Word: lulu
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Dates: during 1960-1969
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...hits of last summer's Munich Festival, where she appeared as the Marschallin in Rosenkavalier and Fiordiligi in Cosi Fan Tutte. Brooklyn's Evelyn Lear, 31, of West Berlin's State Opera created a sensation at the Vienna Festival in Alban Berg's Lulu. Her Texas-born husband, Baritone Thomas Stewart, 31, was a surprise success as Amfortas in last summer's Parsifal at Bayreuth. Florida-born Negro Soprano Maroyne Betsch, 25, won rave reviews for her Salome with the Braunschweig Opera. In Bern, Tennessee-born Chloë Owen made outstanding debuts in Lohengrin...
...nicest girl Sinatra's ever gone with-Nicer than Ava, Lauren, Kim, Kyle, Candy, Kitty, Sally, Shirley, Terri, Patti, Marta, Milly, Lana, Lulu, and Lady Beatty...
Lyrical Lassitude. The Frankfurt production is properly corrosive. Designer Teo Otto uses a garish circus scene throughout the opera, changes scenes merely by changing the props. In the Paris sequence, Otto projects Lulu's progress on a huge screen, in drawings recalling Toulouse-Lautrec; the last one shows Lulu standing naked with black handprints all over her body. Conductor Georg Solti leads his cast and huge orchestra with deft skill, and at each performance Soprano Helga Pilarczyk scores triumphs in the fiendishly difficult title role...
...score of Lulu is still formidable, impressive and amazingly exact in indicating the composer's intentions. The orchestra squirms morbidly in the first half, almost as if playing without direction, but the second half achieves a kind of romantic, lyrical lassitude. The opera bristles with an immense variety of forms: a sonata represents the elderly lecher, a rondo suggests his son, ragtime gives way to an English waltz...
...opera's biggest failing is that it never makes clear the source of Lulu's deadly charm, and the audience is unable to sympathize with her or her victims. At several points, e.g., when an elderly butler confesses in an aside that he himself is smitten with Lulu, the spectators usually break into titters. Musically more advanced than Berg's only other opera, Wozzeck (TIME, March 16), Lulu has little of Wozzeck's compelling dramatic power. Remarkably, only 25 years after its premiere, the most experimental opera of one of the century's most experimental...