following Lulu’s and Alwa’s departure with (Exit into the gaming-room, from which he later Marquis (to the Journalist) share all your winnings? his glance and then again humming to himself ) returns, munching a sandwich.) What gorgeous legs she has! Melodrama Servant (taking away the empty glasses) Countess Geschwitz (Turning brusquely away Journalist There you… There you go! Thanking you! and encountering Alwa as he is coming back from Servant (has meanwhile cleared up and gone into And how her hair is glistening! Thank you kindly, Sir! I thank you kindly, Sir! the gaming-room.) the dining-room) Excuse me, Sir! Marquis (also to the Banker) Alwa Alwa (While urging the others to play baccarat, he Just look at those ankles! Designer (to the Acrobat) You said? makes a point of joining the group which is Banker (gradually joining the group forming standing to one side – the Banker, the Journalist, Is it true that you’re the strongest man alive? Countess Geschwitz round the Mother and daughter) the Mother.) Acrobat When can we begin to play? Good God, she’s got breeding! I sure am! Kindly allow me to place my strength at your disposal! 174 175 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 176

Fifteen-year-old Girl (Unobserved by her Mother, Mother Waiter (closes the middle door from the inside.) Lulu she has approached the Waiter and follows him into So much the better if you’re right. Have you gone mad? Piquant profession – you’re First Duet the dining-room.) (taking the arm of the Banker, casually) crazy! Come with me, my friend. Let’s go and try our Variations concertantes on a choral Mother Marquis luck at Baccarat, my darling. Tell me, Herr Generaldirektor, do you by any Variation I I’ve told you before, I specialise in such ladies. chance have more Jungfrau shares for me? (Exit on the arm of the Banker.) Lulu Intermezzo I Banker (Alwa, with the Journalist, joins the two others – 2 Get to the point and say how much you want Song of the Trafficker in Young Women I actually have a further 4,000 shares, but I’d the Banker, the Mother. The Acrobat, returning from me. 3 Of the countless nubile, fun-loving lasses, who rather keep them for myself. Chances like this of from the dining-room, eating a sandwich, gives an Marquis (as always, in a tired, bored tone) come here from the finest of families from every making a small fortune are extremely rare. unashamed glance at the Countess Geschwitz as he It’s pointless asking you for money. land beneath the sun, many tender maidens passes towards the middle door. Countess Geschwitz Journalist fashioned for hedonistic love, I have dispatched turns sharply away from the Acrobat and stares at Lulu I only possess a single Jungfrau share. I’d love to to those locations where they thrive. Lulu as she enters with the Marquis. Lulu comes Whatever gives you the idea that all our money’s have more. out of the gaming-room with a look of torment. vanished? Intermezzo II Banker The Acrobat scribbles something on a sheet of paper Marquis Lulu (with an outburst) I’ll try to find you some, but I must tell you which he folds and presses into Lulu’s hand.) Maybe because you gave me every last penny I’m not cut out for that kind of work. In my straight: they’ll cost the earth! Marquis (to Lulu) yesterday. youth, when I was only fifteen years old I might Mother May I speak with you for two seconds? have liked it. English Waltz My entire life-savings are tied up in these (gesture) Lulu (while the Acrobat passes the note to her) Jungfrau shares. If they fail, Sir, I’ll scratch your But then I had a stroke of good fortune: I spent Of course you may. Lulu eyes out. If it’s really me that you want, there’s no need to three months in hospital, hidden from the gaze Acrobat be so threatening. of seductive admirers. And bit by bit, everything Banker Excuse me, dear lady, if I now leave you. (makes about me was revealed, and I knew myself. As I My dear lady, I know exactly what I’m doing. a bow. Exit into the gaming-room.) Marquis lay dreaming, every single night I saw the man I Now, listen, I’ve told you often, a hundred times Alwa was made for, the man I know was made for me. Marquis (to Countess Geschwitz) or more, that you don’t excite me. May I assure you that your fears are absolutely And when I was finally let loose again, the men Kindly leave us alone! unfounded. I paid a high price for my own, and came running, but I was no longer young and (Countess Geschwitz does not stir from the spot.) Variation II have never regretted it. They’re soaring every foolish. Since then, when a man approaches me, Are you deaf? day. It’s quite unheard of. You are better suited for the most piquant even if it’s dark and I can hardly see his face, I (Countess Geschwitz, sighing deeply, goes into the profession which I’ve selected for you. know if we’re made for each other. But if I gaming-room.)

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submit to him against my better judgement, the (always tired and bored ) Variation VII (Both halves of the double door into the gaming- next day I feel completely soiled, my soul and The one which shows you as Eve room are opened from the middle, and the whole …quick decision. The train departs at one. If by body unclean. in a negligée, he will, when you’re there, hang it company enters noisily. Countess Geschwitz enters; eleven you’re still uncertain, I’ll simply summon over the entrance to his palace. her eyes seek out Lulu and she stares fixedly at her. Variation III the police to come here. Otherwise… The Marquis moves away from Lulu towards those Lulu (with an outburst) Marquis Variation VIII entering – the first of them being Alwa. The Waiter I’ll never let myself languish in such a repulsive 4 The magistrate will reward anyone who finds the having, with the Servant, opened the double door, place – locked up in a whore-house! …I shall pack you off just as you are into a taxi, murderess of Dr Schön, and hands her over to stands there. Alwa enters, holding a share certificate drive you down to the station, and tomorrow I’ll the authorities, one thousand marks. Marquis in his hand.) take you onto the ship. (again, in a tired, bored tone) What a pity: all I can do is call for the constable. Ensemble II I only have to make one call, I only have to Lulu (at first with suppressed passion) Variation V summon them, to blow the whistle, and then I’d travel with you to America,… Alwa those thousand marks are mine. Lulu 5 It’s good! It’s looking good! Variation IX Why not simply ask me point-blank for twelve Variation IV Journalist (to the Banker) hundred marks? …to China, but I cannot sell the only thing, You say you’ll get another share for me tomorrow? Whereas I’m being paid by the bordello in Cairo the… Marquis twelve hundred marks, that is two hundred more Banker Because your composer friend and yourself are Variation X than I’d get from the police. Yes, yes! Yes, yes! both broke. …the only thing that is truly mine. Lulu Designer and Mother Lulu How could you ever convince me that the And for me, Herr Generaldirektor. We’ve still got some thirty thousand left. Variation XI Egyptian would pay for a girl that he’s never Banker (to the two ladies) met, twelve hundred marks in cash? Marquis Marquis And I will always keep my promises. … In shares. And shares have never tempted me If you are unable to make a quick decision, you Marquis in business. shall be handed over, with all your side-kicks, to Lulu (standing aside from the company and staring I know you won’t object, I sent him pictures you German justice. fixedly ahead ) posed for. Variation VI (Increasing noise from the gaming-room.) What! Be a prostitute… Lulu The government will pay in German currency, Alwa (hesitating over the words) Those pictures that I gave you? but the Egyptian pays in pure English gold. Variation XII Herr Generaldirektor… Herr Generaldirektor… Won’t you please, therefore, make a… Marquis Lulu Banker (to Alwa) I bet he knows much better than I how much You can’t give me up to them! And I will always keep my promises. they’re worth.

