By far the best 2 act Lulu I have ever seen... Laura in unbelievably good in this... The Theatre scene has got to be the best I have seen... This 1st climax to act 2 is fantastic, with her perfect grasp of an incredibly difficult aria... I urge all fans of Lulu to obtain this DVD... It is an unforgettable experience...
It's not a contemporary opera, it was first played in 1937.. It sounds different from other operas because it was written according to the Second school of Vienna (deuxieme école de Vienne), which adopts a different technique of composition : you might have to get used to it to be able to like this kind of operas
He tries hard to, at least in the Glyndebourn Festival performance. It is left unclear to me how far he gets, before Alwa appears and scares him. He's a customer, but not a patient one.
I don't really get why you were writing all this stuff, because this isn't really "modern" stuff. It's twelve tone music with a very late romantic touch while the melodies are very singable and easy to follow... And frankly, which composer will care what you write here?
@ad80ad Really? Anna doesn't have enough coloratura, or the accuracy of pitch required to sing this role... that isn't even considering her limited ability to act and interpret, although yes this would be an easy role for her to act!
In the part 2:20 through 2:25, "und man hat mich nie in der Welt für etwas anderes genommen", she seems to sing several wrong notes, and compared to other performances I've heard, some sound at least a semitone off. For a greater dynamic range not only restricted to forte, check out Christine Schäfer in the Glyndebourn Opera Festival performance, and for a far more accurate pitch, check out Teresa Stratas in Boulez '79.
(continued) For example, in 0:26 and 1:47, the pitch sounds very inaccurate. In the part 2:20 through 2:25, "und man hat mich nie in der Welt für etwas anderes genommen", she seems to miss several notes by a semitone at least. For a greater dynamic range not only restricted to forte, go for Christine Schäfer in the Glyndebourn Festival performance, and for a far more accurate pitch, go for Teresa Stratas in Boulez '79.
In the part 2:20 through 2:25, "und man hat mich nie in der Welt für etwas anderes genommen", she seems to miss several notes by a semitone at least. For a greater dynamic range not only restricted to forte, go for Christine Schäfer in the Glyndebourn Festival performance, and for a far more accurate pitch, go for Teresa Stratas in Boulez '79.
When they will learn that is not sufficient for a good performance of that music, to do a grim face, to shout with worst taste immaginable, to sing pitches by chance, to phrasing as confusely as possible, Berg will become the Verdi of XX century for every pits in the world.Neither Schaefer nor Stratas sings this music REALLY seriously. For me the ideal performer would be Anna Netrebko, musically, culturally and physically speaking.
![Arnold Schönberg - 4 lieder (Op. 2) - Soprano version [Faull - Gould]](http://i.ytimg.com/vi/zR3niG27Xyw/mqdefault.jpg)
By far the best 2 act Lulu I have ever seen... Laura in unbelievably good in this... The Theatre scene has got to be the best I have seen... This 1st climax to act 2 is fantastic, with her perfect grasp of an incredibly difficult aria... I urge all fans of Lulu to obtain this DVD... It is an unforgettable experience...
Great music and great singing.
What skill to sing such difficult melody while acting on stage! Bravo Madame!
Magnificent singing from Laura.
Well, you must have hearing problems. She is nothing less than marvellous- singing beautifully and very well, such difficult music!
fantastic singer!!!
It's not a contemporary opera, it was first played in 1937.. It sounds different from other operas because it was written according to the Second school of Vienna (deuxieme école de Vienne), which adopts a different technique of composition : you might have to get used to it to be able to like this kind of operas
The music is really peculiar:)
2:02-2:09!! Absolutly insane!!
If only Natalie Dessay didn't give up learning Lulu...
I agree the colourtura aspect is lacking, she is prolly a lyric with a lighter tone, but I didn't really notice until I was looking for it.
Oh I want to see this SO BAD!! But with english (or spanish) subtitles!
@ad80ad Lisa Saffer, anyone? Not too coloratura, is she?
Wow.
This opera is both great and hideous.
I really don't get contemporary music.
But kudos to her for that high note.
beh direi che la preferisco così che in veste vivaldiana.
He tries hard to, at least in the Glyndebourn Festival performance. It is left unclear to me how far he gets, before Alwa appears and scares him. He's a customer, but not a patient one.
I don't really get why you were writing all this stuff, because this isn't really "modern" stuff. It's twelve tone music with a very late romantic touch while the melodies are very singable and easy to follow... And frankly, which composer will care what you write here?
@ad80ad Really? Anna doesn't have enough coloratura, or the accuracy of pitch required to sing this role... that isn't even considering her limited ability to act and interpret, although yes this would be an easy role for her to act!
In the part 2:20 through 2:25, "und man hat mich nie in der Welt für etwas anderes genommen", she seems to sing several wrong notes, and compared to other performances I've heard, some sound at least a semitone off. For a greater dynamic range not only restricted to forte, check out Christine Schäfer in the Glyndebourn Opera Festival performance, and for a far more accurate pitch, check out Teresa Stratas in Boulez '79.
(continued) For example, in 0:26 and 1:47, the pitch sounds very inaccurate. In the part 2:20 through 2:25, "und man hat mich nie in der Welt für etwas anderes genommen", she seems to miss several notes by a semitone at least. For a greater dynamic range not only restricted to forte, go for Christine Schäfer in the Glyndebourn Festival performance, and for a far more accurate pitch, go for Teresa Stratas in Boulez '79.
In the part 2:20 through 2:25, "und man hat mich nie in der Welt für etwas anderes genommen", she seems to miss several notes by a semitone at least. For a greater dynamic range not only restricted to forte, go for Christine Schäfer in the Glyndebourn Festival performance, and for a far more accurate pitch, go for Teresa Stratas in Boulez '79.
When they will learn that is not sufficient for a good performance of that music, to do a grim face, to shout with worst taste immaginable, to sing pitches by chance, to phrasing as confusely as possible, Berg will become the Verdi of XX century for every pits in the world.Neither Schaefer nor Stratas sings this music REALLY seriously. For me the ideal performer would be Anna Netrebko, musically, culturally and physically speaking.