Lulu

Left incomplete after composer Berg's ultimely death from sepsis in 1935, even with the incompleteness being evident on occasions in the third act (as well as the mammoth length and whether you like Expressionist music or not, for me it's more high appreciation than love), 'Lulu' is still one of Berg's best works (marginally prefer 'Wozzeck' though) and a 20th century landmark in opera.

It's especially notable for its dark text, black humour (often nightmarishly so), quite fascinating titular character (who you do feel some sympathy for at times despite her being so amoral), Berg's intense but strangely beautiful - once you get used to it - music and the terrifying final scene.

While not a first-choice 'Lulu', my favourite productions have been the ones with Teresa Stratas, Marlis Petersen (in the splendid Met production from last year) and Julia Migenes-Johnson, all the productions of 'Lulu' on DVD have many fine merits, and this Olivier Py-directed performance is not an exception. Of the two Berg opera productions seen in the past week, the other being the Calixto Bieito-directed 'Wozzeck', this is by far the superior of the two, didn't care for the 'Wozzeck' but was very impressed with this.

The production is very arresting visually, with imaginatively coloured and detailed sets that give off a great seedy yet sometimes dark atmosphere so ideal for 'Lulu', splendidly lurid lighting, eye catching costumes (especially Lulu's) and video directing that's very natural, high in invention and zooms in on the very eventful action to quite dazzling effect.

Py's stage directing is not perfect, but often very impressive. The weaknesses of the directing come from some instances of the production and action feeling over-stuffed, with details and stage business that is a little distracting and doesn't add as much as it would have liked, particularly the omni-present neon signs and the use of tableaux action at the rear of the stage, and it is not always completely clear what Py was trying to say. The storytelling is at least coherent with emotional impact aplenty (especially at the terrifying, fever-pitch suspenseful and poignant end) and Py adheres to not just the spirit of the opera but also the complexities of it, which are things that Bieito's one-sided, simplistic and confused directing of 'Wozzeck' did not achieve.

Musically, it's blameless. The orchestra bring out every ounce of the dark harshness and the tender lyricism out of a score that is very demanding to play and interpret, as this reviewer said for last year's Met production the orchestra successfully make Berg's incredibly complex score beautiful and affecting as well as frightening and twisted. This is more than just dissonant noise as I have heard Expressionist music described a fair bit, it seems like that on first listen but when one gets used to the style it appeals more. Michael Boder's conducting is tightly paced but also remarkably sensitive.

For 'Lulu' to work, one needs good performances (especially of the title role), and this production has those with no obvious weak link. Patricia Petibon in particular is astonishing as Lulu, one of the most difficult roles in the whole operatic repertoire both vocally and interpretatively. She brings an allure and dignity to the character as well as a predatory viciousness, staying true to the idea of Lulu being amoral but bringing enough to allow one feel sympathy for her. She sounds wonderful in the role too, despite extensive use of the high Colouratura register Petibon doesn't sound taxed and manages to make Lulu sound thrilling, characterful and beautiful.

She is terrifically supported by the rest of the cast, especially the sinister Dr Schon of Ashley Holland and Julia Joun's disturbingly dignified and sometimes moving Countess. Will Hartmann and Franz Grundheber (no stranger to Berg himself) are also very impressive, and while Paul Groves' Alwa is a touch too restrained dramatically in places it's still a beautifully and robustly sung account.

Overall, riveting production with many fantastic things. 8/10 Bethany Cox