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Designer and Mother (making a group of eight, variously addressing each All (variously to each other) Lulu And he will always keep his promises. other) Please come this way, meine Damen! Dinner’s Name one instance! We have all won our gambles! All of them have ready, meine Damen! I’ve such a thirst. Dinner’s Journalist (to the two ladies) Countess Geschwitz won, all of them! I cannot believe it! And the ready! We too need a drink! Come this way! Then I’m sure to win a nice little fortune. So you have forgotten those passionate vows you bank won its gamble! All of us, and the bank as Dinner’s ready, meine Damen… made me when ailing in hospital, lying alone in Designer and Mother (to the Journalist) well. Yes, it’s astonishing, just to think of so (All, excluding the Acrobat, go into the dining- our hospital prison? I was persuaded to put on I too won your gamble. much cash. room, Alwa possibly taking the Fifteen-year-old on your garments and take your place in jail! In Fifteen-year-old Girl (to Mother) Banker (at the same time as the group) his arm. The door of the dining-room is shut from everything you have betrayed me, betrayed me You too won your gamble? God, O preserve us, just to think of so much the inside, the door to the gaming-room remaining most cruelly. cash! Better not query it! open.) Acrobat Lulu The Countess has staked her every last penny. Acrobat (at the same time) Countess Geschwitz (approaching Lulu, who is I’ve never seen such a woman as you are. Most Yes, it is quite amazing, just to think of so much standing aside. Lulu, noticing the Countess men are stronger than you and hardier. As a Marquis (to the Banker) cash. Geschwitz’s approach, would like to elude her woman you are too intelligent and too Her last penny… Yes, all that she has left. through the hidden-door, down-stage left. Countess, independent. That is why you’re insane! Banker and Acrobat at Lulu’s side) Banker It’s good how vintage champagne can flow Countess Geschwitz Why try to avoid me? Her every last penny? without restraint. In everything, you have betrayed me. Have you Lulu (standing there) forgotten those passionate vows you made when Acrobat (The group breaks up.) Yes, all. But I’m not! Only if you come, I go away. ailing in hospital, lying alone in our hospital Alwa prison. I was persuaded to wear your clothes, Countess Geschwitz Lulu ( from the Acrobat’s glance she remembers the Exactly. Sekt… take your place in jail. sheet of paper, unfolds it and secretly reads it) You could at least treat me with deference, ‘Come up with twenty thousand marks, or else Journalist (at the same time) maintaining in public a show of affection! Second Duet Yes, let it flow now! I’ll grass on you.’ Acrobat (to Lulu) Lulu 6 May I intrude? Have you read the note I sent (The following dialogues take place simultaneously.) Alwa, Journalist and Banker I treat you the same as everyone, as every other Dinner’s ready, meine Damen! you? Alwa (to the whole company, gaining a hearing for female friend! I only request you to show that himself ) Waiter and Servant (hurrying to the door of politeness to me. Countess Geschwitz (Noticing the Acrobat and feeling herself superfluous, she goes into the dining- Yes, we have all won our gamble. the dining-room, which the Servant opens; Countess Geschwitz room.) both stand there with gestures of invitation.) In everything you have betrayed me. Designer, Fifteen-year-old Girl, Mother, Waiter, Dinner’s ready, dinner’s ready. Alwa, Marquis, Journalist and Servant

