Word: sch
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Dates: during 1970-1979
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...constructing a new plant. Builders Union President Robert Georgine warned that President Carter's pledge to his workers to "not fight inflation with your jobs" would be recalled, perhaps vengefully, by blue-collar voters in next year's primaries. Carter's chief economic adviser Charles Schültze and Treasury Secretary G. William Miller began privately hinting that they had worries about the intensity of the Volcker program, and former Fed Chairman Miller made a gratuitous dig at his successor: "Had I stayed at the Fed, my timing would have been different...
...Schön, Lulu's patron, husband and prime victim, Bass-Baritone William Dooley mordantly conveys the opera's central drama of worldly power and rationality being ravaged by the primal erotic instinct. Among other solid supporting performances, Bass-Baritone Andrew Foldi is funny and touching as Schigolch, the old man who may be Lulu's father and who is as good a key as any to Berg's newly retrieved third act. Schigolch is the none too comforting image of what is left after passion and violence are spent: a scrabbling, wheezy, lecherous...
...overtaxed voice, especially in the punishing higher reaches of Berg's writing. But her Lulu was sexy and mercurial, as much the victim as the exploiter of her powers. She was superbly matched by Baritone Franz Mazura's richly shaded portrayal of the newspaper magnate Dr. Schön, Lulu's patron and eventual husband. The rest of the cast was excellent too: Tenor Robert Tear as a naive painter undone by Lulu, and Bass-Baritone Toni Blankenheim as the mysterious Schigolch, Lulu's father, a former lover or perhaps a symbol of death...
...music for her decline is shot through with echoes, correspondences and recapitulations of earlier moments. When Lulu is reduced to streetwalking in London, Berg called for her three clients to be played by the same singers who previously played her victims. The last of these, corresponding to the murdered Schön, is Jack the Ripper, who kills Lulu...
...opera's other themes, accompaniments and leitmotifs are derived from endlessly ingenious extrapolations, inversions, retrogrades and other variations of the original row. These in turn are rigorously organized in a series of traditional forms. There is an extensive sonata structure in Lulu's scenes with Schön; a rondo for Lulu's more ambiguous encounter with Schön's son; a canon in which one voice following another imitates the painter's pursuit of Lulu...