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Lulu (turning to the Acrobat) Lulu Pantomime the way of the world. Go on then, blackmail me, if that’s your You know yourself that I’ve got nothing left. (giving the Waiter a tip, patting him tenderly, and (The whole company, sated and idly chatting, pleasure! I’ve nothing left at all, not a single going into the gaming-room, meanwhile Acrobat slowly comes into the drawing-room. Words are mark to dispose of. murmuring to himself ) Alwa’s ready to hand you all the cash he has, if heard such as ‘Baccarat, gaming-room, Jungfrau If I don’t cut your throat, you’ll cut mine. Acrobat you will for once do your confounded duty just shares, ten thousand’. The Marquis is one of the Don’t tell me lies, you harlot! as you ought. first to go up to Lulu. The Acrobat, almost as if (The Waiter goes with the Banker through the door (with a cracking voice) fleeing from Lulu, goes to the door of the gaming- of the gaming-room and, after the Marquis has Lulu You’ve still got forty thousand in Jungfrau shares. room to mix with the emerging company, but in passed through it, shuts the door. He immediately Don’t bring Alwa into this. The man you call your husband was boasting of doing so he steals a glance at the Marquis and Lulu turns to Lulu.) it just now with pride. Acrobat – and then goes into the gaming-room. Lulu, Lulu (utterly dejected, left alone, observes the You’ll make four people happy (counting on his downstage left, meets the Marquis with her glance. Lulu gesture of the Waiter who points to the hidden door fingers with four fingers upraised ) if you overcome The Waiter goes to the company emerging from the Then go to him and try to extort the cash out of and whispers something in her ear; then, as new your reluctance, (dismissive gesture with the whole dining-room, repeatedly calling out ‘Message for the him. (laughing) hope comes to her) hand ) sacrifice yourself to a good cause. Bank Director!’ and hands the Banker a telegram. Oh yes, show him right in. Acrobat The Servant remains standing down-stage left. The Lulu (aside to herself ) Impossible! Such a pillock would need more Marquis turns to Lulu, at first with a questioning Third Duet And only for this stupid wedding?! than a week just to understand I need some cash gesture towards the Acrobat who is going away and (The Waiter opens the hidden door and beckons to marry my bride: I have just got engaged. Acrobat turning round, and then once more pressing her for Schigolch, who enters slowly; on a sign from Lulu Will you be always a slave, a slave to such a an explanation; on receiving Lulu’s explanation, he Lulu the Waiter then turns off the glaring lights and whore-monger? points to his wrist watch as a decisive answer, shuts the door behind him. All the doors are now I congratulate you and your bride. But then, meanwhile turning to go, then, over the repeated shut. Lulu goes to meet Schigolch.) why must you persecute the Countess with such Lulu protest of Lulu, who follows him, great energy? Why don’t I just ask him if he’d be so kind as to he goes abruptly into the gaming-room. The rest of Schigolch (wearing a frock-coat, a white scarf, kick you out? Acrobat the company, except for the Banker, goes slowly into down-at-the-heels leather boots and a shabby opera Why? Because the lady’s of noble birth. I’m a Acrobat the gaming-room.) hat, which he keeps on his head; after an expressive look at the retreating Waiter; always short of breath) man who knows the world, I’m far more at As you wish it, Frau Gräfin. If by tomorrow Waiter home than any of you in the art of genteel 8 I need some (sitting down) money, in ready cash. evening those twenty thousand marks aren’t with 7 Message for the Bank Director. conversation. But all that is neither here nor me, then I will denounce you to the police, and I want to rent an apartment for my girlfriend. there! Can you promise that you’ll give me the that will be the end of all your high living. Banker (standing downstage right, receiving the Lulu (apparently completely at ease) cash by morning or not? (With a gesture towards the dining-room door. The telegram and opening it) Does she need cash directly? door is fully opened by the Servant.) Jungfrau Railway shares have crashed. That’s just For now, auf Wiedersehn, Frau Gräfin. 182 183 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 184

Schigolch Schigolch (with perfect tranquillity) Lulu (taking up his tone) Lulu I want to pay for all her fancy furnishings. I’ll soon sort him out!! Then you shall have the cash to give to your Promise me! (as Lulu stiffens with irritation) girlfriend. Lulu (beseechingly) Schigolch (laying his hand on her ankle) Such amounts are peanuts with your wealth, Yes, sort him out! Oh please, oh please, just sort Schigolch By all that is sacred! Tonight, if he comes. utter peanuts. him out! Then do with me what you want! That’s not what I call generous. Lulu Lulu (suddenly overcome by a fit of weeping, and Schigolch Lulu ‘By all that is sacred’! Chilling words. throwing herself at Schigolch’s feet) Once he’s at my place, he’ll have breathed his But what else do you want? All I can offer! O God in heaven, have mercy! Schigolch last. My house is by the lake. Ah no, he will not Schigolch Thrilling words. Schigolch (stroking her) go there, (shaking his head ) he’s not so stupid. How long is it since we (searching for the right What’s wrong with you? Lulu (When he threatens to caress her more Lulu expression) came together? ardently, she springs up.) Lulu (sobbing) I’ll guarantee he comes, he’ll come with the Lulu Quickly, get back home! In less than half an It’s too contemptible. Countess. (always confidentially) He’ll come this Is that all that you want? hour they’ll be with you. very evening. So, get moving, give him the very Schigolch (drawing Lulu onto his knee and (Schigolch presses her tenderly to him. Lulu breaks warmest welcome. Schigolch (standing up) holding her like a child in his arms, Lulu still free.) I’m on my way. sobbing convulsively) Schigolch But you just told me you have a girlfriend! You’re quite exhausted! Make sure you send him. Lulu Schigolch (in a murmur, wholly directed to her) Quick! Please hurry up. Lulu (still confidentially) It’s all over and done with. Just for a change, try lying down in bed with a ( pulling him by the hand through the room You make sure you bring me back his earrings; book, my little girl. Weep my love, weep your Lulu (sitting up) towards the hidden door) those little golden rings he wears. fill, let tears flow! It’s fifteen years since I last saw All right, then, promise me! That’s the address! you weeping so freely. Schigolch Schigolch Schigolch (half dragged by Lulu, always breathing Does he really wear gold earrings? Lulu (gradually ceasing to weep, and bursting forth) Haven’t I always kept a promise? heavily) I’m utterly destroyed. I’ll be denounced. Lulu Are you coming too? Lulu It’s easy to unfasten them, before you dump him Schigolch Promise that you will sort him out. Lulu in the lake; he’ll have no idea if you can get him Denounced by whom? I’m staying here. drunk. Schigolch Lulu I shall sort him out. (Both leave.) Schigolch That little tosser. And then, my child, what then?

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Cadenza Acrobat (On seeing Lulu enter, going angrily up to A tempo parlando I’ll expect her in the dining-room. her.) (going towards the dining-room, already at the door) (The Acrobat and the Marquis enter, fighting.) Lulu Now the bastard knows what it means to mess But first I have to treat myself to caviar and She’ll lend me twenty thousand marks, if you are Acrobat ( pushed by the Marquis into the with an acrobat. vodka. willing to take her. drawing-room) Lulu (Exit.) 9 You could at least treat me with respect! Acrobat Bastard? And what if I decide not to? Lulu (goes to the door of the gaming-room, opens it Marquis (entirely indifferent) Acrobat and calls out in a clear voice: ‘Martha!’ on which Why? I want to know what you and that woman Lulu (without agitation) Fucking fornicator. You little slut, why the fuck Countess Geschwitz comes into the drawing-room were discussing. Denounce me then! Alwa and I haven’t a penny did you tell him I badly wanted to seduce you? and shuts the door behind her) left. Acrobat 10 Martha! Lulu It’s none of your business! Acrobat Did you not demand that I give myself to Alwa Recitative Bugger, bugger, bugger it! Marquis for twenty thousand marks in Jungfrau shares, (To Countess Geschwitz, who enters.) She said you threatened to denounce her if she you tosser? Cantabile My dearest love, it’s in your power to save me didn’t go with you. Acrobat Lulu (with reference to the parallel place, above) from exposure. Acrobat Isn’t it your duty to show some pity for poor ‘You’ll make four people happy if you overcome Countess Geschwitz The little hussy! As if such a thought could have Alwa? your reluctance, sacrifice yourself to a good What must I do? crossed my mind! If I wanted to possess her, cause…’ Recitative I wouldn’t need… for Christ’s sake, to threaten Lulu Tempo parlando her with prison! Lulu Just go with that Acrobat, and be seduced in a The Countess is desperately beside herself. If you Acrobat hostel. Marquis insist on hesitating, there is every chance she’ll Is it certain that the twenty thousand marks are Thank you. That’s all I wanted to know. (Exit, Countess Geschwitz kill herself. ready? with a glance at Lulu’s picture.) The reason, my love? Acrobat Lulu Acrobat (alone) Lulu What’s she waiting for, then? Go and ask her. The bastard! You! Come here and I’ll twist your He says you must this very night give yourself to guts around your neck! Lulu Acrobat him, dearest Countess, or else I shall be For you, for you to take her. Then tell her that I’m agreed. denounced. Lulu (entering through the hidden door, with a piece of paper containing Schigolch’s address in her Acrobat Recitative A tempo parlando hand.) Then send her my hearty best wishes for a splendid suicide. 186 187 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 188

Countess Geschwitz Lulu (calling into the dining-room) Waiter (tersely, clearly) Journalist But how could such a sordid sacrifice ever really Could you come in, my sweetest? As your ladyship commands. He’s got cold feet, the poor little Jew boy! save you? I don’t understand. Recitative Lulu (taking him by the hand) Banker (to the Designer and the Journalist) Lulu Ah, cut out ‘your ladyship’. I’ll put on your Of course I shall continue ’cos I’m never scared Acrobat (coming out of the dining-room) He simply wants to satisfy his egotism. Appeal to clothes and you can have mine. Come on! of losing! (turning to the others) But this Accept my apologies, but I’ve not finished eating. his kindness, beg him to show you some mercy! gentleman must pay up in real money. This is (Lulu and the Waiter go into the dining-room. A A tempo parlando not my private banking office! (indicating the Countess Geschwitz noise is heard from the gaming-room and the doors share) If you like, bring this worthless bumph to And what then? to it are flung open. The Banker, Journalist, Countess Geschwitz (seizing his hand) me in the morning. You’ve captured my soul! Have mercy on me in Mother, Daughter, Designer and Alwa enter the Tempo parlando my grief. drawing-room; later the Servant also enters. The Journalist (flaring up and holding out the share) Lulu Journalist and the Banker come forward, while the Worthless bumph? Did I hear right? Cantabile I’ll be waiting all night for you; I’ll stay awake all others remain at the rear.) (again in his normal expression) night long waiting for, for your return. These shares are worth more than two million Acrobat Ensemble III (spoken) À la bonne heure! Let’s lay our heads on the block! marks! Countess Geschwitz Journalist (with a share certificate in his hand, to Then I will see him. Banker Lulu the Banker) Pleasant dreams, my children! Pleasant dreams! Yesterday they were two million marks. Now 11 I have lost all my money. Can I pay you with Tempo parlando they’re completely worthless. Tomorrow morning Countess Geschwitz (to herself, as previously) this? Lulu they will only be useful as cheap decoration or I don’t understand! I don’t understand! More than that, give yourself with abandon. Banker very vulgar paper. Acrobat Utterly devoid of any value, my friend. Countess Geschwitz (aside to herself ) Others (at the same time as the Banker, aside) Let’s lay our heads on the block! I don’t understand. Journalist Everyone has lost. Everyone has lost. (He offers his arm to Countess Geschwitz and You crook. You beat me at Baccarat. Why can’t Alwa Recitative leaves the drawing-room with her.) you accept my shares? Everyone? But how can that be so? Lulu Dialogue Mother (to the Designer) Here’s the address, the place for the rendez-vous. Mother Lulu (accompanying the pair out to the corridor I don’t understand. Can you explain what is A sort of hotel, cheap and sordid, they’ll be Curious, where has all the money gone? and immediately returning with the Waiter) happening? expecting you very shortly this evening. Fifteen-year-old Girl, Designer, Alwa and Quickly, quickly! We must change clothes and Designer Servant Countess Geschwitz leave at once. The Generaldirektor has robbed him of every Yes, it’s most curious. Where has all that money Then I’ll be quick! penny, and refuses to play on. gone? 188 189 CHAN 3130 BOOK.qxd 11/9/06 12:56 pm Page 190

Alwa (almost screaming) Banker (gradually becoming a part of the general (The Mother, accompanied by the daughter, the Lulu (quickly moving to the hidden door) That means we have all become bankrupt. murmuring) Servant and Alwa, leaves by the main door making Follow me! Out through the servants’ quarters! And tomorrow I’ll have the pleasure of starting a sort of bow as they leave.) (simultaneously) Waiter (He quickly closes the hidden door behind my whole life again, for heaven’s sake, my whole Journalist them, and then saunters straight across the room to Fifteen-year-old Girl, Designer, Mother and dreary life again. They’re nothing more than crooks! the rear right, where his glance falls on the picture Servant Mother of Lulu before which he remains standing with his Yes, it’s most curious. Where has all that money (Throws the share on the ground and then, with a Ten years of savings! (seems likely to faint) back to the entrance door.) gone? look at Lulu’s portrait, without any greeting to I’ll close the door. Fifteen-year-old Girl (rushing to her Mother) Alwa, he leaves by the main door. Lulu enters (Only a light buzz of conversation is heard, with Wake up, Mama, wake up! quickly, in the Waiter’s clothing, from the dining Melodrama the exception of the dialogue between the Mother room and comes straight across the room to Alwa. and the Banker.) (Everyone suddenly falls silent as the Mother faints. Police Commissioner (in civilian clothes, The Waiter, in Lulu’s clothing, follows her and The Fifteen-year-old, Alwa and the Servant entering from the corridor and going up to the Fifteen-year-old Girl, Designer, Alwa, remains in the area of the door to the dining-room.) concern themselves with the Mother who slowly Waiter) Servant and Journalist recovers; the Servant perhaps pours Sekt for her. Recitative In the name of the law, you’re under arrest! Everyone has lost. How could this have The Journalist alone is left with his share, which he happened? It is most curious, quite astounding. (Lulu and the Waiter return wearing each others Marquis (languidly following the Police begins to study.) Everyone has lost. What a horrifying, truly clothes.) Lieutenant, as the Waiter turns round ) dreadful waste. Horrifying, truly dreadful waste! Designer (on one side, with the Banker) Don’t be so stupid! That’s not her! Alwa Tell me sir, just where do you think we can get Banker 12 What the hell is this? (On which the Waiter is ready to burst into violent some dinner, But what am I to tell you, now that I’ve lost my laughter – but this is cut off by the falling of the (in a parody of the Banker’s tone) Lulu possessions and all my fortune? curtain and snatched up by the music.) now that you’ve been wiped out completely and Do you have any cash? Mother (turning to the Banker) lost your fortune? Interlude. Variations Alwa Am I dreaming? Is it really true? All our shares Banker Have you gone quite demented? are completely worthless. Scene Two Wherever you like, dear lady. Lulu An attic room without gable windows. Two large Banker (giving her his arm) In just two minutes the police will come! We panes of glass, in the roof itself, open outwards. They’ve sunk even deeper than you! But you at But be quick! It’s getting unbearable! have been denounced! You can remain here if Right and left downstage, badly fitting doors. In the least can still wear them daily as curlers. (He leaves with the Designer.) that’s what you want. proscenium, left, a torn grey mattress. Downstage Mother right, a rickety flower-stand on which there are a Fifteen-year-old Girl (supporting her Mother) Alwa (bursting out) O God in heaven above! bottle and a smoking paraffin lamp. In the corner, Come, Mama, come! For Christ’s sake, help me! backstage right, is an old chaise longue; by the

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centre door, a cane chair with a broken seat. The Alwa (indignantly) smile. He wears an Ulster and a top-hat, and (Joyfully scrutinising both sides of the bank-note.) rain is heard beating on the roof. Under the I can’t go through with it! I’ll throw the bastard carries a dripping umbrella in his hand.) I call that very handsome. skylight stands a bowl of water. A street- plays out! (She approaches him cautiously, puts an arm round Lulu in the background. him, and kisses him on the mouth. The Professor, Schigolch (laboriously rises to his feet, takes Alwa This is where I live. with a noiseless smile, breaks away from her and Melodrama by the collar and shoves him to the left) (The Professor lays his index finger on his mouth. looks round questioningly. Lulu takes up the lamp Quickly! Quickly! Then he spreads out his umbrella and puts it out to Schigolch (lying on the mattress in the foreground, from the table and opens the door to her room. The dry on the fooorboards at the back. This, and all dressed in a long grey overcoat) Alwa Professor goes in, smiling, raising his hat as he goes that follows, he performs with very hurried 13 The rain’s beating a tattoo. We must leave the door open. through the door. Both leave. The stage is in movements.) darkness but for a ray of light which comes from a Not exactly what you’d call comfortable here. Alwa (on the chaise longue in the corner, wrapped Schigolch ( pushing Alwa into the hiding-place) chink in the door to Lulu’s room.) up in a travelling rug) Rubbish! (The Professor comes forward, puts his hand in Idyllic weather for her début. front of her mouth and holds his index finger to his Alwa (crawling, stooped, from the hiding-place, Alwa lips.) whispering) Schigolch I’ll murder him. What is it then that you... that you want to tell Have they gone? The moment we hear her coming, we must me? Schigolch Schigolch (behind Alwa, moving similarly) make ourselves scarce. (The Professor quickly holds her mouth shut.) For Christ’s sake, quiet! Wait a bit! Alwa There’s no one else about. And no one will hear. Alwa It’s a crying shame! What could be sadder than a (The Professor again lays his index finger on his lips Alwa God help him! whore! and goes to the back, folds his ulster and puts it on I must kneel before her door. Schigolch (closes off the hiding-place from within) the chair by the door.) Schigolch (Creeps up to a position in front of Lulu’s room.) Quiet! I doubt very much whether anyone will bite Recitative a tempo (presto) Schigolch tonight! Alwa ( from within) Lulu (aside) Little mummy’s boy! He’d better look out! Alwa Good God! What a wretched creature! (creeps his way across the stage, lifts the visitor’s I wouldn’t advise them to! Presto (The Professor comes silently forward again, takes ulster from the chair, goes quickly through the Lulu’s head with both his hands and kisses her pockets and takes out a book, which he gives to Schigolch (aside) Lulu (She opens the central door to let in the fleetingly on the forehead.) Alwa) Stupid fool! Professor, who enters quickly, and then follows him I hope you’re intending to give me money. Tell me what that is! (Footsteps coming up the stairs are heard.) in.) (The Professor gives her a large banknote and Alwa (holds the book in the beam of light issuing They’re coming! (The Professor has a fowl-like appearance with a throws a meaningful glance at her.) from Lulu’s room and reads) clean-shaven, rosy face, sky-blue eyes and a friendly That’s more than I had dreamt of. ‘Hymns Ancient and Modern.’

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Schigolch Vivace Countess Geschwitz (entering; she is shabbily Alwa (suddenly with new animation) If you ask me, God’s given up on him. dressed and carries a rolled-up canvas in her hand ) You must be mad! With this portrait to gaze on, I’m going back down there again. 14 If this is not the ideal moment, I’ll go away I feel my former confidence growing. I realise ( puts the coat back on the chair, feels his way as Schigolch (in a grandiose manner) again. I only want to tell you that I have failed, that fate has decreed this. quickly as possible back to the hiding-place, and Well, now we can live like princes live (gesture) after weeks of searching, to raise sufficient money. (somewhat elegiac) closes the door behind him) in splendour. Who stands before these luscious, life-giving lips, Schigolch Alwa before these lovely unsophisticated dimples, (Footsteps on the stairs are heard again.) And now your ladyship wishes fervently to share We mustn’t be seen. before this pink and creamy ripening body, and our gracious hospitality. Alwa feels immune in all his bourgeois confidence, let (creeps back, similarly. Lulu enters and puts the He’s coming back. Countess Geschwitz him be first to criticise. lamp on the table. The Professor follows her, swift You mustn’t think that I’ve come empty-handed. moving as always.) Schigolch Lulu (listening) I’ve brought you something special. On my No, it’s someone else. This is someone different. Make sure it’s hung nicely to thrill our clients. Lulu (to the Professor) journey here I had an offer from a beggar. And When will you pay me another visit? Alwa yet I could not bring myself to part with such a Alwa (very businesslike) (The Professor holds her mouth closed. Lulu, in a And he’s coming up here. treasure. But if you decide to sell it, go ahead. Oh, look, a little nail upon the floor. kind of despair, looks up to heaven and shakes her Lulu (She holds out the roll of canvas.) Schigolch (to Countess Geschwitz) head. The Professor throws on his ulster meanwhile, Who can it be? However did you come by this masterpiece? and approaches her, laying his index finger on his Lulu mouth. Lulu flings herself in two stages on his neck. Schigolch What is it, then? Countess Geschwitz The Professor gently pulls himself free, kisses her That day in Paris when you fled, secretly I stole Perhaps it’s a friend of his, who has Schigolch hand and moves towards the door. Lulu prepares to the picture, after you’d left me. recommended us. Whatever have you brought? escort him out. The Professor indicates to her that Alwa ( pulling another nail from the wall ) she should remain, and quickly and noiselessly Lulu Alwa Pity that it’s been damaged. leaves the apartment. Alwa and Schigolch come out I hear him at the door! Let me have a look.(He takes the canvas from of their hiding-place.) (Without expression.) Alwa Countess Geschwitz and unrolls it.) Schigolch He gave me such a thrill! I hear it too! My God, just look, it’s Lulu! Look! It needs another nail down here, to be quite secure. Alwa Schigolch Lulu (like a shriek) How much did the bastard give you? Come in! My painting! Get it away from me! Get it away, Alwa ( pulling his left boot off ) out of my sight! I know how, I’ve done it many times. Lulu Allegro That’s what he paid me. (With the heel of his boot he drives the nail into the wall through the border of the picture.)

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Schigolch Schigolch Countess Geschwitz Schigolch. Both Lulu and the Countess rush to the This drab and dreary room has suddenly an The portrait has lost so much of its former You can’t leave now! door and exeunt.) elegant appearance. sparkle. Any man who clapped his eyes on her Schigolch Schigolch (bringing Alwa back) now could never get an idea of how our Quartet She’s off to walk the streets to find new clients. Why stop her from earning precious money, existence was. Down there, where the gas lamp when you yourself stay at home all day? (to Countess Geschwitz) shimmers, she’s competing with a dozen ghosts Alwa of the city streets, with a dozen ghosts of the city You’ll not go back down there; I’m deadly serious. Alwa (groaning, throwing himself on the chaise Her body had reached the pinnacle of its streets. longue) perfection when the young artist painted her. Countess Geschwitz Who else could have given me this bloody awful Lulu (answering Schigolch) Lulu! Lulu! infection? Countess Geschwitz I’m going out to test what you’ve been saying. He really must have been an artist beyond Schigolch Schigolch compare to create such beauty. Alwa ( putting on his boot again, drawing himself She’s done it once already tonight. What? You mean she’s sick? up proudly and comparing the portrait of Lulu Schigolch Countess Geschwitz with herself ) Alwa And later on he slit his throat with a razor. I’ll follow you wherever you go. The child-like expression of her dark eyes, She caught it from the Marquis and gave it to Lulu (quite calm again, stepping in front of the though she suffered anguish beyond endurance, Schigolch me. But she’s immune to it, she will not suffer. picture) remains untarnished. Look there, the sparkling To hell with it! Countess Geschwitz, so you Schigolch (turning away from Alwa) But was he not known to you? dew on her glistening skin, and the sweet really mean – to use her as a bait. She should not go together with Geschwitz. She smelling scent of her lovely lips, and the radiant will lose all her clients. Countess Geschwitz light flickering around her forehead and her Lulu (stepping in front of Lulu’s portrait and That was ages ago before I knew you. It eyebrows, and then this astonishingly lustrous, Leave me alone! happened ages ago before we ever met. I only contemplating it) youthful complexion of neck and shoulders. Alwa heard you mention from time to time a She… she’s not yet learnt the trade. I forbid you to! Stay! Stay! mysterious, strange rumour that, feeling utterly Schigolch (taking up Alwa’s remarks, Alwa victimised, he slit his throat with a razor. Luckily enthusiastically) Lulu And what trade has she not yet learnt? all this goes unnoticed among like-minded folk, Gone forever, thrown away like garbage, like I’ll kill myself. It’s more than I can bear! among like-minded folk. garbage. Schigolch Countess Geschwitz She can’t make a living from loving, for her life Lulu Lulu (terse, decisive) I’ll always stand by you, and never leave! is love itself. You’re right, that’s long past. It happened long Adieu. (Alwa tries to hold Lulu back. Schigolch tries to ago. I can with honesty assure you that was how Alwa Alwa hold Countess Geschwitz back. Lulu breaks away I was. From loving, from loving. You can’t leave now! from Alwa, and Countess Geschwitz from

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(Footsteps are heard. As though awakening from Lulu Lulu Lulu (alone, transfixed for a moment, then sleep.) Would you like some gin? But at least allow me to look at it. breaking down) They’re coming! I cannot stand this much longer. Whoever could Client Client (going still closer to her) put up with this?! Better to be down on the Schigolch Gin? Gin’s my favourite drink. Gin is fine. Don’t understand! Don’t understand! Come! street! It’s time we made ourselves scarce. Come! (attacks her) Lulu (gives him the bottle) (Hurries to the door – checks her step as she glances Alwa I don’t know where the glass is. Lulu (defending herself with all her power) at the dead Alwa – then quickly exit.) I’m staying here. Just you let me go! Client Moderato (He conceals himself in his travelling rug, Who cares? ( puts the bottle to his lips and drinks) Client remaining unseen in the following episode.) Gin! Come! Schigolch (comes out of his secret hiding-place and bends over Alwa) Schigolch Lulu Lulu Blood! Alwa! I’d better cover his body, or else he Noblesse oblige. You’re really good-looking, a handsome man. Just you let me go! will scare her clients away. ( feeling his body) (moving towards the hiding-place) Client (Alwa raises himself with an effort, creeps up Alwa! Alwa! He needs some peace and quiet. And all principled men act as society expects My father ist Emperor of Uahubee. In London behind the Negro, and jerks him back by the coat (grasping Alwa under his arms and dragging him them to. I’ve six wives: two Spanish ones, two English collar.) into the hiding-place) But he should not stay and (going into the hiding-place) ones, and also two from France. But I don’t love sleep here. (Empty stage. The centre door opens. Client (quickly turning round to face Alwa) Allegretto my women. I must always wash myself, wash Countess Geschwitz comes slowly in and looks This is a den of robbers! Come, friend, time to myself, wash myself… (tries to take hold of her) around nervously.) Lulu (opening the door) sleep now. Lullaby! (coming out of the hiding-place) 15 Come along in, my love! Come! Lulu (He hits Alwa over the head with a cudgel. Alwa 16 Doctor Alwa’s gone off to sleep, he felt so Leave me alone! (stepping back) Tell me how loses consciousness.) Second Client (wearing a light-coloured overcoat, exhausted. much you’ll pay. You’ll soon have lullaby! light-coloured trousers, white spats, yellow-buttoned (bending over the motionless Alwa) Countess Geschwitz boots and grey top hat) Client Pleasant dreams are coming! How dark it is in here. Jesus! Not a light to be seen out there. Money! Just believe me, I shall pay you money! (to Lulu) I promise loads of money. Schigolch He dreams of you! Lulu (leading him forward by the hand) It will get much darker. Here it’s much lighter. Come! Lulu (going to the door) I need to see it first. Pleasant dreams! Where’s the door? Countess Geschwitz Client She sent me ahead. But it’s freezing here, freezing. (shivers) Client (He leaves.) I never pay beforehand.

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Schigolch (with a lively reaction to the Adagio Lulu Jack the Ripper information) But can’t you find an excuse in the morning for No, that’s still too much! How long have you (Lulu enters with Jack the Ripper.) That was most thoughtful! (business-like again) your family? really been on the game? If someone should enquire, they’ll find me Jack the Ripper (He is a thick-set man with Jack the Ripper Lulu drinking in the pub. flexible movements, with a pale face, inflamed eyes, Tell me what you charge. I haven’t got much cash. This is my first day. thick, arched eyebrows, drooping moustache, sparse (Exit through centre door.) (Countess Geschwitz, while still on her knees, has beard, matted side-whiskers and fiery red hands Lulu half risen up towards Jack. Lulu pulls the Countess Sostenuto with gnawed finger nails. His gaze is fixed on the I’m not asking for a gold sovereign. All I ask is away from Jack.) ground. He wears a dark overcoat and a small half a crown. Countess Geschwitz (alone, she sits on the cane That’s enough of that! round felt hat. Noticing Countess Geschwitz) chair by the door, takes a small revolver from her Jack the Ripper (moving towards the door) 17 Who is that? Jack the Ripper handbag and holds it to her forehead – but then What a rip off! What a rip off! That is not ‘just your sister’. The woman is lowers it again, shaking her head) Lulu Lulu (holding him back) obsessed with you. (stroking Countess Geschwitz’s No! If she should see me lying here in my blood, Just my sister! She’s quite insane. Please don’t go! For God’s sake stay here! hair as one strokes a dog) she wouldn’t shed a single tear. Wouldn’t it be Jack the Ripper (thoughtful) better just to jump in the river? Which is icier: Jack the Ripper (going past Countess Geschwitz, Lulu Insane? the water or her heart? A dagger? No, there’s he opens the hiding-place) Why are you always staring at me? (moving towards Lulu again) nothing to gain by that. What about hanging? What for? Why should I stay here all night long? Your lips have a lovely way of smiling. Jack the Ripper (She springs up and takes the strap of the travelling That sounds suspicious! When I’m sleeping, you You attracted me first by the way that you rug from the wall.) Lulu will turn my pockets out. moved. I told myself, what a lovely body. Quickly! Before she comes. I got that from my mother. Lulu Lulu Andante Jack the Ripper No, I swear I won’t! I can promise! Please don’t How can one tell things like that? Most likely! How much, then? leave me alone tonight! I beg you, please don’t go! (suddenly recalling something, she drags herself Jack the Ripper before Lulu’s portrait) Lulu Jack the Ripper I also saw that your lips were very shapely. I only Let me beseech you, just one last time, and crave But wouldn’t you like to stay with me all night Well, how much then? have a little money on me. your understanding! long? Lulu (hesitating) (sinks on her knees and clasps her hands) Lulu Jack the Ripper Perhaps you could give me half the amount that Be merciful! Be merciful! Be merciful! No matter. Give it to me. No, I haven’t got the time. I must get home. I asked for. (remains in that position) Jack the Ripper But you will have to give back half of it, so that tomorrow I’ve enough for the journey home.

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Lulu Jack the Ripper (looks round for a towel ) Grave I haven’t any change. I am ready. People such as this don’t leave Countess Geschwitz out hand-towels! Jack the Ripper (He follows her into her room, and the sound of the Lulu! My angel! Love me just one more time! (dismissive gesture. Countess Geschwitz makes a Check all your things! Turn all your pockets out! door being barred from the inside is heard. The I’m by your side! Always by your side, for movement. Jack bends over the Countess.) lamp goes out. On the floorboards beneath the two evermore! Lulu (holding out her hand to him) And you are not long for this world. windows, two square patches are glaringly I have nothing left to give you. (She dies.) illuminated by the moon. Within the room, (Goes to the middle door, and exits) Jack the Ripper everything is clearly recognisable.) English version by Richard Stokes Give me the money! Lento (Nocturne) Lulu Countess Geschwitz (alone, as if in a dream) I’ll get it when morning comes, and let you have 18 These are the last few moments that I shall your change back. spend with these dear people. My fatherland Jack the Ripper calls me again. I shall study hard at university. No, give me the money! I’ll fight for women’s rights, do my degree in law. Lulu (giving it to him) Largo For God’s sake, please! Follow me quickly! Lulu (from her room) (She takes the lamp.) No! no, no… Jack the Ripper (Death shriek. Countess Geschwitz draws herself There’s no need for that, there’s moonlight. bolt upright, then suddenly rushes to the door of Lulu’s room, and rattles it with all her might. Jack, Lulu stooping, wrenches open the door from inside and As you wish, then. plunges a blood-stained knife into the Countess’s (puts down the lamp, approaches Jack, and body. The Countess collapses.) embraces him) There’s no need for such suspicion. I like you Jack the Ripper (moving past the Countess) very much! Thank God that’s all over! (in a tormented voice) (washing his hands in a basin which stands Please don’t keep me waiting any longer. underneath the window) God, I’m lucky, such a lucky bastard!

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The Opera in English series: CHAN 3121(2) Mozart: The Magic Flute CHAN 3011(2) Donizetti: Don Pasquale CHAN 3022 Strauss: Der Rosenkavalier (The Knight CHAN 3027(2) Donizetti: The Elixir of Love of the Rose, highlights) CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3017(2) Donizetti: Mary Stuart CHAN 3054(3) Wagner: The Rhinegold CHAN 3073 Janet Baker sings scenes from Mary Stuart CHAN 3038(4) Wagner: The Valkyrie CHAN 3003 Leoncavallo: (The Touring CHAN 3045(4) Wagner: Siegfried Company) CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3065(16) Wagner: Complete Ring Cycle Chivalry) CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3005(2) Pagliacci & CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3008(2) Puccini: La bohème CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3070(2) Puccini: Madam Butterfly CHAN 3007 Mussorgsky: Boris Godunov (highlights) CHAN 3000(2) Puccini: Tosca CHAN 3128(2) Smetana: The Bartered Bride CHAN 3066 Jane Eaglen sings Tosca CHAN 3042(2) Tchaikovsky: Eugene Onegin CHAN 3086(2) Puccini: Turandot CHAN 3025(2) Rossini: The Barber of Seville Tristram Kenton/Lebrecht Music and Arts Picture Library and Arts Picture Music Kenton/Lebrecht Tristram CHAN 3097(2) Rossini: The Thieving Magpie Great Operatic Arias CHAN 3074(2) Verdi: Aida CHAN 3127 Christine Brewer CHAN 3052(2) Verdi: Ernani CHAN 3096 Elizabeth Futral CHAN 3079(2) Verdi: Falstaff CHAN 3035 Yvonne Kenny CHAN 3116(2) Verdi: A Masked Ball CHAN 3099 Yvonne Kenny 2 CHAN 3068(2) Verdi: Otello CHAN 3049 Della Jones CHAN 3030(2) Verdi: Rigoletto CHAN 3010 Diana Montague CHAN 3023(2) Verdi: La traviata CHAN 3093 Diana Montague 2 CHAN 3036(2) Verdi: (The Troubadour) CHAN 3112 Barry Banks CHAN 3067 A Verdi Celebration CHAN 3006 Bruce Ford CHAN 3091(2) Bizet: Carmen CHAN 3100 Bruce Ford 2 CHAN 3014(3) Gounod: Faust CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3089(2) Gounod: Faust (abridged) CHAN 3013 Dennis O’Neill CHAN 3033(2) Massenet: Werther CHAN 3105 Dennis O’Neill 2 CHAN 3094(2) Berg: Wozzeck CHAN 3085 Alan Opie CHAN 3019(3) Handel: Julius Caesar CHAN 3077 CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3032 Alastair Miles Lisa Saffer in the CHAN 3081(2) Mozart: The Abduction from the Seraglio CHAN 3044 John Tomlinson CHAN 3057(3) Mozart: Don Giovanni CHAN 3076 John Tomlinson 2 title role of English CHAN 3103(2) Mozart: Idomeneo CHAN 3118 Sir Thomas Allen National Opera’s CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3078 Baroque Celebration production of Lulu

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Artistic consultant to the Peter Moores Foundation: Patric Schmid On session: Lisa Saffer, Brian Couzens and Paul Daniel Vocal and language consultant: Ludmilla Andrew (with Robert Poulton in the background) Staging director: Charles Kilpatrick Translation research: Henrietta Bredin Music librarian: Jacqui Compton Repetiteur: Anthony Legge Orchestral pianist: Liz Rowe Session photos by Bill Cooper Instrument hire: Upright piano from Jaques Samuel, Steinway piano from Trinity College of Music Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Michael Common Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 14–19 & 22 May 2005 Front cover Lisa Saffer in the title role of English National Opera’s production of Lulu. Photo by Neil Libbert Back cover Photograph of Paul Daniel by Clive Barda/ArenaPal Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright Universal Edition AG, Vienna P 2006 Chandos Records Ltd © 2006 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK Printed in the EU

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Printed in the EU LC 7038 DDD TT 165:43 Alban Berg (1885–1935) Recorded in 24-bit/96 kHz Lulu Opera in three acts Libretto by Alban Berg, after Erdgeist and Büchse der Pandora by Frank Wedekind, English version by Richard Stokes, Act III realised by Friedrich Cerha

Lulu ...... Lisa Saffer soprano COMPACT DISC ONE Countess Geschwitz...... Susan Parry mezzo-soprano 60:44 Dresser/Schoolboy/Waiter...... Anna Burford mezzo-soprano COMPACT DISC TWO Professor of Medicine/Theatre Manager/Banker...... Graeme Danby bass 51:54 Painter/Second Client ...... Stuart Kale tenor COMPACT DISC THREE Dr Schön/Jack the Ripper ...... Robert Hayward baritone 53:05 Alwa, Dr Schön’s son ...... John Graham-Hall tenor Schigolch ...... Gwynne Howell bass Animal Tamer/Acrobat ...... Robert Poulton baritone African Prince/Manservant/Marquis ...... Alan Oke tenor Police Commissioner...... Roger Begley bass Fifteen-year-old Girl ...... Claire Mitcher soprano Servant...... Paul Napier-Burrows bass Mother...... Jane Powell mezzo-soprano Designer...... Moira Harris soprano CHANDOS CHAN 3130(3) Journalist...... Toby Stafford-Allen baritone English National Opera Orchestra Paul Daniel

p 2006 Chandos Records Ltd c 2006 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England